In my in-depth Sony A7R VI review, I called it "the perfect camera"; but just how much better is it than its predecessor, the A7R V — and is it worth upgrading, or switching systems for, say from Canon and Nikon?

The previous A7R model launched in November 2022, so that makes three-and-a-half years between cameras, and gives me plenty to talk about. I'll cover the headline upgrades here, including the new sensor, design improvements and, notably, Sony’s first new battery for mirrorless cameras in nine years.

The answer to my 'upgrade or switch' question very much depends on what kind of photographer you are — so let’s dive straight into it…

1. Sensor

• A7R VI: 66.8MP stacked full-frame sensor
• A7R V: 61MP ‘standard’ full-frame sensor
• Canon and Nikon rivals have a 45MP stacked sensor

Sony’s ‘R’ nomenclature indicates resolution. If you buy an ‘R’ camera, you buy it for pixels — and lots of them — and images from both the A7R V and A7R VI are detail-rich.

With a stabilized 61MP full-frame sensor, the A7R V had the joint-most pixels in a full-frame camera, along with other Sony models including the A7C R and RX1R III, and some cameras from other brands, including Leica’s Q3 and the Sigma Fp L.

That 61MP sensor was debuted in the even older A7R IV, which is now seven years old (there's an updated A7R IVa still available for less than half the price of the A7R VI). Sony’s latest model has, however, upped the ante with a 66.8MP sensor, and it now leads the pack.

If it’s pixels alone that you’re concerned about, then that might seem like a small bump in resolution, especially when Sony rumors have regularly speculated about a 100MP sensor. A quick look at various Sony forums following the A7R VI's announcement makes it clear that some would-be upgraders are disappointed.

Is an extra 6MP worth upgrading for (read: spending a whole load more cash on)? On the surface, no. However, there’s more to a sensor than its pixels. The new sensor here is a ‘stacked’ type, which means it has a much faster readout speed, making it more capable for capturing fast-moving action and for video recording, with less rolling shutter distortion.

The A7R VI does, therefore, have the highest-resolution full-frame sensor, and it’s a speedy stacked type. It has stepped out of the ‘R’ series lane which prioritized quality, and into the speed and quality category occupied by Sony’s 50MP A1 II, which is slightly faster again but has less pixels.

In my book, the A7R VI’s sensor is the perfect marriage of speed and quality, and it's narrowed the market for the pricier A1 series to top sports photography pros. For everyone else, the A7R VI doesn’t miss a beat.

As for Sony and Canon rivals, their top cameras for detailed images include the Nikon Z8 and Canon EOS R5 Mark II, and those cameras max out at 45MP (as does the Lumix S1R II). Canon has a neat in-camera upscaling trick which quadruples resolution for pictures you’ve already captured to 180MP, but this is achieved by smart (and convincing I must add) upscaling.

2. Performance

• A7R VI: a stacked sensor and new Bionz XR 2 processor / combined AI chip
• A7R V: a regular sensor, Bionz XR processor and twin processor / AI chips
• Canon and Nikon rivals also feature a stacked sensor

The A7R VI’s stacked sensor has a faster readout speed than the A7R V, but Sony says the A1 II is even faster. Until lab testing is done, that’s as much detail as we have, because, unlike some other brands, Sony doesn’t divulge sensor readout-speed specifics.

A quicker sensor readout speed addresses rolling shutter distortion, making the A7R VI a better camera than its predecessor for video and fast-moving subjects when the electronic shutter is in play. Put simply, the A7R VI is more of an all-rounder than the A7R V, but there’s no advantage over the Nikon Z8 and Canon EOS R5 Mark II, which also have stacked sensors.

Following the lead of the Sony A7 V, the A7R VI has a combined Bionz XR 2 processor and AI chip, whereas in the A7R V the processor and AI chips are separate. Burst-shooting speeds are technically the same at 10fps using the mechanical shutter, and up to 30fps using the electronic shutter, but you should be able to squeeze out longer high-speed sequences with the mark VI versus its predecessor.

During my in-depth test of the A7R VI, I found that autofocus performance is marginally better too. It also adds an ‘auto’ subject-detection autofocus mode, meaning you don’t have to select a dedicated subject-detection mode, which is infinitely helpful when you’re regularly swapping between subject types.

The new processor and sensor combine for class-leading dynamic range, at least in theory, which is extended by one stop to 16 stops, with new dynamic range boost settings in the mix. Oh, and image stabilization performance has been marginally improved, measured at 8.5 stops to 8 stops (center) or up to 7 stops (periphery).

3. Battery

• A7R VI: New NP-SA100 battery with 2,670mAh capacity
• A7R V: The NP-FZ100 battery with 2,280mAh capacity
• Canon and Nikon rivals can't match the A7R VI’s battery life

Sony has introduced a completely new battery — the NP-SA100, which is physically bigger than the NP-FZ100 battery used in all of Sony’s full-frame mirrorless cameras for the last nine years. That battery was already legendary, delivering rival-beating capacity, and compatibility with a range of third party accessories such as external monitors.

The new battery is even better. How much better? It has 17% extra capacity at 2,670mAh compared to 2,280mAh. Battery life is one area where the A7R VI beats its predecessor, and indeed its rivals.

The bad news for existing Sony shooters is that the new battery is a different fit and physically larger, meaning there’s no forward or backwards compatibility with the older NP-FZ100 battery. If you’re looking at the A7R VI, your NP-FZ100 batteries are of no use, and additional batteries are going to be an extra cost to factor in.

