• Winners of the International Landscape Photographer of The Year 2025 have been announced
• The stunning winning image by Austrian photographer Lukas Trixl was taken in New Plymouth, North Island, New Zealand
• Lukas' camera of choice was the Canon EOS R5

The winners of the International Landscape Photographer of The Year 2025 contest were announced this week, and there's a familiarity about the cameras used by the winning entrants.

Take the winning photo overall, a prehistoric-looking scene of a snowcapped mountain, which can be found in New Plymouth, North Island, New Zealand, and which was taken by Austrian photographer Lukas Trixl.

Lukas shot the stunning image with the Canon EOS R5 mirrorless camera, which he pairs with either the Canon RF 14-35mm F4 IS USM, Laowa 12mm Zero-D f2.8, Canon EF 70-200mm F2.8 and Canon RF 200-800mm lenses, having upgraded from the Canon Rebel T7 DSLR (known as the EOS 2000D outside the US) years ago.

This news comes in the wake of the Wildlife Photographer of The Year 2025 awards, which were also dominated by the EOS R5 – although the overall winner of that contest used an 11-year-old DSLR, the Nikon D810.

The other major award at ILPOTY 2025 was the overall winning portfolio by J. Fritz Rumpf, who used the Nikon D850 DSLR, Nikon Z7 II mirrorless, and DJI Mavic 3 drone for his wide-ranging selection of landscape photos.

So there's a theme connecting these contest winners – don't write off older pro gear. The EOS R5 is still a great camera, despite being five years old and having been succeeded by the EOS R5 Mark II, and the aforementioned DSLRs are older still.

And there's good news if you have your sights set on such contests but need top-flight gear to help make your vision a reality – you don't need to spend big. For example, the Canon EOS R5 has fallen to record-low prices in the wake of the Black Friday sales, and given that it's now an older model.

Best Canon EOS R5 deals today

Released in July 2020, the Canon EOS R5 remains a popular camera among pros more than five years later – certainly if major 2025 photo contests are anything to go by. Its compact and rugged body, sharp 45MP stills, powerful in-body image stabilization and reliable autofocus are among the many attributes which make it a top camera for pro photographers. The EOS R5 has fallen in price by around 35% since it launched, making it an excellent buy today.

You can get a better look at Lukas Trixl's winning ILPOTY 2025 image, shot with the EOS R5, below,

Not in the US or UK? I've included the best Canon EOS R5 deals for other regions, below.

• Winners of the Wildlife Photographer of The Year 2025 announced
• Overall winner was captured using an 11-year-old Nikon D810 DSLR
• The Canon EOS R5 is the most popular camera amongst competition entrants

The winners of the Wildlife Photographer of The Year 2025 contest have been unveiled, and once again, it’s a set of incredible images. The overall winner was shot by South African photographer, Wim van den Heever, who takes home the Grand Prize.

His image depicts an otherworldly scene of a rare brown hyena exploring the dilapidated remains of the abandoned mining town of Kolmanskop in Namibia, a setting which creates an almost dystopian atmosphere. Van den Heever explains that he worked for almost ten years to capture his composition of a brown hyena in the perfect location, and his patience paid off, creating a haunting mood that reflects the ability of wildlife to recolonize areas once dominated by human activity.

The Wildlife Photographer of The Year Competition is one of the world’s most prestigious photo contests. This year was a record-breaker, drawing in more than 60,000 entries from across the globe. The contest caters to nature photographers of all specialisms and interests, featuring multiple rounds such as Animal Portraits, Birds, Invertebrates, Urban Wildlife, Underwater, Plants and Fungi, Wildlife Photojournalism, and more.

Eagle-eyed photographers will notice an even more astounding detail; that the overall winning shot, beating thousands of other entries, was taken on a DSLR camera from the last decade. Van den Heever shot his masterpiece on a Nikon D810, which having been launched back in the summer of 2014, is just about ancient in digital terms. In an age of rapidly developing mirrorless cameras, Van den Heever’s achievement is a testament to the longevity of enthusiast DSLRs. It proves that, just because a camera might lack the many bells and whistles of the most recent models, AI autofocus modes, subject recognition and tracking, and global electronic shutter modes to name but a few, this doesn’t make it redundant.

DSLRs are far from dead

The overall winner is not alone in being captured by an older DSLR model. In fact, they feature heavily across many of this year’s categories.

The winner of the youth category of the competition, Young Wildlife Photographer of The Year, also saw the top image captured on an aging Nikon DSLR camera. Andrea Dominizi from Italy used his Nikon D7100 to shoot a close-up frame of a longhorn beetle in the Lepini Mountains region. He paired this with a Tokina 10–17mm fisheye lens for a super-wide perspective, and an off-camera flash to provide some extra fill light.

Meanwhile, Dennis Stogsdill of the USA used an old pro favorite to capture his winning image in the Mammals category. The Canon EOS 1DX Mark II was his tool of choice, a top-level body capable of burst rates of 14 frames per second, or as high as 16fps in Live View mode. This gives many recent mirrorless bodies a run for their money.

Elsewhere, Ralph Pace won in the Underwater category using a Nikon D850 in a Nauticam housing. This DSLR is often considered one of the finest models of the type, blending high resolution with excellent low-light performance – ideal for shooting in an underwater setting.

While DSLRs are showing they have plenty of life left in them yet, Canon still has a good reason to celebrate its mirrorless RF mount system. Of all the high-performing images entered into the competition, it is the Canon EOS R5 that features most often, making it the most popular camera. This isn’t much of a surprise since the original R5 scored highly when we first reviewed it, while its successor currently ranks as the best Canon camera.

This offers a fascinating insight into the type of gear nature photographers are choosing to work with in 2025, and demonstrates that experienced shooters are holding on to tried and tested gear, whether this was released within the past five years, or as far back as the previous decade.

What do you currently shoot with? Would you still use an eleven-year-old DSLR? Don’t forget to leave your thoughts in the comments below!

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Retro digital cameras are still in, but I'm here to tell you that you can forget about the many old-school mirrorless models with modern smarts from the likes of Fujifilm and OM System, and should check out the Nikon Df instead.

Launched in 2013, the Df was and remains the only DSLR of its kind, with retro design cues from Nikon's good ol' analog SLR cameras from decades past – think Nikon FM2 and others.

It's bound by the same physics as Nikon's F-mount DSLRs, which means it's a blocky hunk of metal when compared to today's streamlined mirrorless models, including 2023's Nikon Zf, but by DSLR standards it's on the smaller side, plus it also has a DSLR feature that seals the retro deal.

That feature is a bright and natural optical viewfinder. Retro mirrorless cameras such as the Nikon Zf, Fujifilm X-T50, and OM System OM-3 with their useful electronic viewfinders can't quite reach the same retro heights as the Nikon Df with its lovely OVF, and its retro goodness isn't even limited to that primary hook.

The DSLR is available secondhand only for approximately $950-$1,250 / £850-£1,150, depending on the condition, from reputable retailers such as MPB (who supplied the camera for this feature, many thanks), and is my top retro pick in 2025 – here are another five reasons why.

Less is more

The Nikon Df is riddled with limitations and, contrary to popular opinion, I think those limitations only strengthen its appeal. This is a camera comfortable in its retro skin.

Check this out – the Nikon Df doesn't shoot video at all. And quite right – this is a retro camera and since when did an analog SLR shoot video? I get it, just because a feature is there, such as video recording, it doesn't mean you have to use it. But knowing this is a photo-only digital SLR only amplifies its retro appeal, plus it results in a simplified menu because there are fewer options to pick from.

Want to shoot video? Other DSLRs and mirrorless cameras will do that modern trick in addition to photography – this one is photo all the way, and my second reason.

Thirdly, the Nikon Df's full-frame sensor only shoots 16MP stills – it's the same sensor as the Nikon D4 pro sports DSLR. By today's standards, that's not a lot of detail to play with. However, on the flipside photos look super clean in low light thanks to an ISO 100-12,800 sensitivity range that can be expanded to ISO 50-204,800. Trust me, I absolutely adore the look I've been getting in my photos with the Df – see some of my photos, above.

Reason 4: there's also only a single card slot – boo to the Df I hear you say. Only, since when did a film camera take multiple rolls of film simultaneously? Once more, I like the limitation here – I'm stuck with one SD card, whether it corrupts or not. Just to be clear, card corruptions are pretty rare and you can mitigate the risk by regularly formatting the memory card in play (not before you've backed up, of course).

Truly old school

Where the Nikon Df shines among its peers is those exposure dials on its top plate; one each for shutter speed, ISO, and exposure compensation (see gallery below). These dials not only look the part, but they encourage you to take manual control of exposure and to learn exposure basics in a way that other DSLRs don't. Many retro mirrorless cameras offer the same controls, such as the Nikon Zf, but no other DSLR does, and this is my fifth reason.

One trick the Df has up its sleeve, that more functionally complete Nikon DSLRs actually lack, is compatibility with Nikon's vintage non-AI lenses – that's those that predate 1977 – as well as Nikon's modern-day lenses. That means you can attach an F-mount analog SLR lens with aperture control to the Df, and it'll work just fine. Again, no other Nikon DSLR can do that, and that's my sixth and final reason.

I paired the Nikon Df with an array of my own modern F-mount lenses for Nikon's DSLRs, including the Sigma 35mm f/1.4 DG HSM Art and Nikkor 50mm f/1.8 G, as well as older manual focus-only glass, such as 1981's Nikon Ai-S Nikkor 50mm f/1.2. Knowing that just about any Nikon F-mount lens will work, including vintage optics, leaves me wanting to try out the weird and wacky lenses from decades past.

Retro as it may be, the Nikon Df is a digital SLR and enjoys many modern conveniences. It utilizes the same 39-point autofocus system as the Nikon D600 and shoots at rates up to 5.5fps, all recorded onto an SD card. There's also some kind of witchcraft occurring with battery life – the tiny 1,230mAh unit somehow outperforms the likes of the Nikon D800's physically larger unit.

What the Nikon Df does best though, is encourage you to slow down and enjoy photography. Like other retro cameras, its design is tailor-made for use with compact fast aperture primes, and to be used as an everyday walkaround camera.

For street photography and portraits, the Df is a winner and I can easily see it as my long-term backup camera for when I want to simply enjoy photography and sharpen my skills and technical knowledge. I can't say the same for my Nikon D800, and for that reason, the Df is an absolute winner. What do you think – would you buy a DSLR from 2013 today? Let us know in the comments below.

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The most lucrative photo contest in the world has awarded its top prize – an eye-watering $200,000 – to Liping Cao of China for his monochrome image of a distant wind farm on the shores of a freshwater lake in Australia (see below).

The judges of the HIPA Sustainability, which is now in its thirteenth year, and which this year put up a record-high $1 million prize pot to be shared among the winners, chose Quiet Power, which depicts a wind farm in 2021 on a then-dried-out Lake George in New South Wales, Australia, as the overall winner.

What's most surprising about Liping's feat is the camera he used to take his winning photo – a Canon DSLR.

The camera in question is not even one of the best DSLRs, but a 12-year-old Canon EOS 5D Mark III – a full-frame DSLR that you can pick up secondhand from around $300 from the likes of KEH in the US or around £325 from MPB in the UK, though you'll pay a little more if you want one that's in excellent condition.

Liping paired the EOS 5D Mark III with the EF 24-105mm F4L IS USM, a versatile zoom lens that back in the day could be purchased with the camera as part of a kit – a combination that's easily affordable for enthusiasts.

The winning image was shot in color and then converted to black and white because it "shows more levels of detail and is more suitable for experiencing environmental impact,” said Liping.

DSLR for the win

Canon confirmed some time ago that it's no longer developing DSLR cameras, and is instead going all-in with its mirrorless cameras, but Liping's winning photo, taken with a Canon camera that's been consigned to the past, reminds us that you don't always need the latest and greatest cameras to get top results.

The full-frame EOS 5D Mark III packs a 22.9MP sensor, which practically matches Canon's modern-day mirrorless equivalents for detail, such as the EOS R6 Mark II, which shoots 24MP photos and which is much costlier.

And while I recently came to appreciate the advances in mirrorless camera tech when I used my old Nikon DSLR for the first time in years, this win for Liping shows there's still life in the old DSLR yet.

If you're interested in the best DSLR options you can check out our guide to the best DSLRs. And if you're a newcomer who's confused by the jargon, you'll want to read our mirrorless vs DSLR explainer.

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Take the strain, and three, two, one, pull! No, I'm not in the gym lifting weights, but in the woods with my Nikon DSLR and raising its optical viewfinder to my eye to compose a picture. It's my D800's first outing in years and it's quickly reminding me why I was so happy to switch to mirrorless. At 31.7oz / 900g and combined with my Nikon 70-200mm AF-S f/2.8 VR lens (50.4oz / 1,430g) it's well over 80oz / 2300g, and being cumbersome isn't even the worst part.

Don't get me wrong, I'll come away from this walk in my local woods that's bursting with fragrant bluebells and wild garlic with some pictures I'm super-excited about (see below), but boy do I have to work that much harder to get the results I want. And without wanting to lug a tripod around, I actually can't get the same degree of sharpness in my pictures from this day in the dim conditions under a dense tree canopy.

There are aspects of the Nikon D800's handling that I really enjoy and mixing up creative tools keeps me fresh as a photographer, but overall my mirrorless camera is a much more streamlined experience and I'm still glad that I made the leap from a Nikon DSLR to the Z6 II. Let's look at where my DSLR struggles begin.

1. Carrying the gear

My Nikon D800 from 2012 is an extra 50% heavier than the Nikon Z6 II I'm now used to, and also the Z7 II that is arguably my DSLR's modern day equivalent. The 70-200mm f/2.8 F-mount lens is also heavier than the mirrorless Z-mount version, although not by much. Overall, there's approximately a 20% reduction in weight in the mirrorless version of my DSLR camera and lens pairing.

The DSLR camera body is also bulkier, and I notice this quickly with the chunkier handgrip. In some ways it's actually a better balance with the fairly large telephoto lens than what my mirrorless camera offers, but in practice I'm wanting to place the DSLR down quicker than mirrorless.

When you're repeating the motion of bringing the camera's viewfinder up to your eye to compose a shot, the strain starts to take hold quite quickly.

2. Composing the shot

I like the D800's optical viewfinder (OVF), a lot. It's a bright and big display through which I can immerse myself in the scene. And it's one less digital screen to look at, and I'm all for that.

However, what you don't get with an OVF, like you do with a mirrorless camera's electronic viewfinder (EVF), is exposure preview, which is supremely helpful as you go about taking photos. You get a bright display but potentially a very different looking final image, both in brightness and depth of field / bokeh.

That can cause a problem for me because I tend to fiddle with exposure compensation based on the mood I want in the picture. It's all too easy to leave the camera at -2EV for a low-key effect and unwittingly carry on shooting dark pictures because the end result is not reflected in the OVF display. Overall, I prefer an optical viewfinder display for the feeling and an electronic viewfinder to meet my practical needs.

Another point regarding my D800 is that its screen is fixed, whereas my mirrorless camera has a tilt display which is super helpful for shooting at low angles, which I often do especially in scenarios like this. Some DSLRs like the Nikon D850 also have a moveable screen, but most don't, and once you're used to working from a tilting or swivel screen, it's hard to go back to a fixed one.

3. Focusing issues

Focusing isn't bad with the D800. It's actually very good, but it's not as refined as the Z6 II mirrorless camera. It's evident as I pinpoint certain bluebells – the focus points simply aren't small enough. I wrestle with autofocus as it hunts for the subject that's right there, more so than with mirrorless.

If I was taking portraits today, I'd be much more relaxed with my mirrorless camera too thanks to its reliable subject and eye detection autofocus, whereas my D800 has regular back-focusing issues.

I've also become accustomed to composing shots through the Z6 II's LCD display, often instead of the viewfinder. If I try to do the same – autofocusing through the D800's Live View – it is a significantly worse experience, too. Nikon DSLRs aren't really designed to be used for photography with autofocus through Live View, though Canon DSLRs do a better job.

That said, I tend to use my DSLR's Live View when manually focusing for landscape photography instead of the viewfinder. With Live View I get focus magnification for a closer look so I can be sure I've acquired sharp focus where it matters. Again, it's just a shame that the LCD screen is hard to see at awkward angles.

4. No image stablization

The single thing I miss the most when opting for my DSLR over mirrorless is in-body image stabilization, which in the Z6 II enables me to shoot handheld in more situations.

I remember when I first bought my D800 just how unforgiving its 36MP sensor was regarding camera shake and its resulting effect – softening detail. At the time, my golden rule to calculate the minimum acceptable shutter speed for sharp shots was shutter speed equals the focal length of your lens – for example, 1/200sec when shooting at 200mm.

That rule went out the window with the D800, the highest resolution full-frame sensor ever, and I would have to be conservative by around 2EV. At the same 200mm focal length a faster than normal 1/1000sec was as slow as I could go really. Or I could bring out the tripod to eliminate camera shake.

I don't want a tripod for my shooting techniques where I need maximum portability, like this day in the woods, nor do I want to damage the woodland and bluebells – I need a light footprint. No, I'm going handheld all the way.

Now I'm in these woods shaded by a dense tree canopy and the shutter speed I need to use with the 70-200mm lens requires a high ISO, even with the f/2.8 aperture. Put simply, the quality of detail I can get in this scenario cannot match what I can with my mirrorless camera which is equipped with image stabilization and able to shoot at slower shutter speeds and low ISO because it compensates camera shake.

The photos I came away with using my DSLR

Visually most woodlands are messy. You have to search long and hard for tidy compositions such as a single tree standing out from the rest. Or you can embrace and work with the chaos.

I've intentionally used a telephoto lens and shot through branches and leaves to add layers, a sense of depth and to bring in those elements that you otherwise have to work so hard to avoid. And I'm certainly not about to cut away branches or rip up flowers to get the shot I want.

My overall experience bringing my DSLR back out of retirement was fine, but it has reminded me how mirrorless has evolved the camera experience for the better. Ultimately mirrorless is a more refined experience than a DSLR in just about every department.

Images are better, too. I haven't been able to shoot handheld at ISO 100 under dense tree cover like I could with mirrorless, and there's just an edge of softness in my pictures caused by subtle camera shake that I don't have with mirrorless. I'm less concerned with my DSLR's inferior corner sharpness and pronounced vignetting compared to mirrorless.

I'm not about to sell my DSLR – I'll give it another run out soon. It's just I've been reminded the extra dedication needed to the craft in order to come away with the pictures that I'm happy with. As I own both a DSLR and mirrorless camera, opting for the DSLR feels like taking the hard path.

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TechRadar recently ran a WhatsApp poll asking 'What camera do you use – mirrorless, DSLR, phone, or all of the above?' Phones overwhelmingly came out on top, but it was also striking how many votes DSLR got, with almost twice as many votes as mirrorless (see below). 

Shoppers are also putting their money where their WhatsApp votes are. During the Black Friday / Cyber Monday sales, the most popular camera deals on TechRadar by click-through were by far those for entry-level DSLRs. Sure, cheaper gear flies off the shelves in greater volume, but even entry-level mirrorless cameras at the same price point, like the Canon EOS R100, couldn’t compete with the Rebel T7 / EOS 2000D DSLR (the deal on which, by the way, was far from the best in our roundups).

The continued popularity of DSLRs isn’t down to quality considerations – the latest and greatest cameras are mirrorless. In 2021, I traded in my pro DSLR to get a Nikon Z6 II, and I love it – it’s one of the best mirrorless cameras after all. All the big camera brands are in the mirrorless space now, while DSLR is a dormant market. A niche black-and-white iteration of the existing Pentax K3 III notwithstanding (the K3 III Monochrome), it’s been around four years since new DSLRs like the EOS Rebel T8i / EOS 850D were hitting the shelves – and it was clear back then that the technology had already peaked.

Stagnant though the DSLR market is in terms of new gear, people are still using these cameras, and researching deals on them, in decent numbers. So what is it about these somewhat forgotten cameras that still appeals? They certainly didn't get any worse since the mirrorless dawn – but if DSLR technology has little hope of future development while mirrorless keeps improving, why are people still keen on the form factor? I can see a few reasons, and who exactly can still enjoy DSLRs for the years to come.

1. They’re cheap, especially secondhand

Value for money is where the case for DSLR begins. The best beginner DSLRs are now the cheapest interchangeable lens cameras you can buy, and the secondhand market is huge. You can pick up an old entry-level DSLR with lens for as little as $60 / £50, while the most recent models are less than $500 / £400, especially in the best holiday deals.

For those who want to develop their photography skills, picking up additional lenses – perhaps a fast prime such as a 50mm f/1.8 – can be relatively inexpensive, while accessories, including the memory cards used in DSLRs (usually SD cards) are also low-cost. Mirrorless cameras and accessories on the other hand, both new and secondhand, can be much pricier.

2. They’re a solid choice for first-time photographers

Mirrorless cameras are in general better equipped than DSLRs for photo and video, but if photography is your sole endeavor – which is true for a large number of creatives and camera newbies – then a DSLR will do everything you need. Even traditionalist pro landscape photographers who don’t need the latest autofocus performance might prefer one of the best DSLRs over mirrorless.

I’ve noticed less of a difference in image quality between a DSLR lens and mirrorless equivalent when the aperture is stopped down to its sharpest setting – usually the middle between f/5.6 to f/11 – as opposed to shooting with aperture wide open, which is where image quality can fall off more noticeably with DSLRs. I often get asked "What first camera would you recommend?" – and all things considered I'm inclined to say a DSLR.

3. DSLRs feel good

Unlike the best camera phones, DSLRs are designed for a singular purpose – great handling for taking pictures. DSLRs don’t try to be small, or fit in a pocket. The traditional DSLR design feels great in the hand, with generous grip and key controls at your fingertips. Plenty of the latest mirrorless cameras, like the Nikon Z8, Sony A7  IV and Canon EOS R6 II take the DSLR form factor, even though technically they don’t need to, given that they don’t use optical viewfinders. It seems that for many people, the way a DSLR handles was already good enough. 

4. Old-school viewfinders in a digital world

There’s something about the optical viewfinders used in DSLRs that charms – as opposed to the digital EVFs used in mirrorless. Like most pro DSLRs, my faithful Nikon D800 has a wonderfully large and bright optical viewfinder. It doesn’t show me the exposure in real time like my Z6 II does but – and maybe it’s just me – removing another digital display from my life feels great, especially when I'm creating. You still get the accurate view for composition – even OVFs used in entry-level DSLRs will display around 95% of the frame – without a digital display. 

5. Secondhand lenses

DSLR and mirrorless are both interchangeable lens systems, and to get the most from these cameras you will, over time, want to build up a collection of lenses. In 2023, it’s less about there being a larger choice of DSLR lenses compared to mirrorless – a number of mirrorless systems now boast expansive lens lineups, with special mention to Sony, Fujifilm and micro four thirds, while even Nikon and Canon are hard at work adding new mirrorless lenses.

The argument in favor of DSLR over mirrorless here is the cost of lenses, with plenty of secondhand DSLR lens bargains available for Canon, Nikon, and Pentax cameras. Check out the best secondhand retailers – we recommend BHPhoto, Adorama, and KEH for US readers, while Jessops, London Camera Exchange, MPB and Park Cameras are all good options for UK-based photographers. In Australia, you can try Ted's Cameras, Diamond's Cameras and Camera Electronic.

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Two-minute review

Leica has been at it for years, but strangely, no other camera manufacturer has followed suit, until now. I’m talking about making cameras that only capture black and white images, which is something of a niche, and now Pentax has joined this hitherto exclusive club with the Pentax K-3 Mark III Monochrome.

Producing cameras that only capture black and white photos has the technical benefit of greatly improved ISO handling, so photographers can confidently shoot at much higher ISOs with lower levels of noise, greatly improving image quality. And from a creative point of view, these types of cameras allow the photographer to abstract scenes from color to focus more on light, shadow, texture and form.

The K-3 Monochrome is a Pentax K-3 Mark III that, other than only shooting mono, is identically featured to the color version of the camera, albeit marginally less expensive. The K-3 Monochrome isn’t cheap though, coming in at $2,200 / £2,249 / AU$3,490. Sure, it’s not as expensive as Leica M or Q-series Monochrom models, but it’s still a lot of cash to part with for a camera that lacks the versatility of one that captures raw files and JPEGs in color, but with the option to convert those to black and white during post-processing.

This is always a fact that strikes me when I review these types of cameras, but I have to confess that when I do use them, I enjoy being limited to shooting only in monochrome; it’s a little like putting a roll of black-and-white film into a film camera, and having to finish it before you can change the film to a different stock. I’m used to this experience now, even if I wouldn't necessarily buy a camera of this type myself; but there's something else that struck me even more while using the K-3 Monochrome.

I haven’t used a DLSR for at least six years now, possibly longer, so moving back to what is essentially old technology felt slightly strange. Pentax has stoically continued to develop and manufacture DSLRs rather than moving into mirrorless cameras, which is, in its own way, just as eccentric as producing a camera that only shoots black and white. I guess in such a crowded and competitive market such as cameras, anything that makes you stand out from the crowd can be seen as an advantage.

Despite being a DSLR, the K-3 Monochrome is packed with modern features, and the overall handling of the camera is great. It would be better if it were a mirrorless camera, with all of the advantages mirrorless confers. But with excellent build quality, comfortable ergonomics, and conveniently positioned direct access controls for commonly used settings, as well as an LCD screen on the top plate that shows current settings at a glance, handling can’t be faulted. However, the weight of 29oz / 820g body-only makes the camera quite hefty, even more so when a 16-50mm f/2.8 or a 70-200mm f/2.8 is attached.

In keeping with its functionality, the design of the Pentax K-3 Mark III Monochrome is black and white, and this extends into the menu, which is a nice touch, although exposure warnings, for instance, show in red when using Live View on the 3.2-inch 1620k-dot rear LCD screen, which makes them stand out prominently. Unfortunately, the LCD screen is fixed rather than articulating.

When it comes to features, the K-3 Mark III Monochrome certainly isn’t lacking, with the ability to track stars when the O-GPS1 GPS Unit is mounted using the camera’s shifting sensor. The sensor also provides 5-axis in-body image stabilization (IBIS), and Auto Horizon Correction and Composition Adjustment functions. 

An HDR feature merges bracketed exposures into a single raw file in-camera, while Depth-of-Field Bracketing and Motion Bracketing of aperture or shutter speed are also available, alongside Interval Shooting and Multiple-exposure. These are all incredibly useful features for photographers, as are the dual SD card slots. For videographers, the K-3 Monochrom can capture video in 4K at up to 30fps, and Full HD at up to 60fps.

Pentax K-3 Mark III Monochrome photo samples

This is an APS-C camera with a 25.7MP monochrome CMOS sensor that's been specifically designed to capture images in black and white. Image quality is excellent, with impressive ISO handling throughout most of the ISO 200 to 1,600,000 range. Once you go over ISO 102,400 the image becomes broken up by grain, but even ISO 51,200 provides sharp and usable images with a pleasing grain.

Despite being a large and heavy DSLR, the Pentax K-3 Mark III Monochrome is a pleasure to use, and provides Pentax users, and photographers in general who couldn’t justify the cost of a Leica Monochrom, with a realistic alternative, even if the package as a whole is more than a little eccentric.

Should I buy the Pentax K-3 Mark III Monochrome?

Buy it if...

Don't buy it if...

How I tested the Pentax K-3 Mark III Monochrome

I tested the Pentax K-3 Mark III Monochrome over several shoots covering different subjects to test features, handling and image quality. Most images were shot simply to see how the camera performed in different situations, while others were shot specifically for being able to assess the results.

This approach provides the ability to test all aspects of the camera in a real-world environment that’s closer to how photographers will use the camera, rather than relying on statistics and lens charts that provide incredibly useful information, but do so in a way that removes the element of subjective interpretation.

With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve covered almost every conceivable photography subject, and used many of the cameras and lenses that have been released in that time. As a working photographer, I’m also aware of the factors that are most important to photographers, and aim to test cameras and lenses in a way that reflects this.

First reviewed October 2023

I’m a failed minimalist. The mind is willing, but the body is weak. My kryptonite? Cameras. Put simply, I own too many cameras and lenses, collected down the years. I could claim the chief reason was my profession as opposed to gear acquisition syndrome, but that wouldn’t be entirely honest. 

Earlier this year though, I gathered strength to do the unthinkable: trim down the collection. After all, some of my cameras were going completely unused and taking up space in the house. And so, with my kit laid out on the floor, I went through a culling process. 

Oh, my heart, how could I give any of them up? All the cameras and lenses had each played a part in my photography journey. Then my head – what’s a camera if it isn’t taking pictures? Someone else could be enjoying this kit. 

Eeny-meeny-miny-moe 

After much deliberation, I decided to bid farewell to my Nikon D300, which is a DSLR camera from 2007 that features a 12MP APS-C sensor, plus three Nikkor lenses; the every day 18-200mm f/3.5-5.6 VR lens, the portrait specialist 135mm f/2 DC, and a 30-year-old landscape photography manual focus 20mm f/2.8 AI-S. 

This enthusiast-level camera – that's even older than TechRadar – saw me through the early stage of my professional career in photography; weddings, portraits, any job I could land, really.

The courier arrived to collect the boxed up kit but at the eleventh hour, pandemonium – I hadn’t properly checked the camera before boxing it up and there’s a memory card in there, I just know it. 

Thankfully, I rescued the 16GB CompactFlash card while the courier waited patiently on the doorstep (this can’t have just happened to me), apologizing as I chaotically tore off the tape, reopened the D300 box – yes, I’m the kind of person that keeps the original packaging – to redo the whole boxing process. 

And then my D300 was gone. 

In the calm after that storm, a different kind of internal chaos grew. What have I done? Have I made a mistake? 

The missing memories

You’d think I would’ve have rushed to look at what was on the memory card, but for one reason or another I didn’t do it right away, and then several months passed before I discovered it buried under a pile of paper on my desk. Remembering where it came from, I unearthed an otherwise redundant compatible card reader and excitedly connected the card to see what goodies were inside.

15.11GB space taken – that’s good, I had rescued a full card. 982 raw format 12MP photos, the first file dated 4 January 2014 and the most recent taken on 25 May 2014. Wow, had I really not used that camera in almost 10 years? What was I interested in making photos of back then?

Sunrise views, portraits of my first born son in his early months, small birds on or around a baited branch, closeups of insects on flowers, dreamy bluebells, a fox cub chewing on a rabbit leg, a tree-dappled sunset through a dirty window, a motion-blur abstract of a bird in flight.

The abstract bird in flight photo, which is the headline image, caught my eye the most (no offence to my son). I hadn’t thought much of this photo at the time. Now I loved it. I soaked in the photos; an unintentional digital time capsule of the world around me and the creative intent on display, made with my trusty D300.

And then a pang again for the camera and lenses that were my primary creative tools for years. I hadn’t used this DSLR for years but it was a decent bit of kit that I didn’t get a lot of money for, and now I wanted it back.

A window to my creative journey

Since the D300, I have acquired newer and technically better camera kit, but these 12MP photos show me that my 2007 camera would still be a highly capable tool in 2023. Add the best AI photo editors like Topaz Photo AI that can make up for dated camera gear by improving the sharpness and clarity of old photos, and there’s a place for cameras like these today. 

You can see that my temptation is to hoard camera kit even though I don't need it, but I think it's also good to let go. The camera was merely a tool, but the captured memories, observations of the world around me, and the creative development that has formed part of who I am today, are always mine, and I want to get better at cataloging them so they don’t sit unnoticed for years at a time.

These 10-year-old photos act as a window to what interested me, the sort of styles that I leaned into, and when I contrast them to what I'm creating today, they show me how I have developed as a photographer, too. (I'm relieved that I'm a more accomplished photographer today than I was back then.)

If you don’t own a dedicated camera at all, I’d encourage you to grab one, even an inexpensive secondhand and dated model like mine. In 2023, you can get great deals on the best DSLR cameras. Make photos of the world around you and enjoy the creative benefits – cameras are great for your mental health.

As for me, I’ll need to let go of a camera again soon and I hope it will land in the hands of someone else who will really use it, and maybe it will become a special part of their creative journey, too. I’ll just check inside the memory card door first.

Canon’s RF-mount mirrorless camera range has just welcomed a new entry-level model, the Canon EOS R100, that sits below the Canon EOS R50. Think of the EOS R100 as a modern-day Canon EOS 2000D, which is Canon's cheapest DSLR camera.

At its heart, the EOS R100 is a stripped-back version of Canon’s DSLR-style Canon EOS R50 with a lower list price, and the same 24MP APS-C crop sensor that has been around for many years. That means it could be a great option for those on a limited budget who want Canon’s excellent image quality. 

Naturally, concessions have been made from the EOS R50, so let’s take a closer look if the overall package makes more sense, asking: is the EOS R100 what beginners need?

Canon EOS R100 price and release date

• Available now
• $699 approx / £669 / AU$1,099 with the RF-S 18-45mm lens
• No body only price yet

The EOS R100 was announced in May 2023 and is available now in the UK, US and Australia (among other countries).

It sits at the bottom of Canon’s mirrorless range of cameras and as such it is the lowest-cost model, at $699 (approx) / £669 / AU$1,099 with the RF-S 18-45mm lens. At the time of writing, we don’t have a body-only list price, but we can confirm that there will be a twin-lens kit available at least in Australia for AU$1,399.

For an extra $250 (approx) / £230 / AU$400 you can pick up the EOS R50 instead to get a few more powerful features. Canon cameras don’t come cheap, especially compared to other leading brands, and even as the lowest cost model, beginners can only hope the EOS R100 will come down in price. 

List price is not the biggest issue, though. Let’s take a look at the design choice and difference in features between the two cameras.

Canon EOS R100 specs and features

• 24MP APS-C sensor
• 4K video has a 1.55x crop
• Lightest RF-mount camera
• No touchscreen

The EOS R50 and EOS R100 are virtually the same size and form factor, making them the smallest in Canon’s range and positively miniscule for cameras with an APS-C sensor – a sensor size that positively dwarfs the sensors found in flagship smartphones.

In fact, at 356g including battery and card, the EOS R100 becomes the lightest RF-mount camera available, although in real-world use the difference from the EOS R50 is negligible. These cameras are for small hands and best paired with small lenses.

We’re not sure that a DSLR-style design was the right choice for the EOS R100. Canon was more switched on with its M-mount cameras and the most logical design for an entry-level RF-mount camera would have been in the spirit of the EOS M200: a vlogging-friendly compact-style camera with flip-up screen. That’s what the EOS R100 should have been, but perhaps that camera is in the pipeline.

What is more head-scratching, though, is the design of the EOS R100’s LCD screen. And that’s not a misprint – it’s a fixed screen that is not touch sensitive. This is a camera for beginners and a smartphone generation – that has a fixed screen with no touch function whatsoever, just like the EOS 2000D.

Conversely, the EOS R50’s screen flips around for selfies and is touch sensitive and even the EOS M50 cameras do the same. If price wasn’t a deal breaker, then the design and screen probably will be.

Canon bills the EOS R100 for beginners whose primary focus is photography, but want to shoot the occasional video, hence the DSLR-style design with the same 2.36m-dot viewfinder as found in the EOS R50.

It does have 4K / 25p video, but with a 1.55x crop. Slow motion video up to 120fps is limited to 720p resolution. These specs match the EOS M50, in fact, and are pretty dated now, especially when you consider that the EOS R50 shoots 4K video oversampled from 6K, with no crop.

To stabilize video clips there's electronic stabilization only, and that brings a further crop to what is already heavily-cropped 4K videos. In short, you can't use the EOS R100 for wide-angle 4K video.