4. Handling

• A7R VI: larger grip, illuminated buttons, brighter viewfinder, but otherwise much the same
• Both cameras feature a 3.2-inch 4-way vari-angle display and 9.44m-dot viewfinder

The larger battery is housed inside the camera’s grip, which is in turn physically larger than the one in the A7R V. I’m a fan of the larger grip, it’s even more comfortable to hold. Otherwise, the camera’s design is pretty similar to that of the A7R V’s — it’s a game of spot the difference.

Playing that game, I’ve found a few welcome tweaks. There’s a new lamp button on the top plate. Press it, and the control buttons around the body light up. I love this feature for low-light shooting, which makes locating buttons all the easier.

Speaking of lights, there’s also a tally lamp on the A7R VI, which is a handy visual aid letting you know the camera is recording, whereas the A7R V doesn't have one.

The displays are mostly the same. The 3.2-inch 2.1m-dot touchscreen has a four-way tilt hinge — you can tilt it up from the body, or pull it out to the side and rotate it for selfies, for vertical and horizontal shooting at just about any angle. The EVF is again a 9.44m-dot unit, but on the A7R VI it's 3x brighter, and I can attest that it’s an even nicer viewfinder to use — the best I’ve used on a camera this size, and up there with the very best of any camera I’ve used.

On the side of the new camera, each port has its own rigid door now, whereas some share a door in the A7R V. By the way, I much prefer this type of door to the soft doors found in most other cameras, which can get in the way.

5. Price

• A7R VI: Body-only: £4,500
• A7R V: Now £3,000 (launched at £4,000) while the A1 II is £6,200
• Nikon Z8: Now £3,000 (launched at £4,000)
• Canon EOS R5 Mark II: £4,500

Compared to the A7R V, the A7R VI is a pricier upgrade, especially since the A7R V is over three years old, and its price has dropped by about 25%. It started out at £4,000, but can now be had from Sony’s site and other leading retailers for around £3,000.

I’m not surprised by the bump in price, considering the time between the two cameras and the A7R VI's new sensor and battery.

The A1 II is much pricier than either, costing around £6,000, and making the A7R VI look like excellent value by comparison. That being said, Sony’s latest ‘R’ camera costs the same as the Canon EOS R5 Mark II, and is in turn pricier than the Nikon Z8 which is closer in price to the A7R V.

In summary, the A7R V costs significantly less, but the A7R VI gives you more camera, and offers decent value compared to rival models.

Conclusion

I already loved the Sony A7R V, with its 61MP full-frame sensor and speedy autofocus. The A7R VI is, however, better on both the quality and speed fronts, and even plants a foot on A1-series turf.

For me, as someone who shoots a wide range of photography genres, covering anything from landscapes to portraits and sports, the A7R VI is a dream camera, and it now tops my Sony camera wishlist.

Before the A7R VI was announced, I would have opted for Canon and Nikon rivals, given the various compromises in its predecessor, but the A7R VI changes the equation. It's a strong upgrade for a range of photo and video subjects, and could even be worth switching systems for. It also offers superior battery life, and a range of lenses for all budgets that Canon and Nikon owners wish they had. For me, the A7R VI is the professional camera to beat.

Like many photographers, filmmakers and tech journalists, I’ve picked up a Lumix camera at various times in the 25 years since Panasonic started making cameras.

I’ve reviewed countless Lumix cameras and lenses down the years, and decided to part with my own cash for a Lumix GH5 to level up my video quality just before moving to East Africa in 2015.

I've used that camera for multiple video projects, and 10 years on, paired with a 12-60mm f/2.8-4 Leica lens, it’s still my go-to camera for my product photos, which you can see in my reviews and other articles on TechRadar.

To commemorate 25 years of Lumix cameras in my own small way, I decided to buy another model, the Lumix G1, which was in fact the very first mirrorless camera ever made — at 18 years old, it even predates TechRadar, and this is our first proper write-up about it!

The Lumix G1 was a true innovation, marking a new era of cameras that would eventually replace the best DSLRs, and which dominate the market today. Was it easy to find one? Surprisingly enough, it was.

A vintage bargain

My original idea to mark 25 years of Lumix was to buy the very first Lumix camera, the DMC-LC5 compact. However, after many hours of fruitless searching I diverted my attention to the OG mirrorless camera.

I quickly found a secondhand Lumix G1 for just £41 at MBP (about $50 / AU$90), or double that with an original 14-45mm kit lens. If I was willing to pay a little extra, I could get the camera in what I’d describe as a dark shade of red instead of the original black.

Given that these cameras are 18 years old, there are very few excellent-condition models still available, so I settled for a ‘well-loved’ version.

I wanted the authentic experience rather than using my own 12-60mm Leica lens, so I bought the camera with the original kit lens. A few days later, the gear arrived in an original box with all the original accessories — there was even the user manual on a CD.

Back when the Lumix G1 was launched, proper plug-in battery chargers came as standard — and the original charger was in the box too, which was a novelty, because these days you don’t typically get a charger with USB-C-ready cameras. And I got all of this — camera, lens, charger and all original items — for just £80. Bargain.

Once the battery was charged and inserted, I connected the camera and lens, and got a feel for the DSLR-style body. The immediate downside to a camera of this age and design is that the exterior was sticky and peeling in parts — not a particularly pleasant experience.

On turning the camera on, I was greeted with an old-school white background menu with vintage typeface and a time / date set page, with the year set to 2008 — yes, the Lumix G1 is a full 18 years old! Numerous hits of the D-pad later, with the correct time and date set, I was ready to go.

Despite its age, there’s a familiarity about the way the Lumix G1 feels and handles, though there are exterior controls that feel somewhat quirky 18 years later, but which offer an insight into what features were all the rage of that time — for example, there's a 'film mode' button for color profiles aped today by Fujifilm, and an autofocus mode dial. That said, camera design really hasn’t moved on that much, and I felt immediately at home handling the G1.

They don’t make ‘em like they used to

So what about the technology inside?

What Panasonic did well when it started out making micro four thirds mirrorless cameras was to give us compact-sized models that made the most of the ‘half-size’ sensor format.

With its DSLR-style design (read: viewfinder hump), the Lumix G1 was larger than other Lumix models such as the GF series and legendary GM1, but nonetheless it feels small, and the pronounced grip fits in the hand comfortably.

The range evolved over the years, and quite literally grew in size as more features were added, and the Lumix G1 better realizes the micro four thirds concept than, say the Lumix GH7.

The electronic viewfinder is understandably quite small and basic, but it’s still what I like to use to compose images in bright light. The vari-angle screen is not touch-sensitive, which certainly makes the Lumix G1 feel somewhat primitive in 2026.

Menus, therefore, need to be navigated using the camera’s buttons, including the function button for the quick menu. I might have missed a trick, but by my reckoning it takes a four-step process of tapping different buttons to access exposure compensation, which became tedious after prolonged use.

Thankfully, for the most part, the menus in the Lumix G1 are refreshingly simple. I suppose that’s because it has less going on versus the feature-rich Lumix cameras of recent years. But in a way, it’s feature set is not so different.

You might expect autofocus speed to be archaic, but honestly the contrast detection-based AF still felt pretty snappy in good light, easily latching on to most subjects, and it was decent enough even in low light.

Sure, there are fewer autofocus points, and the percentage coverage across the frame is smaller compared to today’s models, but autofocus was generally reliable.

And get this: there’s human subject-detection autofocus, and it works pretty well. Leading brands are still tinkering with advanced subject-detection autofocus 18 years later, throwing ‘AI’ into the mix covering pose recognition for humans, animals, and more, but the truth is that the foundation for this tech has been around for many years — and the Lumix G1 is proof of that. It's autofocus is simpler than today's mirrorless cameras, but sufficient for everyday photography.

Enough for the everyday

The camera packs a 12MP micro four thirds sensor (aka MFT / M43), a megapixel count which 18 years later is more than doubled by flagship cameras in this format — the top micro four thirds cameras like the Lumix G9 II offer 26MP, and a high-res mode that can quadruple that resolution.

Picture quality isn’t just about pixels, though, and the Lumix G1’s sensor is also pretty dated in terms of low-light performance, with an ISO sensitivity range of just ISO 100-3200 — yes, it tops out at ISO 3200.

Low-light quality is the main drawback of the micro four thirds format versus full-frame mirrorless models which came several years later (but were predated by full-frame DSLRs), especially in earlier models such as the Lumix G1.

Still, a pop-up flash is handy at a pinch for party portraits, with manual exposure control for attractive fill-flash effects. And I dig the overall quality — many of today’s cameras recreate vintage effects with various color profiles, whereas here every photo as a dated look to it.

Burst-shooting speeds are understandably much slower than the latest cameras, and I’m not about to take the Lumix G1 to my kid’s sports day. Its top speed is just 3fps, a rate that the camera can sustain when shooting JPEGs until the card is full. Add RAW format into the mix, however, and the camera slows up after just a couple of seconds.

After using the 14-45mm lens exclusively, I decided to throw my cheap Olympus 45mm f/1.8 portrait lens into the mix — after all, lens choice and cross-brand compatibility was and is the beauty of the micro four thirds system, even if you don’t always get the full suite of features when mixing and matching brands.

The 45mm f/1.8 was typically the second lens that Olympus (now OM System) users would purchase, and it leveled up the quality of my portraits and other shots with its improved light-gathering capabilities. Aesthetically, the camera and lens pairing still look the part too.

Are old cameras worth it?

For me, cameras are a bit like cars. Vintage models, such as the Lumix G1, have a certain rough-around-the-edges charm about them that has been lost with modern design and increased capabilities.

Sure, the Lumix G1's capabilities pale in comparison to, say, the Lumix G9 II, which is the latest version in the series. That camera has an incredible suite of features, including Panasonic’s hybrid phase-detection autofocus and blazing-fast performance.

For all the Lumix G9 II’s excellence, however, I’m charmed by the original model. Of course, I wouldn’t use it for serious work or once-in-a-lifetime trips like I would the current day model. But for photographing the everyday, I’ve enjoyed reaching for the Lumix G1, and I’ve been loving taking photos just for the fun of it.

The Lumix G1 is still a decent beginner camera all these years later — and it's available secondhand for a ridiculously low price. So, in the spirit of celebrating 25 years of Lumix, I toast Panasonic for producing the mirrorless camera that started it all, and for all the cameras it has given us down the years.

There's an open nature reserve with a wetland, encircled by woodland, about a 10-minute drive from my house, and it’s one of my favorite places to go running. Sunrise on a cold morning here can be magical for photography too — the sun-kissed mist hovering over the water makes for dreamy conditions.

Throughout the year, the nature reserve attracts a range of migratory and rare species of birds, making it a popular spot for birding — people will drive a good hour or more to visit with their long lenses, spotting scopes and binoculars.