Phase detection Dual Pixel CMOS autofocus is on board, with the AF points covering 88% of the image area. It's the more basic version of Canon's current day autofocus, but highly effective nonetheless, and includes subject and eye-tracking AF.

Beginners will need to rely on the EOS R100’s effective AF because its design does not easily allow for manual selection of the AF points. For video, the EOS R100 is limited to contrast detection AF, which is much slower and less reliable, and another strike for video creation.

Concessions have been made across the board in the EOS R100, too. Continuous shooting is limited to 3.5fps with continuous AF or 6.5fps with single AF. For perspective, the EOS R50 shoots up to 12fps (or 15fps with the electronic shutter). Overall, the feature set is really dated.

Canon EOS R100 first impressions

The tech inside the EOS R100 is very similar to the EOS M50, a camera that is now five years old. Photo quality is a proven entity and will be the highlight of the EOS R100, but 4K video is limited in almost every way. 

What's more, the non–touch sensitive fixed LCD screen is super limiting, and we can only assume it's a choice that's been made to distinguish the EOS R100 more from the EOS R50. 

While the EOS R100 feels like a M series hangover, it does feature Canon's latest RF mount and this is the system that Canon is investing in today. There's still no guarantee of more crop sensor RF-S lenses on the way, but Canon did launch its lightest full-frame lens yet – the RF 28mm F2.8 pancake lens – on the same day as the new camera, and is a brilliant pairing for an entry-level camera. 

Overall, we wish that the EOS R100 was a spiritual successor to the M200 – a camera that might be in the pipeline, too, and would probably render the EOS R100 obsolete – rather than a feature-light EOS R50. On the face of it, the photography-first EOS R100 isn’t a camera that we would sensibly recommend. 

It’s been said before, but now it feels real: the sun is setting on DSLRs. In fact, it’s twilight.

I write this after news from a leading medium format supplier and Phase One partner Capture Integration, detailing that Hasselblad has discontinued its production of H System medium format DSLRs. 

In fact, all H System products are out of stock – cameras, lenses, battery grips – although Hasselblad will continue its repair service in Sweden, which could take a lot of time depending where you are in the world. 

It’s one more nail in the DSLR coffin, and in this case I can’t say that I’m surprised one bit.

Yes, the Hasselblad H System (that utilizes Phase One digital backs) was long considered the standard for professional studio photographers, but its most recent DSLR camera was the H6D that was launched in 2016 and it costs around $35,000 / £30,000 body only. Mama mia. 

The H6D was a beast back then, compatible with a 100MP Phase One digital back, but Hasselblad has since been acquired by DJI and entered the mirrorless camera space with its excellent X System, which includes the Hasselblad X2D 100C that I had the best time reviewing and is one of the best cameras for photography in 2023.

Not only does a camera like the X2D 100C handle and perform better than its DSLR ancestors – I was blown away by its 100MP sensor with in-body image stabilization – but it’s a relative snip at $8,199 / £7,369.

There were other influences in the demise of the H System, too. Pentax made medium format DSLRs way more affordable than the H System with the Pentax 645Z, while of course Fujifilm is also active in the mirrorless medium format space, featuring cameras like the Fujiflm GFX100S.

It’s a sad moment for an elite group of professionals who could afford working life with the H System. And as the legacy Hasselblad H System bites the dust, how does the picture look elsewhere for other brands in the DSLR space?

Are DSLR cameras really dead?

The word discontinued hasn’t officially been used by either Canon or Nikon, but the writing is on the wall. Nikon has said its focus is on mirrorless, and the proof is in the pudding when we look back over the lack of activity in the DSLR space. 

You can still pick up new Canon and Nikon DSLR cameras and lenses, but the most recent cameras off the production line were the Canon EOS 1DX Mark III and Nikon D780, both from the first quarter of 2020. 

Both companies are approaching five years in their respective mirrorless camera systems; the Canon RF lens mount for Canon EOS R cameras, and the Nikon Z lens mount for Nikon Z cameras. Mirrorless versions of their DSLR cameras have been made, and both companies appear all-in with mirrorless.

That leaves us with Ricoh-owned Pentax, the single torch bearer with its Pentax DSLR cameras. To be fair, we did get a new DSLR earlier this year, the Pentax K-3 Mark III Monochrome, which is an updated version of the K-3 Mark III (from the first quarter of 2021), with a black-and-white sensor, as its name suggests.

A faint glimmer of hope then, but what is Pentax really up to these days? Well, it’s getting back into film, actually. DSLR cannot compete with mirrorless, but film on the other hand? That’s a whole other trending market. I wouldn’t expect more Pentax DSLR activity for the foreseeable future.

Secondhand life

Just because production has ceased for some and majorly reduced for the rest, that doesn’t mean DSLRs are obsolete. We all know you can get great photo and video quality with DSLRs, even if finding one new will become all the harder, and it will be nigh on impossible to pick up a Hasselblad H System camera now, no matter how much money you have.

There will be a good supply of Canon, Nikon and Pentax DSLRs in the secondhand market, where you can bag a great deal. So while there is very little that is truly new in the DSLR market, it could be the leading secondhand camera for photographers for some time to come. 

A pretty substantial leak is making the rounds for the upcoming Nikon Z8 mirrorless camera, revealing much of its specifications. From the looks of it, the new model is slated to be a miniature version of the Nikon Z9, a camera that we believe is the best for professional photographers.

This information comes from a recent report by Nikon Rumors, and if you compare the two devices, you’ll see a lot of similarities. The new model will have the same 45.7MP stacked sensor for high-resolution images. When burst shooting, the Z8 will apparently be capable of taking RAW photos at 20 FPS (frames per second) with a maximum of 120 FPS when in JPEG mode. Shutter speed is, it seems, the same at 1/32,000 of a second. The Z9’s native 64-25,600 ISO range is being carried over to the Z8 as well, according to the leak, as its ability to shoot 8K video at 60 FPS. Other notable features like the electronic shutter and electronic viewfinder are migrating too, it seems.

From here, the specs deviate into what’s unique about the Z8. The upcoming camera is said to weigh less than a kilogram, making it around two pounds, with its dimensions measuring 144 x 118 x 83 mm or 5.6 x 4.6 x 3.2 inches. There aren’t pictures of the Z8 in the original post, however on April 21, Nikon Rumors did publish a leaked image of what it may look like. Do take it with a grain of salt as it’s possibly “just a placeholder.” 

On the back will likely be a 3.2-inch LCD screen (the leaks imply multiple screens, but this is probably a typo). Interestingly enough, the Z8 is said to have better resistance against dust and (presumably) moisture than the Z9. The leaks state it’ll be just like the Nikon D850, which has “extensive weather and dust sealing to its joint parts and seams”, according to its product page. 

Unknown factors

There are a lot of questions remaining that we would love answered, as you can probably imagine. For example, the Nikon Z9 is capable of extending its ISO range up to 102,400 by manually tweaking the settings. The leaks don’t say whether or not the Z8 can do this, but it wouldn’t be surprising if it could given the similarities between the two cameras. We should mention the built-in 5-axis has six stops. The Z9 has this feature too but only for certain lenses. We’d love to know if the six stops affect all or just a few lenses.

A launch date for the Nikon Z8 is still pending although Nikon Rumors does speculate a release either in early May or sometime in August. Hopefully, when it comes out, we’ll be able to mark off everything on TechRadar’s list of the five things we want to see on the Z8.

Speaking of lists, be sure to check out our picks for the best DSLR cameras for 2023. We cover a wide range of budget options to fit your needs.

When it launched in 2019, the Leica Q2 was one of our favorite cameras. About three years later, we fell in love with the Leica Q2 Monochrom iteration, the splurge option in our best compact cameras round up. 

We've yet to see a true Q2 successor, but rumors abound of a replacement on its way. According to the latest reports, a new camera, called the Leica Q3, will hit the shelves in 2023 with the same 60MP full-frame sensor found in the Leica M11.

The official launch event video for Leica M11 threw more fuel into the rumor mill. In the video, three white spaces reserved for future Leica cameras appear behind Leica head designer, Mark Shipard. Within these empty slots were the roadmaps to the Leica M, Leica SL and Leica Q series of cameras.

We're unpacking the benefits of a new sensor in the Leica Q series and detailing what we expect and hope to see in the Leica Q3.

Leica Q3: Release date and price

Previous reports on the new Leica Q included a leaked image (below) of a Q model and data sourced from a Leica Fotos app update showing two code names: Leica Wilson and Leica Rene. In leaked pictures, it is clear that the code name "Wilson" refers to the expected Leica Q3.

In 2022, Executive VP Tech and Ops at Leica AG, Mr Stefan Daniel, also confirmed that Leica is working on a Q3. "Yes, there will be a Q3, for sure. We will not stop here as the Q line-up has become a part of Leica's product portfolio — but it is not for this year."

Since it's not if — but when — we think sometime in 2023 seems likely. Perhaps a Q3 in Q3? 

Given the current financial climate, inflation and Leica's own track record, it's unlikely the Leica Q3 will cost less than or the same as the Leica Q2, which cost £4,250 /$4,995 / AU$8,500 (approx.) at launch; the Q2 cost a full $500 more than its predecessor. You can count on at least an incremental increase in price for the Q3. 

There's also the matter of the monochromatic version of the Leica Q2, the Leica Q2 Monochrom. That version was launched a full year after the Q2 (and at a $1,000 premium, of $5,995). It's probably wishful thinking to expect a dual launch so black-and-white lovers may have to wait until 2024 if a Monochrom version of the Q3 is in the works. 

Leica Q3: Sensor

The Leica Q2 is able to resolve fine detail with its 47MP full-frame sensor, but the Leica M11 cranked things up a notch with a 60MP sensor. Bringing that sensor over to the Leica Q series is a practical move, and would represent a solid upgrade. 

One strength of a high-resolution sensor is additional cropping power, which is especially helpful for a fixed lens camera like the Leica Q2, which has a 28mm f/1.7 — similar to the field of view on a smartphone's main camera. 

In fact, there is a function in the Q2 that simulates different focal lengths: 35mm, 50mm and 75mm. All it's doing is cropping into the 28mm frame, but the tighter the crop, the more the resolution drops (for example, the 75mm option is 7MP). You might not need 60MP, but by increasing that already excellent 47MP resolution to an even better 60MP, you're going to enjoy better detail in cropped images.

Leica Q3: Screen and EVF

The leaked image (above) shows the back of a Leica Q camera, and it's styled differently than the existing Leica Q and Q2 models. Buttons have moved from the left to the right of the screen, and it what it looks like is a tilt-design. 

A tilt-touchscreen would be a first for a full-frame Leica camera — and a radical design change for a brand big on heritage. A tilt-touchscreen is a super handy feature for waist-level shooting, which is a popular shooting technique, particularly among street photographers. 

The EVF on the Leica Q2 is lovely — a large and bright display with decent 3.69m-dot resolution and high refresh rate. However, we did experience live-view freezing from time to time, like when using burst mode. It wasn't a frequent issue, but it did exist, and our hope is for a more consistently fluid experience in the Q3.

Could Leica also incorporate EVF pupil-tracking to assist with the Autofocus detection? That's one we'd really like to see in the Q3. 

Leica Q3: Design

Beyond the screen, leaked pictures don't hint at any other big design changes in the Q3. That's a shame because the handling of the Q2 could really use an update. With no front grip and moderate textured finish, there's nothing really to get hold of around the front. Leica offers an optional (and costly, of course) solution for the Q2 — an external grip — for around £110 / $125. 

Otherwise, the design of the Leica Q2 is refreshingly minimalist, and we'd like Leica to keep it that way. Despite its simple button layout, there's plenty of ways to quickly navigate the camera's controls. The Leica Q-series is an antidote in a market flooded with complicated cameras. 

Leica Q3: Performance

A full-frame sensor and large and bright EVF are power hungry, and it shows in the Leica Q2, which has a CIPA-rated battery life of 350-shots. Can Leica work its magic to increase battery life in the Q3? It's unlikely; furthermore, if the specifications on the Q3 improve, a Q2-like battery would take an even greater hit. 

A new electronic shutter was introduced in the Leica M11 that unleashed an ultra-fast 1/16000sec shutter speed. The Leica Q2 maxes out at 1/2000sec. That slower shutter speed might not be a deal-breaker for street photographers, but a bump to 1/4,000th with its mechanical shutter — or including that electronic shutter — could help the Leica Q3 take full advantage of its fixed Summilux 28mm f/1.7 lens in broad daylight, helping photogs achieve extremely shallow depth-of-field, without blowing highlights.

Taking everything into consideration, a new 60MP sensor, tilt-touchscreen and possible electronic shutter are the most likely, and most noteworthy, changes we'll see the Leica Q3 bring, but we'll be sure to keep the updates rolling as more is revealed. 

Two-minute review

Joining the Hasselblad X1D II 50C (and Hasselblad 907X 50C) - medium-format cameras of exceptional beauty and design - we now have the souped-up Hasselblad X2D 100C which is one of the best cameras for professionals.

The headlines will focus on the X2D's 100MP sensor, which uses Hasselblad's divine Natural Colour Science technology (rather than typical colour modes such as standard, neutral, vivid or monochrome) and offers generous dynamic range – and rightly so given that's twice the resolution of those other Hasselblads – but there's a more exciting reality at play. The X2D is a more usable camera, in every way. (For a closer look at Hasselblad's colour science, read our in-depth real-world feature.)

Its design remains largely similar to that of the X1D II, which is a very good thing, but the performance and versatility in the X2D are next level. For example, that 100MP sensor features phase-detection AF with a wider 294-point array, which is a darn sight quicker than the contrast-detection AF system of the X1D II.

Autofocus still hunts and is not suitable for any real action, but sharp focus on slow movement is now a possibility, meaning we can step out of the studio and onto the streets. (We should note at this point that the X2D we had for testing was a pre-production sample, so the performance of full production models may improve.)

The sensor also packs 5-axis image-stabilization with a claimed seven stops of stabilization. This is a godsend for handheld shooting, especially at such an unforgiving high resolution, where camera shake of any degree is all the more obvious. We've been able to shoot pin-sharp 100MP handheld images with the XCD 2,5/38V lens (that's a 38mm f/2.5 to the rest of us) using a shutter speed up to one second – that's outlandish. Bye bye, tripod.

And then there's the built-in 1TB SSD, which stores more than 4,700 raw files at 200MB a pop – hallelujah – a new tilt-screen design (which is actually rather poorly implemented, but is still useful, and saved by its excellent touch response and a new higher-resolution EVF). The X2D even starts up twice as quickly as the X1D II at around two seconds.

What we've enjoyed in equal measure is the handling and performance of the new XCD V series lenses released alongside the camera. With two of the three new lenses in hand for this test – the XCD 2,5/55V (55mm f/2.5) and that 38mm f/2.5 – we’ve found that focusing has been much easier, especially manual focusing, which is a sore point with existing XCD lenses. These new lenses feature a manual focus clutch, a smooth rotation, plus focus distance and hyperfocal distance markings – lovely stuff.

The autofocus of the new V-Series lenses is also claimed to be 3x quicker than existing XCD lenses. This all makes for painful reading for those that already own XCD glass, but it’s an exciting prospect for those considering moving to medium format.

The X2D is no action camera, and still feels slow when compared to today's DSLRs and mirrorless cameras. But overall, the chasm has narrowed, and we need to be realistic about the performance of what is a 100MP medium-format camera.

Crucially, the X2D closes the gap with the overall speed of the competing Fujifilm GFX100S – breaking free from the landscape and static portraiture shackles of the X1D II – plus it boasts a superior design and feel, even if you'll have to fork out that much extra for this.

Hasselblad X2D 100C: price and availability

• Costs £7,369 / $8,199 / AU$13,499 approx
• Available now across Europe, US and Canada

The Hasselblad X2D 100C is available to buy body-only for £7,369 / $8,199 / AU$13,000 (limited availability in Australia and the price is approximate). It launched alongside three new V-Series lenses: the XCD 2.5/38V (38mm f/2.5) and the XCD 2.5/55V (55mm f/2.5), which both cost £3,599 / $3,699 / AU$6,000 (approx), plus a XCD 2.5/90V (90mm f/2.5) that costs £4,059 / $4,299 / AU$6,900 (approx).

The price of the X2D represents a 50% markup from the Hasselblad X1D II, but it’s still competitive for this format and feature set. The XCD lenses, on the other hand, are typically around twice the price of those Fujifilm makes for its rival GF series of medium-format cameras.

• Price score: 3.5/5

Hasselblad X2D 100C: design

• A thing of beauty
• 3.6in tilt touchscreen
• New V-Series lenses

We can realistically expect any new Hasselblad X-system cameras to sweep up camera design awards, and there are no qualms about it – the X2D is a stunning modern evolution of a classic format.

With the same high-end feel of the X1D II, the X2D is a camera that you want to hold; to feel its sculpted curves and elegant black body, etched 'X2D handmade in Sweden' markings, and faux leather hand grip.

A signature orange shutter button completes the look. Everything about the weather-sealed X2D screams premium quality, and justifies the cost. It's also no blast from the past. The rear is dominated by a huge touchscreen that reacts like a smartphone display – in the camera world it's next level. 

Nor is the X2D something to simply gawp over. It feels great in the hand, with a front and rear full-length curved grip providing a solid hold whether you’re shooting in landscape or portrait format. The form factor feels as trim as it can be, and balances really well with the XCD V lenses that we used with the camera.

The X2D itself only weighs 895g with battery, and with one of the new lenses, which weigh 350g and 372g respectively, you have a pairing that’s impressively lightweight given the sensor format, similar to a full-frame mirrorless setup.

Hasselblad does things a little differently to 'mainstream' camera brands, and some things take a little while to get used to, such as the classic-Playstation-style labeled buttons by the screen. But, elsewhere the differences are to Hasselblad's credit – there's no excess here. The single-page main menu is pared down and clear, and easy to navigate using that highly responsive touchscreen.

In fact the menu feels alarmingly simple and to the point. So what's missing? Well, there's no aspect ratio options for one, the default is set to 4:3. Of course, crops can be made in post to alter the aspect ratio, and there's more than enough resolution to play with, but the likes of landscape photographers especially can find those visual aids helpful for original composition.

Aspect ratio is an option that could be introduced to the menu via a firmware update, and Hasselblad has a track record of adding value to its existing cameras through updates. Hopefully the missing focus stacking will come too, although unlike with the X1D II there appears no intention to add video.

Front and rear dials are at your fingertips for quick exposure adjustments, along with a smattering of dedicated buttons for key settings such as ISO that can be customized to taste, but you won't find a control dial on the rear, nor an autofocus joystick; Hasselblad has gone all-in on touchscreen here.

The most notable design change from the X1D II is that the shooting mode dial has been replaced by a top LCD. As lovely as the mode dial is to look at, after spending more time with the X2D the top LCD begins to make more practical sense. A quick push of the power button displays battery life – super handy – while during use all the key camera settings can be clearly seen.

That generous 3.6-inch touchscreen with 2.36 million-dot resolution gives menus room to breathe, and the touch response is lovely, feeling more in line with a smartphones than with most other camera touchscreens. The crisp and clear display receives top marks.

We love how easy it is to make precise changes to menu options. For example, the self-timer isn’t limited to 2, 5 or 10 seconds as on most other cameras; you simply scroll to how long a delay that you’d like to set, to the nearest second.

The screen now tilts, whereas on the X1D II it was fixed. Sadly, though, the tilt design is poorly executed. What we see in other tilt-screen cameras is a hinge that allows the screen to be pulled away from the body and clear of the EVF. Here, the screen does not pull outwards, and is consequently obstructed by the protruding EVF, which in turn limits its usefulness, plus its tilt range is limited. Still, the hinge feels more sturdy than on any other tilt screen that we can think of.

Thankfully, the resolution of the large and bright EVF has been upped to 5.76m dots, and overall it's a lovely display, plus it's neat how the AF area can be selected via the screen even when the EVF is in use.

Hit the display button and on-screen information such a spirit level and grid can be activated, although sadly live histogram is missing (but available in image playback mode). Focus magnification via a double tap is available up to 100%, which is plenty enough, while in-camera image rating can be done by touch, too.

Two hinged doors on the camera's left protect a USB-C 3.2 port via which the camera can be charged and connected to a computer for tethered shooting, plus a single CFexpress B card slot. On the face of it, one slot appears to be a downgrade from the dual SD card slots of the X1D II, but we’re actually getting a storage upgrade, because the X2D features a generous built-in 1TB SSD. This camera may cost a packet, but at least you’re making a saving on storage.

A neat bit of design is that the battery pops out via a catch, and is fully released from its secondary lock by pushing the catch back in a little. Those doors, the battery, and the rear of the lenses are rubber-sealed, which seemingly makes the X2D weather resistant, although there’s no official rating as to how effective this is. While we wouldn’t want to expose such a beautiful – and expensive – camera to the most severe elements, it should hold its own in inclement weather. All in all, the design of the X2D is a bona fide triumph.

• Design score: 5/5

Hasselblad X2D 100C: features and performance

• In-body image stabilization rated 7EV
• New 294-point phase detection AF
• Built-in 1TB SSD storage

While the design is familiar, much has changed under the hood, and it’s this that makes the X2D a much more compelling camera than the X1D II.

Take start-up times. The original X1D took around eight seconds from powering up to ready-to-shoot. The X1D II halved that wait to four seconds, and the X2D repeats the trick at around two seconds. It's not quick by today's standards, but progress is plain to see. With AF acquisition improved too, we can react even quicker to shooting opportunities.

There's also an incremental improvement in continuous shooting rates, now up to 3.3fps. On today's terms that snail's pace, and the X2D should be considered as very much a single-frame-shooter. However, compared to the X1D II, we've not been as conscious of lag or blackout times around image capture, so we can steadily go about making pictures.

Autofocus performance has seen a dramatic upturn. We've moved from a sluggish contrast-detection AF system to undoubtedly speedier phase-detection AF, with 294 individually selectable AF points.

As mentioned, we used the X2D with Hasselblad’s new XCD V lenses, which are claimed to be 3x quicker than existing XCD lenses. Certainly, autofocus speed is notably quicker using this new pairing, and we'd be interested to see if there’s an improvement when using existing lenses, the performance of which varies based on the size and weight of each lens, with the X2D.

Lighter lenses like the ones we used in our testing do focus quicker. However, despite the improvement, we still feel like we’re years behind what the latest and greatest mirrorless and DSLR cameras are capable of.

With a new system in AF system place, could Hasselblad broaden its range of AF modes? For example, there's no face, eye or subject detection AF, just a simple single-point AF alone with small or large options, selected via the touchscreen only, with manual focus being your only other option.

The small AF point is not small enough for precise autofocusing, especially for shallow depth of field portraits that remain a challenge. The 55mm lens back-focused regularly, and so with time on side we've usually opted for manual focus, for which the handling is now perfect. The focus clutch on the new lenses helps with manual focusing no end, as does on-screen focus magnification.

Capturing anything more than slow-moving action, such as a wedding, with sharp focus is not possible with the X1D II – a 10-year-old DSLR is more capable. It’s a different story with the X2D. We're no longer limited to static subjects alone, with the AF able to lock onto slow-moving subjects, for example in street photography.

Battery life could be better - we've been conscious how quickly it drains - and an additional battery and 'Battery Charging Hub' that can charge two batteries simultaneously come recommended, although you'll pay Hasselblad prices for these extras.

Saving the best for last, let's look at the in-body image stabilization. It's a first for Hasselblad, and is revolutionary for the company's X System. Not once did we use a tripod during our testing of the camera, the stabilization is that good.

With 100MP, you need to give yourself at least an extra couple of stops to keep things sharp handheld. For example, we would use a minimum shutter speed of 1/250 sec with the 55mm lens, rather than 1/60 sec. Yet with the 55mm lens and seven stops of image-stabilization in play, we were consistently able to get sharp shots with a shutter speed of around 1/2 sec, while with the 38mm lens, sharp one-second exposures are possible. Wow.

Improved AF speed, a more responsive processor, image stabilization; the X2D is a gung-ho medium format marvel. It challenges the notion that medium-format is only a slow and considered camera format. 

As a certified Apple accessory, the X2D remains an iOS-only camera regarding remote operation. However, there’s the Phocus desktop app for both Mac and PC, offering tethered shooting and raw image editing which ensures the best possible quality from your pictures over the easier-to-use Adobe Camera Raw.

• Features and performance score: 4/5

Hasselblad X2D 100C: image and video quality

• Masses of detail
• Wide dynamic range and lifelike colours
• No video

There's a lot more going on in the sensor beside phase-detection AF and 5-axis stabilization. The resolution has been approximately doubled from the X1D II to 100MP, and it’s a back side illuminated (BSI) design.

A BSI sensor is proven to improve low-light image quality, and we can reasonably expect Hasselblad’s decision to use that design here to offset the adverse impact of the noise introduced by packing more pixels onto the chip, which restricts its ability to gather light. In short, low-light image quality should be similar to that of the X1D II, yet we enjoy twice the resolution.

Indeed, maximum sensitivity remains at ISO 25,600, and we’ve been perfectly happy with image quality up to ISO 6400, with any noise in shadow areas up to this setting appearing more like fine grain. View a 100MP picture at 50% (the same size as the X1D II images) and noise is less obvious, too. Those wanting the most dynamic range from the camera will be pleased to see that the sensitivity has been extended at the low end from ISO 100 to ISO 64.

For reference, pixel density on the 43.8 x 32.9mm medium-format sensor is 3.76μm, which is identical to the 61MP full-frame Sony A7R V, and the 26MP APS-C Fujifilm X-T4.

What impresses all the more is color accuracy and depth of tone, with dynamic range exceeding 15 stops. You won't find options in-camera to select picture styles like Standard, Vivid, Monochrome; so you’ll need to make those kind of adjustments in post. But we should say that that’sHasselblad’s ‘Natural Colour Science’ gives gorgeous tones straight out of the box.

Hasselblad's new XCD V series lenses continue to impress, with razor-sharp detail from the center of the frame to the edges. The 0.79x focal length multiplier (compared to full-frame) means the 38mm lens we had on test equates to 30mm approx, and the 55mm lens to 43mm. We felt a little limited for this test in terms of lenses, however, and we do wish there were more telephoto options available – the XCD 135mm f/2.8 is as long as it gets. However, 11656 x 8742 is a lot of pixels to play with, so heavy cropping is all the more possible with the X2D. Phew.

The mechanical shutter is built into XCD lenses instead of the camera (leaf shutter), meaning audible noise and vibrations during image capture are kept to a minimum; it also means that flash sync is possible with any shutter speed, which is a major bonus for flash portraiture. Shutter speeds are limited at the fast end to 1/2000 sec, but generous at the slow end down to one hour and eight minutes, with no need for a bulb mode – that's extreme long-exposure photography made all the easier.

For any of the auto-exposure modes, metering options include spot, center-weighted spot and center-weighted, but there isn't multi-area evaluative metering. With exposure metering linked to the autofocus point, for the most part it's sensible to use spot metering to ensure that your point of focus is correctly exposed. Throw in exposure compensation for any tweaks and you're good to go, with plenty of scope to recover shadow and highlight detail given that generous dynamic range.

• Image and video quality score: 5/5

Should I buy the Hasselblad X2D 100C?

Buy it if...

Don't buy it if...

Also consider...

If our Hasselblad X2D 100C review has you wondering about alternatives, here are two rivals to consider.

Testing scorecard

First reviewed in November 2022 with a pre production sample. 

Next year could be even bigger than the last twelve months for new Canon cameras, with new rumors predicting five new launches in 2023. But as exciting as those new arrivals are, there's a notable absentee in the list – a cheap full-frame camera.

Canon Rumors' list of expected Canon cameras for next year contains three APS-C cameras and two full-frame models. Vying for a spot in our guide to the best beginner mirrorless cameras will apparently be the Canon EOS R50 (which could sit below the Canon EOS R10) and another APS-C camera that will (somehow) slot in between the latter and the Canon EOS R7. A video-focused Canon EOS R7 C may also be en route, but that's less certain.

Less comprehensive, though, are the predicted full-frame offerings. Anyone who's been hoping for a successor to the Canon EOS RP – a camera that arrived back in 2019 with the tagline 'full-frame for the masses' – may be particularly disappointed. The two models on Canon Rumors' list are the Canon EOS R5 S (likely to be a high-megapixel beast) and the Canon EOS R5 Mark II, which will be one of the most anticipated cameras of the year.

Yet that excitement will mainly be felt by well-heeled pros or amateurs with big budgets. The current Canon EOS R5 arrived with a $3,899 / £4,199 / AU$6,899 price tag. And if the rumors about its successor are to be believed – a new 61MP BSI sensor, 9.44M-dot EVF and 8K/60p video are in the predicted specs – then the Mark II could be even pricier than that.

A Canon EOS RP successor could be hugely popular in the current financial climate, so where is it? There are a few possible answers. The first, and hopefully most likely, is that is en route, but simply hasn't been leaked yet. Canon Rumors hasn't claimed that its list of cameras for 2023 is exhaustive or complete. Yet the site's historical reliability suggests that, at the very least, a new Canon EOS RP is way down on Canon's pecking order. Which leaves a couple of less appealing explanations.

Crop start

The first explanation is that Canon simply wants to maximize the potential of its new line of APS-C cameras – and a cheap full-frame body would compromise that plan.

In fairness to Canon, our main complaint about its mirrorless camera lineup at the start of 2022 was the lack of affordable models. It's answered that very nicely this year with the Canon EOS R7 and Canon EOS R10, which we currently rate as the best camera for beginners.

What it hasn't yet done is treat those new cameras to a range of native APS-C lenses. Right now, there are still only two RF-S lenses for those cameras, an 18-45mm kit lens and an 18-150mm zoom. The rumored launch of three further APS-C cameras in 2023 suggests Canon is planning to address that situation next year. But all of that would take time and resource away from a potential Canon EOS RP successor.

The past few years have been a perfect storm of dwindling demand, supply chain issues and a cost-of-living crisis for camera brands, and Canon doesn't have infinite resources for product development. As the rumors suggest, next year it may well focus those resources on the extreme edges of its lineup – with the helpful knock-on effect of avoiding cannibalization in the middle.

But the other possibility is simply that the rumored Canon EOS R8 will have a full-frame sensor rather than an APS-C one. Canon Rumors' most recent post stated that the EOS R8 (or EOS R9) "will likely be APS-C", but its previous rumors have suggested otherwise – and that's what those dreaming of a Canon EOS RP successor will be hoping.

Mixed messages

Only last month a separate Canon Rumors post, based on a sketchy post on Chinese social network Weibo, suggested that there would soon be "a full-frame camera below the Canon EOS R6". And that this model would likely be the Canon EOS R8.

The leaked specs – which included a 30.3MP full-frame sensor, Digic X processor and dual card slots – actually hinted at a camera that was more like a Canon EOS R successor, than a new Canon EOS RP. And it's possible they were simply an incorrect prediction of what ultimately became the Canon EOS R6 Mark II, which arrived last month.

Either way, significant doubts remain about exactly what kind of camera the Canon EOS R8 (or EOS R9) will be. Anyone looking for a full-frame bargain can still buy the Canon EOS RP for £989 / $999 / AU$1,299, but given it's approaching its fourth birthday, there are now better options.

The Nikon Z5, for example, recently dropped to only $997 / £999 / AU$1,696 in the Black Friday sales. Even the Sony A7 III, which is still a fantastic full-frame camera, is rapidly heading towards that price point, recently dropping to £1,276 (around $1,580 / AU$2,275) in the UK, with the help of a promotional Amazon voucher.

Will Canon give its fans a full-frame bargain to rival those offerings in 2023? Right now, the rumors suggest not, but we're hoping it still has some surprises up its sleeve for next year.

The original Canon EOS R6 has been the camera giant's number three bestselling camera since it launched in 2020, according to Canon Australia. With the arrival of the EOS R6 Mark II, though, that bestseller is being discontinued – a move that’s left me a little confused. If a camera is doing that well, wouldn’t you let it do its thing for a while yet?

That said, I’m glad Canon upped the sensor resolution on the R6 Mark II, as the 20MP pixel count on the predecessor was quite disappointing. Everything else about the two-year-old snapper, though, was pretty spot on. So why would Canon retire a perfectly good camera, and leave the aging and rather lackluster Canon EOS R and Canon EOS RP on shelves for so long without a refresh?

When asked, a Canon spokesperson told TechRadar that the R6 II came about after listening to user feedback – fans wanted more pixels and better video specs. And I get that.

On paper, the R6 II sounds like a dream hybrid camera and I honestly can’t wait to give it a test run for myself – as a wildlife photographer, the 40fps burst speed sounds real good to me and, when paired with updated subject tracking, it’s a tempting option to become my next camera and a big upgrade from my Canon EOS 6D Mark II.

The improved battery performance also checks a box for me. I’m not a videographer, but it’s good to see improvements on that front too, particularly the huge update to the listed continuous recording time. All this for the exact same price as the first-gen R6, which is now surely one to look out for in the Black Friday camera deals.

Then again, fans weren’t happy with the original EOS R when it arrived in 2018. Even the EOS RP’s reception wasn’t that great – although a low price tag and decent performance did help, and we could always use more affordable cameras like it.

Will Canon replace the EOS R?

From where I stand, there’s a small gap that needs to be filled in the full-frame EOS R system. Despite being marketed as an enthusiast-level camera, the EOS R6 is on the expensive side and its advanced features mean it doesn’t sit too far below the Canon EOS R5 and R3 models. On the opposite side, Canon’s newest APS-C cameras, the Canon EOS R7 and R10, are filling the enthusiast and entry-level markets respectively.

Any of the aforementioned cameras can now outperform the original EOS R, although it is still a very capable camera that produces great results. Surely there are Canon fans out there clamoring for a 30MP full-frame camera with the updated autofocus performance, stabilization and speed of the newer models? I certainly am.

I’m not saying that we need an EOS R Mark II; it could be called something else and the speculation picked up by Canon Rumors has recently pointed towards a possible Canon EOS R8. 

A Mark II version usually means reusing the original sensor, and I’d be the first to say that the old imager really needs to be retired now – it’s done well since the Canon EOS 5D Mark IV was the talk of the town. So the ‘replacement’ would actually be a whole new camera model. 

Even though I admitted that the EOS R7 could be my next upgrade (I am still holding on to my Canon full-frame DSLR because I just can’t quite find the perfect mirrorless replacement), trying it out for myself convinced me I’d rather stick with a full-frame sensor format.

Sadly, the new EOS R6 Mark II doesn’t quite hit the sweet spot for me when it comes to sensor resolution. After all, my trusty EOS 6D Mark II gets me a few more pixels to play with. What my DSLR lacks is the excellent performance of Canon’s newer R-series cameras that I’d really like, just in a 30MP package.

So, how about it, Canon?

• Looking for a good Canon camera? We've picked the best from the current crop.

The Canon EOS R6 Mark II has ended speculation that it might have the same sensor as Canon's flagship sports camera, but the new full-frame mirrorless beast is still a fine all-rounder. (Looking to jump straight to our early verdict? Head to our hands-on Canon EOS R6 Mark II review).

The EOS R6 Mark II is the follow-up to 2020's original EOS R6 and the main upgrade is a new 24.2MP full-frame CMOS sensor. This gives Canon's new model a 20% bump in resolution compared to its 20MP predecessor, which will please photographers looking for a bit more detail or cropping potential.

Earlier rumors had optimistically predicted that the EOS R6 Mark II could have the same 'stacked' 24.1MP sensor seen in the Canon EOS R3. Stacked sensors have incredibly fast read-out speeds for speedy burst shooting and professional video quality, but they also come with a premium price tag.