I've never tried serious bird photography myself, chiefly because I'm way too young for that (joking), but also because the longest lens I've ever owned is a 70-200mm, which doesn't get me nearly close enough.

Recently, however, I had the chance to test Sony's longest lens, the FE 400-800mm F6.3-8 G OSS, and the idea of trying bird photography suddenly became very appealing.

I paired the super-telephoto zoom lens with the new Sony A7R VI. My logic was that the camera’s stellar bird-detection autofocus skills, blazing-fast shooting speeds of up to 30fps, and 66.8MP stacked sensor were perfect for bird photography when armed with the 400-800mm focal length.

One visit led to another, and before I knew it, I was out the door at 5am every morning, gear in hand.

I had just found my new hobby. It happened a few years earlier than I care to admit, but why resist the inevitable? Yes, I'm now into birding, and I have this incredible Sony camera gear to blame.

The super-supertelephoto lens

When I first saw Sony’s 400-800mm lens in 2024, I thought it was a peculiar focal length. But after my bird photography testing, it feels like the perfect range for this genre.

For most bird photography — in the wild at least — you’ll want a focal length of at least 600mm to get close enough, but I found that even longer, at 800mm, was my most-used setting.

I wouldn’t want an 800mm prime lens, mind you, even if that meant benefitting from a slightly faster aperture. When you're locked in on a bird at 800mm, and it moves, which it will, it can be tricky to locate them again. That’s why quickly zooming out to 400mm is handy.

With a wider perspective at 400mm, you can locate the subject more easily, and then zoom back in again. In any case, about 10% of the time, the 400mm focal length was actually the better pick when I was lucky enough to get physically close.

Optical image stabilization is handy, smoothing out camera shake and consequently making this lens totally usable handheld. The focus range limiter is neat too, but I tended to keep the focus range set to 'full' given the birds could be located any distance from me at any point — in one spot, there are gauze bushes next to a boardwalk.

The one thing against the lens is its maximum aperture, which is f/6.3 at 400mm and reduced to f/8 at 800mm. I usually opted for a 1/1000sec shutter speed at 800mm to freeze action, and at f/8 in anything but good light, you’ll find ISO needs to be bumped up, which impacts image quality.

Depth of field is not an issue, though. At 800mm and f/8, backgrounds are delightfully blurred, just about all of the bird is in sharp focus, and the photos looks great.

An upshot of the limited maximum aperture is that the lens is much lighter than Sony’s professional fast-aperture telephoto primes, such as the 600mm F4, and it’s much, much cheaper, too. For amateur bird photography, I think the 400-800mm F6.3-8 is the practically perfect lens.

The speedy, highly detailed camera

If the 400-800mm F6.3-8 is the ideal lens for bird photography, the A7R VI proved to be its perfect partner. Like its predecessor, the camera features subject-detection autofocus with a dedicated option for birds, but it adds an auto option, which is handy when you’re regularly switching between subjects.

For bird photography, however, I selected the dedicated AF mode on the assumption that this could help improve the camera’s scan rate, with less in the scene for it to be looking for — after trying both options, I would advise you to do the same.

I also tried bird photography with the 400-800mm lens and the older Sony A7R V, and it felt like autofocus was slightly slower compared to the new camera. I don’t have numbers to back this up or give a measurable difference, just my experience.

I was impressed by how the camera could latch onto birds even when they filled just a small portion of the frame. Check out the example below — the A7R VI easily located the distant male stonechat.

With continuous burst shooting set to 10fps using the mechanical shutter, bird-detection autofocus in play, camera and lens image stabilization active, I had a dream setup, on the foundation of a high-resolution stacked sensor and extreme dynamic range.

Sony says the A7R VI has a 16-stop dynamic range, which is 1-stop more than the A7R V and most other professional cameras. It also has the most pixels in a full-frame sensor — all 66.8MP of them.

What I appreciated about the high-resolution sensor was the ability to crop into images where the subject filled a small portion of the frame, even when shooting at 800mm.

Just how much can you crop? Well, the camera's APS-C crop mode (1.5x) is still 28MP, and in that mode the 800mm setting of the lens effectively looks like a 1200mm lens (see the sequence above at 400mm, 800mm, and 800mm with the 1.5x crop mode). It's possible to crop in much more than that and still get a detail-rich image, especially for images displayed on mobile devices. You might not need such big files in terms of output, but for bird photography, being able to crop is supremely helpful.

The birdlife

That’s the gear covered — but how was my experience itself? I had an absolute blast — in the space of a week, I went from a complete novice to confidently identifying a range of bird species for inquisitive passersby impressed by the camera gear in my hand. Yep, I had become one of those guys.

The nature reserve is home to a wide range of birdlife. My very first snaps were of Canada geese on the water, mainly because the light and mist were magical. But venturing further along the boardwalk, I saw ground-nesting birds and more.

There were Chats, Finches, Woodlarks, and I even saw a family of Dartford Warblers. I tuned in my ear for birds; the car alarm-like shrill of a Lapwing and the peculiar call of a Curlew — I was told that I was looking at the only nesting pair in this county. Common Cuckoos were present too, though I never got the camera tracked onto one of those.

I photographed European Stonechats who had caught dragonflies and grubs, and watched a Reed Bunting go back and forth gathering nest-building material. The delightful contrast of a (European) Goldfinch amidst the pale green leaves of a birch was spectacular.