Still, the EOS R6 Mark II's new sensor doesn't just deliver an extra helping of resolution. It's also fast enough to shoot 40fps bursts with autofocus in raw or JPEG, without any crop at all. Granted, it can't maintain those speeds for very long (just under two seconds when shooting raw files), but that's still twice as fast as the EOS R6 and a potential bonus for action or sports shooters.

Another helping hand in that department is the EOS R6 Mark II's upgraded Dual Pixel CMOS AF II system. Thanks to some improved deep learning, it can now recognize and track aircraft, trains and a greater variety of animals than before (including horses and zebras). Slightly niche perhaps, but the AF system is more confident when shooting people too, as we discovered in our early preview.

The camera's new sensor also supports some improved video skills. You can shoot uncropped 4K/60p video, which is also oversampled from the camera's 6K native resolution. That's a recipe for some high-quality video, although there's sadly still no 4K/120p mode for slow-mo fans.

The EOS R6 Mark II is otherwise very similar to its predecessor, which is no bad thing. It has a nigh-on identical physical design with great handling and a new multi-function shoe on the top for pairing it with accessories like Canon's new Speedlite EL-5. In the US and Australia, it also has an identical price tag to the original EOS R6, costing $2,499 / £2,779 / AU$4,499 (body only), with that UK price being an increase of about 11%.

You can also pre-order the camera now with the RF 24-105 f/4L IS USM lens for $3,599 / £3,999 / AU$6,399. In the US and UK, you can also get the EOS R6 Mark II with the cheaper RF 24-105mm f/4-7.1 IS STM zoom lens for $2,799 / £3,129, with sales expected to start from late November.

Analysis: Not stacked, but definitely ripped

Speculation that the Canon EOS R6 Mark II might have a stacked sensor has proven to be wishful thinking, and that isn't a great surprise. Only a handful of full-frame cameras have that modern sensor design and they're all priced well north of Canon's new hybrid shooter.

But that doesn't mean the EOS R6 Mark II is underwhelming or underpowered. Its new 24.2MP sensor may not be stacked or even backside-illuminated, but it clearly has some pretty rapid read-out speeds of its own, as shown by those 40fps burst speeds and its ability to shoot oversampled 4K/60p without a crop.

In other words, mirrorless cameras don't necessarily need stacked sensors to be considered high-end or pro-quality. The EOS R6 Mark II might be a relatively modest upgrade in other areas, but it fixes most of its predecessor's weaknesses. And as our hands-on review remarks, "few cameras at this price can match its hybrid skills" for shooting stills and video.

It'll certainly be an interesting tussle with the Sony A7 IV and Nikon Z6 II though, so stay tuned for our full Canon EOS R6 Mark II review very soon. And if your budget understandably doesn't quite stretch to those cameras, check out our guide to the Black Friday camera deals for some tips on how to land a bargain this month.

I recently received an email from a reader asking whether he should make the switch to a Sony APS-C camera from his current Canon M50 Mark II because he kept seeing reviewers rave about Sony’s performance.

He mentioned that he was a hybrid shooter but not a professional, so it was tempting for me to say yes, given my disappointment when I tested the M50 II for myself. However, my advice to him was that if he was happy with his M50 II, then there’s no need to make a change to a new system at all. But if he was really keen on an upgrade, to then consider Canon’s latest R-series APS-C offerings instead – either the EOS R7 or the EOS R10, depending on his budget.

You might call me biased, but at the time of writing, I cannot think of any other affordable crop sensor camera that offers the same kind of speed and performance as Canon’s newest bodies.

And this is particularly true for the R10. It’s a camera that offers plenty of value for money by balancing a plethora of innovative features and performance in a very compact body. 

And I’m not alone in this thinking, as another colleague of mine is convinced that the R10 is now the best camera for beginners. I took the EOS R7 whale watching and it was thrilling to see that its autofocus performance was right up there with the likes of the EOS R5 and the EOS R3.

Balancing price and performance

Even though both the R7 and the R10 have been primarily designed to convince the many Canon APS-C DSLR users to make the jump to mirrorless, they both make compelling cases for being the first camera for budding photographers, or anyone who just wants a 'real' camera. For more on the specifics of why that's the case, you can read our full Canon EOS R7 review, along with our in-depth Canon EOS R10 review.

Given the speed and performance we discovered in those two reviews, those two cameras can outperform most comparative cropped-sensor models from Sony and Fujifilm… even Micro Four Thirds options for that matter. In this particular reader’s use case, the R10 is without a doubt miles ahead of its EF-M cousin.

Photographers looking for their first 'real' camera, or upgrading from an older Canon APS-C model (DSLR or mirrorless), will find the R7 and the R10 a huge upgrade without too much of a mark-up, particularly since most EF lenses can be fitted to the bodies with an adapter. 

New and existing Canon users will also not have any issues making the move as the user interface is intuitive and the performance is just an absolute revelation – everything works so smoothly.

Despite trying to keep costs down, Canon has still given both its R-series crop sensor models plenty of features that are typically seen on higher-end models. 

From Dual Pixel CMOS AF II autofocusing that matches the performance on the pro-level sports cameras, to high-speed continuous shooting (23fps for the R10 and 30fps for the R7), 10-bit HEIF capture and video recording at 4K/30p, even some weather sealing on the R7 – that’s more than what the average user would want.

In fact, current Canon DSLR users get nowhere near this kind of performance, even with the newer models like the EOS 90D.

It’s not just the internal specs of the R-series crop sensor cameras that make the argument for them – compactness is a huge plus as well. For the reader who emailed me, there’s not going to be a huge difference in size between the M50 II and either of the new Canon APS-C models, but DSLR users will immediately feel the difference.

And the new RF-S lenses are a big part of keeping the system compact. Although there are only two zooms in the native lens range, we’re quite sure Canon will quickly fill its stable as it has done with its full-frame system. Moreover, all the RF lenses work with the APS-C bodies with no need for an adapter, and there are now some affordable lenses in the range.

While we wait for more native RF-S lenses though, it’s hard to argue that Canon’s done a darn good job in returning to its old form, making cameras that offer hard-to-resist combinations of design, features and performance. I’m even willing to take the punt and say that, at the time of writing, the EOS R10 is, by far, the best mid-range model currently available and our pick of the best camera for beginners. It’s also made it into our round-up of the best cameras you can buy right now.

• Take a look at the best Canon cameras

If you've been looking for a travel camera to accompany you on some post-pandemic adventures, the new OM System OM-5 is one of the best options available – and it's a big upgrade on your smartphone, too.

The Micro Four Thirds camera is an upgraded version of the Olympus OM-D E-M5 Mark III from 2019. We considered that camera to be one of the best travel cameras around thanks to its combination of a compact body, impressive in-body stabilization and wide range of lightweight lenses. It was also a strong contender for the title of best beginner mirrorless camera.

The OM System OM-5, which carries a different name following Olympus' decision to sell its imaging division in 2020, doesn't meddle with that formula, instead delivering a host of improvements that have echoes of the new company's OM System OM-1 flagship. 

These include IP53-rated weatherproofing, which is an official standard that few mirrorless cameras match. That rating means that while it's still possible for dust to enter the camera, it won't damage it. The '3' in IP53 also means the OM-5 is protected against sprays of water, even if it can't be considered fully waterproof.

Another improvement on the E-M5 Mark III is the OM-5's in-body image stabilization. Our review considered its predecessor to be "class-leading" in that regard, but the OM-5 delivers an extra stop of stabilization taking it to 6.5 stops (or 7.5 stops with compatible lenses). In other words, you can get slower shutter speeds when shooting handheld to keep your ISO sensitivity down, reducing the need for tripods.

The main reason why the OM-5 is almost half the price of the OM-1 is down to its older sensor and Truepic IX processor. In contrast to the OM-1's new 'stacked' sensor, the OM-5 has the same 20.4MP Four Thirds chip as the one found in the E-M5 Mark III. This means the OM-5's burst shooting speeds (10fps with AF tracking) and autofocus are inferior to the OM-1, but still an improvement on its predecessor.

The OM-5 also has some significantly boosted computational photography modes compared to the E-M5 Mark III. Useful modes like LiveND, which slows down your shutter speed to let you create long exposures without filters, and Starry Sky AF for astrophotography, were previously reserved for its flagship E-M1 line. They both appear on the OM-5, alongside Handheld High Res Shot mode for boosting the resolution to 50MP when you're shooting static scenes. 

These modes are great for photographers, but filmmakers might find the OM-5's video a little more limited. The only changes from the E-M5 are the inclusion of a vertical video option, a flat OM-Log400 profile for color graders, and unlimited record time. You're still capped to 4K/30p and it isn't yet clear how well the OM-5's autofocus works in video mode, despite improvements to its Face/Eye detection.

Still, overall the OM System OM-5 is shaping up to be a fun, take-anywhere camera and one of the best cameras for beginners. You'll be able to buy it from late November for $1199 / £1,199 / AU$1,899 for the body only, or $1,599 / £1,499 / AU$2,499 with the 12-45mm f/4.0 Pro kit lens. In the UK and Australia, there'll also be a kit lens bundle with the 14-150mm f/4.0-5.6 II lens for £1,499 / AU$2,399.

Analysis: Better than your smartphone?

These days, the OM System OM-5's competitors are as much smartphones as they are traditional rivals like the Canon EOS R10, Fujifilm X-S10 and Nikon Z fc. Is it really worth spending the price of a flagship smartphone again on a separate camera, when the Google Pixel 7 Pro and Samsung Galaxy S22 Ultra are already so good?

If you prize image quality, versatility and creative control, then the answer is still definitely yes. The OM-5 still has a much larger Four Thirds sensor than any smartphone, but it also crucially offers the lenses to help you get shots that simply aren't possible on phones. 

For example, pair the OM-5 with a 40-150mm f/4 Pro lens and you have an 80-300mm equivalent setup that'd be ideal for travel and wildlife, while also being lightweight with IP53-rated weatherproofing. Because OM System has inherited Olympus' computational modes, you can also have fun with long exposures or astrophotography without needing any other accessories.

In this sense, the OM-5 could occupy a tempting sweet spot between the fun of smartphone shooting and its larger, more 'serious' cameras like its rivals from Canon, Nikon, Sony and Fujifilm. On the other hand, if you're not always traveling and want a camera that's more of an all-rounder for stills and video, then the Canon EOS R10's impressive autofocus could perhaps give it the edge.

Look out for our full verdict on the OM System OM-5, and how it compares to its more pro-focused OM System OM-1 sibling, very soon.

If you're close to buying a Canon EOS R6, we'd hit the emergency brakes on that decision – there are now strong rumors than an EOS R6 Mark II successor is just around the corner.

The full-frame camera – which is still riding high in our guide to the best cameras for photography – launched back in July 2020. And according to Canon Rumors, it's about to get an EOS R6 Mark II successor that'll give it a much-needed boost in resolution from 20MP to 24MP.

Canon Rumors says the camera's 24MP full-frame CMOS sensor – which doesn't appear to be a 'stacked' chip like the one in the pro-level Canon EOS R3 – will be joined by some more minor upgrades, including a Dual Pixel Raw mode for greater editing flexibility and cloud raw processing. But it seems that the resolution boost will be by far its biggest upgrade.

One of our few complaints about the EOS R6 is that its 20MP resolution is just a little on the low side for a generalist camera. Its sensor was taken from the Canon EOS 1D X Mark III, which is a specialist pro DSLR that prioritizes shooting speeds. 

But it seems Canon's sequel to the EOS R6 will give photographers that extra bit of resolution, which could boost detail and prove particularly useful for cropping images. That said, an extra 4MP isn't a massive increase, so it could be worth keeping an eye on second-hand prices for the current EOS R6 when its sequel arrives.

A much bigger upgrade for the EOS R6 Mark II would be a 'stacked' sensor, like the 24.1MP backside-illuminated chip in the Canon EOS R3. But so far, that looks unlikely – it hasn't been mentioned in the leaked specs, and Canon Rumors claims that the camera's 4K/60p video mode will continue to be cropped, as on the EOS R6.

If the EOS R6 Mark II did have a 'stacked' sensor, which offer faster read-out speeds than traditional sensors, that would likely be reflected in areas like video performance. It'd also significantly inflate the EOS R6 Mark II's price tag, compared to its predecessor – the cheapest stacked sensor camera right now is the Fujifilm X-H2S ($2,499 / £2,499 / AU$4,449), but it has a smaller APS-C sensor.

While it's possible that Canon could reshuffle its lineup by making the EOS R6 a more premium model – leaving space for the rumored Canon EOS R8 and EOS R9 – that looks unlikely, with the Canon EOS R5 is still around as its top all-rounder model. This means our money is on a moderately-upgraded Canon EOS R6, with a similar price tag ($2,499 / £2,499 / AU$4,499), which could see it become Canon's most popular full-frame model.

Analysis: a late flurry of new cameras

If the rumors are correct, the end of the year is going to see several major camera announcements, including the Canon EOS R6 Mark II. So if you're in the market for a new photo or video workhorse, we'd definitely hold off for now, if you can.

Recently, we've seen Sony Alpha Rumors suggest that a full-frame Sony A7R V is imminent, complete with a next-gen autofocus system. If so, that camera would likely be pricier than the EOS R6 Mark II; assuming it's in the ballpark of the A7R IV's launch price of $3,500 / £3,800 / AU$6,800.

Some more affordable rivals to Canon's new all-rounder, though, could be the rumored OM System OM-5 and Fujifilm X-T5. According to 43Rumors, this 20MP Micro Four Thirds camera could arrive later this month for a price in the region of $1,599 (around £1,420 / AU$2,545).

And as we discussed recently, the rumored Fujifilm X-T5 – which Fuji Rumors is pretty certain will land sometime in November – could be a late contender for the title of the year's most exciting camera, thanks to its potentially well-rounded combo of features, lens and price tag (expected to be in the region of $1,699 / £1,549  / AU$2,999, like the X-T4).

If you're a photographer or a hybrid shooter, then, it's shaping up to be an exciting end to the year. Even if you can't justify buying the latest models, these launches will ultimately have knock-on effects for the prices of today's cameras – and there's always the Black Friday camera deals to look forward to in late November, too.

The DSLR's death knell has been ringing on an almost daily basis for the past couple of years – and now Qualcomm has joined the fray by explaining the specific reasons why it thinks phone cameras will soon kill off the aging camera format.

In an in-depth interview with Android Authority, Qualcomm's vice-president of product management for cameras Judd Heape laid out the reasons why smartphones will soon consign DSLRs to history. And the chip maker's slightly biased vision is pretty compelling, particularly given the recent drop in third-party DSLR lens options.

As you'd expect from one of the world's biggest chip makers, Qualcomm's predictions center around image processing. "The processing in Snapdragon is 10 times better than what you can find on the biggest and baddest Nikon and Canon cameras," claimed Judd Heape. "And that’s why we’re able to really push the barrier on image quality. Because even though we have a small lens and small image sensor, we’re doing many, many times more processing than what’s even capable in a DSLR," he added.

This is certainly true, and has been for some time. The question for many photographers is how much processing is acceptable in their photos – after all, we're reaching a point where interpolation and AI edits are starting to comprise the majority of a smartphone photo. And for many traditionalists, even those who happily adjust their snaps in digital post-processing, that's crossing a line. 

But this is a separate discussion from the death of DSLRs. There's no doubt DSLRs, which are distinct from mirrorless cameras due to their optical viewfinders, have been on a dramatic slide. 

Yes, DSLR sales got a small bump in a positive direction earlier this year, with shipments up 131.8% year-on-year in May (according to CIPA stats), but that was down to components shortages for mirrorless cameras. The bigger picture is that DSLRs are in terminal decline – and that process has been expedited as much by camera manufacturers as smartphones.

Trust the process

High-end mirrorless cameras are under no imminent threat from smartphones. No amount of AI processing can replicate the quality and reach of, say, a Canon EOS R5 and a super-telephoto lens. That's also true of DSLRs, but their continued survival (at least on the production line) looks unlikely for a variety of reasons, including the key one outlined by Qualcomm.

The unofficial abandonment of DSLRs by Canon and Nikon – we haven't seen a new one launch from either since early 2020 – has left them in a processing dark age. This has left them out in touch when it comes to modern features like video and AI subject recognition – and it's this area where Qualcomm rightly thinks the schism will grow between phones and DSLRs.

"We will have announcements very soon where we’re gonna have dedicated hardware to handle different parts of the scene," Judd Heape told Android Authority.  "Hardware to know what to do for pixels that are skin, versus hair, versus fabric, versus sky, versus grass, versus background. Those are the areas – and again those all apply to video – where we really see the need to add specific hardware," he added.

This isn't an entirely new concept. Current phones and mirrorless cameras can do broad subject recognition, for example recognizing animals and skies. But as Qualcomm explains, this will soon go to the next level – and will crucially happen in real-time. 

As Judd Heape explained: "Imagine a world from the future where you’d say ‘I want the picture to look like this National Geographic scene,’ and the AI engine would say ‘okay, I’m going to adjust the colors and the texture and the white balance and everything to look like and feel like this image you just showed me’".

It's a compelling prospect, if one that definitely won't appeal to all photographers. 

Out in the cold

None of this instantly makes DSLRs bad cameras. For a traditional, cleaner shooting experience with minimal processing, the best DSLRs remain some of the best-value photographic tools around – particularly when you combine them with high-quality glass.

But when it comes to the point-and-shoot experience, the computational photography revolution is still unfolding. Phones will continue to be at the forefront. but mirrorless cameras will increasingly adopt similar tricks for different purposes. For example, Sony's next-gen flagships will likely contain even more powerful subject recognition, which will be used for autofocus tracking rather than instant photo processing.

With the camera industry absorbing declining sales over the last few years, and DSLRs only comprising 18% of its profits (compared to 69% for mirrorless cameras, according to recent CIPA figures), something has to give – and that will likely be the production of DSLRs and their lenses. 

As Petapixel points out, the number of third-party lenses for Nikon and Canon DSLRs has fallen dramatically, with key players Tamron and Sigma behind many of the chops. And while smartphones have certainly played a role in this decline, particularly in the entry-level space, the death of the DSLR is as much about the camera industry's shift to mirrorless tech as AI processing. And it's here that standalone cameras will more than hold their own against the best phone cameras. 

Editor's Note

• Original review date: September 2022
• Mid-level mirrorless camera with Canon's RF mount
• Launch price: $979 / £899 / AU$1,499 (body only)
• Official price now: $879 / £999 / AU$1,729 (body only)

Update: May 2024. Nearly two years after its launch, Canon’s mid-tier mirrorless camera remains our top pick among the best beginner cameras you can buy. We continue to rate its handling, autofocus performance and rapid bursts speeds. In terms of overall value, it’s a camera that offers a huge amount of potential for novices, as well as versatility for hobbyists. In certain regions, including the UK and Australia, it actually costs more from Canon now than it did at launch. However, many online retailers offer it for less than the official price, so it’s worth shopping around, especially if you’re looking for a lens bundle. We’ve also seen its price reduced during seasonal sales events, including a £326 saving versus the RRP in January of this year. In the US, the EOS R10 costs $100 less in 2024 than it did in 2022, making it even better value. The rest of this review remains as previously published.

Two-minute review

There's been a hole in the middle of Canon's mirrorless camera lineup for a few years now, but the Canon EOS R10 finally fills it. If you're a beginner looking to expand your photographic horizons, or an existing Canon fan who wants a fun second camera for everyday shooting, it's now one of the best cameras around, and thanks to its small size and weight, it's also one of the best travel cameras.

While it's a little more advanced and expensive than traditional entry-level cameras, like the Canon EOS Rebel SL3 / EOS 250D DSLR, the EOS R10 is a considerable upgrade on those models and well worth its price tag. It's really an evolution of the double-digit DSLRs like the Canon EOS 90D, cameras that became firm favorites with those who wanted to snap their family, vacations and day-to-day lives with smartphone-beating quality.

The key to the Canon EOS R10's charm is its Digic X processor, which helps unlock the latest autofocus tech and some impressive burst-shooting speeds for its price. You get Dual Pixel CMOS AF II and 15fps continuous shooting (albeit with a firm brake applied by the EOS R10's buffer), which make this camera more than capable of snagging a shot of the family dog's winning goal in the garden water polo.

The EOS R10 can track a wide range of subjects, including people, animals (dogs, cats, birds) and vehicles, and follows them around pretty tenaciously. This is a really useful tool that lifts this camera above rivals like the Fujifilm X-S10, although that camera does fight back with in-body image stabilization and (right now) a bigger selection of lenses.

Ah yes, lenses. Along with a slightly small viewfinder (with 0.59x magnification), these are the EOS R10's main weakness. At the time of writing, Canon has only made two native lenses for the EOS R10 and its EOS R7 sibling: the RF-S 18-45mm f/4.5-6.3 IS STM and RF-S 18-150mm f/3.5-6.3 IS STM zoom. This is pretty paltry compared to Sony and Fujifilm, although you can use both Canon's full-frame RF lenses and older EF ones on this camera with an optional adaptor.

How important this is very much depends on your photographic preferences and experience. There are some affordable RF lenses that will work nicely with the EOS R10, including the RF 50mm f/1.8 ($180 / £220 / AU$340), RF 16mm f/2.8 ($299 / £320 / AU$479) and, for wildlife snappers, the RF 600mm f/11 ($699 / £860 / AU$1,399). We also tested it with the RF 85mm f/2 Macro ($550 / £670 / AU$1,049), which is a versatile prime lens.

There's a good chance that these options will tide you over until Canon gets around to launching some new APS-C lenses. But if you want more options out of the gate, or don't like the uncertainty, then a camera like the Fujifilm X-S10 or Fujifilm X-T30 II could be more suitable.

If you're just starting out and want a lightweight camera that'll grow with you, though, then the Canon EOS R10 is one of the best beginner cameras around. Its new 24MP CMOS sensor produces some lovely images with enough leeway for you to claw back some details from shadows, even if you won't want to regularly push it beyond ISO 6400. You can also shoot some impressive video, even if the 4K/60p mode does come with a 1.56x crop. 

Despite its relatively old-fashioned sensor, which isn't backside-illuminated, the EOS R10's powerful processor, autofocus experience and versatile controls give beginners a great camera to start with and a powerful one to grow into. That means you can have plenty of fun with it while you wait for Canon to make some more native lenses.

Canon EOS R10 price and release date

• Available to buy now for $979 / £899 / AU$1,499 (body only)
• Also available in two different kit lens bundles
• Slightly cheaper than the Fujifilm X-S10

The Canon EOS R10 is available to buy now in a few different bundles, with the cheapest one being its body-only price of $979 / £899 / AU$1,499.

If you'd rather buy it with one of Canon's new RF-S kit lenses, you can pick it up for $1,349 / £1,249 / AU$2,049 with the RF-S 18-150mm kit lens, or $1,099 / £999 / AU$1,649 with the RF-S 18-45mm f4.5-6.3 IS STM kit lens.

This is pretty reasonable pricing that has echoes of the Canon EOS RP, a full-frame camera that landed for $1,299 / £1,399 (body-only) back in 2019. 

The EOS R10 slightly undercuts the Fujifilm X-S10 ($999 / £949 / AU$1,699), although that camera does offer in-body image stabilization, which is useful for preserving image quality and shooting video. And it's priced similarly to the Nikon Z50, another relatively compact APS-C camera that's now a little behind the EOS R10.

• Price score: 4/5

Canon EOS R10: design

• Small and lightweight, weighing only 429g
• Deep grip makes it comfortable to hold with most lenses
• Small viewfinder magnification (0.59x) and no weather-proofing

The Canon EOS R10 probably isn't going to win any Red Dot Design awards, but it does fulfill its brief of being both impressively small and comfortably familiar to anyone who's used a Canon DSLR.

In your hand, the little thing is quite reminiscent of a Canon EOS Rebel SL3 (otherwise known as the Canon EOS 250D, outside the US), which actually weighs 20g more than the 429g EOS R10. 

Realistically, this is about as small as RF-mount cameras are likely to get – which is to say, not quite as diddy as EOS-M series like the Canon EOS M50 Mark II. Those cameras will live on, albeit looking wistfully through the garden fence as photographers play fetch with Canon's new APS-C darlings, the R7 and R10.

On top, the Canon EOS R10 again looks like a Rebel SL3 / EOS 250D, with a mode dial joined by front and rear command dials, a multi-function button and a video record button. One useful addition, though, is the inclusion of Canon's multi-function accessory shoe, which can both power and send data to accessories like shotgun mics. Considering this is a feature you don't even get on the full-frame cameras like the EOS R6, it's another reason to feel smug about owning an R10.

Around the back, it's a similar setup to the pricier Canon EOS R7. There's a fully articulating touchscreen that can flip forwards for video shooters and, helpfully, an AF joystick. This is a feature that affordable cameras often jettison in the name of simplicity, but it's a real boon for photographers who are looking to quickly move AF points. And that's likely to be the case when you have a powerful autofocus system with 651 AF points, like on the R10.

One slight disappointment with the EOS R10 is its small viewfinder. While this EVF has a similar 2.36-million dot resolution to the one on the EOS R7, its limited 0.59x magnification does feel a bit stingy. It works well enough in practice and can be customized with handy tools like live histograms and gridlines, but other cameras at this price point do offer better views of your scenes.

There are a couple of other design downers on the EOS R10 that are a little more understandable for the price. The EOS R10 lacks the weather-proofing you get on the EOS R7, which means you'll need to look after it that little bit more. There's also only one UHS-II card slot, rather than two. And while the EOS R10 does have a microphone input, you also lose the headphone jack for monitoring your audio when shooting videos.

All in all, though, we really enjoyed shooting with the Canon EOS R10 during our time with the camera. Like the Nikon Z50, it has a pretty deep grip for such a small camera, which means you can pair it with relatively long lenses if needed. But it's also a neat, lightweight little bundle when combined with primes like the RF 50mm f/1.8 STM lens and is a camera you'll look forward to taking out.

• Design score: 4/5

Canon EOS R10: features and performance

• Can briefly hit 15fps speeds with the mechanical shutter
• Electronic shutter brings a higher top speed but also rolling shutter limitations
• Impressive autofocus tracking for a mid-range camera

Like the Canon EOS R7, one of the most appealing things about the EOS R10 is its combination of modern autofocus smarts and pretty rapid burst-shooting speeds. The R10 isn't quite in the same category as the R7 for the latter, but it's still an improvement on mid-range DSLRs like the Canon EOS 80D and even the EOS 90D.

Canon's specs sheet says that the EOS R10 can shoot at an impressive 15fps with its mechanical shutter or at 23fps with its electronic shutter. And out tests backed up these claims, even if the camera's buffer couldn't maintain those speeds for as long as the official specs claim.

We were able to shoot uncompressed raw files for 15fps for one second using the mechanical shutter, before the buffer slowed things down to around 7fps. When shooting JPEGs, we were able to keep going at 15fps for a more useful six seconds, before it dropped to around 12fps.

Switch to the electronic shutter and you're able to briefly hit 23fps speeds. There are a couple of reasons why this is best avoided in most situations, though. Firstly, the electronic shutter is much slower than the mechanical one over extended bursts in this mode. Also, shooting moving subjects with the electronic shutter can produce warping issues (otherwise known as rolling shutter), which means you're best off sticking to the mechanical one most of the time.

Fortunately, the EOS R10's autofocus is able to keep up with these decent burst-shootings skills. Its Dual Pixel CMOS AF II setup, seen in more advanced forms on cameras like the professional Canon EOS R3, is both impressive and intuitive, too. You get a total of 4,053 AF points, which is impressive for an entry-level camera, and moving around them is easy thanks to the inclusion AF joystick (another feature that's often jettisoned on beginner cameras).

We tested this AF system on a wide range of animals, including cats, deer and a very speedy cockapoodle. And while the hit-rate certainly wasn't 100%, the EOS R10 did a good job of finding eyes and locking onto them, even from distances of 5-10 meters away. 

Unlike previous autofocus systems, this tracking is available across most of the EOS R10's AF modes, and it'll automatically switch to a face or body if it can't find any eyes. Switch to continuous AF (or 'Servo', as Canon calls it) and the EOS R10 will also track any subject you choose to lock onto around the frame, which puts it ahead of rivals like Fujifilm.

Where the Canon EOS R10 is slightly weaker than some rivals is battery life and the lack of in-body image stabilization (IBIS). The Fujifilm X-S10, for example, offers IBIS for a similar price to the R10, and this can be a useful way to preserve image quality when shooting handheld in lower light (thanks to longer shutter speeds).

The EOS R10's battery life isn't terrible in comparison to other mirrorless cameras. Its CIPA rating (which is a standardized metric for camera battery life) is 340 shots per charge, or 210 if you're solely using the EVF. While Sony cameras tend to fare a little better, that's only just below par for mirrorless cameras. 

DSLRs like the Canon EOS Rebel T8i / EOS 850D (which uses the same LP-E17 battery as the EOS R10) can keep going for 800 shots, though, because they use optical viewfinders rather than electronic ones. We still think the EOS R10's overall advantages make it the better buy, but it's something to bear in mind if you're planning to take it on long days out. Getting a spare battery is likely a wise idea.

• Features and performance score: 4.5/5

Canon EOS R10: image and video quality

• Image quality impresses despite sensor's lack of backside-illumination
• Shoots uncropped 4K/30p video that's oversampled from 6K capture
• No headphone jack or 'flat' log video profile for color graders

The EOS R10 has a new 24.2MP sensor, but this chip isn't backside-illuminated (BSI). As the name suggests, BSI sensors have their circuitry on the back of the sensor rather than in front of the light-sensitive photosites, which traditionally means they have less noise and better all-round image quality.

This could have been a black mark against the EOS R10, but overall we've been impressed with its image quality. Photos look very clean and detailed up to ISO 1600, with pleasing colors and skin tones.

Noise starts to become slightly noticeable from ISO 3200, but results are certainly still usable here and at ISO 6400. It's really only ISO 12800 and above that should be considered emergency options for particularly gloomy situations.

In short, the image quality is very similar to APS-C rivals like the Sony A6400 and Nikon Z50. Only the Fujifilm X-S10 and X-T30 II hold any advantage at this price point, because they use BSI CMOS sensors that should (in theory) give them a slight advantage at higher ISO sensitivities. But we haven't been able to do a side-by-side comparison between the EOS R10 and those cameras yet.

Slightly more impressive, compared to the competition, are the EOS R10's video skills. Some occasionally temperamental autofocus aside, it impresses with the ability to shoot uncropped 4K/30p that's oversampled from the sensor's 6K resolution. 

While this isn't the case for the camera's 4K/60p mode (which as you can see below, incurs a 1.56x crop), this is still a useful tool for vloggers and YouTubers. The benefit of 60p mode is that you can slow it down to half-speed to create some nice cut-scenes.

Other video bonuses include the ability to shoot 1080/120p slo-mo and an 'HDR PQ' mode that delivers 4:2:2 10-bit quality. Unfortunately, there's no 'flat' log option on the EOS R10, though, which means keen color graders will need to consider the EOS R7 or rivals like the Fujifilm X-T30 II. And the lack of a headphone jack means there's no way to monitor audio when you're out in the field.

Still, there's no 30-minute video recording limit on the EOS R10, which means you can shoot clips for up to two hours (depending on battery life and card capacity). And pair the camera with a slightly better lens than Canon's two RF-S kit zooms, and you have a very capable video tool for shooting clips alongside your snaps.

• Image and video quality score: 4/5/5

Should I buy the Canon EOS R10?

Buy it if...

Don't buy it if...

Also consider...

If our Canon EOS R10 review has you considering other options, here are three more cameras to consider...

Testing scorecard

• First reviewed August 2022

My expert team has tested every major DSLR of the last two decades, including every entry-level DSLR worth writing about. While mirrorless cameras are now the default choice for most beginners today, I think DSLRs (and their lenses) remain a great-value option for learning the ropes. Take my very first digital camera from yesteryear, the Nikon D70. In my experience, its tactile handling, like other DSLR models today, is perfect for building confidence.

My favorite DSLR for beginners today is the Nikon D7500. In our TechRadar review, we found it a forgiving choice for beginners, with a rugged build, comfortable grip, and impressive battery life. It also delivers image quality that outperforms many budget rivals. The Canon EOS 2000D is cheaper, but the D7500 is my choice to grow with.

This guide covers my favorite beginner-friendly DSLR cameras for different budgets and shooting styles. Every camera featured below has been thoroughly tested by TechRadar's in-house experts. I’ve also highlighted second-hand models that offer fantastic value, especially as stocks of new DSLRs have dwindled. So whether you’re buying new or pre-owned, you can be confident that you’re starting with the right kit.

All of the cameras in this guide feature cropped APS-C sensors. If you're interested in a pricier full-frame DSLR, or the best secondhand choice, check out various options in the Also consider section towards the end of this guide, plus our best DSLR camera guide.

Why you can trust my choices

Every DSLR camera in this guide has been tested individually and extensively by one of TechRadar’s experts. Our team has reviewed more than 200 DSLRs over the past two decades, including dozens of beginner models from the likes of Canon, Nikon, and more.

We test each DSLR camera in real-world conditions, paying close attention to how it fares for new photographers. That includes looking at its usability, handling, and build quality, as well as autofocus performance, battery life, and image quality. We also make a more holistic assessment of how accessible we think each camera is for first-time users. We consider long-term value too, especially when recommending second-hand models.

We compare each beginner DSLR against others at the same price, to give you a full view of what’s available. All of our advice is based on first-hand testing, rather than specs. So whether you’re buying your first camera or upgrading from a smartphone, every pick here has earned its place.

How we test

Buying a camera these days is a big investment, so every camera in this guide has been tested extensively by us. These days, real-world tests are the most revealing way to understand a camera's performance and character, so we focus heavily on those, along with standardized tests for factors like ISO performance.

To start with, we look at the camera's design, handling, and controls to get a sense of what kind of photographer it's aimed at and who would most enjoy shooting with it. When we take it out on a shoot, we'll use it both handheld and on a tripod to get a sense of where its strengths lie, and test its startup speed.

When it comes to performance, we use a formatted SD card and shoot in both raw and JPEG (if available). For burst shooting tests, we dial in our regular test settings (1/250 sec, ISO 200, continuous AF) and shoot a series of frames in front of a stopwatch to see if it lives up to its claimed speeds. We'll also look at how quickly the buffers clear and repeat the test for both raw and JPEG files.

Where applicable, we also test the camera's different autofocus modes in different lighting conditions (including Face and Eye AF) in single point, area, and continuous modes. We also shoot a range of photos of different styles (portrait, landscape, low light, macro/close-up) in raw and JPEG to get a sense of metering and the sensor's ability to handle noise and resolve fine detail.

If the camera's raw files are supported by Adobe Camera Raw, we'll also process some test images to see how we can push areas like shadow recovery. And we'll also test its ISO performance across the whole range to get a sense of the levels we'd be happy to push the camera to.

Battery life is tested in a real-world fashion, as we use the camera over the course of the day with the screen set to the default settings. Once the battery has reached zero, we'll then count the number of shots to see how it compares to the camera's CIPA rating. Finally, we test the camera's video skills (where necessary) by shooting some test footage at different frame rates and resolutions, along with its companion app.

We then take everything we've learned about the camera and factor in its price to get a sense of the value-for-money it offers, before reaching our final verdict.

Meet the team

Between our team of reviewers we have tested all entry-level DSLR cameras rigorously, utilizing our many years of camera experience and testing.

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Today's best beginner DSLRs

Below you'll find full write-ups for each of the best beginner DSLR cameras in my list. We've tested each one extensively, so you can be sure that our recommendations can be trusted. There are stellar alternatives in the Also Consider section directly below the shortlist.

The best beginner DSLR overall

Nikon D7500 sample images

The D7500 is Nikon's last remaining DSLR with an APS-C crop 'DX' sensor that's available new, and it's a fantastic all-rounder with the skills and handling to satisfy enthusiast photographers, all for a beginner-friendly budget – it's regularly on sale, bundled with the versatile 18-140mm lens for unbeatable value considering what the camera/lens pairing is capable of.

A 20.9MP APS-C sensor delivers crisp stills and excellent low-light performance, plus 4K video recording. Higher-resolution Canon rivals might beat the D7500 for detail, and possibly autofocus performance, but it's the D7500's superb handling that helps it stand out.

We appreciated the D7500's rugged build quality during our tests, plus its comfortable grip, larger-than-average 3.2-inch tilt touchscreen, and bright optical viewfinder, plus impressive battery life rated at just under 1,000 shots. Throw in snappy 8fps burst shooting speeds, and it feels like there's little the D7500 can't do.

Read our in-depth Nikon D7500 review

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The best cheap beginner DSLR

Canon EOS Rebel T7 / EOS 2000D / EOS 1500D sample images

This is one of the cheapest DSLRs in Canon's current line-up, which also makes it a very cost-effective way to get access to an endless assortment of compatible lenses, flashguns, and other accessories. Its low price tag means it understandably lacks some of the fancy tricks of its bigger brothers – including a flip-out display and 4K video recording – but there's still a good level of physical control on offer.

Most importantly, we found the image quality produced by its 24MP sensor to be sound. The camera is designed very much with its target audience in mind, including a Feature Guide to help you understand basic settings. Its impressive battery life is also better than many mirrorless models at this price point. During our review, we found it a well-rounded starter option for those on a budget, with features such as Wi-Fi, NFC, and Full HD video rounding out the specs.

Read our in-depth Canon EOS Rebel T7 / EOS 2000D / EOS 1500D review

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The best rugged beginner DSLR

Pentax K-70 sample images

The Pentax K-70 has been discontinued, being replaced by the Pentax KF which is still available new. We've reviewed the K-70 but not the Kf. However, the two cameras are essentially identical, so please see them as the same camera, with the KF being the newer version.

It's several years old, but the Pentax K-70 – or the Pentax KF, which is essentially the same camera with a slightly sharper display – remains a good-value option for beginners who want something different from the 'big two' DSLR manufacturers. It's a particularly good choice if you have a stash of old Pentax lenses gathering dust. The K-70 / KF benefits from a useful articulating screen, while the hybrid live view autofocus system proved to be a practical alternative to the viewfinder during our review.

Our favorite thing about the K-70 / KF is its tough build quality, which is typically lacking in entry-level models. If you're keen to take lots of pictures outdoors – for example, you might want to try landscape photography – then being able to rely on the K-70 / KF in inclement weather is a big bonus. One slight disappointment is the kit lens, which is often bundled with the camera: while it offers a longer focal length than most, we found it could be a little soft in places. Still, with solid specs and rugged credentials, the Pentax K-70 / KF is a capable all-rounder that's worth considering.

Read our in-depth Pentax K-70 review

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The best secondhand beginner DSLR overall

Nikon D3500 sample images

Nikon has officially ceased production of the D3500, but it remains an excellent option for those who are new to photography. Building on the foundation laid by the D3400, it adds a handful of extra perks. Battery life is one of them: unlike power-hungry mirrorless models, we found in testing that the D3500 could capture more than 1,500 images between charges – way ahead of most other DSLRs. We found that the 24MP sensor was capable of delivering excellent image quality, too.

Nikon also revised the body and control layout of the D3500 compared to previous generations, which we think makes it nicer to handle and easier to use. The useful Guide Mode takes the first-time user’s hand and walks them through all the key features in a way that makes everything easy to understand. We still think the Nikon D3500 is the best DSLR option for new photographers, and one of the best cameras for beginners overall. If you’re just getting started and can find one in stock, we reckon you will as well.

Read our in-depth Nikon D3500 review

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The best enthusiast DSLR for beginners

Canon EOS 90D sample images

The Canon EOS 90D might be the last enthusiast DSLR the company ever makes. If so, it’s going out with a bang: the versatile 90D packs a high-resolution sensor which, paired with Canon’s Digic 8 imaging engine, offers the enticing prospect of uncropped 4K video at 30fps. In our tests, color reproduction was superb, and there was plenty of detail in both stills and video. A new 216-zone metering system also helped in this department, even if noise did creep into images above ISO 8000.

Like the 80D before it, the deep grip meant the 90D felt comfortable to handle, while a joystick made selecting from the Dual Pixel CMOS AF points a cinch. Battery life is a boon, too, with at least 1,500 shots possible on a single charge in our experience. It's possibly a bit too much camera for an absolute beginner (both in price and features), but there's no doubt it offers a lot of room to grow into. Either way, the 90D proves that DSLRs still very much have a place in the mirrorless world.

To save some money on Canon products, check out our Canon discount codes.

Read our in-depth Canon EOS 90D review

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Also consider

There are plenty more beginner DSLR cameras that didn't make the cut. Here are a few of our favorite other options:

Best premium beginner: Canon EOS Rebel T8i / EOS 850D: Picking up the baton from the popular Rebel T7i / EOS 800D, this isn't a huge upgrade: the most notable addition is a 4K video mode, which we found to be hampered by frame-rate restrictions. Still, the Rebel T8i / EOS 850D remains one of our favorite all-round DSLRs for beginners, with a Nikon-beating Dual Pixel phase-detection AF system.

Best full-frame DSLR for beginners – Nikon D750: Coming in as one of the cheapest Nikon full-frame DSLRs, the Nikon D750 has a superb 24MP sensor and all-around handling.

Best improver – Nikon D5600: The D5600 is a step up from Nikon's D3000-series models, with a set of specs strong enough to rival the likes of the Canon EOS Rebel T8i / EOS 850D. Key advantages over the D3500 include a large touchscreen that has a vlogging-friendly articulating design to flip round to the front, plus Wi-Fi and a healthy range of additional controls on the inside.

Best value Canon – Canon EOS Rebel SL3 / EOS 250D: We think the SL3 / EOS 250D offers a great blend of features, performance, and value. For a start, it's the smallest and lightest DSLR with an articulating screen, which means it isn't as intimidating as some of its rivals. It also adds a fresh processing engine and 4K video recording to its Rebel SL2 (EOS 200D) predecessor.

Cheap full-frame – Canon EOS 6D Mark II: Available secondhand for a similar price to beginner DSLRs, the enthusiast-level EOS 6D is a full-frame camera with a 20MP sensor and decent handling that will give you better image quality than most of the models included in the main list, especially in low light.

How to choose

Article glossary

• Forget Fujifilm, I've retested 2013's Nikon Df DSLR and it's the ultimate retro camera for these 6 reasons
• You don't really need a new camera – a $200,000 photo prize was just won with this old Canon DSLR
• I used my DSLR for the first time in years since switching to mirrorless – here are four things I learned
• If DSLR cameras are dead, why are they still so popular? Here are 5 reasons

The new Nikon Z30 vlogging camera has only just landed and we're already hearing rumors that Canon's preparing to launch its own rival, possibly called the Canon EOS R100. 

Our Nikon Z30 review found that camera to be a charming effort with a great price tag and a few weakness. Which got us thinking – what features would the rumored EOS R100 need to beat the Z30 at its vlogging game and become one of the best 4K cameras you can buy?

The reliable Canon Rumors is certainly confident that a Nikon Z30-rival is en route. It recently claimed that "Canon's next RF-mount camera is in the field" and will be announced "before November 2022". Like the Nikon Z30, it's expected to have an APS-C sensor be "a small form-factor vlogger" camera.

That sounds like a compelling proposition on paper, but we've been here before with Canon – and its more affordable APS-C cameras, like the Canon EOS M50 Mark II, have traditionally had frustrating video limitations.

So based on our time with the Nikon Z30, what's our best-case scenario wishlist for the rumored Canon EOS R100 (if that's what it's ultimately called)? Here's where we think the Z30 falls slightly short, and where Canon's rival could trump it to win the hearts of YouTubers and vloggers.

1. An aggressive price tag

First up is price, with the rumored EOS R100 likely to become the cheapest Canon EOS R series camera available. But it'll need to match the Z30 and that's a tough ask because Nikon prices all its mirrorless cameras aggressively. 

The Nikon Z30 is the cheapest of its own APS-C bunch at $707 / £699 (body only). More sensibly for content creator newbies, there's a kit with the 16-50mm f/3.5-6.3 lens for $847 / £839 / AU$1,299, or a $995 / £879 vlogging kit that adds a tripod grip, wind muff and remote to the mix.

Given beginners aren't known for purchasing multiple lenses, Nikon has wisely smashed it out the park with an excellent kit lens – it's compact, collapsible, gives a wide angle of view and surprisingly sharp image quality from centre to edges. 

It already looks like the wider-angle Nikon lens has the edge for vlogging over Canon's 18-45mm f/4.5-6.3 kit lens, so Canon will need to come up trumps with a vlogging kit and new ultra-wide lens, especially when most beginners are not brand loyal or might look to upgrade their smartphone instead.

2. Good handling

One reason why the Nikon Z30 is cheaper than the Nikon Z50 and Z fc is that it doesn't include a costly built-in viewfinder. We can expect the EOS R100 to follow suit and be the first viewfinder-less EOS R camera. After all, content creators mostly use video, for which a viewfinder is largely superfluous.

Still, while reviewing the Z30 we did miss a viewfinder when taking photos in bright light and Nikon doesn't have an optional unit. Could Canon pip Nikon by including a hotshoe in the EOS R100 and launching a compatible EVF pronto?

What you also get in a viewfinder-less camera is a lightweight build and streamlined form factor, making it easy to hold for long run-and-gun shoots. The Z30 has a generous and comfortable handgrip which will be hard to beat, plus it has a vari-angle screen and a tally lamp. It's a tough ask for Canon to make a camera that will handle better for vlogging, but we'd like to see it try.

3. Versatile color profiles

Most serious filmmakers shoot in some sort of Log profile in order to maximize the dynamic range of the camera's video. This is a flat color profile that then needs grading post-capture in order to tweak colors to taste. The Nikon Z30 doesn't actually have a log profile, so surely that's a mark off? Well, not necessarily.

The Z30's 'Flat' color profile is the closest that you get to 'log'. It is a good starting point for content creators who want the best of both worlds; maximizing the picture quality with an easy post-production workflow for enhancing colors. You also don't get the same ISO restrictions that you do when in a Log profile, which can cap sensitivity to a minimum ISO 400. Still, Canon could go one better in the EOS R100 by including an actual Log profile.

4. Powerful autofocus tracking

Historically, Canon's video autofocus performance in its mirrorless cameras is excellent. If the EOS R100 inherits the same autofocus power from the Canon EOS R7, then it's a shoo-in for better autofocus performance over the Z30, which is also bettered by the Sony ZV-E10 – a camera that features a nifty 'Product Showcase' autofocus mode.

For beginners, though, the Z30 autofocusing is still very capable for vlogging. You can largely keep the camera in its wide-area people tracking AF setting and you get sticky and reliable autofocus especially for tracking subjects. Video autofocus speeds can also be adjusted between slow and smooth transitions with those that are quick and snappy. This is the minimum that the Canon EOS R100 will need to trump its rival.

5. No video crops

Virtually all new cameras in 2022 shoot video at a 4K resolution. But not all 4K video is the same, especially at the beginner price point. For example, the Z30 impresses because it does not impose a crop for 4K video, taking information from the full width of the sensor. In the context of vlogging, it's a big win because creators can make the most of the wide-angle view of a lens without a crop limiting what the camera sees.

The only crop in the Z30 is when image stabilization (what Nikon calls 'electronic vibration reduction') is active. You'll need it for vlogging on the move because otherwise footage will be too shaky (without a gimbal). Canon could trump Nikon especially for run-and-gun vlogging by including sensor-shift image stabilization, which does not incur a crop. 

This is unlikely, though, because the EOS R10 doesn't have image stabilization for video. The more likely scenario is electronic stabilization – and who knows, perhaps a take on the Sony ZV-E10's ability to store gyro data, which can then be used to boost image stabilization in its Catalyst Browse software. 

6. Sound monitoring

Sound monitoring is an obvious area that the EOS R100 could beat the Z30. We feel Nikon made a big miss by not including a headphone jack in the Z30 to monitor sound. 

What's more, in the Z30's selfie mode the on-screen audio levels are switched off, so you can't even see if the Z30 audio is clipping or is too quiet. Canon could go one or even two better in the rumored EOS R100 by including a headphone jack and audio level displays in selfie mode.

In its defense, the Z30 does include a mic input plus its in-camera stereo mics do a reasonable job if the surrounding environment is quiet. For most content creator beginners who are unlikely to demand studio-quality audio, the Z30 is enough without needing to monitor sound in the first place. But this is a potential easy win for Canon.

7. More lenses

That excellent kit lens aside, Nikon's fledgling APS-C mirrorless lenses (a format that Nikon calls DX) number three in all. That's as many lenses as there are cameras, and that's for a three-year-old system. We are naturally cautious about camera systems with a ratio like this especially as the years pass. For vlogging the 16-50mm lens (24-75mm effective) is currently the only logical option, and run-and-gun vloggers would be better served with a lens that goes wider.

Canon is facing a similar issue, with its EOS RF-S system launching this year with two cameras (the EOS R7 and EOS R10) and only two native lenses. Could Canon ease concerns by filling out an RF-S lens line up at greater speed? The rumor mill seems to think so, with another five rumored lenses including an ultra-wide zoom lens and two fast aperture primes seemingly replacing Canon's dead-in-the-water EOS-M system.

Canon has already listened to the cries of our wallets this year and released the temptingly-priced EOS R7 and EOS R10. And now, according to the latest rumors, it’s planning to do the same for its full-frame mirrorless cameras with a successor to the original EOS R.

The reliable Canon Rumors says that this new full-frame camera, which will have a larger sensor than the EOS R7 and EOS R10, “will be a replacement of sorts for the original Canon EOS R, but it won’t be called the Canon EOS R Mark II”. That’s potentially music to the ears of those who can’t afford Canon’s current full-frame models. 

When the Canon EOS R launched in 2018, it was an all-rounder for all kinds of photography – and Canon Rumors says that its successor “will sit below the Canon EOS R6”, which means it should have a much lower price tag than that $2,499 / £2,499 / AU$4,499 model.

Exactly how much lower isn’t yet clear, but a sub-$2,000 price tag is certainly possible. The Canon EOS R is currently available for $1,799 / £1,699 / AU$2,199 and it seems Canon isn’t yet preparing a successor to the budget Canon EOS RP. Sadly, Canon Rumors says that “rising costs in the supply chain may have delayed or nixed the rumored $899 full-frame R series camera”, which means an EOS R sequel would have an important role to fill.

It would be a shame if that ultra-affordable full-frame camera didn’t see the light of day. But an EOS R successor with a tempting price tag is exactly what Canon’s lineup (and keen photographers) need right now. We’re huge fans of the Canon EOS R5, EOS R6 and EOS R3, but they all command a premium that becomes pretty prohibitive once you’ve invested in some of the best Canon lenses.

The original EOS R and EOS RP are currently fulfilling the ‘entry-level’ roles in Canon’s full-frame mirrorless lineup. But with the EOS R close to celebrating its fourth birthday (which, in camera years, is about 60 years old) and the EOS RP not far behind, it’s definitely time for some new all-rounders that cash-strapped hobbyists can actually justify.

Fortunately, it sounds like we shouldn’t have to wait long, for one of them at least. Canon Rumors says “we have been told that the new camera could be announced in late 2022 or in early 2023, with a ship date coming in Q1 of 2023”. And it likely won’t be the only affordable Canon camera we see this year. 

Filling the affordability gap

We’ve already seen rumors that Canon’s next RF-mount camera, an APS-C vlogging model, will be arriving sometime before November. But there’s no doubt that full-frame holds a special appeal for photographers and videographers, and not just because it’s the same size as a frame of 35mm film.

Over the past few years, full-frame cameras have seen all of the investment when it comes to lenses. And yet during that period, the bodies themselves have predominantly been expensive, professional-oriented ones.

There are a few exceptions. In 2020, we saw the release of the Nikon Z5, Panasonic Lumix S5 and Sony A7C, all of which are impressive entry-level full-frame cameras in different ways. But since then, there’s been a dearth of budget full-frame options, and Canon has continued to push the original EOS R and EOS RP as its cheaper offerings, despite the latter offering a paltry 4fps burst mode.

But it sounds like Canon is finally ready to inject some much-needed life into this important space in the camera world. The question is exactly how affordable its EOS R successor might be, and how it might achieve that.

Right now, there are currently no rumored specs for the camera. But given its all-rounder billing, we’d expect its sensor to offer a 30MP or higher resolution (to differentiate it from the EOS R6) and be paired with a Digic X processor. This could unlock some improved burst shooting speeds (perhaps 15fps, rather than the EOS R’s 8fps) and autofocus performance, with Dual Pixel CMOS AF II and subject-recognition (for humans, animals and vehicles) both likely candidates.

What the EOS R would likely lack, in order to keep the price down, is a second card slot and in-body image stabilization (IBIS). Throw in some improved video specs (like 10-bit color sampling) and you’d have a very compelling all-rounder camera for those who want the benefits of full-frame (like dynamic range and high ISO image quality) over the speed and size advantages of APS-C models like the EOS R7.

Is this what we’ll see from Canon? It’s all speculation right now, but the rumors and general camera trends are pointing in that direction. All we need now is for Canon’s rivals to respond with some updated full-frame rivals of their own.

I've been fortunate enough to spend a week with the Canon EOS R10, which is now the cheapest route into its RF mirrorless camera system. And while it isn't perfect, the R10 has convinced me that it should now be top of the list for beginner photographers.

That's a pretty big deal, because it's something we haven't been able to say about a Canon camera for a long time. Its Rebel DSLRs (known as its triple-digit EOS cameras outside the US) were once the default choice for learners. But in the mirrorless age, Canon has floundered and let Sony, Fujifilm and Nikon steal its budget camera lunch.

Well, it's finally rediscovered its form with the Canon EOS R10. This $979 / £899 / AU$1,499 camera isn't what we'd traditionally call an entry-level model. It costs 50% more than a Canon Rebel SL3 / EOS 250D and comes with some pretty advanced controls and features.

But in the smartphone age, I think the definition of a 'beginner camera' has shifted. There are now few advantages to buying a standalone camera and using it as a point-and-shoot, as smartphone processing has bridged the image quality gap. 

What the best beginner cameras need today is intelligent autofocus, creative control, powerful burst shooting, solid video skills and a range of lenses that gives photographers room to grow. And the Canon EOS R10 ticks those boxes better than most cameras I've tested at this price point in the last few years. 

Dog-friendly

The most useful camera feature for beginners is an intelligent autofocus system – and this is a real standout on the Canon EOS R10.

Autofocus is more important on cameras than it is on phones, because the latter's small sensors and wide lenses mean that most of your scene is usually in focus by default. This is why phones have 'portrait modes' to digitally recreate a shallow depth-of-field. But when you're shooting a fast-moving subject with a bright lens on an APS-C camera, you need a helping hand from autofocus.

The EOS R10's AF system is both impressive and, importantly, intuitive. Its Dual Pixel CMOS AF II setup comes from the professional Canon EOS R3. And while it doesn't match that camera's performance, its fundamentals are the same. 

The EOS R10 can track a wide range of subjects, including people, animals (dogs, cats, birds) and vehicles, and will follow them around the frame. It's a really useful tool, particularly if you're just starting out and focusing on other things like composition.

I tested it on a wide range of animals, including cats, deer and a speeding cockapoodle. And while the hit-rate certainly wasn't 100%, the EOS R10 did a find job of finding eyes and locking onto them, even from 5-10 meters away. Unlike earlier autofocus systems, this tracking is also available across most of the EOS R10's AF modes, and will automatically switch to a face or body if it can't find any eyes.

When you're shooting action or sports, autofocus is only one part of the equation – you also ideally need speedy burst shooting and a decent buffer. And fortunately, the Canon EOS R10 impresses here, too. 

Top speeds

Canon says the EOS R10 can shoot at an impressive 15fps with its mechanical shutter and 23fps with its electronic shutter – and my tests backed up these claims, even if the camera couldn't maintain those speeds for as long as Canon's spec sheet says.

I was able to shoot uncompressed raw files for 15fps for one second using the mechanical shutter, before the buffer slowed things down to around 7fps. If you're shooting JPEGs, you can keep going at 15fps for a more useful six seconds, before it drops to around 12fps. 

The electronic shutter is able to briefly hit the 23fps mark, but is much slower over an extended burst – and when shooting moving subjects it can produce warping issues (otherwise known as rolling shutter), making mechanical is still the best choice in most situations.

The Canon EOS R10 isn't a pro sports camera, then. But it is fast enough to capture fleeting moments of speeding pets, laughing humans or crucial sporting moments, if you get your timing right. And that's not always been possible on beginner cameras.

Another important feature for an entry-level camera is that it's small and light. The easier a camera is to take with you, the more times you'll use it. And while the Canon EOS R10's 'mini DSLR' design means it isn't the smallest mirrorless camera on the block, it does only weigh 426g (about the same as two iPhones). 

I also found it to be inconspicuous enough for street photography, which is a good way to learn your craft.

Because the EOS R10 has dual controls dials – one of the top plate behind the shutter button and another on the back – it's pretty easy to shoot manually or tweak the exposure compensation to achieve a more dramatic look.

Getting these controls, along with a dedicated AF joystick, on a beginner camera is again quite unusual, but they give you more control over your snaps and help you get shots that would be much harder to achieve on a phone.

Sensor perspective

Another bonus for beginners are the EOS R10's scene modes, including a focus-stacking feature that's handy for macros. 

This shoots a series of photos (you can decide how many) with small focus shifts in between them. These are then combined in-camera into a single JPEG. A panning mode, which I didn't get to try, also picks a shutter speed based on how quickly you're moving the camera to achieve blurry backgrounds that give an impression of speed.

Canon's cameras sadly don't offer quite as many in-camera computational modes as you'll find on Olympus (now OM System) cameras. But right now, there's something of a hole in between older models like the Olympus OM-D E-M10 Mark IV and the pro-level OM System OM-1. For now, the EOS R10 and its helpful in-camera stacking can help you tap into your experimental side.

How good is the EOS R10's image quality? Like much of the camera, good enough. Canon says the R10 has a new 24MP CMOS sensor, although it's possible this is a modified version of one we've seen in previous cameras. Either way, it isn't a cutting-edge chip, neither having a 'stacked' design nor being BSI (backside-illuminated).

Thanks to advances in processors and image processing, the latter isn't a huge miss. And the reality is that the EOS R10 gives you a pretty generous amount of detail to claw back from shadows in the likes of Lightroom, if you need to. Here's the result of lifting the shadows from an under-exposed doorway.

It's possible to do some basic in-camera raw editing on the EOS R10 and tweak things like white balance and noise reduction, but this is still easier to do in the likes of Lightroom or Snapseed. 

Because raw files are sensor's whole output – effectively making them a digital 'negative' – you get more dynamic range to work with than with JPEGs. This can be used to either fix exposure mistakes or sculpt the light to lead a viewer's eye to your photo's main subject.

Are there any downsides to the EOS R10 for beginners? In my experience, none that are unexpected for the price. The electronic viewfinder is fairly small with an effective 0.59x magnification, there's no in-body image stabilization (IBIS) and the 4K/60p video mode has a pretty sizable 1.56x crop (see below). But none of these are dealbreakers.

My main only real criticism isn't related to the camera itself but its lenses. Right now, Canon has only made two native lenses for the EOS R10 and EOS R7: the RF-S 18-45mm f/4.5-6.3 IS STM and RF-S 18-150mm f/3.5-6.3 IS STM zoom. That's pretty paltry compared to the likes of Sony and Fujifilm.

Still, there are a couple of reasons why this isn't as bad as it seems. Firstly, a wide range of lenses isn't quite the necessity it is for more advanced cameras, which is why our Canon EOS R7 review gave that camera a harder time for the same issue. Also, there are actually some pretty handy (and relatively affordable) full-frame lenses around that should work nicely with the EOS R10.

Alongside the 18-45mm kit zoom, I tested the camera with the RF 85mm f/2 Macro ($550 / £670 / AU$1,049), which is a pretty versatile prime. Other full-frame RF lenses that should work nicely with the EOS R10 are the RF50mm f/1.8 ($180 / £220 / AU$340), RF 16mm f/2.8 ($299 / £320 / AU$479) and, for wildlife snappers, the RF600mm f/11 ($699 / £860 / AU$1,399). 

That said, it'd still be good to see Canon launch a few more native APS-C lenses for its new small-sensor cameras.

Starter for ten

The Canon EOS R10 doesn't blow its beginner camera rivals away. But I think the power and usability of its autofocus, plus its useful burst shooting speeds, do give it the edge over its Sony and Fujifilm rivals – for now.

It's a lot of fun to use and is finally the mirrorless equivalent of Canon's Rebel (or triple-digit EOS) DSLRs that many have been waiting years for it to make.

If you like a more retro-styled camera and need a big range of native lenses out of the gate, then the Fujifilm X-T30 II might be the better choice. Similarly, the older Sony A6400 has more lenses than the EOS R10 and is a more compact camera.

But despite its old-school sensor, the EOS R10's powerful processor, autofocus experience and solid control setup gives beginners a great camera to start with and a pretty impressive one to grow into. Particularly if Canon does indeed back the R10's promise with some more of those native lenses.

My expert team and I have reviewed more than 200 DSLR cameras over the past two decades. And while mirrorless cameras might be the future, I know from experience that the best DSLRs still have plenty to offer today. That’s particularly true if you value the trademark features of the genre: optical viewfinders, tactile controls and excellent battery life.

A great example is the Nikon D850. It might be several years old, but its full-frame sensor produced fantastic, high-resolution 45MP stills in my tests. Looking at those images today, they still hold up well. I also praised its rugged build, fantastic handling and dependable autofocus system, and I think it remains a standout choice for enthusiasts who want the classic DLSR experience. Even better, there are huge price cuts on this very camera today, making it top value.

This guide features my pick of the best DSLRs you can still buy new. Each one has gone through extensive real-world testing at the hands of either me or one of my experienced reviewers, so you can trust that each recommendation has earned its place. From entry-level options to professional workhorses, I've included choices for every user and budget, plus a few that offer great second-hand value.

Why you can trust my choices

Every DSLR camera in this guide has been comprehensively tested by me, or another member of TechRadar’s expert team. Over the past 20 years, our specialists have reviewed hundreds of DSLRs, from simple, beginner-friendly bodies to pro-grade flagships.

I put each DSLR through a series of genuine field tests, to assess everything from image quality to autofocus performance. To start with, I look at the camera's design, handling and controls to get a sense of what kind of photographer it's aimed at and who would most enjoy shooting with it. When I take it out on a shoot, I'll use it both handheld and on a tripod to get a sense of where its strengths lie, and test its startup speed.

When it comes to performance, I use a formatted SD card and shoot in both raw and JPEG (if available). For burst shooting tests, I dial in our regular test settings (1/250 sec, ISO 200, continuous AF) and shoot a series of frames in front of a stopwatch to see if it lives up to its claimed speeds. I'll also look at how quickly the buffers clears and repeat the test for both raw and JPEG files.

Where applicable, I also test the camera's different autofocus modes in different lighting conditions (including Face and Eye AF) in single point, area and continuous modes. I also shoot a range of photos of different styles (portrait, landscape, low light, macro/close-up) in raw and JPEG to get a sense of metering and its sensor's ability to handle noise and resolve fine detail.

If the camera's raw files are supported by Adobe Camera Raw, I'll also process some test images to see how I can push areas like shadow recovery. And I'll also test its ISO performance across the whole range to get a sense of the levels I'd be happy to push the camera to.

Battery life is tested in a real-world fashion, as I use the camera over the course of the day with the screen set to the default settings. Once the battery has reached zero, I'll then count the number of shots to see how it compares to the camera's CIPA rating. Finally, I test the camera's video skills (where necessary) by shooting some test footage at different frame rates and resolutions, along with its companion app.

I then take everything I've learned about the camera and factor in its price to get a sense of the value-for-money it offers, before reaching a final verdict.

Whether you’re buying your first DSLR or upgrading, I compare each DSLR to its closest competitors, to give you a complete picture of what options are available. This process is designed to help you find the best DSLR for your needs and budget. Because my recommendations are based on in-depth experience, you know they can be trusted.

Meet the team

My team of reviewers has amassed many years of experience testing cameras, covering all of the latest and greatest cameras in the last 20 years – including all of the top DSLR cameras, old and new.

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Today's best DSLRs, still available new

Below you'll find full write-ups for each of the best DSLR cameras in my list. Each has been tested by me or a member of my team extensively, so you can be sure that my recommendations can be trusted.

The best DSLR for image quality

Nikon D850 sample images

It's hard to think of another DSLR that wows like the D850 does, even after several years on the market. It's on the pricey side for sure, but this is justified by the things I discovered in my tests, including excellent image quality, bags of features and a rugged, weather-resistant magnesium alloy body. The 45MP sensor is still one of the highest in terms of resolution in any DSLR, while the 7fps burst mode is unusually high for a camera with such a sensor.

Add to that a cracking AF system, wonderful handling and great 4K video, and its versatility should be easy to appreciate. Like the sound of the D850, but want to go mirrorless? Well, while not strictly a mirrorless version of the D850, Nikon's Z7 mirrorless camera shares the same 45MP resolution as the D850, but features some clever tech of its own, including an all-new lens mount.

Read our in-depth Nikon D850 review

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The best professional DSLR

Canon EOS 5D Mark IV sample image

The Canon EOS 5D Mark IV tweaks and improves on almost everything before it, with a 30.4MP sensor and advanced 61-point AF system, together with 4K video recording – all of which performed well in my real-world tests. With a 5D Mark V successor essentially ruled out by Canon, the Mark IV will continue to be one of the most compelling DSLRs at this price point.

Its 4K video options are a little limited, with the frame-rate topping out at 30fps and no options to shoot in a flat gamma profile. But if you're mainly looking for a powerful DSLR for stills photography, the EOS 5D Mark IV remains a surprisingly modern proposition, considering its age – and the fact that you can still buy it new is a testament to its popularity.

Read our in-depth Canon EOS 5D Mark IV review

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The best beginner DSLR camera

Nikon D7500 sample images

Originally pitched at enthusiasts, I think the D7500 is a solid all-rounder for beginners to grow with. It's not an entry-level DSLR, but regular reductions mean it now represents excellent value. Furnished with the same brilliant 20.9MP APS-C sensor as the D500, together with a powerful 51-point AF system, I remain impressed by its stills performance. 4K video is a welcome feature, too.

I found its 3.2-inch tilt-angle screen useful in testing, even if its resolution isn't the sharpest. I also commented favorably on the D7500's battery life, as well as its weather-sealed body, which feels reassuringly robust. Live View focusing isn't the fastest, but if you're happy to accept a couple of minor compromises, I think the D7500 is a very solid option for the money.

Read our in-depth Nikon D7500 review

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The best DSLR for sports and wildlife

Canon 1D X Mark III sample images

Canon’s last ever flagship DSLR is a fitting swan song. Designed for professionals who need speed, performance and image quality in a sturdy package, the 1D X Mark III pretty much covers it all. In my tests, I was extremely impressed with the 1D X Mark III’s capabilities. Its rugged build feels solid enough to survive a war zone and, while it’s a big camera, I appreciated its ergonomics during my review. I also found it a camera that could handle any situation.

Sports, wildlife or front-page action: its performance was never in doubt. With a fast processor, deep buffer and rapid 20fps burst speeds, this is a camera that doesn’t compromise. That’s equally true of the AF system, which uses deep-learning to enhance precision. Its video prowess is handy, too, with 4K/60p capture available. Stacked to the hilt with features and power, it’s probably overkill for the average photographer, especially considering its expensive price tag. Yet it’s also a truly impressive DSLR that represents a worth investment for professionals.

To save some money on Canon products, check out our Canon discount codes.

Read our in-depth Canon EOS 1D X Mark III review

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The best full-frame hybrid DSLR

Nikon D780 sample images

The D780 is effectively a hybrid of a full-frame DSLR and a mirrorless camera like the original Nikon Z6. While it's still relatively expensive, the D780's slight price drop since it landed in 2020 means it's now my top pick for anyone who wants to combine the benefits of mirrorless tech and DSLRs. My review revealed that the D780's image quality is among the best around, while its 4K video skills are boosted by the inclusion of modern features like Face and Eye detection.

Building on the solid foundation laid by the D750, the D780 uses the same 273-point on-sensor phase-detection AF system as the Z6, allowing it to focus rapidly when you're shooting via Live View. If you prefer to frame through its optical viewfinder, you'll be able to make the most of its impressive 2,260-shot battery life. As one of the latest DSLR it's still quite pricey, but if that isn't an issue for you, then the D780 is one of the best full-frame all-rounders you can buy.

Read our in-depth Nikon D780 review

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The best DSLR for enthusiasts

Canon EOS 90D sample images

The EOS 90D was quite the step forward for the EOS DSLR line when it launched in 2019. It was the first of its kind to sport a 32.5MP APS-C sensor, giving it a decent number of pixels for both cropping and producing large prints. Unlike the earlier 80D, it offered uncropped 4K video recording, along with a new processing engine and faster burst shooting. The 1300-shot battery also provided far more juice than the average mirrorless camera, while protection against dust and water was a bonus.

It still stacks up well today. In my review, I was impressed by the versatility of the 90D. It's an excellent all-rounder for those who like to photograph a broad range of different subjects. It is worth weighing up whether the benefits of a mirrorless alternative to the EOS 90D, like the Canon EOS M6 Mark II, might appeal to you. The M6 Mark II is smaller, cheaper and offers faster burst shooting. But by focusing on key areas like battery life, handling and a fully articulating rear screen, Canon has made the EOS 90D a strong and versatile alternative for anyone who prefers the DSLR experience.

Read our in-depth Canon EOS 90D review

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Second-hand DSLRs

There are a lot of good reasons to check out the second-hand DSLR market – and saving some serious cash is one of them. It's a great option for newbies taking their first steps into the world of photography, too, providing an option where you don't need to shell out a fortune on a hobby you may not develop a long-term interest in.

Besides the savings, older and pre-used DSLRs can be more rugged, battle-tested options that'll continue to stand the test of time (and the elements). Plus, there's also a great amount of pre-loved lenses available, too

There are a few key factors to keep in mind when scouring second-hand options, however. These include:

• Figure out the shutter count: this is just as important as determining how many miles a used car has on the clock. Shutter count tells you how much the camera has been used, and while a low shutter count typically means that the DSLR will have a longer life, it's not a deal breaker if the count is in the thousands. If you do see a high count, it's worth inspecting other elements of the camera with more scrutiny.
• Take a test image: pop in a memory card and snap a few shots, then review them on the digital screen. This'll also give you a good idea of whether there's any loose dust or scratches on the glass elements, as well as any defects in the sensor.
• Test the lenses and lens mount: if your seller is throwing in some lenses with the DSLR, give them a once over. Are they scratched or damaged? If you've brought lenses with you, or if any are included with the DSLR, swap a few around to see if there's any friction or incompatibility issues.
• Check the hardware: examine the buttons, dials, and rotating rings on the camera – you're looking for anything that feels loose, sticky, or might otherwise impact their ability to communicate to the camera.
• Stick to reputable sellers: you can pick up a second-hand DSLR all over the internet but, as is often the case, they're not all made equal. Head to your local camera store to get a better feel for what's on offer. If you'd prefer to stay online, check out MPB and KEH, and avoid Facebook Marketplace - where scams can run riot!
• Ask about accessories: while some sellers are just offering a DSLR, others will include extras, like batteries, straps, lens caps, and the like. Consider whether these accessories provide actual value – and, if you've already got your own trusty accessories, consider whether you're paying more for things you don't need.