Seemingly, it was my time — I was becoming a bird enthusiast. I had given in to the inevitable. I was hunting for birds, enjoying the thrill of getting the shot, but with a camera and not a rifle.

And honestly, it was the most fun I'd had with the camera in ages. This didn't feel like work, but something that fed me. And, yes, I did ask Sony to extend the loan of the lens, because I wasn’t ready to give it back. Once I bid farewell, I’ll be looking into buying a super telephoto zoom lens of my own (but I'm not quite ready for a bird spotting journal...yet).

Interested in trying bird photography out for yourself? Check out our selection of the best wildlife photography cameras.

Sony A7R VI: Two-minute review

Highly-detailed images or blazing-fast performance — historically, you'd have to pick one or the other when choosing a camera. However, Sony has now given us both in one model — the A7R VI — and for me, it's the perfect mirrorless camera.

I've shot everything from detail-rich landscapes to fast-moving wildlife photography while testing the A7R VI, and it hasn't missed a beat. I've really appreciated the huge number of pixels I have to play with, which means that heavily cropping into images is entirely possible.

Its new 66.8MP stacked full-frame sensor resolves more detail than the sensor in the 50MP A1 II — Sony's previous flagship camera for quality and performance — and most of that camera's speed in terms of sensor readout.

I say 'most', because its readout speed is half that of the A1 II, and able to support autofocus up to 60fps, but it has certainly been sufficiently speedy for just about every scenario I've used it in. And rolling shutter distortion is minimized compared to the A7R VI's predecessor, the A7R V — I shot with both cameras at the same time in order to make direct performance comparisons.

Even better, the A7R VI costs £4,500 / AU$6,999, which seriously undercuts the pricier A1 II. Considering what the A7R VI can do, the A1 II feels somewhat redundant, especially when the speed-specialist A9 III is also on the scene for the likes of pro sports photographers who demand the absolute fastest performance.

Of course, that's still a decent chunk of anyone's money, and the A7R VI costs a lot more than the still-incredible A7R V, which has fallen in price since its launch in 2022, and is probably the better value pick if detail is all that matters to you.

However, given the upgrades here, which also include a new and higher-capacity battery type, the A7R VI's starting price feels justified. I've been reviewing cameras for 15 years, and I think Sony just made the first one that's perfect. I could happily dine out on its skills for many years to come.

Sony A7R VI: price and release date

• Announced on May 13 2026
• The body-only price is £4,500 / AU$6,999

Yes, the A7R VI'S £4,500 / AU$6,999 launch price is higher than that of the A7R V, which cost £4,000 / AU$5,499 on its announcement late in 2022, and which can now be had for around £3,000 / AU$4,799. That said, the A7R VI is more camera — it's not just a resolution king, but a speed demon too.

When you consider what the A7R VI is capable of versus the Sony A1 II, which costs more than £6,000 / AU$9,999, it feels like excellent value.

• Price score: 4.5/5

Sony A7R VI specs

Sony A7R VI: Design

• Still lightweight and small versus rival high-resolution full-frame cameras
• Rugged design and excellent ergonomics
• Touchscreen features a 4-way axis, the detailed EVF detail packs 9.44m dots

For recent models, Sony has made great strides in improving how its cameras handle, and how easy the menus and controls are to navigate. It's no longer the case that rival Canon and Nikon cameras are simply easier and more intuitive to use.

For starters, Sony has improved the design of the grip — on the A7R VI it's even bigger and more pronounced than before, no doubt to house the upgraded and physically larger new battery type which debuts here (more on this in the performance section).

The new bulb button on the camera's top plate illuminates key buttons in low light, making them easier to find in the dark, and there's a tally lamp for video recording. Each port sits behind its own rigid door, which when in use sits neatly out of the way. These are all lovely additions to what is otherwise a very similar design to the A7R V.

Like before, we get three control wheels for exposure adjustments (one of which is lockable), four custom buttons (though not one on the front of the camera, sadly), a grippy AF joystick and a four-way control dial which also includes drive mode and ISO shortcuts.

There's a neat 3.2-inch touchscreen with 4-way articulation, meaning the screen can be flipped out to the side and viewed at awkward angles, whether you're shooting in vertical or horizontal format. There's a highly detailed 9.44m-dot EVF, too, but this time it's a HDR DCI PW display which Sony says is 3x brighter than the one in the A7R V.

We get twin card slots again, and each slot accepts either an SD card or one of Sony's CFexpress Type A cards. Per gigabyte, CFexpress Type A cards are among the most expensive, more so than CFexpress Type B used in rival cameras. Of course you can use cheaper SD cards, but you'll want a CFexpress card to get the A7R VI's speediest performance for burst shooting and so on.

Naturally, with this being a pro body, the A7R VI is weather-resistant. I'm not in the habit of wrecking cameras, and certainly not review samples that I have to send back, but you can feel that the A7R VI is rugged too. The back-right control dial has a tiny bit of give, and could be a weak point, but it performed fine during my review.

If I was to have one criticism, it's that the camera body still feels a little cramped — many of the controls are small and tightly packed together. You'll also want a vertical grip when pairing the A7R VI with big lenses for better balance, such is its compact design. But overall, the A7R VI is as good a camera body as Sony has ever made.

• Design score: 5/5

Sony A7R VI: Performance

• The sensor is stacked with rapid readout speed, minimizing rolling shutter distortion
• A new higher-capacity NP-SA100 battery makes its debut
• Subject tracking autofocus performance further boosted with new chip

While the A7R VI's design is a minor upgrade, its performance reaches new levels thanks to a new 66.8MP stacked sensor, new Bionz XR 2 processor, combined processing and AI chip (as in the Sony A7 V), and an entirely new battery. Let's look at each of these in more detail, starting with the sensor.