Also consider

My team and I have reviewed a whole range of DSLR cameras, which means there are plenty more that almost made it into this list. Here are a few honorable mentions to consider.

Best retro – Nikon Df: OK, so all DSLRs are retro, but Nikon's Df is retro in a Fujifilm / OM System mirrorless camera sense, with gorgeous metal top plate and manual exposure dials. It's an absolute joy to use as a stills-only camera, with no video recording capabilities whatsoever.

Best second-hand beginner – Nikon D3500: Nikon has discontinued the D3500, but you can still find it second-hand. That’s good, because its combination of great image quality, intuitive menus and superb battery life make it a fantastic option for beginners.

Best cheap – Canon EOS Rebel SL3 / EOS 250D: It might not do anything exciting, but a lightweight body, excellent battery life and generally reliable performance make this a budget DSLR for beginners that still gets the essentials right.

Best second-hand workhorse – Canon EOS 80D: With good ergonomics and a solid build, the 80D is a mid-level DSLR that’s capable of fantastic image quality – ideal for those who don’t need the latest photography tech.

Best entry-level full-frame – Canon EOS 6D Mark II: Impressively user-friendly, the EOS 6D Mark II is a well-rounded entry point into full-frame DSLR ownership. There’s no 4K video and the finish is plasticky, but it’s also produces reliably good stills.

Best rugged – Pentax Kf: A very minor upgrade to the Pentax K-70, the Kf is a compact DSLR with a rugged build. Dustproof and weather-resistant, it’s a good all-rounder for shooting quality stills in all conditions.

Best for black-and-white photography fans – Pentax K-3 Mark III Monochrome: If you’re committed to black-and-white photography, the Pentax K-3 Mark III Monochrome is a good choice. Our tests found the niche model to be well-built and lovely to handle. It’s also capable of sharp stills.

How to choose

Editor's Note

• Original review date: May 2022
• Canon's first flagship APS-C model for mirrorless
• Launch price: $1,499 / £1,349 / AU$2,349 (body only)
• Official price now: $1,399 / £1,379 / AU$2,469

Update: February 2024. Canon has filled out its APS-C range of cameras for EOS R mount mirrorless, but the EOS R7 remains the flagship model that still offers excellent value if you don't need full-frame. No other camera in this crop sensor format can better the EOS R7's 32.5MP resolution, and that class-leading detail is supported by excellent in-body stabilization, rapid high-speed shooting and superb autofocus performance. In short, the EOS R7 remains an excellent camera for wildlife and sports photography. Unfortunately there's still a sore lack of native RF-S lenses to choose from. If you're keen on wildlife and looking for a high performance telephoto lens, you'll need to use one of Canon's full-frame RF offerings, like the RF 100-400mm F5.6-8 or the pricier RF 100-500mm F4.5-7.1 L. The uncertainty surrounding the system's lenses is worrying, but the EOS R7 itself is a certainty as one of the best mirrorless cameras in its class. The rest of this review remains as previously published.

Canon EOS R7: Two-minute review

If you're a keen amateur photographer who also likes to shoot video, the Canon EOS R7 is one of the best cameras you can buy and also the sweet spot in the camera giant's EOS R range for amateur shooters. 

Sitting in between classic DSLRS like the Canon EOS 7D Mark II and EOS 90D, it combines Canon's latest Dual Pixel CMOS AF II autofocus system with speedy 15fps burst-shooting speeds (or even 30fps speeds, when you use its electronic shutter). It's pricier than the Canon EOS R10, but the R7's higher-resolution 32.5MP sensor, in-body stabilization, deeper buffer and dual card slots will justify the cost for many.

Unlike Canon's full-frame cameras, the EOS R7 has an APS-C sensor. While these can't gather as much light as the full-frame sensors seen in cameras like the Canon EOS R6, they do bring a few benefits – including a smaller, lighter overall camera system and a lower price tag.

For its price, the EOS R7 delivers an impressive range of features that show why it's now Canon's flagship APS-C camera. Unlike the EOS 90D, you get in-body image stabilization (IBIS), which helps preserve image quality when you're shooting handheld. You also get two UHS-II card slots and a solid range of video-shooting specs, including headphone and microphone inputs, plus the ability to shoot uncropped 4K/60p video.

Together, these features make the EOS R7 one of the best mirrorless cameras who can't justify Canon's full-frame models, which share the same RF-mount. But this mount is also, currently, the EOS R7's main weakness – at the time of writing, there are only two native RF-S lenses for this camera's sensor.

One of these lenses is an 18-150mm 'all-rounder' that comes available in a package with the EOS R7, with the other being an 18-45mm f/4.5-6.3 kit lens. Other than these two lenses, you have two choices when it comes to optics – use existing full-frame RF lenses, or use either EF or EF-S lenses via the optional EF-to-RF adapter. Neither solution is ideal for keeping things on the light and small side, but hopefully as the system ages, it will also grow to include more options.

Confusingly, you might already be aware of Canon’s 'other' APS-C mirrorless system, which uses the EF-M mount. Lenses from this system are not compatible with the EOS R series' APS-C models, and there’s no way to mount them via an adapter either. Canon has yet to outwardly admit that it’s going to stop making EF-M models. But the arrival of the EOS R7 and EOS R10 means the EF-M series has now likely reached its end.

Aside from this limited range of native lenses, the EOS R7 is otherwise an excellent all-rounder. With up to 30fps shooting combined with Canon’s latest autofocus wizardry, it’s a dream for wildlife, action and sports photographers – especially as that crop sensor will allow you to get closer to the action with your long lenses.

You also get in-body stabilization (IBIS), something that was missing from Canon's mid-range Canon DSLRs. With up to eight stops of compensation, this is ideal for shooting handheld with slower shutter speeds or in low light. 

The EOS R7 is also a nice little camera to use. You get a reasonably solid and chunky grip, plus a good range of dials and buttons that make it enjoyable to change the settings in different situations. Its vari-angle touchscreen is also helpful for shooting from different angles – and while the electronic viewfinder is a little pedestrian, it does the job. 

Dual UHS-II card slots are a nice bonus for a camera like this (and at this price), hinting it might also be favored by pros looking for a good, fast backup model to their main full-frame body. A range of useful video specifications, including uncropped 4K/60p video, round out the specs sheet nicely to make the R7 a great little all-rounder.

In our real-world tests, the camera produced lovely images in a range of conditions, though as we’d expect it’s not quite on par with full-frame siblings when it comes to low-light or high ISO shooting. 

The main problem is that lack of a real lens system to harness the EOS R7's potential. Having to compromise on lenses from the get-go isn’t ideal, particularly when the likes of Sony and Fujifilm have a solid set of lenses to back up APS-C cameras like the Sony A6600 and Fujifilm X-T5. But if the R7 and R10 prove to be as popular as Canon surely hopes they will be, that lack of native lenses should become less of a problem in time. 

Canon EOS R7: release date and price

• Available to order now
• $1,499 / £1,349 / AU$2,349 (body only)
• $1,899 / £1,699 / AU$1,959 (with 18-150mm lens)

The Canon EOS R7 is pretty aggressively priced to make it much more appealing to those on a budget, compared to full-frame models. It also compares favorably to other APS-C big-hitters, too. 

The EOS R7 is just a shade more expensive than the three-year-old Sony A6600. It’s also significantly cheaper than the higher-spec Fujifilm X-H2S, another flagship model with fast-shooting and quick-autofocusing smarts. 

It’s a little closer in price to the Fujifilm X-T5 – the EOS R7 edges it on autofocusing but loses on native lenses, so a decision between the two very much depends on your existing lens collection.

Older full-frame Canon tech, such as the full-frame Canon EOS RP, is available for less than the EOS R7, but uses much older technology that means autofocusing and video is not a patch on the R7.

We’re yet to see a direct 'entry-level' full-frame replacement for the Canon EOS RP, and it's possible that one could be coming in 2023. Right now, there's no real evidence to suggest an EOS RP successor is imminent, and the EOS R7 nicely fills the gap as an affordable mirrorless camera for hobbyists, as long as you prefer the advantages of APS-C cameras over full-frame.

Canon EOS R7 review: design

• Combined control wheel and joystick
• Vari-angle screen and modest viewfinder
• Weather-sealing to same standard as EOS 90D DSLR

Canon has combined elements from both its DSLR line-up and its existing EOS R series cameras to make the EOS R7 both portable and intuitive.

If you’ve used a Canon EOS camera before, you’ll likely be very at home. But even if this is your first time with the brand, it won't be too difficult to find everything you need. Impressively for such a small camera, the EOS R7 manages to include a deep chunky grip, which should prove popular among photographers. At the same time, the overall size of the camera isn't too big for travel shooting.

As you’d expect for a mid-range cameras you don’t get a top-plate LCD for quickly checking settings. The same is true of the full-frame EOS R6, so APS-C users shouldn’t feel too hard done by here. What you do get is a sensibly laid out control system, which includes a mode dial to the right of the viewfinder, a control dial just behind the shutter button and dedicated buttons just behind that for ISO and video recording. 

Flipping to the back of the camera, there’s a joystick-cum-control wheel hybrid that some will love, and others may well hate. It does take some getting used to, especially if you’re an existing Canon owner. But after a few days in its company, it works quite well in tandem with the principal control dial. The dials can be used to adjust shutter speed and aperture – depending on the shooting mode you’re in – as well as flip through menu items and images in playback.

The joystick is ideal for moving the AF point around the frame when shooting through the viewfinder, though you can also use the screen to do this so long as you have 'Touch and Drag' enabled in the main menu.

Other buttons include a four-way d-pad, a useful ‘Q’ button for quickly accessing your common settings, and buttons for playback and deleting photos. Almost all of the controls are found on the right-hand side of the camera, which is ideal for one-handed operation, with the small size of the body meaning everything is within easy reach of your thumb.

If you’re moving to the EOS R7 from a DSLR, one thing you might find yourself getting used to is an electronic viewfinder. The R7’s is arguably a little dated, offering 2.36m-dots, 1.15x magnification and a 120fps refresh rate. But if you’ve never used anything better, then you’ll likely find it perfectly serviceable. Those switching from a DSLR can also switch on OVF (optical viewfinder) simulation, which might help ease you in if you’re not totally convinced about EVFs just yet.

The fully articulating touchscreen is just shy of three inches, but being able to maneuver it into whatever position you need is helpful for video and awkward angle shots. It’s also nice to be able to fold the camera's screen in on itself when carrying it in a bag to keep it free of scratches. A similar standard of weather-sealing to the EOS 90D means the EOS R7 should be able to stand up to a light sprinkling of rain, but we’d probably keep it away from heavy downpours or extensive sea-splashes where possible.

Some had expected the EOS R7 – a camera for wildlife/sports fans – to include a CFexpress slot for ultra-fast shooting. Instead, we get double UHS-II slots. On the one hand, it’s a shame not to have the speeds of CFexpress, but it’s not particularly surprising for an APS-C camera at this price, and it’s undeniably a more straightforward setup. It’s also a lot cheaper to buy SD cards for now, so it’s a better setup for those on a budget.

• Design score: 4.5/5

Canon EOS R7 review: features and performance

• Dual Pixel CMOS AF II, subject recognition and eye-detection
• Up to 30fps shooting with electronic shutter
• 500-shot battery life

The Canon EOS R7 is being heavily targeted towards wildlife and sports shooters, thanks to its high-quality autofocusing and burst-shooting prowess. If you’re coming across from an older DSLR, it's this technology that's likely to impress you the most. It also outshines some of the older EOS R entry-level models, as well as Canon’s EOS M APS-C models, too. 

This power is ably supported by Dual Pixel CMOS AF II, which is Canon’s latest autofocusing system. Broadly speaking, this is something we’ve seen on more advanced full-frame models like the EOS R5 and the EOS R6, which means you get very good performance for the price.

Covering the whole frame, Dual Pixel CMOS AF II also includes clever and useful technology such as intelligent subject-tracking, which can identify animals (dogs, cats and birds), vehicles and people. 

Pro cameras like the EOS R5 and R6 have more AF zones (1,053) than the R7 (651 when the camera is left to automatically select them), so it isn't exactly the same system as Canon's pricier models. But in our tests it kept up extremely well with whatever subject we were trying to follow across the frame, almost unfalteringly so. 

As well as subject-tracking, you'll also see face and eye-detection kick in when you're photographing animals or humans. This also works impressively well  – during our tests, it was able to pick out a bird’s eye from a few hundred meters away and easily track it around the frame.

Similarly, when photographing a dog running around the beach, it did exactly the same – keeping up with a dark eye surrounded by dark fur. Human eyes are just as easily picked out, making it ideal for sports photography and portraits.

Of course, you also need fast shooting speeds for sports and wildlife, and the EOS R7 offers this, too. You get up to 15fps with the mechanical shutter, which is pretty good in itself, but switching to the electronic shutter you get around 30fps. Considering this includes raw shooting and continuous AF, that's excellent for the price. The trade-off is the risk of rolling shutter – which can give slanted vertical lines – but this isn’t something we experienced much.

While 30fps is great, what you don’t get is the same deep buffer such as you’d see on a more expensive model like the EOS R6 or the R5. At 30fps, the camera will need to take a pause after just 42 raw files. But as long as you aren’t too trigger happy and practice controlled bursts, this will be enough for most hobbyist users hoping to catch a specific moment.

It’s worth noting that to take full advantage of these speeds, you’ll need a fast UHS-II memory card. We found when photographing a fast running dog, more shots were in focus than weren’t, making photographing wildlife, sports and action easier than ever before at this price. That said, it's worth noting that the EOS R10 offers a similar hit-rate and is even cheaper than the EOS R7.

The 500-shot quoted battery life is decent for a mirrorless camera. Remember also that this is a lab-specification – in real-world shooting, you can also always eke out more shots if you’re careful with power saving or if you're not doing something power intensive (like shooting 4K video). 

In our tests, the camera always lasted a full day without dropping more than a couple of bars of battery. You can also charge the camera via USB, so if you were particularly concerned, you could always carry a battery pack for power bursts on the go. 

• Features and performance score: 4.5/5

Canon EOS R7 review: image and video quality

Canon EOS R7 review: image and video quality

At 32.5MP, the EOS R7 has a high megapixel count for an APS-C camera. The advantages of this are that images are beautifully detailed, plus you’ve got good scope for cropping – which often comes in handy when shooting wildlife and action-type subjects. 

The downside of all those pixels crammed onto a fairly small surface area is that low-light shooting can’t compete with full-frame models, or even APS-C models with more modest resolutions. That might not be too much of an issue for most photographers, but there are some instances where it can lead to less than perfect imagery. For example, during our test, we used the RF 600mm f/11 lens.

While this is a great lens for wildlife shooting, thanks to its compact size and long reach (960mm equivalent when mounted to the R7), having f/11 as its maximum aperture generally means using fairly high ISOs, even when light is pretty abundant. 

The resulting photos show a reasonable degree of noise and image smoothing. This isn't too bad when looking at images at small sizes, but is pretty apparent as soon as you view them at full size or scrutinize them closely.

On the whole, though, we’ve been very impressed by the EOS R7's image quality. Colors are rich, warm and attractive, just as we’d expect from Canon. The automatic white balance setting proved a winner in every lighting scenario we threw at it - and you can even ask it to prioritize warm tones or cool tones depending on your preference.

The all-purpose metering mode (known as evaluative metering for Canon cameras) worked well to produce well-balanced exposures, even when presented with high-contrast scenarios.

Raw files show a good amount of scope for making adjustments, allowing you to pull back a good degree of missing detail in lowlights and highlights when you need to. You can also change the balance of smoothing and noise if you’d prefer to see a little more detail than the JPEG output provides.

Video quality is also good, with the benefit of uncropped 4K/60p video with 4:2:2 10-bit color depth. We’ve been critical of Canon’s mid-range (EOS M) mirrorless options for their video limitations for some time, so it’s nice to see a good hybrid camera at a reasonable price. 

Content creators may want to consider the EOS R7, especially considering other useful features include the flip-out screen, mic and headphone sockets. One downside of video is that there’s no 4K/120p mode for slow-mo shooting, but that won’t be a deal-breaker for most. 

• Image and video quality score: 4/5

Should I buy the Canon EOS R7?

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Canon EOS R7: Also consider

If our Canon EOS R7 review has you considering other options, here are three more mirrorless cameras to consider...

Testing scorecard

An apparently leaked image of a new Nikon Z8 full-frame camera has emerged to excite Nikon fans – but while it sadly looks like a Photoshopped placeholder, the long-awaited Canon EOS R5 rival does seem increasingly likely to launch soon.

The Nikon Z8 image in question (below) came from the Twitter account 'how2fly', which doesn't have a long track record of reporting leaks or inside information, but it was picked up by the reliable Nikon Rumors.

Nikon Rumors was non-committal about the image's validity, and it certainly looks like a crudely Photoshopped press shot of the Nikon Z9, only without its built-on grip. In fairness, 'how2fly' also didn't claim the image to be official, stating that it's "not allowed to share the high-res picture yet", suggesting that this is indeed a placeholder.

So what should camera fans make of the Nikon Z8 rumors? Other rumor sites, including Canon Watch, have suggested that the 'how2fly' Twitter account is a reliable source, despite its historical lack of Nikon predictions.

But there are other reasons to believe that the growing Nikon Z8 rumors have at least some substance behind them. To start with, Nikon Rumors revealed in June that the camera giant would release two new cameras last month – the Nikon Z30, which did indeed land in late June, and an unknown full-frame camera.

Since then, rumors have grown that this camera would be a Nikon Z8, rather than a Nikon Z6 III or Z7 III, and that it could launch as soon as this month. And on paper, this would make sense – with the main question mark being around which sensor the full-frame mirrorless camera might have.

Nikon doesn't currently have a direct rival to the Canon EOS R5 at that camera's $3,899 / £4,199 / AU$6,899 price point. And it also still hasn't offered a true successor to the Nikon D850, its best-ever DSLR, and a workhorse that many pros still rely on.

This explains the recent rumors from the likes of 'how2fly' that the Nikon Z8 could have the same 45.7MP stacked sensor and Expeed 7 processor as the Nikon Z9, the company's flagship mirrorless camera. The slight problem with the Nikon Z9, even for many pro shooters, is its size and $5,499 / £5,299 / AU$8,999 price tag, so a smaller Nikon Z8 would certainly make sense.

The question is where this leaves the Nikon Z7 II, a camera that's currently the closest to being a Nikon D850 equivalent. The answer could be that it'll simply remain as a more affordable option for photographers, with the Nikon Z8 offering true hybrid power for stills and video – but we'll have to wait for some more substantial leaks and rumors to be sure.

Analysis: A Nikon D850 successor-in-waiting? 

Last month, a Nikkei article sparked rumors that Nikon would "stop developing single-lens reflex models" to "focus on mirrorless models". And while Nikon said that it would continue "the production, sales and service of digital SLR" cameras, it didn't directly refute the suggestions that DSLR development was at an end.

No one had realistically expected Nikon to launch a Nikon D860 DSLR to succeed the D850, but those rumors – and, more obviously, the arrival of the Nikon Z9 – add to a growing sense that the company is now going full speed ahead on mirrorless cameras.

The Nikon Z9 shows that the company's mirrorless tech in areas like autofocus, burst shooting and video does now eclipse that of classic DSLRs like the Nikon D850 – particularly when it's based on a stacked sensor.

But the Nikon Z9 remains an extremely exclusive camera. It's currently out of stock in most regions, including the US and UK, and its $5,499 / £5,299 / AU$8,999 price tag remains prohibitive for almost everyone beyond agency photographers and well-heeled pros.

While there still haven't been any Nikon Z8 leaks yet, the concept certainly does make sense. A smaller camera based on the Nikon Z9's stacked sensor, only with slightly curtailed 8K video and burst shooting powers, would make a formidable rival to the popular Canon EOS R5, even if it would likely be pricier than that $3,899 / £4,199 / AU$6,899 camera.

It would also finally give us a true mirrorless successor to the Nikon D850, a camera that was ahead of its time when it arrived in 2017, but which is now eclipsed by flagship mirrorless cameras in areas like continuous shooting. 

On the other hand, it would also steal some of the spotlight from the Nikon Z9, which was only announced in October 2021 – so we'll simply have to wait for some more credible rumors before we can be sure of what Nikon has planned for its next big launch.

The Canon EOS R3 was already a ludicrously capable sports camera, but a major new firmware update has taken its burst-shooting speeds to records heights for a consumer mirrorless model.

The EOS R3's new firmware version v1.2.0, which you can download now from Canon's official website, brings several new features. But the most notable is the ability to set a 'custom high-speed continuous' Drive mode that makes it possible to shoot up to 50 images (in JPEG or raw) at an incredible 195fps.

As always with maximum burst rates, there are a few caveats – including the fact that this speed will only be possible with certain lenses and in certain conditions. The auto-exposure and autofocus will also be locked in this mode, which means you won't get a hit with every frame.

But the ability to shoot at 195fps, if only for a fraction of a second, means the Canon EOS R3 sets a new speed record for consumer mirrorless cameras. Its main rival, the Nikon Z9, can shoot at a maximum 120fps, but only in a cropped 11MP mode. 

Still, there are likely only a handful of situations – like capturing the precise moment a baseball bat strikes a ball – that could justify such as fast burst mode, and some of the other improvements delivered by firmware version v1.2.0 are arguably more useful.

These include a handy new 240fps slow-mo mode when shooting Full HD video. The Canon EOS R3 is also now compatible with Canon's Cloud Raw processing tech, which is part of the paid Canon Imaging App Service Plan ($4.99 / £5.99 / AU$7.69 per month). 

This service lets you process raw files in the cloud (in a similar way to in-camera raw processing) to reduce image noise without losing detail, though curiously it only lets you do this for 80 images per month. With other upgrades including an improved electronic image stabilization for movies, and in-camera 'depth compositing' (to help remove the joins between stacked images), it's a firmware update that all lucky Canon EOS R3 will want to download soon.

Analysis: It's all in the burst rate small print

Camera burst rates, otherwise known as their continuous shooting speeds, are an important spec for those who like to shoot action and wildlife. But they also only tell part of the story, and often come with important caveats.

Other factors that have a huge bearing on how useful a maximum burst rate is include whether the camera can simultaneously adjust autofocus and autoexposure with each frame, and how big its burst depth is. The burst depth tells you how long a burst rate can be maintained for – and in the case of the Canon EOS R3's new 195fps mode, that's only around a quarter of a second.

That may well be enough to snag a really precise moment, but you'll likely end up with 50 near-identical frames. In reality, the Canon EOS R3's less attention-grabbing burst modes will prove far more useful – for example, its 30fps mode includes both autoexposure and autofocus, and will keep going for 540 JPEGs or 150 raw files. That's a far more useful 18 seconds of JPEGs, or five seconds of raw shots.

As is the case with the Canon EOS R3's new 195fps mode, the other common bits of burst-rate small print are that the top figure will only be possible with certain cards (in this case, a CFexpress card) and with particular lenses, shutter speeds and lighting conditions. 

Still, the impressive shooting speeds possible on Canon's top mirrorless camera, which prompted us to call it "one of the best sports and wildlife cameras ever made" in our Canon EOS R3 review, are a great technical achievement. And the good news is that this tech is starting to filter down to cameras that most of us can afford, like the Canon EOS R7 and Canon EOS R10.

It can be confusing when stepping up from a smartphone into the world of 'proper' cameras. Should I get a DSLR or mirrorless camera? Do I need a lot of megapixels? Is a viewfinder important?

Camera-based questions are good, but I'd encourage you to step away from the web browser (after reading this, of course), backtrack, and ask some more pertinent questions. Why do I need a DSLR or mirrorless camera? What do I hope it will do for me?

With some guided thinking, I think your future DSLR or mirrorless camera has every chance of taking your photography to the next level, regularly empowering you on your creative journey and continually inspiring you to take great pictures.

On the flipside, as a reviewer who's spent over 15 years in the photo industry, I see beginners make the following mistakes when buying a DSLR or mirrorless camera, time and again. Avoid them and you'll get not just one of the best beginner cameras, but the right one for you.

5 mistakes to avoid when buying a DSLR or mirrorless camera

1. Focusing on the camera ahead of your passions

A few years ago, I was in a camera shop and a customer was asking for advice about a camera purchase, primarily by reeling off camera features they had read about online and clearly felt they needed. After patiently listening, the sales advisor threw a curveball by asking, "what do you like to make pictures of?"

Initially flustered, the customer's body language softened, then a curl of the mouth as their cognitive memory kicked in. The focus was taken away from the camera kit itself, and onto the joy of making the pictures. For me, this is the first and most important question to ask yourself when looking for new camera kit.

If you don't have the right tool for your creative passions, you will become disappointed, disillusioned, and the camera will remain in a bag gathering metaphorical dust, losing value. The greatest joy that camera kit brings is by helping you make the pictures you hope for. 

The truth is, most modern cameras can do most things, but some are better suited to certain subjects than others. Wildlife and action photographers are more likely to capture a decisive moment with a camera that has good autofocus and can shoot a high number of pictures in a second (known as the burst rate). Think the Canon EOS R6, Panasonic Lumix G9 or, for a second-hand option, the Nikon D500 DSLR. 

On the other hand, a small and quick-response camera like the Fujifilm X100V or Ricoh GR IIIx helps you blend in and those around you to relax – ideal for documenting family life and street photography. The bottom line; know what scenarios energize you creatively, and use that to guide your camera search, rather than vice versa.

2. Not getting your hands on the camera first

Passions come first, but it doesn't half help if you enjoy the camera that's in your hand. DSLRs and mirrorless cameras are so different to smartphones, where do you begin when there is such a wide choice of styles, sizes and brands?

My recommendation is getting yourself hands on with a variety of camera systems and see how each one feels for you. I remember years back discovering an immediate affinity with the Fujifilm X-T2 at an airport when I had time to kill. 

But even better, get yourself down to your local camera store – if you have one. If not, it's still well worth making the pilgrimage to chains that still have physical stores. In the US, those include the likes of Adorama, B&H Photo Video and Samy's, while in the UK you can still pop into the likes of Park Cameras or the London Camera Exchange (which is also outside the capital).

When you first hold a camera, it's the design subtleties that can make or break your experience. And don't be ashamed to factor a camera's looks into your decision – after all, a camera that want to pick up and hold is one that you'll use more regularly.

How is its size and weight for your purposes? Is the grip comfortable in your hand? Try different lenses on and feel the balance (for more on lenses, see point 4). If you are stepping up from a smartphone, find a camera with a viewfinder and see what you think of it – these become especially helpful for clear viewing in bright light.

Think about how easy this camera is to use as a beginner, but also how far it could take you as your skills improve. Auto shooting modes are all well and good at the beginning, but are you really learning how to use a camera when it's the one in control? Instead, get one with enough manual control and learn how it all works. This could just be the camera that inspires your creative development and sees you make some of your fondest pictures.

3. Only buying the latest and greatest

When buying your first camera, it's totally understandable to go new. But there are many reputable secondhand retailers where plenty of bargains can be had, especially for cameras that have been succeeded by later models. 

For an in-depth guide on how to do this, check out our how to buy a second-hand DSLR or mirrorless camera explainer. It includes tips on how to check your camera's shutter count, some of our favorite second-hand cameras, and the best stores to buy from. 

A second-hand, previous-generation camera often costs less than half of the price of the newer version that's still on the shelves. And for photography, mirrorless cameras have reached the point where the last generation are more than good enough for most beginners (with newer features tending to be more video-focused).

For good examples of this, check out the Olympus OM-D E-M5 Mark II, Olympus E-M10 Mark III, Panasonic Lumix GX80/GX85 and Fujifilm X-T20 (below).

There is also such a thing as too much camera, regardless of budget. As a beginner, you don't need a pro sports camera like the amazing Nikon Z9. It's not even a sensible choice for pro studio and landscape photographers for whom resolution is king – they will find the same image quality potential in the the half-size, half-price Nikon Z7 II.

Unless you're printing onto billboards, don't get bamboozled by megapixels, either. The more pixels, the larger the image size, but anything at 12MP or more is easily enough for an A3 print. Also, more pixels on the same size sensor has an adverse impact on low light image quality, because smaller pixels are less able to collect light.

4. Not budgeting for lenses

DSLRs and mirrorless cameras are part of a system whereby the camera body is only the beginning. I can almost guarantee that the majority of those who have lost interest in their DSLR or mirrorless camera never bought an additional lens after getting the camera.

Getting the right lens is arguably more important than your choice of DSLR or mirrorless camera – it's a key reason to save money on your camera purchase. Kit lenses have improved down the years, but the full potential of a system camera is realized by investing in the system, chiefly through the best lens or lenses according to your needs and budget.

Interested in portraiture? There is a big difference in the out-of-focus quality of a lens with maximum f/1.8 aperture compared to f/5.6. With the former you can get popping portraits with buttery smooth backgrounds. With the latter, the reality is it's much harder, even impossible, to achieve the same effect.

Most DSLR and mirrorless camera systems offer affordable lens options that can outperform kit lenses. For family life and portraits, a good place to start is a cheap 50mm f/1.8 lens – it's a similar experience to the portrait lens in a phone. If you are into wildlife and action photography, you'll want a close-up lens whether it's telephoto or macro.

5. Dismissing smartphones

As a long-time photographer, writing this one pains me a little. One mistake you can make when buying your first DSLR or mirrorless camera, is to buy a DSLR or mirrorless camera. Smartphones have incredible cameras these days, and you could redirect the money from a camera purchase into buying one of the best camera phones instead like the iPhone 13 Pro.

Even my three-year-old mid-range Google Pixel 4a smartphone has a half-decent camera for general photography. It is in my pocket most of the time, ready-to-go, and it's the camera that I have actually used the most since I bought it. However, there has been much progress in smartphone camera tech since then, with multi-camera units and bigger sensors serving up more genuine depth and low-light prowess.

So rather than buying a 'proper' camera, your best option could be to upgrade your smartphone. A phone won't suit all kinds of photography, of course – there are at least five things that a DSLR still does better than a phone. But for general photography, and learning how to use different focal lengths, it can be a good way to discover what kind of camera will suit you best. 

If you take the smartphone route, I would still advise learning how to use its camera better – the same advice I'd give for your DSLR or mirrorless camera. Have you ever dug into the camera menus, or explored the various manual modes? Learnt about composition and the best light to shoot in? 

A good place to start are our guides on how to take professional portrait photos with your phone, how to take epic landscape photos with your phone, and how to take professional food photos with your phone. All of them contain tips from pro photographers who use their phones for work, which is another ringing endorsement for how far smartphone cameras have come.

Quick steps

• Log in to YouTube
• Look for the camera button, or the encircled ‘+’ on mobile
• Select a video for upload
• Fill out the required fields and hit publish

How to upload a video to YouTube

It’s relatively simple to upload a video to YouTube, whether you’re a creator looking to make a name for yourself, a small business or if you just want to upload videos to share with family and friends.

YouTube is the largest video-sharing platform around, and one of the most visited websites on the internet; it’s a massive opportunity for creators, but a daunting one nonetheless.

In this guide, we’ll be walking you through all of the necessary steps to upload your video onto YouTube on both mobile and desktop, as well as highlighting some easy wins to get your video seen. We've also included a small guide on monetizing your YouTube videos.

Not shot your video yet? Grab one of the best YouTube cameras to get you set up for success.

Tools and Requirements

• Phone, laptop or computer 
• Video(s) ready for uploading
• A YouTube account
• The YouTube app (mobile users only)

Steps for uploading on YouTube desktop

• Uploading your first YouTube video is nice and simple on laptops and PCs. First, open your browser and navigate to the YouTube website and log in to your account. 
• You’ll see a camera icon in the top right corner with a ‘+’ symbol inside of it - click this.
  

• You’ll be taken to your channel’s content manager, and from there, click upload video.

• Now, you’re in your YouTube studio - great! From here, you can either drag or select your video file to upload. If your video is less than 60 seconds long and, YouTube will automatically register this as a YouTube Short, which have a slightly different upload process.
• If your video is longer than 15 minutes, you’ll need to verify your Google account by supplying your mobile number.

• Add a video title and description. If you want to reach new audiences, make sure to include plenty of keywords to help YouTube’s search engine pick up your content. Scroll down to view more details.

• Choose a thumbnail. You can either use a still from the video, or upload your own image - make sure to use something eyecatching that depicts the video well. You can also add the video to a playlist, where applicable. Scroll down to view more details.

• The next step is important - YouTube is increasingly focusing on child protection, so you must indicate if your video is aimed at children. It is important to be truthful to avoid legal ramifications. Scroll down to view more details.

• (Optional) Click the ‘More options’ button - this lets you fill in more information to help YouTube correctly tag your video, including paid promotion declarations, tags, language, subtitles and closed captions and more. Once completed, hit ‘Next’.

• (Optional) Next up, you can add video elements, which allows you to add end screens or cards throughout your video - these help your video look more professional and links viewers to your other content. Once completed, hit ‘Next’.

• The next screen will detail YouTube’s copyright checks. You don’t need to do anything here, unless you need to raise an issue with YouTube’s determination by clicking the ‘Send feedback’ text. Otherwise, click ‘Next’.

• Select your visibility level (public, unlisted or private) and, where appropriate, schedule your video’s release date and time.
• Finally, you’re ready to publish your video, by clicking either ‘Save’ or ‘Schedule’.

Steps for uploading on iPhone and Android

• First, open your Youtube app and log in to your account. At the bottom of your screen, you will see an encircled ‘+’ symbol inside of it - tap this. 
• A menu will appear offering three options - select ‘Upload a video’ (see below left)

• You’ll be taken to an upload screen which will show you all of the available video files from your mobile device or tablet - it may ask for your permission to access your gallery, which you’ll need to permit. Tap the video that you want to upload, and after it begins to play, tap ‘Next’. If your video is longer than 15 minutes, you’ll need to verify your Google account by supplying your mobile number. 

• Next up, you’ll be able to fill in the details of your new video. Write up a video title and description (see below), using key words to give your content the best chance of reaching new audiences in YouTube’s algorithm.

• (Optional) To change the thumbnail, click the photo icon with a ‘+’ icon in the top left of the video preview and select an image from your library.

• Tap the ‘Public’ field to set your visibility level (public, unlisted or private) and, where appropriate, schedule your video’s release date and time (see below).

• Go back to your details page by clicking the back button. If you want, you can also fill out the location of the video and add the video to a playlist (see below left). Tap ‘Next’.

• Next up is the audience page, where you can tell YouTube if your video is aimed towards children. Make sure to be truthful here - regardless of your location, you are legally required to comply with COPPA and thus must confirm your target audience (see above right).
• (Optional) From this screen, you can also age restrict your video. Once done, tap ‘Upload’. Your video will process and appear on your channel when done!

How to monetize your YouTube videos

While it's not the Golden Goose it once was, there are still huge revenue opportunities on YouTube - but you need to go through a few steps before you can monetize your content.

Crucially, you'll need to apply and be accepted into the YouTube Partner Programme (YPP) before you can access any of the YouTube-based revenue options. You'll also need to check you've completed all of the due diligence that YouTube requires to allow monetization for your account.

There are five routes through which you can earn money on YouTube:

• Advertising revenue: The most popular and obvious means from the get-go is through ad revenue, which is based off of display, overlay and video ads on your content. You can turn on ads for videos in the YouTube Studio using the monetization menu. 
• Channel memberships: If you have rewards and perks to offer your viewers, they can make recurring monthly payments to become channel members. You can turn these on through the memberships page on YouTube.
• Merch shelf: If you have merchandise as part of your business model, you can showcase it on your page. You can turn on merchandising using the monetization menu in the YouTube Studio.
• Super chat and super stickers: If streaming is part of your schedule, your fans can pay to have their messages highlighted in chat. You can turn these on in the YouTube Studio using the monetization menu.
• YouTube Premium Revenue: If your viewers are subscribed to YouTube premium, you can get a small cut of their subscription when they watch your content. You don't need to turn anything on here - just make sure your content meets community guidelines and that you've signed up for the YPP.

Final thoughts

While uploading your video to YouTube is relatively easy, for creators there is a certain knack to filling out the details and increasing the reach of your video. 

Focusing on keywords, making an eye-catching thumbnail, using tags, and otherwise giving YouTube as much context as possible to your content are great foundations. Still, mostly you’ll learn by doing and seeing what trends emerge with content similar to yours.

The DSLR has been pronounced dead more times than Rasputin – and this week the death knell rang once more thanks to a report from Japanese newspaper Nikkei, which claimed that Nikon is planning to "stop making" single-lens reflex models to "focus on mirrorless models". Canon, it said, was planning to do the same "within a few years".

This wasn't really surprising news, or perhaps news at all. Last month, Nikon announced that it was halting production on two of its best beginner DSLRs, the D3500 and D5600. Still, the idea that Nikon could soon stop producing its entire DSLR lineup was a new development – if not entirely true, according to Nikon.

In a statement, Nikon branded the article "speculation" and said it "has made no announcement in this regard". Somewhat vaguely, it added that "Nikon is continuing the production, sales and service of digital SLR" cameras, without mentioning any particular models or anything about development.

But we don't need to wait for a statement from Nikon or Canon to know that DSLRs are now a legacy format. 

Nikon's last new DSLR, the Nikon D780, was announced in January 2020. Fittingly, it's the same for Canon, whose Canon EOS 1DX Mark III arrived in the same month, and was later confirmed to be the camera giant's last flagship DSLR.

The shift to mirrorless-only production, accelerated by the effects of the pandemic, started back then. And while that's sad for fans of the DSLR format, I think it's ultimately a good thing. 

Sacrificial cams

How can having less choice be good for camera buyers? In an ideal world, Nikon and Canon could keep updating classic DSLRs like the Nikon D750 and Canon EOS 5D Mark IV for photographers who prefer optical viewfinders, the latter being the key difference between DSLRs and mirrorless cameras.

But today, camera makers are a long way from an ideal world. The closest they got to one was back in 2010, when global digital camera sales peaked at 120 million units. Over the next decade, that sales graph would plummet harder than Bitcoin on a skydiving trip, reflecting a 93% drop in worldwide shipments.  

For Nikon and Canon, the only response to this situation is to take a scythe to their product ranges. Apple reached a similar tipping point in the late 90s, when Steve Jobs returned and immediately cut the company's sprawling product lineup by about 70%. Interestingly, one of those products was the Apple QuickTake, one of the world's first digital cameras.

The slow demise of the DSLR, then, is ultimately a good thing for camera buyers. If anything, it needs to happen more quickly. The need to produce and support F-mount and EF-mount cameras and lenses still remains to be a huge brake on the development of Nikon and Canon's mirrorless cameras. But ending the development and production of DSLRs like the Nikon D3500 should certainly help speed up the development of mirrorless systems like the Z-series.

This is a necessary evil because mirrorless cameras and lenses are more complex than their DSLR predecessors. Both Nikon's Z-Mount and Canon's RF-mount have a larger diameter and a shorter flange distance (the space between the sensor and mount) than those found on DSLRs. While this means that lens designers can make better optics, the technical complexity also demands more resources.

This is partly why mirrorless lenses can cost anything from 10-50% more than DSLR lenses. And also why DSLRs, despite their slow-motion death, remain a good option for those on a budget, particularly when you buy second-hand.

Cult classics

Not everyone will agree that DSLRs have been left behind by camera evolution. The reason why these cameras are an emotive subject for photographers is because their USP – having an optical, rather than electronic, viewfinder – gives DSLRs a unique shooting experience.

The satisfying clunk of their mirror, the feel of a tool with moving parts – these things are often more engaging and rewarding than ruthless digital efficiency of mirrorless cameras. Not many people would argue that electric cars are objectively better than manual-gearbox classics, they're just different. 

Mirrorless cameras do now have the technical edge in areas like autofocus and video. But DSLRs will always have a cult following, for the same reasons that film and instant cameras have – like turntables and vinyl – seen a small but significant resurgence in recent years.  

Sadly, in today's perfect storm of incredible smartphone cameras, supply chain issues and a cost-of-living crisis, this isn't enough to justify keeping DSLRs and their lenses in development at the expense of mirrorless progress. The brilliant Nikon Z9 and Canon EOS R3 show what's possible when the camera giants go all-in on mirrorless – and we're now starting to see some of the benefits trickle down to more affordable cameras, like the Canon EOS R7.

Twilight years

This doesn't mean the growing minority of DSLR fans can't continue to enjoy their preferred format. There is now incredible value to be found in the used market – for example, you can find the Nikon D500 (original price: $2,000 / £1,729) for only $900 / £799 on eBay. 

We're also still a few years from new DSLRs being completely phased out. According to the latest CIPA figures, there were around twice as many new mirrorless cameras shipped as DSLRs (1.3-million, compared to 747,000 DSLRs) in the first five months of this year. Even if those figures may have been affected by stock shortages of mirrorless models, that isn't a complete whitewash.

Still, there's little doubt that the gap will continue to grow, particularly with Nikon and Canon now fully focused on out-gunning each other in the mirrorless battle. And that needs to happen if the camera giants are going to continue making photographic tools that appeal to more than a super-niche of professionals.

The pace of this technological change might even make today's mirrorless cameras look old hat. As the Nikon Z9 shows, the next big trend is 'shutterless' cameras that don't even have a mechanical shutter and offer a completely electronic shooting experience. For traditionalists who like moving parts, DSLRs are suddenly sounding even more appealing again.

Does buying a DSLR camera make sense in 2022? If you’re still shooting all your photos and videos on an iPhone, the answer might be yes.

DSLRs can now be realistically considered a legacy camera category, with only a handful of companies selling new models and smaller mirrorless cameras now being the more popular choice among new buyers. 

But DSLRs do also represent a cheap way to get your hands on a camera with interchangeable lenses and a viewfinder – and most importantly, they still do a lot of things better than an iPhone when it comes to photography.

We’ve picked out five key areas where DSLRs still trump smartphones below. Read on and discover the ways in which you can expect to up your photo and video game by swapping your iPhone for a DSLR. And don’t forget to check out our definitive rundown of the best DSLRs you can buy right now, too – if you like what you read here, your next camera may be on that very list.

1. Optical zoom

While it’s true that a small number of smartphones offer an optical zoom, you won’t find it on a single iPhone model. The mechanics of creating a proper optical zoom lens require space, and space in a smartphone is already at a huge premium. For most phones, it simply makes more sense to use fixed focal length lenses and offer zoom via the digital method instead. The downside? When you get down to brass tacks, digital zoom is essentially just cropping a photo, and that always results in a noticeable loss of detail.

This isn’t an issue on a DSLR, which can be fitted with different lenses for different jobs. A standard zoom lens covers the wide-angle to medium-telephoto range, making it ideal for shooting everything from a landscape to a portrait, while a telephoto zoom lens is ideal if you’re mainly shooting distant subjects (wildlife or sport, for example). 

Thanks to the ability to shift lens elements internally, a DSLR’s lens’ zoom is achieved optically rather than digitally, and consequently no detail is lost when you zoom up close to make a far-off subject fill the frame.

It’s also worth noting that you can still ‘digitally zoom’ into DSLR shots simply by cropping into the area you want to be larger in your final image. Cropping can always be done using basic post-production software on your computer, but some cameras offer in-camera cropping, too.

2. Dynamic range and low-light performance

Whether it's an APS-C or full-frame chip, a DSLR camera sensor is physically a lot larger than an iPhone sensor. That gives DSLRs a couple of big head starts when it comes to image quality, particular for dynamic range and low-light performance.

Dynamic range is the difference between the brightest and darkest color tones that a camera is able to capture; having a high dynamic range means that images will display a greater tonal scope, bringing extra visual detail to the brightest and darkest areas of a photo or video.

iPhones achieve this effect via bracketed shooting, merging several shots taken at different exposure settings into a single HDR image. It can work quite well in certain conditions, but it’s worth nothing DSLRs can also do this – while starting with better quality shots. That makes their higher dynamic range images all the more impactful, if a little more complex to achieve.

Low light performance has got steadily better in iPhones, but when it comes to achieving sharp, low-noise shots in dim indoor lighting or at night, there’s no smartphone capable of matching a full-frame DSLR fitted with a fast lens. The bigger sensor, the more light it captures when using a set shutter speed.

3. Shooting in bright light

Trying to compose a great photo on a sunny day can be tricky on a smartphone, with glare on the screen making it hard to see what’s in frame. There aren’t really any consistent solutions to this: you can step into the shade if it’s available, or crank up the screen brightness, but neither are ideal or always practical.

Thanks to its optical viewfinder, a DSLR has no such issues. You can place your eye up to the viewfinder and preview your shot ‘through the lens’, with the eyepiece shutting out any potentially distracting sunlight. 

Note however that, unlike the electronic viewfinders used by many mirrorless cameras, a DSLR viewfinder cannot preview things like exposure, browse menu screens or review shots you’ve already taken. 

One thing you can preview with an optical viewfinder is depth of field (the areas in your image which will be in sharp focus when you hit the shutter button): there’s usually a small button located on the camera body near the lens mount to do this.

4. Handling and ergonomics

iPhones are designed to fit in your pocket. They aren’t designed to be comfortable and steady in the hand while taking photos – hence many frequent iPhone photographers using a case that includes some kind of stability-aiding handle. For most photographers, an iPhone’s handling is a problem to be dealt with rather than something to celebrate.

DSLRs are a different matter entirely. Being primarily designed for handheld photography, they’ve got excellent handling – especially in comparison to a smartphone.

Many generations of design tweaks has led to a common look among all DSLRs: a protruding grip for the user’s right hand, often with depressions, ridges and textured finishes to aid purchase and stability. With the user’s left hand gripping the lens barrel, not to mention a neck or shoulder strap providing a further point of stability, holding a DSLR comfortably and steadily is rarely a problem. 

The shutter button is placed so that the user’s right forefinger will comfortably rest on it during use, and usually feels responsive and reactive in a way no touchscreen button (or volume down button posing as a touchscreen button) can replicate. Other controls to tweak shooting settings like ISO, shutter speed, autofocus and exposure compensation are usually placed within easy reach of a finger or thumb too, which makes swiftly tweaking the way you shoot on the fly a lot easier on a DSLR than on an iPhone.

5. Capturing fast-paced action

iPhones can shoot a rapid burst of shots quite well (just hold down the shutter button), which helps when attempting to capture a fast-moving subject. But autofocus and autoexposure rarely keep up with the action, which can leave your subject poorly exposed or even out of focus.

DSLRs, particularly higher spec models, tend to be far better at shooting tricky, fast-paced action – one of the reasons DSLRs from Canon and Nikon are the favored tools of many a photojournalist and sports/wildlife photographer. 

The Canon EOS-1D X Mark III can shoot continuously at 20fps with AI-assisted 191-point autofocus, while the Nikon D6 can shoot 14fps with 105-point autofocus. By combining fast, accurate AF with fast shooting and large buffers, users of DSLRs can capture hundreds of shots in a matter of seconds, picking out the best later on.

Be warned, though: entry-level and mid-range DSLRs aren’t as rapid, so picking a fast mirrorless model might make more sense if speed and responsiveness is a priority and you don’t have the budget for a premium DSLR.

Canon has only just announced the new Canon EOS R7 and EOS R10, its first two RF-S mount cameras with APS-C sensors. But rumors are already swirling that a Canon EOS R100 model is en route with an even lower price tag than the EOS R10. And in these trying financial times, that could be very good news indeed for hobbyist photographers.

According to the latest rumors, the EOS R100 will sit below the EOS R10 and become a new entry-point for buyers who want an affordable mirrorless camera. In theory, it could be like a Canon EOS M50 Mark II, but using RF family lenses rather than the now less exciting EF-M type.

The RF series of lenses was initially made for full-frame cameras, but more recent RF-S lenses have now been made specifically for those with APS-C sensors. Rumors suggest that more of these RF-S lenses are en route, which would be good news for the EOS R100.

The Japanese website Asobinet predicts the camera will arrive in the first half of 2023. While the site describes its source as “unreliable”, the usually reliable Canon Rumors says "we do think a camera body under the Canon EOS R10 is very likely". We've combined the latest speculation with our thoughts on what we'd like to see from what's expected to be Canon's cheapest RF-mount camera.

Canon EOS R100 price and release date

There are no current pricing rumors for the EOS R100, but the Canon EOS R10 gives us a ballpark to consider. That higher-end camera costs $979 / £899 / AU$1,499 body-only. 

It seems feasible that the Canon EOS R100 could cost a similar amount with a kit lens (like the new RF-S 18-45mm F4.5-6.3 IS STM below), or have a body-only price of a couple of hundreds dollars less.

Some suggest it could be as low as $599, matching the current EOS M50 Mark II. That’s a best-case scenario, though, and we would not be too surprised if the new model is a little more expensive. 

The Canon EOS R100's job is to modernize the EOS M50 Mark II a little, to solve a few of its glaring video weaknesses, and offer more casual photographers a lens system that doesn't feel like a dead end. Here’s what we hope to see from the camera.  

1. Design: can the EOS R10 get smaller?

There are two obvious routes that the Canon EOS R100 could take, and both have been mirrored by a pair of Sony’s affordable cameras. 

Like the Sony A6100, Canon could produce a camera with all the usual bits of hardware, like an electronic viewfinder, but incorporate lower-end specs. Or it could strip the thing back more comprehensively in order to appeal specifically to content creators on a budget – like the Sony EV-Z10. 

The latter would be arguably be more interesting. But the Canon EOS R100 name strongly suggests it will be more of a classic all-rounder APS-C camera like the Canon EOS M6 Mark II. 

Lower-cost, pro-style cameras are usually smaller and lighter than more expensive ones, but the ways to trim down the design from the EOS R10's mold are not immediately obvious. That camera does not have any official water or dust proofing, it does not use a bulk-adding IBIS system, and it weighs an approachable 429g with battery and SD card. That certainly isn't heavy. The large RF-S lens mount won’t help either – the body can only get so small.

However, Canon could trim down the grip and potentially use a slot-in EVF like the Canon EOS M6 Mark II. This would eliminate the lump on the top of the other R-series models. And bundles with and without the EVF would let Canon further reduce the entry price – although you can bet you’ll pay over the odds if you decide to buy it afterwards.

Using a lower-quality shell would also help lower weight and reduce costs slightly. We complained about the EOS M6 Mark II’s build quality in our review, but if that’s required to get the Canon EOS R100 to the right price, the sacrifice could be worth it. 

Canon may also choose to simplify the controls a little, perhaps removing the Canon EOS R10's dial by the shutter button – because if the design is as compact as we hope, there will be little room in the hand grip for it.

2. EVF: 2.36M-dot, please

The best argument for a removable, optional, viewfinder in the EOS R100 is that the EOS R10 has just about the lowest quality level that provides a good experience. It has a 2.36-million dot EVF, equivalent to 1024 x 768 pixels. 

A 1.44-million dot EVF is the step below, which amounts to 800 x 600 pixels. While the Sony A6100 uses an EVF of that resolution, that camera was released in 2019 — four years before the expected R100 release. Times change and expectations rise.

An ideal outcome for the Canon EOS R100, however, might be a rangefinder-style EVF placement, where it sits to one side of the camera, rather than at its centre. 

This would give the camera the sleeker shape of the EOS M6 Mark II, without getting rid of the EVF altogether or demoting it to an awkward  'optional extra' that sits in the hotshoe. However, this is not a typical Canon style and raises the question of whether there'd be room to fit it into the camera, when available body space is already reduced by the larger RF lens mount. 

We initially thought the cost might be prohibitive too – a 2.39M-dot EVF at $599? But then we remembered the EOS M50 Mark II has that very resolution at the same price. The necessary cut here will be magnification, meaning the EVF’s image is going to look relatively small compared to that of a higher-end camera. 

3. Sensor and AF: Dual Pixel CMOS AF II 

The Canon EOS R100 is likely to use the same sensor as the EOS R10, a 24MP APS-C size chip. As such it will take stills of comparable quality to that camera.

This also means the camera will have a very similar autofocus system, as the AF points are right there on the sensor. Canon calls this AF system Dual Pixel CMOS AF II. The Canon EOS R10 has 651 points when using standard autofocus, or 4,503 when manually selecting single-point AF positions.

Considering the Canon EOS R100 is also likely to have the Digic X processor, there’s little reason for it to lack the eye, face, body, vehicle and animal tracking of the EOS R10. 

Of course, Canon could choose to leave out some of the secondary object recognition modes in order to create a clearer delineation between the R10 and R100. 

4. Performance and buffer: is 14fps realistic?

The one current suggestion about the Canon EOD R100’s performance, as per the leaks published by Asobinet, is that it will shoot at up to 14fps. This would be far faster than the 8fps of the FujiFilm X-T200, and noticeably quicker than the 11fps Sony A6100. 

Still, those speeds are a little slower than the 15fps (mechanical shutter) and 23fps (electronic shutter) speeds of the Canon EOS R10 – so not entirely unrealistic.

You are also unlikely to be able to shoot for too long before filling the Canon EOS R100’s buffer, after which the camera slows to a crawl as it flushes out the data. 

You’ll likely be able to shoot for a couple of seconds maximum when shooting raw files, or a handful when capturing JPEGs, but that should still be enough to snag some in-focus shots of the family dog.

5. Video: full-width 4K/30p

An Asobinet leak suggests the Canon R100 will be able to shoot 4K video at 30 frames per second, but not 60fps. 

This would match APS-C competitors around the same price. The FujiFilm X-T200 is limited to 4K/30p, while the video-focused Sony ZV-EV10 can only shoot at 24p and 30p. At some point, entry-level APS-C cameras will start to offer 4K/60p, but the Canon EOS R100 seems unlikely to be the camera to make that leap. 

What we want to see is 4K/30p and 4K/24p without a crop, meaning the footage is oversampled from 6K’s worth of data. There should also be solid electronic/software stabilization for those looking to casually shoot video at 1080/60p.

We also want to be able to use PDAF (phase-detect) autofocus at 4K. As much as anything else, this is about consistency of experience. The user shouldn’t have to spend time wondering why AF performance suddenly gets so much worse when you start shooting 4K video. 

The Canon EOS R100 is not, however, going to be a camera laser-focused on content creators. Canon’s step-up EOS R10 model lacks a flat Log shooting mode, so the R100 is also unlikely to have one. And it may lack that camera’s HDR PQ mode, which shoots in YCbCr4:2:2 10-bit color. 

However, much of the intended audience for the R100 is going to de dumbfounded by terms like Log and 4:2:2. Its job is to be easy to use and affordable, and by elevating video capabilities above those of the EOS M50 Mark II, Canon should be able to make the EOS R100 a compelling option for those who want mirrorless on a budget.

The long-awaited return of affordable mirrorless cameras looks likely to continue this year, with the rumored OM System OM-5 getting a possible launch date for its potential battle with the Canon EOS R7.

The OM-5 is expected to be the cheaper sibling of the OM System OM-1, which is one of the best mirrorless cameras we've seen in 2022. And the usually reliable 43Rumors claims the new camera "will be announced in late September and start to ship in October".

The site has backed up it claims by saying that it's "now 99.9% sure OM Digital will announce the new OM-5 in late September", so this isn't a wild rumor. The launch would also make sense as the company's second new camera since it officially bought the Olympus camera division in January 2021.

While the OM-5 isn't expected to be a direct successor to the Olympus OM-D E-M5 Mark III, it will likely perform a similar role to that camera in the OM System lineup – namely being a mid-range option for those who can't stretch to the flagship model. If so, that would put it on a collision course with the Canon EOS R7, which is the new mid-range model in Canon's EOS R range.

Right now, we don't have any rumored OM System OM-5 specs to go on, but we can make a few educated guesses about what we might be able to expect from it, come September. It seems likely that the camera will inherit the OM-1's new 20MP Micro Four Thirds stacked sensor, which we found delivered much-improved AF performance compared to earlier Olympus cameras.

This sensor also powers speedy burst mode shooting speeds of up to 50fps in its silent electronic mode, or 120fps with fixed focus. Where exactly the OM-5 will cut corners in order to get that lower price tag isn't clear, but in the past the E-M5 series has done this in areas like the EVF (electronic viewfinder), video performance and the inclusion of only a single card slot.

Still, if OM Digital manages to pack similar computational photography smarts and autofocus powers to the OM-1 into a smaller, more affordable package, then it could have another Micro Four Thirds winner on its hands.

Analysis: The fight for the middle ground

At the start of 2022, we feared there might be a permanent hole left in the middle of the mirrorless camera market, with manufacturers focusing on full-frame flagships and smartphones continuing to evolve into hobbyist cameras. But this year we've been pleasantly surprised by the arrival of new mid-range models – and the OM System OM-5 could potentially be one of the strongest.

During our OM System OM-1 review, we became convinced that the camera's phone-style computational tricks – like Live ND, Focus Stacking and High Res Shot – are the future of mirrorless cameras. The OM-1 still has its flaws, like its average subject-tracking autofocus, but if the rumored OM-5 can inherit its many good sides, then it could be a fine new choice for travel or wildlife shooters.

That said, the Canon EOS R7 and cheaper EOS R10 are also shaping up to be fine new options in this space. We haven't been able to fully test either of those cameras yet, but during our hands-on Canon EOS R7 review we were mighty impressed by its autofocus performance, not to mention the potential value offered by its $1,499 / £1,349 / AU$2,349 body-only price tag.

With other rivals like the Fujifilm X-H2 likely to launch in September, it looks like that price point will be the main battleground for mirrorless cameras this year. And if that's understandably still too expensive in these tricky financial times, then buying a second-hand DSLR or mirrorless camera is still a good option to consider.

• Camera budget a little more tight? Read our guide on how to find a great DSLR or mirrorless camera for under $500

It's already been a pretty momentous year for Canon. In March, its Canon EOS system – which kicked off in 1987 with the Canon EOS 650 – celebrated its 35th birthday. And last month, we saw the arrival of the Canon EOS R7 and EOS R10, two mirrorless cameras that are both powerful and pretty affordable.

But despite the global domination of its EOS brand, Canon's history spreads much farther and wider than its 'Electro Optical System'. So we've decided to gaze back through time and pick out what we think are the best Canon cameras from its 84-year history. After all, if there’s one thing that gets our heart rate going more than a new camera, it’s an old camera.

Also, if there’s one company whose product history tracks the development of modern photography from the very earliest days of photography’s mass-market appeal to the very, very recent past, it’s Canon. 

From its 1934 Canon Hansa (let us know if you’ve got one mouldering in a cupboard; they’re selling for about $7,000 / £7,000) to the EOS R7, Canon cameras have documented two World Wars, 20 Olympic Games, hundreds of world leaders and countless family memories.

From cameras that worked without batteries to today’s supercomputers-with-a-lens, tracing Canon’s lineage is to trace photographic history – and consumer and professional tastes. 

Here, we’ve lined up 10 of the company’s most notable cameras, both from the world of film and the days of digital. How many have you owned – and which would you add to our list?

The best Canon cameras ever

10. Canon EOS 3 (1998)

• Why it's a classic: it was the ultimate 35mm professional/amateur hybrid

Plus ça change. There was a 23-year gap between the Canon EOS 3 and the next-gen Canon EOS R3, but while Canon’s line-up of high-end cameras was slightly the poorer for the want of a 3-series digital camera, the EOS 3 is an interesting product that tied together Canon’s professional and amateur cameras.

First, the specs: this was a 35mm camera noteworthy, first and foremost, for its autofocus system, which boasted enough tricks you could slap a pointy hat on it and call it a wizard. Outside of the EOS-1 range of top-end cameras, it had the most sophisticated autofocus system of any of Canon’s cameras, whether digital or film, until the EOS 5D Mark III. 

With 45 autofocus points spread across the frame, it allowed a huge amount of compositional flexibility. Not only that, the EOS 3 was Canon’s last camera to allow for eye-control AF, in which you could direct it to use a particular autofocus point by simply looking at the area in the frame while you were looking through the viewfinder. That’s a feature that promptly went AWOL from all of Canon’s cameras until the EOS R3.

That wasn’t all. Further bolstering the EOS 3’s professional credentials was its ability to shoot 4.3 frames per second with its integrated film winding motor; you could bump this to 7fps if you attached the optional Canon Powerdrive Booster.

Perhaps most interestingly – at least to tedious camera nerds like us – is the number of similarities the EOS 3 shares with nearly all of the Canon high-end digital cameras that followed. The mount was consistent until the RF mount came in, of course, but so were the control layouts, the autofocus functionality, the way shooting data was presented in the optical viewfinder and far more. It was this consistency, as much as it was image quality and lens choice, that ensured photographers were able to comfortably navigate the sea-change from film to digital – the EOS 3 is emblematic of that.

9. Canon PowerShot G1 (2000)

• Why it's a classic: it brought DSLR power into your (roomy) pocket

A moment of silence and a tip of the hat to our dear departed compact camera brethren. Born from the ashes of the point-and-shoot film market, compact digital cameras – such as the PowerShot G1 but also the Canon Ixus range – are now all-but dearly departed, usurped by smartphones from below and ever-more capable mirrorless cameras from above.

Back in the year 2000, the PowerShot G1 became a big reason (literally and figuratively) why digital cameras enjoyed such widespread appeal. It wasn’t cheap, but compared to digital SLRs, it represented a more-or-less affordable way to get into high-end digital photography. 

It had a 1/1.8in CCD sensor with 3.24 megapixels, and could shoot apertures between 50 and 400. Of interest to ambitious photographers was the inclusion of a manual mode, while the 3x optical zoom (34-102mm converted to 35mm focal lengths, fact-fans) gave plenty of flexibility considering you couldn’t detach the lens. The hotshoe on the top was the final great touch, allowing photographers to begin to get to trips with “proper” flashguns. It could also shoot raw images as well as JPEGs.

There were even a few touches that were positively futuristic, such as the vari-angle screen, as well as some that disappointingly vanished as the compact digital camera developed. We’re thinking in particular here of the top-mounted LCD screen that displayed current shooting information, allowing users to set their camera up – and indeed compose their image via the optical viewfinder – without resorting to the battery-draining, 1.8in rear-mounted screen.

8. Canon EOS R3 (2021)

• Why it's a classic: it's one of the most powerful (and best) cameras ever made

So desirable that, as of summer 2022, you can’t actually buy one, the EOS R3 is what happens when a company with Canon’s legendary resources throws absolutely everything at a single product. 

Canon’s top-end pro models have long been the stuff of dreams for professional and amateur photographers alike – whether the original EOS-1D X, the 1D X Mark III or the EOS 5D – and the EOS R3 will be featuring in the wildest dreams of many a photographer, irrespective of the genre they shoot in.

There are headline specs to shout about, of course: stick to the mechanical shutter and the EOS R3 will shoot full-frame 24.1MP shots at a clip of 12fps, or 30fps with the electronic shutter. ISO sensitivity runs to a dizzying maximum of 204,800, and like the EOS R5 and R6, the R3 has a positively bonkers autofocus system capable of accurately tracking people, vehicles and animals in all kinds of light. Of course, it shoots video as well – in this case up to 12-bit, 6K RAW or 10-bit 4K.

So far so good, but there’s also the small matter of build-quality. For decades, Canon has produced cameras that could be used to bang in nails, and the R3 – significantly more so than the R6 or R5 – continues that legacy. Dust, water and shock-proofing are all in evidence here, and it’s also Canon’s first full-height (that is, with an integrated grip) mirrorless camera. That improves ergonomics, and also has positive implications for video makers, as that extra mass makes the camera steadier when handheld.

All well and good, but what of the EOS R3’s legacy? How about this: the EOS R3 is Canon’s first mirrorless camera that you’re unlikely to see used anywhere other than in the hands of a pro. That’s not to say the likes of the R5 and R6 aren’t pro cameras, but the EOS R3’s extra bulk, weight and cost make it positively unappealing to amateurs, at least in strictly practical terms. That makes the EOS R3 another mirrorless statement of intent for Canon – why would it make this if it wasn’t betting the house on mirrorless?

7. Canonflex (1959)

• Why it's a classic: it was the SLR that started it all

Ah, the good stuff. Forget your first digital SLR, first autofocus SLR or first TTL (through the lens) exposure SLR – the Canonflex is the one that, in 1959, started it all. It’s the very first Single Lens Reflex camera the company ever produced, prompting the decline of the rangefinder.

Even bearing in mind its revolutionary nature – looking through the lens of a camera and seeing exactly what will end up on the film – the Canonflex bears many of the hallmarks of modern DSLRs. A top-mounted shutter speed selector, a film-winder and a shutter button, all joined by a breech-lock lens mount, plus an interchangeable viewfinder that could be switched for head-height operation or hip-level, top-down compositions. A key difference to later Canon SLRs is that the film-winder is mounted at the bottom of the camera rather than at the top.

It’s a fully-manual affair – there’s no autofocus, of course, but there was also no exposure meter, so you’d either need a hand-held lightmeter, or Canon’s own clip-own selenium meter. Alternatively, waiting until 1962 allowed keen photographers to buy the Canonflex RM, which had an exposure meter built-in. Not the last time early adopters found themselves punished by later models…

6. Canon EOS-1D C (2012)

• Why it's a classic: it was Canon’s first hybrid Cinema range DSLR

The ‘C’ on a Canon camera denotes the company’s Cinema range of products – high-end, professional filmmaking gear that you’re likely to see in the hands of a camera operator shooting a TV show, feature film or documentary. 

There are some classics in the range – the EOS C200, C300 Mark II and legendary C700 FF are all classically-designed, interchangeable-lens video cameras. Not so the 2012 EOS-1D C, which was Canon’s first effort at a Cinema-line camera that eschewed the box-with-a-lens-on-it design of previous efforts. Instead, it borrowed the body of the original EOS-1D X, making a few key changes to make the camera appealing for on-set work.

For one thing, it shot 4K video – the first DSLR to do so, at 24 and 25 frames per second, with no recording time limit. Another feature of huge appeal was the camera’s ability to shoot in LOG – providing files with maximum dynamic range.

There were limitations, not least of which was the fact that although the EOS-1D C had a full-frame sensor, it used an APS-H sized piece of that sensor to shoot 4K video, increasing focal lengths and decreasing depth of field. There was also the price – it cost a hair under $15k / £20k, limiting its appeal to high-end filmmakers and production houses.

Still, the EOS-1D C marked a fascinating little niche for Canon, and also signaled a keen appreciation of the direction the visual arts industry was heading. A generation of hybrid shooters who were capable of turning out both good quality stills and motion footage was growing up, and the EOS-1D C – and the more affordable, more modern EOS C70 and EOS R5 C – continue its legacy.

5. Canon EOS R5 (2020)

• Why it's a classic: it's the best RF-mount camera so far

We were in two minds about this one – should this spot have been taken by the original EOS R? Sure, the EOS R5 is better in every conceivable way – it’s faster, higher-resolution, shoots video far more competently, we could go on – but the EOS R, after all Canon’s first RF-mount camera. If the RF mount goes a similar distance to the outgoing EF mount, the EOS R might actually end up being the more significant camera.

Crucially, though, it isn't the better camera, and for the horde of photographers – both pros and amateur – who have adopted the EOS R5, it’s easy to make a case for why the R5 is a camera of historic significance. For one thing, the ‘5’ in the name suggests it’s a successor, either intentionally or accidentally, to the EOS 5D series.

For another, it implements just about every technical trick you could want in a camera in 2022. 45 megapixels, 20fps from its electronic shutter (12 with the mechanical shutter) and over 5,000 autofocus points, complete with a frankly other-worldly animal, human and vehicle detection and tracking system. And that’s before you get into video – up to 8K raw for those with shares in SanDisk, or 10-bit 4K at up to 100fps.

It’s all done with Canon’s legendary full-frame aplomb and color science, and while you can certainly make the case that the EOS R6, R, RP and EOS R3 are all superlative cameras in their own right, the EOS R5 was the one that brought the message home to both Canon acolytes and the company’s competitors – mirrorless is here to stay, and Canon is all in.

4. Canon EOS D30 (2000)

• Why it’s a classic: it was Canon’s first in-house digital SLR

Well, we say that the EOS D30 is Canon’s first digital SLR – in fact, for a few years up to the arrival of the D30 in the year 2000, Canon had been collaborating with Kodak to produce a range of film bodies adapted to shoot digital. These included the 6MP EOS D6000 or 1995’s appalling-looking EOS DCS 1, whose design meant the digital gubbins nearly trebled the height of the camera.

The EOS D30 was a 3.25MP camera that was designed from the beginning as a digital camera – not a film camera with the film transport mechanism ripped out and replaced with a Frankenstein-style digital sensor. Its sensor was an APS-C size number capable of shooting ISOs from 100 to 1600, at a maximum rate of three frames per second.

Design-wise it was tried-and-tested – the D30 was virtually indistinguishable from its contemporaneous EOS film brethren, and indeed you’d have to look carefully to spot many differences between this and the likes of the later Canon EOS 40D or 50D.

Almost, anyway – flip it around and you’d have found a paltry 1.8in review monitor with just 114,000 pixels, which might not sound like unbelievable value for money on a camera that around $3,000 / £3,000. But remember that for photographers in the year 2000, being able to see a shot the instant it was committed to a memory card (CompactFlash or a Microdrive in this case) would have prompted a similar reaction to watching a pig fly.

3. Canon EOS 650 (1987)

• Why it's a classic: timeless design – and the debut of a hugely important piece of camera tech

You could be forgiven for blinking a bit hard on this one – at first glance the EOS 650 is a relatively nondescript, single-height, 35mm film camera. It debuted in 1987, and looking at it now there’s not a huge amount that makes it ground-breaking. It could shoot up to 3fps thanks to its motorized film-winder, and offered TTL metering, all in a body that cost around $830 / £620 / AU$1,140 in today's money.

So far, so ordinary. But what made the EOS 650 remarkable was its lens mount. Until the EOS 650, Canon had used the FD mount – a (mostly) manual-only mount that had been in use for nearly 20 years. The EOS 650 introduced the EF-mount – an electronic-only lens mount that eschewed body-mounted AF motors (Nikon, we’re looking at you) in favor of high-speed data transfer between the camera lens mount and the lens itself.

It was groundbreaking at the time, but the reason we’re including it here is because it’s a piece of electronic, industrial and technological design that has withstood the test of time better than almost anything else we can think of. Canon introduced the RF mount – the EF mount’s replacement – as recently as 2018, which meant that for over 30 years, the EF mount was the choice of countless amateur and professional photographers.

It withstood the seismic shift from film to digital, from stills-only to hybrid video shooting, vastly increased resolving power as well as improvements in data handling and bandwidth technologies. It’s a spectacularly effective and long-lived piece of photographic design and it's inarguable that the photographic world is the richer for its existence. Well played, scientists.