Not only is the sensor the highest-resolution for the full-frame format at 66.8MP, it's a stacked sensor, which means a faster readout speeds, and a half-stop boost in image stabilization performance, now up to 8.5 stops.

Stacked sensors power everything from rapid autofocus speed to minimizing rolling shutter distortion. The A7R VI's is faster than the A7R V's regular 61MP sensor, but not quite as quick as the A1 II's 50MP stacked sensor, nor the A9 III's 24MP global shutter.

We also get a next-gen processor, the Bionz XR 2. Top features include 10fps burst shooting (mechanical shutter) for up to 535 frames in compressed RAW, and up to 30fps blackout-free (electronic shutter) for up to 150 shots — the latter is a three-second burst.

One of the buttons can be assigned as a burst-shooting boost, meaning you can tick over at, say, 10fps in using the electronic shutter and up this to 30fps when a key moment occurs.

Burst shooting is also supported by the pre-capture feature, where up to one second of shots can be buffered with the shutter half-pressed, before you fully press the shutter to engage a sequence.

Like in the A7 V, the A7R V combines the processing chip with the dedicated AI chip — the setup found in previous-generation cameras like the A7R V — into a single chip, for greater efficiency and power conservation, and for smarter autofocus and accurate auto white balance and color rendition.

In addition to a boost in the maximum possible length of burst shooting sequences before the camera slows up, there's an auto subject-detection mode this time around, which is very handy if you regularly switch between subject types, plus dedicated subject-tracking modes for as humans, birds, animals and vehicles, with the camera able to recognize head, eyes and even body shape (human pose), to intelligently understand where exactly to focus on, with a super impressive hit ratio of sharp shots.

I photographed a lot of birdlife, and found the bird detection autofocus super reliable, and even able to pick out subjects when they only took up a small portion of the frame. Those who like to use spot focusing will enjoy seeing the size options expanded, with new XL and XS options for wider or even more precise focusing.

And then there's the new battery, a NP-SA100 unit with 2,670mAh capacity. For Sony photographers, this one is a big deal — the first new battery for Sony mirrorless cameras in nine years, since the legendary NP-FZ100.

The new battery is physically larger and has a 17% bigger capacity than the NP-FZ100's 2,280mAh, which already delivered rival-beating power, so that's the good news.

The bad news is that the batteries are not forwards / backwards compatible. You can't use your stock of NP-FZ100 batteries in the A7R VI, nor can you use the new NP-SA100 in an older Sony camera.

Batteries, along with the continued use of Sony's own CFexpress Type A cards, are another potential costly extra, which will no doubt irritate some Sony fans keen on the A7R VI. I certainly enjoyed having two NP-SA100 batteries and a charging dock for long weekends of heavy shooting, and would personally factor that into a purchase. The bottom line, though, is that the new battery's life is better — and who wouldn't want that?

• Performance score: 5/5

Sony A7R VI: Image and video quality

• The highest-resolution full-frame sensor in a mirrorless camera, and it's a stacked type
• 66.8MP equates to 28MP with a 1.5x (APS-C) crop
• Dynamic range boosted by one stop to a class-leading 16 stops

The 'R' series of A7 cameras have always been about detail — delivering the highest-resolution stills that Sony cameras are capable of. And the A7R VI boosts the series further, from 61MP to 66.8MP, and this is achieved with a substantial boost in performance thanks to the stacked sensor.

There are some who would have preferred an even bigger boost in resolution over a boost in speed — there was a time when the A7R VI was rumored to come with a (regular) 100MP sensor. For me, however, as someone who photographs everything from landscapes to portraits and wildlife, I prefer the versatility of the A7R VI's sensor. It's basically perfect for my needs.

With a stacked sensor, there's a risk of some compromises in image quality, especially in low light. Thankfully, in the case of the A7R VI, the opposite is true, and dynamic range is further boosted from 15 stops to 16 stops.

I don't usually need 66.8MP stills, but being able to crop into such large files can be super handy. For example, I took a lot of bird photos, and even with Sony's 400-800mm lens, which is its longest telephoto lens, the tiny, distant subjects at times appeared small in the frame.

No problem: I could crop right in and still enjoy super-sharp detail. To give you an idea, the 1.5x (APS-C) crop mode is still 28MP, which is a huge file size. Employing that crop with the 400-800mm lens is effectively like having a 1200mm lens! This is where high-resolution cameras can be particularly helpful.

Color is also improved, with the subject-detection AI chip analyzing the scene for better auto white balance (AWB). For example, where older AWB systems might look at a lush green woodland scene and compensate with the opposing tone, resulting in an overly magenta hue, the A7R VI knows it's a woodland, or a person in the shade, and will select the right tone for the scene.

Video recording looks similar to the A7R V's going by the numbers: 8K up to 30fps and 4K up to 120fps, and still no open-gate recording, but the new stacked sensor minimizes rolling shutter distortion, making the A7R VI a better option for video than its predecessor. It's also equipped with more filmic color profiles.

• Image and video quality score: 5/5

Sony A7R VI: testing scorecard

Should I buy the Sony A7R VI?

Buy it if...

Don't buy it if...