2. Canon EOS 5D Mark II and EOS 5D (2008, 2005)

• Why it's a classic: epic build quality and Full HD video comes to full-frame DSLRs

We've cheated a bit here and included the EOS 5D and EOS 5D Mark II in one entry, as they're both classics in their own right. The EOS 5D was special because it was Canon’s first half-height DSLR – in other words, one with no integrated battery grip. And while 'affordable' might be shading it just a touch, it brought full-frame photography to an entirely audience. We lapped it up – full-frame photography meant tighter depth of field, outstanding performance at higher ISOs, and better-quality images across the board.

It was built like a tank as well – the fact that the EOS 5D range’s design hasn’t changed significantly between the 2005 original and the 2016 EOS 5D Mark IV speaks volumes to Canon’s engineers getting it right on their first swing.

The original 5D was a beast – a 12.8MP sensor and maximum ISO of 3,200 instantly made it a favorite of studio photographers the world over, and there’s a global legion of wedding photographers who would rather trip the bride up on her way down the aisle that shoot a wedding without some variant of the 5D on their shoulder.

It wasn’t perfect – 9-point AF was pedestrian even in its day and the less said about its top turn of speed (just 3fps) the better; which is where 2008’s EOS 5D Mark II came in. This improved on the original in nearly every way, adding resolution (21.1MP), speed (4fps), ISO (25,600 at the top end) and, most importantly, video. 

The EOS 5D Mark II was Canon’s first DSLR to shoot video, and good quality, 1080p video at either 30 or 24fps. It was enthusiastically embraced – a 2010 episode of House was shot with a fleet of 5D Mark IIs, as was part of The Avengers.

1. Canon AE-1 (1976)

• Why it's a classic: looks, features, heritage – this design icon has it all

If the AE-1 looks familiar, it’s because its angular profile, striking silver finish and leather-texture plastics have been a mainstay of photographic product design for a generation. 

Originally released in 1976, it’s a surprisingly common sight today – these sold like photographic hot-cakes, with Canon shipping nearly six million units before they stopped being made in 1984. The sheer volume of cameras manufactured, along with Canon’s legendary, longevous build-quality, means no stroll along through a hipster coastal town are complete without a few sightings of this legendary 35mm, auto-exposure camera.

Did we say auto-exposure? We sure did – this is the first SLR to include a microprocessor, and it was this – which assured ease of use – as well as the relatively affordable price of the camera, that ensured the AE-1’s place in photographic history. The AE-1 used Canon’s FD-mount – a manual-focus-only mount that supports dozen of lenses from the cheap and cheerful (if you have an AE-1 you have one) 50mm f/1.8 to the gleefully bonkers, 5kg, FD800mm f/5.6L.

In use, it’s a beautifully mechanical-feeling piece of kit. You could get an electrical Power Winder if you really wanted one (allowing you to shoot at a terrifying 2fps!), but to a modern analogue photographer, that rather robs you of the satisfying tactility of pulling the manual winding handle after every shot. Similarly, rewinding is a matter of unfolding the rewinder on the left-hand shoulder of the camera and manually spinning the film back into its canister.

Honorable mentions

We couldn't include every great Canon camera in this list, or fully represent the sheer range of its creations. So to give credit to some of the camera giant's less mainstream creations (and also defend us from the outcries of their aghast owners) here are some other Canon classics that nearly made the cut. 

Canon EOS Ra (2019)

Discontinued virtually as soon as it was announced, the EOS Ra is a slightly rejigged EOS R. The ‘A’ stands for “astronomy” – the sensor had a modified infrared filter, allowing it to admit more than four times more light at the hydrogen alpha wavelength, which to astrophotographers means more vivid deep-space detail.

Canon VT (1956)

Before Canon pushed all its chips onto the SLR segment, its rangefinders were the business – with the 1956 VT an abortive attempt to take the game to kings-of-the-hill Leica.

Canonet QL17 GIII Rangefinder (1972)

Another rangefinder, this time from the 1970s when, as you’ll know from everything above, was a time Canon was pushing into the SLR market in a serious way. That didn’t mean it had forgotten the old rangie, though.

Canon EOS 350D (2005)

This deserves a mention partly because it was a genuine breakthrough – a well-built, APS-C DSLR that the masses could afford – and partly for personal reasons. A gorgeous, compact piece of kit that was more than capable of doing the business.

Canon PowerShot Pro70 (1999)

The PowerShot Pro70 is here partly because of its ahead-of-its-time specs – 1.68MP in 1998 was positively futuristic – and also because of its screamingly futuristic design. It looks like something from Wall-E, and there’s nothing wrong with that.

• Why the Canon EOS 650 was the iPhone moment for cameras

The beginner-friendly DSLR was once a lynchpin of Nikon's camera lineups, but the Japanese giant has confirmed that those days are over – it's officially discontinued its two most affordable DSLRs.

In a statement, Nikon told us that "production has ceased on the D3500 and D5600". It added that "the remaining stock will sell out at different rates across Europe, after which there will be no more incoming stock". We've asked Nikon if this applies to worldwide stock, and will update this story when we hear back.

This means that if you want to buy a new Nikon D3500, which we still consider to be the best beginner DSLR you can buy, you'll want to do so sooner rather than later. The Nikon D5600 is a slightly more powerful DSLR that ranks highly in our overall guide to the best DSLRs. 

So why is Nikon discontinuing them? Interestingly, the camera giant went into a little more detail when explaining the reasons to us. It told us: "Nikon has focused its R&D efforts into mid to high end cameras and lenses, targeted at professional and hobbyist photographers. We are also focusing on strengthening products in response to younger hobbyists' needs, for whom video is the primary focus."

This renewed focus has resulted in the hugely impressive, if incredibly expensive, flagship Nikon Z9, which showcases the mirrorless tech Nikon is now pushing at the expense of its older DSLRs. It added: "We can see the benefits of this focused R&D strategy, with launches such as the highly successful Z 9, and we are pleased to say that the product pipeline continues to look strong over the coming years. It is with this product strategy in mind that production has ceased on both the D3500 and D5600 cameras.”

The missing pieces in this explanation are the huge impact of smartphones on entry-level camera sales and the steady decline in DSLR shipments over the last decade. While the D3500 and D5600 remain good cameras for beginners, Nikon simply isn't able to justify making new stock of those models while investing in its fight to win the battle of the best mirrorless cameras. It's the end of an era, then, but one we've seen coming in slow-motion over the past few years.

Analysis: Mirrorless cameras are now the default

The writing was on the wall for the Nikon D3500 and D5600 when the company told us last year that they were now "archived" products in Japan and that it "planned to continue selling these products for the time being" in the rest of the world. 

But the fact this latest statement isn't surprising doesn't lessen its significance. Until very recently, DSLRs were the default format for professional photographers, and going only a little further back were the obvious choice for beginners looking for their first 'proper' camera.

Those days are now over. Nikon may have only discontinued two DSLRs, but the D3500 and D5600 were the two affordable, beginner-friendly models in its lineup. And while we haven't seen a similar statement from Canon, it hasn't released a beginner-friendly DSLR for over three years, since the Canon EOS Rebel SL3 / EOS 250D in 2019.

The official, and symbolic, end of those two Nikon models is a slight shame for consumer choice. But the number of people who prefer the DSLR format, which uses a mirror to reflect light directly into you eye through an optical viewfinder, is likely on the wane compared to those who feel more at home with the all-digital mirrorless experience.

Still, this doesn't necessarily mean you should never consider buying a DSLR, even in 2022. If you prefer the larger bodies and superior battery lives of DSLRs to mirrorless cameras, there are some great bargains out there – we recently rounded up the best ones in our guide to the best second-hand DSLRs.

Buying pre-owned camera equipment is a great way to save money, but how do you make sure your second-hand DSLR or camera is a bargain rather than a disappointing brick? We've put together this handy guide to make sure you get value-for-money on your used camera and also avoid getting scammed.

The first step is deciding whether to buy your used camera online or in-person. Getting the camera in your hands is obviously the best way to inspect it, but that doesn't mean that there aren't ways to boost your odds of getting a good buy when buying online. For example, a camera's shutter count is similar to a car's mileage and can give you a good idea of how much use it’s had in its lifetime.

You'll find all of this info in the guide below, plus some tips on how to check over a second-hand camera to ensure it’s working properly and how to look for fakes to ensure you’re getting a genuine model. Plus, we’ll round up our top picks of the best DSLRs and mirrorless cameras to buy second-hand, so you have a good idea of where to start.

If you're still struggling for inspiration, you can also check out our guides to the best beginner DSLR cameras, best camera for photography, or best cheap cameras to help spark ideas for a great second-hand buy.

In-person vs online

It's now much easier to buy cameras second-hand online, thanks to the growing list of reputable retailers that'll we'll explore below. That said, this does work best if you know what camera or model you're looking for. 

If you haven't managed to get hands-on with any cameras to get a feel for whether a DSLR or mirrorless camera is right for you, then we'd recommend trying out some potential prospects in real life first – for example, meeting up with an eBay seller before hitting the 'buy it now' button.

Many photographers pick between camera systems based on solely how it feels in the hand which, in some cases, sends them down a lifelong path of one camera system over another. If you can do this, get into a camera store and try out as many models as possible within your budget and desired class range. 

Stores like BHPhoto and Adorama in the US or Jessops and London Camera Exchange in the UK give photographers the opportunity to try cameras out in person, before making a purchase. Even if you don't get to try out the specific model you're thinking about, the consistencies in camera design mean it'll give you a good guide as to which brand and model is for you.

Where to buy online

Decided to buy online instead? As we recommended in our best second-hand DSLRs for beginners guide, it’s best to stick to reputable dealerships when buying online to avoid getting stung.

Grey imports, faulty goods, and outright scams are rife on the internet. Get caught out and you could not only lose your money but also risk of having personal details exposed or sold on to criminals.

Instead, opt for reputable stores that have a good, long-term presence online. Keep an eye out for warranty offers and after-sales support — especially important for second-hand camera equipment. 

We recommend BHPhoto, Adorama, and KEH for US readers, while Jessops, London Camera Exchange, MPB and Park Cameras are all good options for UK-based photographers.

Check the shutter count

A camera's lifespan can be measured in shutter actuations. Otherwise known as a shutter count, this refers to the maximum number of still photographs a camera can take before it requires expensive repair or replacement. 

Sometimes these repairs are more expensive than buying another camera. Maximum shutter counts are average guesses based on extensive testing, but tend to be between 100,000 and 300,000 depending on the model. Cheaper, entry-level cameras often have a lower shutter count than more expensive, professional cameras.

The easiest way to find this is to import a JPEG image to a computer and upload it to an online shutter count reader such as Camera Shutter Count or My Shutter Count. These sites do read the string of information in the EXIF data that tracks how many shutter actuations the camera has taken. 

If you use Photoshop, you can also sometimes do this by opening the file (it can be any file type) and heading to: File>File Info>Raw Data and then type ‘imagenumber’ (without the space) into the search bar at the top.

Other common issues

Shutter actuations only give a rough idea of how much a camera has been used and don't paint the full picture. Instead, when looking for a second-hand camera, it’s worth visually inspecting (online or, ideally, in person) and testing the camera before buying.

First off, check over the camera and look for signs of wear and tear. Look for missing paint, stripped screws, or shattered glass/plastic on the viewfinder, rear or top screen. Some paint wear is expected and one common problem is rubber grips peeling away with time. 

Open up the camera and look to the mirror and/or shutter. Set fast and slow exposure times in manual mode to look for abnormal movement when firing the camera. Moving parts should always move smoothly without obstruction.

Next, pop on a lens and test the autofocus, look for spots on the image sensor by photographing a white sheet of paper or bright wall, and analyze the test images closely. Here you can test the rear screen at the same time, looking for dead pixels or breaks in the screen that may not be apparent when not powered on. 

Test as many functions as you can before committing; if the camera has a video mode, switch to that and record a few seconds. If a camera has in-body image stabilization (IBIS) you’ll be able to see how it performs during video recording as you pan and move the camera around, as it attempts to smooth out erratic movements.

Lastly, be sure to check any lenses that come with the camera and the lens mount on the camera for signs of wear. Small rubber rings help to weather-seal a camera from water, dust, and other particulates and these can wear down over time. Don’t just take a camera out in the rain before you've properly checked the weather sealing, as this could lead to a nasty surprise.

Is it legit?

When buying pre-owned cameras from a dealer you can be confident that it’s unlikely to be a grey import or have been stolen, but buying privately isn’t so easy. 

Depending on your country and region, there are different laws surrounding stolen goods, but the worst-case scenario for stolen goods is that they may be returned to the original owner and in some cases without financial compensation to you. This means it's a good to check the legitimacy of a camera before buying.

A simple way to do this is to upload a photo taken with the camera to Stolen Camera Finder. SCF uses the serial number hidden in the EXIF data to then search the web to find other images bearing the same number. Of course, this only really helps if the camera has already had photos uploaded to the internet.

Check the serial number on the camera and seek out cameras that come with documentation like warranty cards or instruction manuals. Sometimes this literature also lists the serial number so look to see if it corresponds to the camera’s. 

If the camera has no serial number, beware – it may be counterfeit. Some devices or accessories come with holographic stickers which shine and shimmer in the light, so look for these as well. Other common tell-tale signs that a camera is fake include typos and ill-fitting genuine kit like lenses.

Which cameras should you look out for? 

For beginners, entry-level DSLRs like the Nikon D3500, Canon 250D and Canon EOS 850D are excellent options that offer great value for money. Get one of them with a kit lens and all you'll need to start your photography journey is one of the best SD cards. 

The Nikon D3500 has a 1550-shot battery life to keep up with you wherever you take it and is incredibly compact for a DSLR making it portable, too. The Canon EOS Rebel T8i / Canon EOS 850D, although still a crop sensor body, offers more premium features like 4K video recording and a 3-inch articulating touchscreen. 

And while the Canon EOS Rebel SL3 / 250D / 200D Mark II isn’t the cheapest DSLR, it is the most affordable one for 4K video and is one of the world’s lightest DSLRs. These three DSLRs are so good they feature in the top three positions in our best beginner DSLR cameras guide.

Intermediate photographers who want to get great wildlife or sports shots should look to the Nikon D500, as it has an APS-C image sensor that's ideal for shooting faraway subjects, but also has an impressive burst speed of 10fps. Those wanting full-frame though should consider the Nikon D750, which is impressively cheap these days. While it lacks some of the newest features and max burst speeds of today's mirrorless cameras, it serves up excellent image quality, especially in low light.

If you’re in the market for something with pro power, it's worth considering the Nikon D850 or perhaps a mirrorless camera. We reckon should take a look at the Sony A7 III , as it remains a fine all-rounder despite being succeeded by the Sony A7 IV. Alternatively, the Fujifilm X-T3 now offers great value, with a tried-and-tested 26.1MP back-illuminated sensor, 11fps burst shooting and an excellent range of APS-C lenses.

• Looking for more ideas? Check out our guide to the best second-hand DSLRs for beginners

As camera companies slowly phase out their DSLR cameras in favor of lighter, flashier, mirrorless models, those of us who can’t afford the latest tech are increasingly turning to the second-hand market to save money. 

And a very good idea it is, too. While DSLRs lack many of the more intelligent features seen on today's mirrorless cameras, the best beginner DSLRs still have a proven track record and excellent imaging quality – and buying them second-hand allows new photographers to level up their photography skills on a budget.

Due to the camera market shifting towards mirrorless, DSLRs are becoming an increasingly cost-effective option for those that want to take high-quality photos and videos without emptying the bank. 

Why are DSLRs particularly good value? They have a slightly simpler operation due their optical (rather than electronic) viewfinders. In some cases, they also have a less sophisticated autofocusing system due to their age. But DSLRs also usually have superior battery lives, because the camera doesn’t have to power that electronic viewfinder or a rear live-view one to the same extent.

If you’d rather get a brand new DSLR, check out our roundup of the best DSLR cameras. Newcomers might also want to check out our guide to the best camera for beginners, too. But if it's a second-hand DSLR bargain you're after, this is the place for you. We'll start with some handy tips for buying a used camera, but if you just want to skip to our recommendations, use our menu bar on the left to jump straight to our price-ordered list (starting with the cheapest first, of course).

Buying a second-hand DSLR: quick tips

1. Check the shutter count

Just as you would look for the mileage on a pre-owned car, so too should you check the shutter count of second-hand DSLRs. Every camera has an approximate lifetime that can be measured in shutter counts. Each shutter count (aka actuation) is a photo that has been taken with the camera. Why is shutter count important? The more a camera has been used, the higher the shutter count and therefore the greater wear and tear on the camera.

Generally, most DSLRs top-out around 150,000 to 300,000 shutter actuations (photos) with entry-level cameras towards the lower end and high-end professional models designed to last longer to keep up with the jobbing photographer. After this limit it’s more likely that something may go wrong in the camera and you’ll be footing the bill for a costly repair or serious overhaul which may cost more than buying a new camera. You can find a camera's shutter count in the EXIF data of its photos –take a photo and then upload it to a site like Myshuttercount or, for wider compatibility, an app like ShutterCount.

2. Look out for original packaging

There’s some merit to looking for a pre-owned DSLR with its original packaging. Firstly, a DSLR with the original box, instruction manual, and any accessories it originally shipped with suggests that it's had a careful owner. This might mean the camera itself is much less likely to break down during your ownership. Also, not having to buy all those accessories separately will save a little money and time, too.

However, the main reason for looking out for original packaging is to check that it was distributed by reputable channels when it was first sold. Cameras brought into any given region from outside of that market are generally considered ‘grey imports’. 

This is imported stock that, while much more competitively priced than other comparable models, may have no warranty and little to no support available if things go wrong. Some camera servicing centers may outright refuse to service your camera. So above all, look for a camera that has the original packaging and paperwork to see if it’s a legitimate product or a grey import.

3. Choose a reputable dealer

Have a quick look online at second-hand DSLR sales and you'll soon see that cameras sold by private individuals are a little cheaper than dealers who buy and sell kit. So why is there a difference, and should you care? 

Well, the old adages ‘buyer beware’ and ‘sold as seen’ apply more to the former in this regard because private sellers (depending on your country and region) have to jump through far fewer hoops to shift their cameras. That means if you’re on your way home from collecting a new camera and it breaks, there’s almost nothing you can do about it from a legal standpoint.

Dealers, on the other hand, often give out limited warranties with their second-hand camera sales. They also clean the cameras when they come in, give them a small service to check they’re in full working order, and check for errors or glitches. So if something goes wrong, you’re more likely to be able to either take it back, ask for a repair, or get some support on the phone or via email if the worst should happen. 

Consider dealers such as MPB (above), Adorama, BHPhoto, and if you’re buying from a dealer on eBay be sure to check out how long they’ve been trading and their feedback history.

4. Consider lens ranges

When buying a used DSLR it’s easy to get swept up in the excitement of finding the best possible camera body without putting much thought into lens choice. But lenses are often far more important than the camera body itself because they offer up a whole range of different shooting possibilities.

If you’re thinking of going for that APS-C crop sensor body and you want to shoot astrophotography, check to see if that model is compatible with any ultra-wide lenses with fast maximum apertures. Want to get into sports? You’ll likely need a camera that’s compatible with the longer, professional telephoto lenses. 

Older DSLRs may also not be compatible with more modern lenses and vise versa. Even if a lens ‘works’ with your chosen camera, certain features like exposure control, autofocusing and image stabilization may still be incompatible, so check the lens range for that camera before buying.

5. Play it safe with the big names

Sure, we get it, the reason why you’re buying second-hand is likely to save a good chunk of change compared with new models. But don’t fall into the trap of buying third-party brands that seem to offer everything the main brands do, but at a fraction of the cost.

This difference in price can be seen in the quality of manufacturing and longevity of cameras. Instead, aim for reputable manufacturers like Canon, Nikon, Fujifilm, Sony, and more. They have a proven track record of producing high-quality DSLRs of exceptional build quality, so you’re more likely to be satisfied for longer. All you'll need to get started is a kit lens and one of the best SD cards.

The best second-hand DSLRs for beginners

Nikon D3500 (2018)

• Typical second-hand price ($490 / £350 / AU$680)

So impressively affordable yet full of helpful features, there’s a reason we still rate the Nikon D3500 as the best beginner DSLR you can buy. If you’re looking for a DSLR that will always be there when you want it, then the D3500 (and its 1,550-shot battery life) is one of the best around. For beginners, it also has a helpful Guide mode that'll save you from prying open a dog-eared, jargon-filled manual.

The deep grip on the camera body makes it a doddle to operate, even for smaller hands, and the D3500 has a wide range of native lenses to choose from for all kinds of photography. It does shoot video too, but only 1080p. The 3-inch, fixed screen is big and bright and an 11-point autofocusing system, while pretty dated by today's standards, is more than adequate for beginners.

It also has Bluetooth connectivity, allowing smart devices to connect and transfer files via SnapBridge, Nikon’s transfer software. It features Bluetooth Low Energy as well, which means that the connection is ‘always-on’ so your shots can be automatically transferred from camera to device.

• Read our in-depth Nikon D3500 review

Nikon D5600 (2016)

• Typical second-hand price ($600 / £450 / AU$700)

Another standout from Nikon’s entry-level DSLR range, the D5600 balances beginner-friendly usability with a feature set that gives you room to grow. In our Nikon D5600 review, we discovered a crop-sensor DSLR that's good for most styles of shooting, without particularly standing out in one area.

A 24.2MP APS-C image sensor is complemented by an articulating touchscreen, which is helpful for shooting from high or low angles. A 39-point autofocusing system means a good swathe of the frame is covered, but buyers should be aware that the D5600 is only capable of capturing 1080p video.

As one might expect at this price, the body is composed of a single piece of polycarbonate to retain strength and be as lightweight as possible. At 465g and measuring 124 x 97 x 70mm, it isn't the smallest DSLR in the world, but it’ll easily slip into a camera bag sling.

• Read our in-depth Nikon D5600 review

Canon EOS Rebel SL3 / 250D

• Typical second-hand price ($650 / £500 / AU$750)

Weighing in at 449g, the world’s lightest DSLR is also one of the prettiest, with wide-set features and a squat, chunky design. The grip feels deep and suits both adults and younger children alike. It even has a vari-angle touchscreen to make changing camera settings a doddle.

Similar to the Nikon D3500, the EOS Rebel SL3 (called the 250D outside the US) features a Guided UI mode that helps describe menu screens with simple terminology and icons. There’s a Creative Assist mode too that gives photographers the option of using in-camera visual effects to produce images like grainy black and white, fish-eye, soft focus and more. This is helpful for beginners who want to concentrate on the picture taking, rather than burden themselves with learning image editing at the same time.

There’s only a 9-point autofocusing system here, but they do at least all run off phase-detection tech for better accuracy. Wi-Fi and Bluetooth connectivity come as standard for remote triggering and file transfer, and there’s an expandable ISO sensitivity from 25,600 to 51,200 for emergency shots in the dark.

• Read our in-depth Canon EOS Rebel SL3 / EOS 250D review

Canon EOS 80D (2016)

• Typical second-hand price ($600 / £570 / AU$850)

Like the more affordable 750D and 760D, the Canon EOS 80D shoots 24MP photos. But the 80D also crucially packs a Dual Pixel CMOS AF sensor for superior autofocusing, and has a superior metering system that helps the AF system track moving subjects.

For video shooters who want to record in 4K resolution, this camera is likely one to skip as it only record 1080p video. However, it does do this at 50fps, which can help with you slow down the footage when editing.

One appeal to the 80D is that it has Wi-Fi connectivity and NFC technology built-in, making it simpler to trigger the camera and transfer images to smart devices from a distance, without the need for a remote shutter release. A maximum burst speed of 7fps is actually the same as its predecessor, the 70D, but the buffer is much bigger, with the 80D capable of shooting up to 110 JPEGS or 25 raw files consecutively.

• Read our in-depth Canon EOS 80D review

Nikon D750 (2014)

• Typical second-hand price ($700 / £600 / AU$1600)

The perfect all-rounder, the full-frame D750 is great for weddings or astrophotography – in fact, it’s difficult to find something the D750 isn’t good at. Originally a bridge between the very basic entry-level models and Nikon’s professional range, this streamlined full-frame DSLR is perfect for beginners who are aiming to make photography a long-term hobby.

Though it’s now eight years old, the D750 can still keep up with the young kids on the block when it comes to image quality. We've found it to be excellent at handling high ISO noise with uniform grain across the frame, including highlights and dark shadows. Pair the D750 with some fast Nikon f-mount glass and it becomes a bit of a photographic chameleon.

It also lets you capture the darkest night skies with ease, performing better than its bigger brothers the Nikon D810 and D850 here, and is just as happy shooting a wedding in an old, dimly lit church. A resolution of 24.3MP is enough for most people, but videographers should be aware it only shoots 1080/50p video.

• Read our in-depth Nikon D750 review

Alternatively...

While DSLRs still offer the best big bang for your buck, sometimes the compact size and modern shooting experience of the best mirrorless cameras can make them a better choice for some photographers. If that's you, here's an alternative second-hand mirrorless option to consider...

Olympus OM-D E-M1 Mark III (2020)

• Typical second-hand price ($1,100 / £1,000 / AU$2,400)

The OM-D E-M1 Mark III is a small and compact Micro Four Thirds camera that keeps up with the big boys of the DSLR world. Thanks to its magnesium-alloy body construction and weather-sealing, which help keep water and dust out of the camera, it’s built to last for professionals and hobbyists alike. Olympus also says it's capable of handling up to 400,000 shutter actuations, so even if you spot this second-hand gem with a couple hundred thousand on the clock you’re still only half way through its lifetime.

The articulated screen and joystick for repositioning autofocus make it a breeze to use. It’s also versatile when shooting handheld as well thanks to the 7.5-stops of image stabilization, which you get when the 5-axis in-body image stabilization (IBIS) is paired with a compatible lens. This means you don't have to rely in tripods quite as much, which is ideal for the beginner photographer.

• Read our in-depth Olympus OM-D E-M1 Mark III review

• Still undecided? Read our guide to whether or not you should buy a DSLR in 2022

The Canon EOS R7 and Canon EOS R10 are both APS-C mirrorless cameras that look quite similar from a distance, but their prices place them in completely different categories.

Canon’s EOS R7 costs $1499 / £1349 / AU$2349, the EOS R10 $979 / £899/ AU$1499 (both body-only). In other words, the R7 is 1.5x the price of its more basic sibling. 

In a world of rising camera prices, neither is catastrophically expensive. They’re RF-mount follow-ups to cameras like the Canon EOS M6 Mark II and the classic EOS 7D, and naturally have modern features that those older models lack, most notably Canon's latest autofocus system. 

Is the EOS R7 worth the extra outlay? For many photographers, it probably is. There's unlikely to be a world-changing disparity between the two cameras' image quality in many scenarios, and both have excellent burst speeds. But the EOS R7 nets you IBIS (in-body image stabilization), crop-free 4K/60p video, a Log image profile and much better battery life, among other extras. You can read more about these in our in-depth Canon EOS R7 review. 

That said, the Canon EOS R10 is the obvious choice for those who would prefer a smaller, lighter camera or – just as importantly – don’t have the money to spend on extra enthusiast-level features. We've put together our early impressions in our hands-on Canon EOS R10 review, which concludes that the camera certainly punches above its weight.  

Here's a closer look at how they compare in all the crucial areas so you can decide which mirrorless cameras is the best for you.

Canon EOS R7 vs Canon EOS R10: design 

• The EOS R10 is smaller, but less rugged

The bodies of the Canon EOS R7 and Canon EOS R10 fit into familiar strata. One is a reasonably light, moderately sized APS-C camera – that's the EOS R10. 

Canon’s EOS R7 is a larger, heavier camera that balances better with larger, longer lenses. Weight is the disparity that stands out best on paper. 

The Canon EOS R7 weighs 612g with a battery and SD card, 42% higher than the 429g of the EOS R10. Dimension differences sound less dramatic, at 132 x 90.4 x 91.7mm versus 122.5 x 87.8 x 83.4mm. However, hold them one after the other and the shift in size is unmistakable. 

If you’re looking for a light camera onto which you might put a street photography-ready pancake lens, the EOS R10 will likely suit your needs better.

There is another benefit to the Canon EOS R7’s outer design, though. It has better weather-proofing than the EOS R10 (similar to the Canon EOS 90D). As is always the case with cameras, we have no concrete claims or specs to back up the exact water resistance in each, but Canon has assured us the EOS R7’s water and dust resistance are superior.

Again, it’s a classic characteristic of a lower end-higher end camera divide. Let’s not do the Canon EOS R10 down, though. Both cameras have a magnesium inner shell and at least some degree of weatherproofing.

There’s also a slight difference in their controls. The Canon EOS R7 has a rotary dial on the back by the viewfinder, instead of up top, and the power switch has a third position that takes you straight to the video mode.

Canon EOS R7 vs Canon EOS R10: sensor

• Higher pixel count EOS R7 bring more focus points

Both the EOS R7 and EOS R10 are APS-C cameras. This means their low-light performance won't be quite as impressive as a full-frame model, but APS-C sensors are still highly versatile. The Canon EOS R7 has a significantly higher-resolution sensor, though, at 32.5MP, compared to the EOS R10’s 25.5MP. 

This will make the Canon EOS R7 better for post-shoot crops, and for blowing up images to large prints. However, the difference is not as vast as we see in some other ranges. Sony’s A7 series varies from 12MP to 61MP.

Higher resolution also reduces the size of a camera’s sensor pixels but, again, the disparity here isn’t enough to worry about too much. Both cameras have a native ISO range of 100-32000, with an extended 51200 mode. 

The Canon EOS R7’s higher pixel count also has the knock-on effect of increasing the number of focus points. These cameras have PDAF (phase-detection autofocus) points built into the sensor. There are up to 5,915 selectable points in the EOS R7, 4,503 in the EOS R10. 

This doesn’t really affect the experience, though. The two cameras share the same Dual Pixel CMOS AF II focusing system, and both get 651 points when using autofocus. 

Canon EOS R7 vs Canon EOS R10: performance

• The Canon EOS R7 has (mostly) better burst shooting

The Canon EOS R7 has the edge for burst shooting, although both cameras top out at 15fps with the mechanical shutter. They separate when you switch to the electronic shutter. The EOS R7 can reach 30fps, the EOS R10 23fps. 

That slower mechanical shutter speed is more than fast enough for most people, but the way the Canon EOS R7 pulls ahead will be important to action and sports photographers. It also lends credibility to this higher-end model, matching monster mirrorless cameras like the Sony A1 (in terms of outright speed, at least). 

The Canon EOS R7 also has a better burst buffer than the EOS R10, at least in most shooting situations. At 30fps, it can record 42 raw files (126 JPEG) before needing to flush out the buffer, compared to 21 raw frames (70 JPG) in the EOS R10 at 23fps – double the number. 

Shooting at 15fps muddies the situation a little. Raw burst is, again, almost twice as good in the EOS R7. The buffer lasts 51 exposures to the EOS R10’s 29. 

However, when capturing JPEGs the lower-end camera performs better. The Canon EOS R10 can hold on for 460 frames before slowing down, to the EOS R7’s 224 frames. 

This suggests the Canon EOS R10 hits a sweet spot at 15fps where its ability to purge the buffer is almost in harmony with the data rate. You can thank the camera’s lower resolution, although 223 frames at 15fps still means you can hold the Canon EOS R7 shutter button down for 15 seconds before the buffer is exhausted. That's more than enough for most shooting scenarios.

Canon EOS R7 vs Canon EOS R10: features

• The Canon EOS R7 is a little more versatile, and has IBIS

The Canon EOS R7 is slightly faster than the EOS R10 in some respects, despite sharing the same processor, and this bleeds into the minimum exposure time, too. 

The EOS R7’s fastest shutter speed with the mechanical shutter is 1/8000, to the 1/4000 of the EOS R10. Both can reach 1/16000 of a second with the electronic shutter, but the added mechanical shutter speed is again an asset for action photographers. 

In-body image stabilization (IBIS) is likely to be a bigger draw for the rest of us. The Canon EOS R7 has it, the EOS R10 does not. 

This will make the R7 much better for handheld night photography, particularly when using a lens without its own stabilization (IS). Results will improve with or without lens IS, though. Canon calls the IBIS “collaborative”, meaning it can operate in tandem with lens stabilization. 

Canon EOS R7 vs Canon EOS R10: display and EVF

• The Canon EOS R7 has a slightly better screen and EVF

At first glance, the rear screen and EVF of the EOS R7 and EOS R10 look similar. They both have fully articulated 2.95-inch rear displays capable of refresh rates up to 120Hz. Their EVFs are low-mid range 2.39-million-dot resolution models, equivalent to 1024 x 768 pixels. 

In both cases, these are a solid fit for the price. However, there are some differences. 

The Canon EOS R7’s rear display is a little higher-res than the EOS R10’s, at 1.62-million dots to 1.04-million dots. In pixel-speak, that’s 900 x 600 pixels versus 720 x 480 pixels. 

EVF magnification is bigger in the EOS R7 too, meaning the image seen through the viewfinder will appear larger. That is good news for real-world clarity, making composition a little easier.

Canon EOS R7 vs Canon EOS R10: video

• The Canon EOS R7 has much better “pro” style video features

While both of these cameras provide the basics of a satisfying video experience, including 4K capture at 60 frames per second, 120fps at Full HD and even optional in-camera 10-bit 4:2:2 color capture, the EOS R7 has a couple of clear advantages. 

The one everyone will notice, even light-use hobbyists, is that the Canon EOS R7 can shoot at 4K/60p without cropping into the image. To shoot 4K/60p on the R10 you have to put up with a 64% crop. 

Why is this the case when they both have the Canon DIGIC X sensor, and these limits are largely about the processing required? Our best guess is that when you halve the native resolution of the Canon EOS E7, you end up with a resolution that's pretty close to 4K, so there’s less work for the processor to do. 

For the best image quality you’ll want to use the 4K “fine” mode in each case. This restricts both cameras to 30fps capture but creates the final image using all the relevant sensor pixels, with a process called 'supersampling' or 'oversampling'. 

The wealth of pixels lets the camera smooth out hard edges and diagonals without loss of detail. 

Canon’s EOS R7 also has a Log mode, Canon Log 3, that's missing from the EOS R10. This is a classic 'flat' shooting style that's designed to preserve maximum dynamic range, for those who want to color grade their footage properly after taking it. 

This is a critical part of the EOS R7’s identity as a serious hobbyist camera that can skip between multiple fields – street photography, action photography, video shoots and more. 

Canon EOS R7 vs Canon EOS R10: storage

• EOS R10 has a slower USB connector, just the one SD card slot

Neither of these cameras are necessarily high-end enough to justify a CFexpress card slot and, sure enough, they don’t support either the Type-A or Type-B CFexpress standards. But you can use SD cards right up to the UHS-II speed class. 

However, the Canon EOS R7 gets two slots, the EOS R7 just one. None of the modes appear to require dual cards, just a fast enough single SD card, so the benefit is all about being able to be able to capture more stills and video without worrying about storage. 

You are less likely to want or need to remove a card when transferring files too, as the Canon EOS R7 has a fast USB 3.2 Gen 2 interface. This means it is theoretically capable of throughput of up to 10Gbit/s, equivalent to 1250MB per second. 

The Canon EOS R10 has a USB 2.0 interface, which taps out at just 480Mbit/s or 60MB/s. Buy an ultra-fast memory card for the camera and you won’t see its top transfer speeds when moving images over a cable. 

Canon EOS R7 vs Canon EOS R10: battery life

• They have different batteries, with the EOS R7's having double the capacity

The Canon EOS R10 uses the 1,040mAh LP-E17 battery, shared with cameras like the EOS RP and EOS M6 Mark II. The Canon EOS R7 includes the larger, more expensive and higher-capacity 2,130mAh LP-E6NH. 

It has more than double the capacity, and delivers almost double the frames per charge. It’s CIPA-rated for 770 shots using the LCD display, or 500 with the viewfinder. That’s a lot better than the respective 430 and 260 shots of the EOS R10. The latter in particular may feel quite restrictive. 

Of course, the LP-E6NH would not be a good fit for the Canon EOS R10, being a lot larger and almost double the weight of the LP-E17.

Verdict

The Canon EOS R7 and EOS R10 have a lot in common, but the differences show they are made for separate audiences. The Canon EOS R10 is an approachable, high-quality camera for those who want to take their photography beyond the smartphone, or that compact camera they’ve owned for years. It’s an approachable way into the RF lens mount system. 

Its 4K/60p video keeps it up-to-date enough, the body isn't too heavy, burst shooting of up to 23fps is impressive, and the 25.5MP resolution is going to be enough for fairly large prints.

The Canon EOS R7 offers important upgrades in almost every area, though. IBIS may add bulk to the body but will be a big bonus for those who want to shoot handheld with compact non-IS lenses. It can shoot 4K video at 60 frames per second without a crop, there’s a pro-style Log mode and battery life is almost twice that of the Canon EOS R10. 

Sure, the EOS R7 may not be intended for pros who demand the added dynamic range and low-light performance of a full-frame sensor, but it seems a perfect fit for the demanding hobbyist. 

Smartphone cameras and DSLRs have been moving in opposite directions for the past few years, and image quality from phones will finally trump that of their single-lens reflex rivals by 2024, according to Sony.

As reported by Nikkei Japan, the President and CEO of Sony Semiconductor Solutions (SSS), Terushi Shimizu, told a business briefing that "we expect that still images [from smartphones] will exceed the image quality of single-lens reflex cameras within the next few years".

Some fascinating slides presented during the briefing were even more specific, with one slide showing that, according to Sony, "still images are expected to exceed ILC [interchangeable lens camera] image quality" sometime during 2024.

Those are two slightly different claims, with 'ILCs' also including today's mirrorless cameras, alongside the older DSLR tech that most camera manufacturers are now largely abandoning. 

But the broader conclusion remains – far from hitting a tech ceiling, smartphones are expected to continue their imaging evolution and, for most people, make standalone cameras redundant. 

So what tech will drive this continued rise of the best phone cameras? Sony points to a few factors, including “quantum saturation” and improvements to "AI processing". Interestingly, Sony also expects the sensor size in "high-end model" phones to double by 2024.

The larger pixels on these sensors will, it says, allow phone makers to apply multi-frame processing that "realizes a new imaging experience", including improved Super HDR modes and zooms that combine folded optics (as on the Sony Xperia 1 IV) with AI algorithms. 

Sony also highlighted the development of its 'two-layer transistor pixel technology', which we heard about last year, which promises to drastically improve the dynamic range on phone cameras and help reduce low-light noise.

Similar advances are coming for video too, according to Sony's presentation, with the higher read-out speeds of next-gen sensors supporting 8K video, multi-frame processing (including video HDR) and a general realization of "AI processing for video". In other words, computational video techniques like Apple's Cinematic Mode.

While it isn't unusual for Sony to make bold predictions about a sector it's heavily invested in, there does seem to be substance behind its predictions for the continued evolution of phone cameras at the expense of DSLRs and mirrorless cameras. 

And that's significant for all smartphones, because according to Statista, Sony has 42% of the global image sensor market for phones, while teardowns of the iPhone 13 Pro Max show that it uses three Sony IMX 7-series sensors.

Analysis: Phones continue their meteoric rise

Predictions about the demise of DSLR cameras are nothing new – without saying anything explicitly, Canon and Nikon have both admitted that DSLRs are a legacy format by discontinuing some models, such as the Nikon D3500, without replacing them. But Sony's latest statements highlight that phone cameras still have a long way to go before they hit their tech ceiling.

The biggest advances in recent years have come in multi-frame processing, otherwise known as computational photography. But Sony was understandably keen to stress the role that new hardware will play in lifting phone cameras to new photographic heights.

Its prediction that the sensor sizes in high-end phones will double by 2024 is slightly surprising, given that this is limited by factors like lenses. For example, the Sony Xperia Pro-I became Sony's first phone to have a 1-inch sensor last year, but its lens wasn't able to project a large enough image circle to cover the whole of that sensor, so it could only take 12MP photos rather than the native 20MP resolution.

Perhaps more significant is Sony's new stacked CMOS sensor with two-layer transistor pixels, which effectively exposes each pixel to twice as much light as a standard sensor. This sounds like a hardware advance that computational algorithms could definitely get their teeth stuck into in order to boost dynamic range and noise performance.

But given how good the latest phones are at photography, the most noticeable advances over the next few years are likely to be in video. Sony's presentation highlighted this with references to multi-frame processing and its Edge AI platform, which promises to boost both video performance and support for augmented reality apps.

While DSLRs and mirrorless cameras will always have an audience among hobbyists and pros due to their handling, creative control, viewfinders and single-shot image quality, the kinds of advances outlined in Sony's presentation show that the next few years are going to be a particularly exciting time for phone cameras.

• Should I buy a DSLR in 2022?

Barely a day after we found out that the Canon EOS R7 could be announced in June or July, a new report on a Japanese site claims an announcement could be coming on May 24.

That's exciting news for Canon fans who've been eagerly awaiting the camera maker to expand its RF-mount bodies with more options. And 'options' is the operative word here as the same report claims that the Canon EOS R10 could also be announced at the same time, along with two RF-S lenses.

A separate report from reliable leaker Canon Rumors also claims May 24 as the announcement date for the pair of cameras and lenses, while also listing a few possible specs for the EOS R10.

If what Canon Rumors has revealed is true, then it looks like the EOS R10 will be the more affordable of the two, potentially housing a 24.2MP APS-C sensor (as opposed to the EOS R7's rumored 32.5MP resolution), and capable of top burst speeds of 15fps with the mechanical shutter and 23fps with the electronic one (compared to 15fps/30fps for the R7). Another giveaway that it's likely going to be affordable is the rumor that it will have just a single UHS-II speed SD card slot.

The lenses said to be incoming with the new bodies are the RF-S 18-45mm IS and RF-S 18-150mm IS, and it's possible that both cameras will be available as kits with either one or both of the lenses.

Analysis: Are we saying goodbye to the EOS M line?

When it comes to Canon's mirrorless camera systems, it's rather telling that there are now six R-series bodies (currently all full frame), while there are only three in the M series.

There were rumors of an EOS M5 Mark II back in 2019 when Canon launched the EOS M6 Mark II, but the former never materialized. And now there's speculation that the camera maker has also discontinued the latter (although it is still listed on Canon websites and at retailers in several markets), which is adding fuel to the fiery theory that Canon is finally retiring the EOS M line.

Considering how popular its EOS R cameras are, we really wouldn't be too surprised if Canon does retire its M series. If the EOS R7 and R10 cameras inherit the stunningly accurate autofocus system Canon has on its full framers, and if the leaked specs are to be believed, then none of the M cameras will be able to match the performance of the upcoming APS-C RF-mount bodies. 

The allure of the M cameras was the price point – they're budget buys for the hobbyist. If the RF-mount APS-C cameras are priced right, Canon could see a flurry of upgrades from its existing M-series users and possibly even new fans jumping brands. The EOS M50 Mark II was a little disappointing, considering it wasn't a huge leap from the first-gen model, and the EOS M200 isn't much to write home about either, although both are capable in their own right. However, the EOS M6 II is the M-series flagship and, for a long while, was one of our picks for the best compact camera and best travel camera.

The ongoing parts shortage could also be a reason why Canon is prioritizing the EOS R system. 

Whatever the company's strategy is at present, the future of the M series is still undecided, but it's clear that Canon's hedging its bets on the RF mount.

• These are the best Canon cameras you can buy right now

A recent report suggested that the rumored Canon EOS R7 could come with a maximum continuous shooting speed of 20fps, putting it in on par with the likes of Canon's current EOS R5 and R6 flagships. At the time, though, the rumor was "unconfirmed".

A new leak from the same reliable source via Canon Rumors now says that the upcoming APS-C format shooter will boast a burst speed of up to 30fps... and this number is supposedly "confirmed". The leaker doesn't reveal the source, of course, but if this turns out to be true, it will put the EOS R7 in line with pro-level cameras like the Canon EOS R3 and the Sony A1!

Other "confirmed" specs include in-body image stabilization (IBIS) and we've already seen how well Canon has adopted that tech in its latest R-series bodies. Handheld shooting at 1-2 seconds, anyone?

If this comes to pass, the EOS R7 will put some serious pro-level specs in the hands of amateurs and hobbyists at (probably) a great price. 

Opinion: I'm truly excited to get my hands on the EOS R7

Even though the latest leak from Canon Rumors claims that the EOS R7 won't have a CFexpress card slot, but will instead come with two SD slots with UHS-II speed support – which does seem counterintuitive for a camera with big burst speeds – the rest of the leaked specs has me champing at the bit to get my hands on the upcoming camera.

The Canon EOS 7D Mark II was my primary camera for years until I went full frame with the EOS 6D Mark II. Since then, I've really been drooling over the EOS R5 but have resisted the purchase because of it's high price.

If, however, the leaked EOS R7 specs of a 32.5MP APS-C sensor, up to 30fps burst, 4K/60p video and IBIS end up being true, I might seriously consider getting the new RF-mount camera instead of a full frame because I think the price tag would suit my budget. Admittedly it won't be as affordable as, say, the EOS RP, but it's highly likely that it will be cheaper than the R5, perhaps even the R6.

Even the sensor resolution is perfect for me. I was disappointed with the R6's 20MP resolution and 45MP was overkill for my personal needs. A 32.5MP sensor hits just the right spot for me – I've tested the 32.5MP APS-C sensor in the EOS 90D and loved what it could do.

The rumored 30fps burst for the R7 has me excited to try my hand at more sports photography (I've only just recently developed a taste for it) and I'm keen to see where it takes me with my wildlife photography journey. All it needs now is the same autofocus performance from the higher-end R-series cameras, and I will admit to being a touch worried about how well UHS-II speed cards will handle massive bursts.

As exciting as it may be, these specs are still not official, so don't take them as gospel. Canon Rumors suggests we can expect an announcement in June or July this year, so we shouldn't have to wait too long to find out if Canon's got its next bestseller.

• Videographers might want to consider getting their hands on the Canon EOS R5 C

After a quiet few months, the Canon EOS R7 rumors are starting to hot up – with fresh speculation giving us a good idea of the incoming camera's specs.

The Canon EOS R7 has been tipped to be Canon's first RF-mount camera with an APS-C sensor, which should make it more affordable than its current full-frame models. And the reliable Canon Rumors has now predicted that the camera will pair a 32MP APS-C BSI (Back-illuminated) sensor with a Digic X processor.

If true, that'd be a powerful combo that should make the EOS R7 capable of fast burst-shooting speeds and video frame-rates, and this backed up by further leaked specs. Canon Rumors says the camera will shoot at 20fps (matching the speedy Canon EOS R6) and shoot video at 4K/60p (or 1080/240p).

It seems the EOS R7 will sit more towards the premium end of APS-C cameras, because it's also been tipped to have two card slots: one for pro-friendly CFExpress cards, and the other for more standard SD cards. According to the rumors, it'll also get Canon's latest Multi-Function hot-shoe (as seen on the Canon EOS R3), which means it'll be able to power accessories like external microphones.

What will the EOS R7 look like? Canon Rumors is predicting "a combination of ergonomics from the EOS R6 and EOS R5". Both of those cameras are pretty similar in terms of handling, so this may be referring to the EOS R6's more hobbyist-friendly  PASM dial (Program, Aperture, Shutter, Manual) or the R5's more sturdy construction.

On paper, then the EOS R7 is shaping up to be the spiritual mirrorless successor to the Canon EOS 7D Mark II, which we called its "best APS-C format model to date" when it landed in 2014. That would make it something of a dream wildlife camera, assuming Canon includes its latest autofocus algorithms like Animal Eye Detection AF. With a predicted announcement in August 2022, we shouldn't have to wait too long to find out.

Analysis: Leaked specs make perfect sense

Canon's EOS R mirrorless cameras are understandably popular among pro photographers, but the system is badly lacking some hobbyist-friendly options – and the Canon EOS R7 sounds like it could fill that gap.

The inclusion of an APS-C sensor should make it a little more affordable than the EOS R5 and EOS R6, even if it's as unlikely to be as cheap as the aging Canon EOS RP. The EOS 7D Mark II, for example, cost $1,799 / £1,599 when it arrived eight years ago, and the EOS R7 will include some improved (and likely pricier) specs.

But not everyone needs a full-frame sensor and APS-C cameras are particularly well-suited to sports, action and wildlife for a couple of reasons. Firstly, the sensor size effectively acts as a 1.6x multiplier to the focal length of any lens you attach, which means greater reach from smaller lenses. A smaller sensor also means less data to scan, which can bring benefits for burst shooting, autofocus and rolling shutter.

The combination of the EOS R7's rumored specs with Canon's latest autofocus powers, which we found hugely impressive for wildlife photography on the EOS R5, will be a tantalizing one for photographers who can't quite justify Canon's flagship mirrorless cameras. Canon does already have its EOS M system with APS-C cameras, but those models have seemingly been left behind. 

One potential downside is the fact that Canon is well-known for segmenting its camera lines by capping certain features, so it remains to be seen how much it'll hold back on the EOS R7 and where those limitations might creep in. 

• How good is the Canon EOS R5's Animal Eye AF? A wildlife photographer gives his verdict

The Canon EOS R7 topped our hotly-contested guide to the most exciting cameras of 2022, and now fresh rumors have given us a possible release date for the mirrorless camera.

The usually reliable Canon Rumors claims that it's confirmed the camera will definitely be called the Canon EOS R7, and that "we have been told that the Canon EOS R7 is now scheduled for a Q4 of 2022 announcement". 

Confusingly, the site says that "this tends to fall in line with the usual late August/early September announcements that Canon is known for", even though Q4 traditionally covers the October-December period. But either way, the camera is expected to land later this year in time for the holiday season.

Right now, there are very few leaked or confirmed specs for the Canon EOS R7. But the reason why it's an exciting launch is because it's expected to be the the first camera in Canon's EOS R system to have an APS-C sensor.

APS-C sensors are smaller than the full-frame ones in current models like the Canon EOS R5, which brings a couple of advantages. Firstly, APS-C cameras like those from Fujifilm tend to be cheaper than full-frame alternatives, which would be a large part of the EOS R7's appeal given how pricey Canon's current range is.

Other bonuses are that APS-C cameras usually allow for smaller lens designs and also multiply the focal length of any lens you attach to them by 1.6x, which makes them popular for wildlife and sports snappers. This is why an APS-C DSLR like the Canon EOS 90D, for example, ranks highly in our guide to the best wildlife photography cameras.

The Canon EOS R7 is actually expected to be a spiritual successor to the Canon EOS 7D Mark II DSLR, and potentially mark the end of Canon's EOS-M series. The latter, which has produced popular models like the Canon EOS M50, has seen very little development in the past few years, and it seems Canon may instead adopt Sony's simple one-mount strategy for both full-frame and APS-C cameras.

Analysis: one of many Canon launches?

The Canon EOS R7 is the most anticipated camera of the year because of its significance, but it probably won't be the only new arrival from the camera giant this year.

Earlier this year, Canon was tipped to launch three mirrorless cameras in 2022 with more affordable price tags than its current EOS R range. Those included the Canon EOS R7, a successor to the full-frame Canon EOS RP, and a more mysterious third model that could even dispense with the electronic viewfinder.

It remains to be seen how much chip shortages and supply chain issues, which continue to affect mirrorless camera stock and launches, will hit those plans, but it's reassuring to hear rumors from a reliable source predict that the EOS R7 is still on track for a 2022 release.

The only real question mark, or potential weakness, of a Canon EOS R7 would be the current lack of native lenses. Using full-frame lenses on APS-C cameras is perfectly fine, but the downside is that they tend to be heavier and more expensive than APS-C lenses. A wide range of native APS-C lenses is what makes Fujifilm's X-series so popular among hobbyists and pro landscape photographers.

Of course, Canon could well be working on a few high-quality APS-C lenses to go with the EOS R7. If that's the case, it could turn out to be one of its popular cameras, and a major rival for resurgent Micro Four Thirds cameras like the OM System OM-1. 

• Why I've just bought a compact camera instead of an iPhone 13 Pro

The Canon EOS R7 has long been tipped to be the camera giant's next big launch, with the most recent rumors suggesting a March release. But not only will it miss that date, we haven't heard a thing about the camera in the two months since those rumors first surfaced – with Canon seemingly focusing on higher-end priorities.

Rumored release dates are, of course, far from concrete, and the Canon Rumors post predicting a March release for the hobbyist camera did rightly contain the caveat that "announcement dates for products can be affected by the current manufacturing challenges".

But what's less common is the complete absence of any leaks or speculation about why such a big launch may have missed a release window that was predicted by, according to Canon Rumors, a "pretty solid source". Instead, this month Canon revealed some business strategy plans with some very telling comments about its plans for the EOS R system.

The Canon EOS R7 is expected to be a landmark launch because Canon's EOS R system, including both cameras and lenses, is currently very high-end. With the expected inclusion of an APS-C sensor, the EOS R7 will (on paper) act as the spiritual successor to the Canon EOS 7D Mark II DSLR – and also likely mark the end of its EOS-M series.

But according to Canon's 2022 strategy report, this isn't where the sales are. The report concludes that "although the overall [camera] market continues to shrink, this mainly reflects lower sales of entry-class models. In contrast, demand among professionals and advanced amateurs seeking high-quality image expression remains strong."

This explains why Canon has focused on cameras like the Canon EOS R5 and EOS R6, and fleshing out its range of high-end RF lenses. Canon was keen to stress that it's planning to expand its RF lens range "at the same pace", which would mean another eight new lenses this year and, by 2025, around 58 lenses for the whole system.

On that theme, we recently saw Canon announce the world's longest lens for mirrorless cameras, the RF 1200mm f/8L IS USM, alongside the similarly pricey RF 800mm f/5.6 L IS USM. The latest Canon rumors are also lens-based, with the camera giant reportedly testing prototypes of some new 'DO' super-telephotos that provide serious reach in compact, lightweight bundles.

And the Canon EOS R7? Whether it's down to chip shortages, supply chain issues or other priorities, its launch seems to have been shunted back to later in the year. Given the six-month shipping delays to cameras like the Canon EOS R3, let's hope it's available to buy before 2023.

Analysis: Blown off track, rather than derailed 

We recently argued that a perfect storm had blown away affordable mirrorless cameras –  and similar forces are likely to behind the apparent delay to the Canon EOS R7.

Most camera manufacturers are in a quandary about when to release new models, given that stock is in such short supply. For Canon, the continuing success of pricier models like the Canon EOS R5 also likely lowers the urgency of releasing more affordable choices like the rumored EOS R7 – after all, some impatient photographers may bite the bullet on a higher-end camera.

The problem is that Canon's strategy of focusing on more premium EOS R cameras and lenses predates the global cost-of-living crisis – which means the demand for affordable successors to the Canon EOS R and Canon EOS RP is growing sharply among non-professionals. Alternatively, it could simply evaporate as the year progresses, as hobbyists explore second-hand bargains instead.

Either way, it does look like Canon will be fleshing out its EOS R range with some new models later this year. In its recent strategy report states that it thinks the camera market "is bottoming out" and that "going forward, we will continue to expand our lineup in response to user feedback, secure the global No. 1 market share position in mirrorless cameras, maintain the level of sales, and further increase profitability by expanding automation".

The latest speculation suggests that Canon's planning to launch three EOS R cameras in the second half of 2022, including the Canon EOS R7 and a successor to the aging Canon EOS RP. It's been a lengthy wait for anyone who's been looking for an affordable, modern entry-point into Canon's excellent mirrorless camera system. But 2022 should eventually reward that patience, despite the inevitable delays.

• Check out our guide to the world's best mirrorless cameras

Canon has confirmed that an autofocus defect that's led to some of its Canon EOS R5 C cameras being recalled in Australia isn't a global problem and only affects a "small number" of units.

Canon Australia recently reported in a public notice that said some EOS R5 C digital cinema cameras had an autofocus defect that meant "the camera may repeatedly go in and out of focus in movie mode". This meant anyone who'd received an affected camera on or before March 21 would need to organize return or replacement.

We contacted both Canon UK and Canon USA to find out of the problem could be more widespread and affect the EOS R5 C outside Australia, and the good news is that, according to Canon, it isn't.

In a statement, Canon UK said: “A manufacturing defect has been detected in a small number of EOS R5 C cameras. This issue has now been resolved and will have no impact on units to be delivered in the EMEA [Europe, The Middle East, and Africa] region.”

Fortunately, it's a similar story in the US, with Canon USA telling us that "Canon Americas EOS R5 C units were updated and corrected before distribution within the territory.”

So, if you live outside Australia and have been coveting Canon's latest video camera, which is effectively a fan-cooled version of the Canon EOS R5 C, you can still forge ahead without any concerns about its autofocus. Well, if you can find it in stock – the camera is currently out of stock in the UK, and only available for pre-order in the US ahead of a planned shipping date of April 4.

Analysis: A small blip for a big hybrid camera

The minor nature of the Canon EOS R5 C's autofocus issues is good news for one of the camera giant's biggest launches of the year, as it could scarcely afford a major recall.

The launch of the Canon EOS R5 was blighted by overheating issues that were subsequently improved by firmware updates, although some of these problems were in part down to unrealistic expectations of what's possible from a relatively compact mirrorless camera.

The EOS R5 C, which swaps the EOS R5's in-body stabilization for fan-cooling, shows the kind of heat management that's required for continuous 8K video recording. And it promises to shoot 8K/25p raw internally for an impressive 50 minutes, or 4K/50p video for 35-40 minutes.

Given it's such a video-focused camera, the EOS R5 C could have been derailed by a major focusing issue in movie mode, but that fortunately only affects a small number of units in Australia. All it has to do now is negotiate the chip shortages that have blighted most mirrorless cameras so far this year.

• Check out our guide to the world's best video cameras

Thirty-five years ago today, the Canon EOS 650 arrived and changed the face of photography. It was Canon's first ever EOS camera, and while it might not look like a relative of the iPhone, it has a surprising amount in common with Apple's game-changer – including the fact that it was a bold break from the past whose new twist on existing tech took its industry into a new era.

To really understand how important the EOS 650 was, we need to travel back to March 2, 1987. Interestingly, on the exact same day, Apple was preparing to reveal the Macintosh II, while later that year Nokia would introduce its first handheld phone, the Cityman 1320. But the camera world was also in the midst of a tech revolution.

Like phones and capacitive touchscreens in 2007, cameras in the mid-80s were dabbling with an exciting new tech called 'autofocus'. Leica got the ball rolling in the late 1970s, but Minolta shocked the photography world by launching the first SLR with in-body autofocus (the 7000AF) in 1985. 

That camera is the LG Prada phone in this story, though, because it's a largely forgotten trailblazer. Just like Apple 20 years later, Canon sensed an opportunity to forge ahead – and it grabbed it, producing a camera system that's the reason why it's still on top of the photographic world today.

Electric dreams

Canon did have autofocus cameras and lenses in the early 1980s, but the tech had hit a ceiling. As Canon developer Yasuo Suda explains, "before the EOS series was launched, our cameras featured the FD lens mount. However, a fully-electronic mount was essential in order to achieve a high level of AF technology".

That meant one thing – dropping the mount that its existing SLR fans had bought into, and creating a brand new one to take a leap ahead in autofocus. It would be a bold step, not least because autofocus wasn't considered the holy grail by everyone. Nikon, the clear leader in pro cameras at the time, saw the tech as something of a gimmick for professionals, confident that most serious photographers would want to focus manually.

But Canon decided to take the plunge in 1985, and two years later its 'Electro Optical System' (or EOS) was born with an advanced amateur camera called the Canon EOS 650. 

It was a big deal for two reasons. Firstly, EOS was the first system to create a fully electronic connection between an SLR camera and its lenses, which ultimately took autofocus beyond the slow, clunky experience of the time. And it also heralded the dawn of the EF-Mount, which is still in use on Canon's DSLRs today – and uses exactly the same physical design.

Just like the original iPhone, the Canon EOS 650 was a futuristic-looking gadget built on a proprietary platform that'd set the tone in its field for decades to come. But it was also, similarly, far from the finished product when it launched in 1987.

A 'high-tech' companion

What did people say about the Canon EOS 650 at the time? In a 1987 review titled "Camera; a new experience in simplicity", the New York Times' Andy Grunberg said that while "it took a few days to get relaxed with my high-tech companion", he found that it performed "a remarkable number of feats without any intervention or input from the person holding it". 

He praised the single-point autofocus system, marveling that "all I needed to do was to press the button the rest of the way down and the picture was taken", but was less impressed with the overly-sensitive shutter button. Still, the conclusion was that "using the Canon EOS 650 has improved my opinion of auto-focusing, electronic SLRs" and that "certain aspects of their whirring, blinking performance are actually fun".

While the EOS 650 was a film camera, it was the dawn of the modern, electronic shooting experience – one that became so widespread that using a Canon EOS 650 today is still pretty intuitive. But like the original iPhone (which didn't have an App Store at launch), it was really the EOS 650's successors that established Canon as the biggest name in photography.

The first crucial USM (UltraSonic Motor) lenses only started to arrive from November 1987, with the EF 300mm f/2.8L USM. These importantly put a small, quiet autofocus motor inside the lens, rather than the camera. Steve Jobs exclaimed at the iPhone launch that Apple had "patented the hell out of it", and Canon did the same with its new tech. 

This led to genuine pro revolutionaries like the Canon EOS 1 and EOS 1N, which are regarded by many as two of the most influential cameras of the last half a century. So much so, we're eagerly awaiting their spiritual mirrorless successor in the rumored Canon EOS R1.

Focus peaking

What's fascinating about the Canon EOS 650, in another parallel to smartphone cameras, is how it was advertised and marketed back in 1987. 

The tagline of one US TV advert was "now you don't have to be a pro to shoot like one". Another said "one of these guys is a pro photographer, one's a dentist – with the autofocus Canon EOS, it's tough to tell them apart". And the advert below introduces the EOS 650 as a new point-and-shoot king. 

While that didn't quite turn out to be the case, the Canon EOS 650 certainly laid down a blueprint for a new, modern SLR camera. Like the earlier Canon T90, it removed buttons, stripped down the shooting experience and prioritized usability – sound familiar? Who'd have guessed that Apple, which in 1987 was struggling away with the Macintosh, would become one of Canon's big point-and-shoot successors during the 2010s.

The EOS 650's design, which is so painfully 80s it must share the same genes as Knightrider's KITT car, perhaps explains why it's often overlooked by those looking to pick up a film camera today. 

Classic, fully mechanical bodies like the original Olympus OM-1 tend to draw the eye of retro camera shoppers, but the EOS 650 remains well worthy of investigation –particularly if you already have EF lenses and don't need the old-school, manual-only film experience.

While it launched for around $830 / £620 / AU$1,140 in 1987 (if you adjust its price for inflation), you can now pick up an EOS 650 on eBay for only $25 / £25. Not bad for a camera that sparked an autofocus revolution, changed photographic history – and even allegedly took the first photo to be uploaded to the web in 1992.

• Check out our guide to the best film cameras you can buy right now

Cameras aren't exactly known for their humor, but a demo of the Nikon Z9's 'cat meow' shutter sound at CP+ 2022 shows how badly they need more smartphone-style customizability.

As spotted by Nikon Rumors, Nikon introduced a beta firmware for new shutter sounds on the Z9, which included a kitten's meowing sound. Cue lots of heated forum discussions about what sound everyone wants their camera to make (an Austin Powers "yeah, baby!" appears to be the front-runner).

The feature is largely pointless, gimmicky and completely out of step with a professional sports camera. But that's also the point – the fact that it stood out so clearly, and probably generated more discussion than Nikon's new Z 800mm f/6.3 VR S lens, shows there's an appetite for way more personalization in cameras.

My Fujifilm X-T4 contains three electronic shutter sounds, which are all variations on a tinny click. Alongside the Nikon Z9's cat meow sound, the firmware also offers retro shutter sounds for the Nikon D750 and Nikon F4 DSLRs, alongside the option of using a voice recording.

The 'cat meow' sound also shouldn't be dismissed as complete marketing fluff. A family portrait photographer, for example, might find it a useful tool to lighten the mood and get some beaming smiles from kids. The point is that customizations, like we're used to seeing on Android phones, can spark use cases that are unimaginable when everything is locked down.

That's why Nikon says it's actively considering giving its custom shutter sounds feature a wider rollout. It also got me thinking about what other customizations cameras should start offering to give smartphone users a softer landing when they switch to a more 'serious' camera.

Straight shooters

Right now, most cameras – even the latest mirrorless bodies – are about as customizable as a 1980s VHS player. This is partly a result of smartphones hoovering up the beginner and even amateur photographer market, which has pushed standalone cameras further into the professional realm.

But it's also a hangover from the camera giants' past. Neither Nikon or Canon have a long history in software development, and even Sony has only recently tidied up its labyrinthine touchscreen menus. We're not talking a complete camera UI redesign or Android launchers here, though – just some more custom flourishes in the spirit of the Nikon Z9's meowing shutter.

The frustration with rigid camera software has boiled over in the past. Just over a decade ago, a fan managed to reverse engineer the Canon EOS 5D Mark II's firmware to create Magic Lantern – a software add-on that helped unlock its video-shooting talents and turned it into a classic for amateur filmmakers.

Because Magic Lantern doesn't replace or modify Canon's own firmware, instead running alongside it from a memory card, it's legal and relatively risk-free. But Canon has never engaged with or even mentioned Magic Lantern. While I'm not expecting Canon or Nikon to release an open-source camera, it would be nice to see some more engagement with fans in the smartphone era – and some of that customizable fun baked into their dated, straight-laced software.

Today, it's possible to rejig the order of your camera settings or shortcut menus on most cameras, but that's about it. How about letting camera users rename functions from arcane acronyms like AF-C, ISO and MS to ones that they'd personally remember? Or even choose from a selection of text and graphic styles that fit their taste? That'd be a start, but there's so much more that software could unlock.

Phone-style fun

For example, what if cameras came with a pared-down version of Pokemon Snap that ran in their electronic viewfinders? Sure, it wouldn't be used by pro photographers, but they could pass the camera to family members and help them quickly develop the muscle memory needed to shoot in manual mode.

Realistically, this is probably asking a bit too much of the traditional camera manufacturers. After all, they're a little bit side-tracked with their battle for survival in the professional full-frame space. 

But Nikon's CP+ 2022 demo shows that some simple, fun features can generate debate that puts cameras at least somewhere in the vicinity of popular culture. And new players like Alice Camera and Pixii Camera have an opportunity to innovate in this space, if they can gain a foothold in the market.

I recently argued that the OM System OM-1 could be the world's most fun camera thanks to its software innovations. Cat meow shutter sounds might not win Nikon prestigious photography awards, but features like that could win over fans who are looking for a bit more personalization than third-party camera straps or hand-carved shutter buttons.

• Check out our guide to the world's best mirrorless cameras

The new Panasonic Lumix GH6 is one of the most powerful video cameras around, but one slight blot on its copybook is its lack of phase-detect autofocus. Well, now Panasonic has explained why the new camera has instead stuck with older AF technology.

In a surprisingly candid chat during the GH6 launch, Panasonic USA's Business Development Manager Matt Frazer said he was "well aware it isn't the direction that people were hoping that we would go" regarding the camera's autofocus, but that "it just wasn't possible for us to get a modification for phase-based autofocus" on the camera's new sensor.

Like previous Panasonic cameras, the GH6 uses a version of contrast-detect autofocus called 'Depth by Defocus' (DFD). Contrast-detect autofocus works by tweaking the lens's focusing distance to judge where the point of maximum contrast is. It's ideal for still subjects, and DFD adds subject recognition to the mix to help improve its speed and accuracy.

However, most other camera manufacturers use 'hybrid' AF systems that combine the contrast-based approach with phase-detect autofocus (PDAF) to great effect. Phase-detection works by splitting the incoming light into pairs of images, then shifting focus to bring those perspectives into alignment. It's typically faster than contrast-based AF, and better for tracking moving subjects, but it can have knock-on effects for other aspects of a sensor's design – which is partly why Panasonic didn't adopt it on the GH6.

"You have to remember that when we're developing or working on a sensor design, we're working on the information based on an older camera – we were working on this around the GH4's timeline," Frazer explained, referring to the camera that came out in 2014. "You're working on the concerns of the sensor at that point. So low-light sensitivity, dynamic range, resolution – those are things people were most concerned about."

Those weren't the only things people were requesting, though. "Obviously, we pay attention, we know people are looking for a PDAF solution," he added. But it apparently wasn't possible to combine that with the other improvements Panasonic wanted to make in the GH6.

"At the end of the day, when we were working on this sensor design, it just wasn't possible for us to get a modification for phase-based autofocus," Frazer said, stating that the priorities were instead faster read-out speeds and improved dynamic range.

Interestingly, he added that Panasonic is actively looking into PDAF and other forms of autofocus. "To be clear, that doesn't mean we aren't investigating phase-based autofocus systems. Or time-of-flight autofocus systems, or maybe something really cool that none of us have ever heard of before," he said. "But at this time, with this camera, this is what we're going to be able to offer."

The quotes certainly offer an interesting insight into Panasonic's decision-making process, even if they don't going into the precise specifics about why the company couldn't combine those other improvements with a hybrid autofocus system. After all, the new Olympus OM-1, which is another Micro Four Thirds camera, combines a new 'stacked' sensor with phase-detect autofocus points across the frame.

Despite the controversy, we've found that the GH6's autofocus performs pretty well in most situations – and you can read more of our first impressions in our hands-on Panasonic Lumix GH6 review.

Analysis: Panasonic takes the wider view

Autofocus is a key part of any camera, but its importance depends on what you're shooting. If you mostly shoot static subjects, or, as many Panasonic GH6 owners will do, prefer to pull video focus manually, then its DFD contrast-detect autofocus will likely be completely fine.

It's only really when shooting moving subjects, or filming videos solo as many vloggers do, that the lack of phase-detect autofocus could become a potential issue. These quotes from Panasonic's Frazer, along with the admission that "it's not what people wanted", suggests that the manufacturer does recognize that the GH6's autofocus does have some limitations, despite improvements to its DFD system.

Traditionally, the main drawback of Panasonic's contrast-based AF systems has been a 'pulsing' in the background of videos, as it hunts for the point of maximum contrast, so we'll be keen to see whether that's still the case on the GH6. Another potential limitation is that in the GH6's higher frame-rate modes, like 4K/120p, the face and eye detection are less effective.

Still, the GH6's system may well prove to be good enough for your style of filming, and it's important to remember that autofocus is just one factor that impacts a camera's performance from a video perspective. For example, while cameras like the Canon EOS R5 may have superior hybrid AF systems, they can also be prone to overheating – something that shouldn't be possible on the GH6 due to its fan-cooling.  

The GH6 also promises to have one of the best in-body stabilization systems around, so it's still shaping up to be a fine tool for vloggers and YouTubers. We'll bring you our full verdict very soon, but in the meantime you can read our hands-on Panasonic GH6 review for all of our early thoughts.

• Check out our guide to the world's best video cameras