Sony A7R VI: also consider

How I tested the Sony A7R VI

• Sony loaned me the A7R VI four weeks before it was announced
• I had four lenses to use with it, plus twin batteries and a charging dock
• I've taken photos and videos of a wide range of subjects to test key feature

I had the chance to test the Sony A7R VI for four weeks ahead of its announcement, and used it with four lenses: a small 24mm f/2.8 prime, the 28-70mm F2 GM, 70-200mm F4 G OSS II Macro and 400-800mm F6.3-8 telephoto zoom. I was also supplied with two batteries and the twin charging dock.

Given the camera's high-resolution stacked sensor and latest processor, which incorporates the previously separate AI chip, I wanted to test the camera's image quality and performance in a wide range of scenarios, which included landscape photography, wildlife photography, portraiture and more.

I also tested its burst-shooting skills, shooting in both the mechanical and electronic shutter modes, and noting how many photos the camera could capture before slowing up.

Sony also loaned me the A7R VI's predecessor, the A7R V, so I was able to make various performance comparisons, especially around high-speed photography.

• First reviewed: May 2026
• Read more about how we test

In case you didn’t know it, there’s an "explosive growth in video-first products". That’s according to Canon, which just unveiled another 'V' mirrorless camera, the EOS R6 V.

With this latest arrival, Canon now has 22 EOS R mirrorless cameras in its arsenal, and the range caters for every niche and need, even if its naming convention can get a little confusing.

It was telling that, during a video briefing ahead of the EOS R6 V's launch, Canon showed several slides explaining who its various cameras are for, yet one attendee was still compelled to ask “why did you call it the EOS R6 V?”

So let’s unpack what the new camera is, where it sits in Canon's range, and which type of user it's aimed at. Here are 5 things you need to know…

1. Who’s the EOS R6 V for?

Canon started its ‘V’ series of cameras with the EOS R50 V, with the ‘V’ denoting video. Or perhaps it’s vlogging; I’m actually not sure. Either way, photography is a secondary function of the range.

You see, Canon believes that video-first products are where the market is going, and now it's given the ‘V’ series the full-frame treatment with the EOS R6 V, which rivals the Sony ZV-E1 and Nikon Zr — cameras with serious video skills, but pared back design when compared to pro cinema cameras.

In Canon’s range, the EOS R6 V sits above the EOS R50 V which is a vlogging-style version of the EOS R50 with an APS-C sensor. Both omit a viewfinder in favor of a host of video-friendly features and design touches, including a tally lamp, vertical and horizontal tripod mounts, auto-rotating menus (for video), and long record times.

If the EOS R50 V is a starter camera for vlogging and video creators, then the EOS R6 V is a supercharged version for upgraders, or those with pro-level skills who are looking to dive straight in. But things get more complicated — the R6 V inherits a sensor found in two other Canon cameras; the EOS R6 III and EOS C50.

The EOS R6 III is a photography-first camera which can also shoot great video, while the EOS C50 is a cinema camera with pro-level connectivity that happens to take photos; the EOS R6 V is somewhere in the middle.

Those three cameras share many of the same features, but are designed differently, and the EOS R6 V targets the same market as the Sony ZV-E1 and Nikon Zr. That should hopefully clear some things up, but let’s dig a bit deeper…

2. Sensor

Logically, the main reason that the new camera is called the EOS R6 V is because it features the same sensor as the EOS R6 III (but not previous EOS R6 models). However, not even the Canon spokesperson could confirm the reasoning behind the naming when presenting the product. The EOS C50 cinema camera also has the same sensor — it’s a 32.5MP full-frame sensor rated for 7.5 stops of image stabilization.

Each of the three cameras are capable of recording 7K video up to 60fps, internal RAW recording with Canon’s C-Log color profiles, the option for open-gate recording (from the full height and width of the 3:2 aspect ratio sensor), oversampled 4K up to 60fps, 4K /120fps and 2K up to 180fps. By comparison, the cheaper and smaller EOS R50 V’s video skills are very limited.

The EOS R6 V can shoot superb stills too, like the EOS R6 III — that's 32.5MP stills up to 40fps, with pre-capture. Not bad at all. Where the cameras differ the most is in their design.

3. Design

The EOS R6 V is a much bigger camera than the EOS R50 V — you can see the differences between the various cameras in the images above. However, it's similarly styled, with a similar control layout and shape.

Neither camera has a viewfinder — a growing trend that we’ve seen in new cameras, and one that isn't going down well with TechRadar readers. You'll be composing images using the camera’s 3-inch 1.62m-dot vari-angle touchscreen (which pales in comparison to the Nikon Zr’s gorgeous 4-inch display).

The bulkier body of the EOS R6 V packs the larger sensor, and features cooling vents, adding to the camera’s depth but equipping it with what are effectively unlimited record times. Canon told me that with the fan enabled, record times at any resolution, including 7K, are over two hours. In reality, you’ll run out of battery or space on your memory cards before the camera needs a break.

The EOS R6 V is a highly customizable camera, too, with 12 buttons that can be assigned your choice of function. It offers live streaming through full-size HDMI, a vertical tripod mount, and a zoom lever which can be used for a digital zoom, but also with 'power zoom' lenses. Speaking of ‘PZ’ lenses…

4. A new ‘kit’ lens

Alongside the camera, Canon announced the RF 20-50mm F4L IS USM PZ lens, and the two are designed to work together. The ‘PZ’ stands for power zoom, which is a smooth zoom function via a control on the lens, plus the camera itself also has a zoom lever.

By contrast, standard RF lenses paired with the EOS R6 III and other photography-first mirrorless cameras are manual-zoom only, and that jerky motion is not particularly something you’ll want during recording, or to be evident in your videos.

The lens itself weighs 420g, and coupled with the EOS R6 V, which weighs 688g with battery and card (598g without), balances well on a gimbal. It's equipped with 24cm close focusing and a decent 0.33x maximum magnification. Given it’s an L-series lens, build and optical quality are top drawer, and it costs a fair whack. How much? Here are the prices for the camera and lens…

5. Pricing

The EOS R6 V costs £2,400 / AU$3,599 (I’m rounding up UK prices by a penny because all those 99s are tedious), and will be available from June 24. You’ll be able to buy the camera in a kit with the RF 20-50mm F4L IS USM PZ lens, and together they’ll set you back £3,550 / AU$5,399 — that’s a saving of almost £300 / AU$400 versus buying the two separately. The lens will be available separately for £1,440 / AU$2,199, but I don’t have details on the launch date of the lens on its own yet, which I believe will be later than that of the kit. I'll also update this article with US pricing as soon as I can.

That pricing means the EOS R6 V is the most cost-effective way to bag Canon’s 32.5MP sensor — it’s cheaper than the EOS R6 III, and much less than the EOS C50. It’s the same story with the Sony ZV-E1 — it packs the same 12MP full-frame sensor and 4K recording as other pricier Sony cameras, including the A7S III and FX3.

Say what you will about these vlogging-style cameras — they do cost less versus other designs. I’ve had some brief hands-on time with the EOS R6 V, but not nearly enough time to form any meaningful conclusions. Stay tuned for our full review further down the line.

• The Fujifilm X-T6 is tipped for a September release date
• There's no word yet on what upgrades it could have
• However, the X-T5 is still in many ways the best APS-C camera ever made

We reviewed the Fujifilm X-T5 back in November 2022 and described the stills-focused mirrorless camera as 'the best full-frame alternative around'. Three-and-a-half years later, and with just a smattering of major new APS-C cameras released — including the Sony A6700 and Nikon Z50 II — it's the same story.

The X-T5 still has an unrivalled 40MP sensor with in-body image stabilization, which is tidily packaged into a lightweight retro body that's a joy to use, and is supported with a wide range of X-mount lenses.

And despite its age, the X-T5 remains the 'best overall' in my best Fujifilm cameras guide and I absolutely still recommend it in 2026 — even if its price is practically the same at is was at launch, and even with the rumored Canon EOS R7 II and the X-T5's successor (presumably called the X-T6) potentially on the horizon.

That being said, a successor to the X-T5 will undoubtedly get Fujifilm fans excited, and the current model can be improved upon. I believe that with the following upgrades, the rumored X-T6 could be a crop-sensor masterpiece.

1. The next generation processor

Since the X-T5, Fujifilm has gone about putting the X-Processor 5 chip it introduced into consequent models, such as the X-E5, X100VI, X-T30 III and X-M5. We're now due a next generation processor.

What benefits a new processor will bring, we can't know for sure, but typically we can expect improved power efficiency (read: better battery life) and a boost in burst shooting speed and length. Indeed, while the X-T5 is very quick — it can shoot at 15fps with the mechanical shutter, or up to 20fps with the electronic shutter (but with a 1.29x crop) — its buffer is limited.

That 15fps speed can be maintained for 119 JPEGs or just 19 raw files, which is pretty modest, while the 20fps rate lasts for 168 JPEGs / 23 raw. I'd expect the X-T6 to shoot for longer, making those top speeds more useable. Adding pre-capture for burst shooting would go down well with me, too.

Another way to improve burst shooting performance would be to adopt the faster CFexpress Type B card type, saving one of the two slots for that type of card, rather than twin SDs.

2. Improved autofocus

The X-T5's subject detection autofocus is really good, but rival systems from Canon, Sony and even Nikon are better overall. So, if you shoot a wide range of subjects and rely on autofocus, then a step up in autofocus performance will be appreciated in the X-T6.

For example, the very best autofocus systems today don't just recognize subject type, be it people, birds, animals or vehicles, but also body shape and even detect the type of action to determine which subject to focus on and where. Some such as Canon's EOS R1 and EOS R5 II even offer face registration so you can prioritize specific people — handy for scenarios such as weddings and team sports.

Should the X-T6 introduce any of the above and indeed provide reliable and accurate autofocus, then it'll be a notable step up in autofocus performance from the X-T5.

3. A new sensor

The X-T5 already has a fantastic 40MP sensor. No other APS-C camera can beat it for resolution, plus it's stabilized which helps for sharp shots when shooting handheld. So what could Fujifilm do with a next-gen sensor?

I suspect in the X-T6, we could be looking for a stacked sensor for faster readout speeds, though if Fujifilm goes down this route, it places the high-speed X-H series in question. A stacked sensor would level up the X-T series hybrid skills and make it an even better camera for action photography and video. However, if there's still life in the X-H series yet, then perhaps a partially stacked sensor would make for a sensible middle ground.

Combined with a new processor, a new sensor could also deliver improved dynamic range and better low light quality, bringing the X-T series closer to full-frame quality.

4. Design tweaks

The X-T5 is a treat in the hand, but a few design tweaks could make the X-T6 even better.

Starting with displays, the tilt screen could be swapped out for a versatile vari-angle display. I personally don't mind a tilt-only screen which can feel more robust and doesn't interfere with side ports, but I can appreciate the clamor from would-be upgraders for the vari-angle type which can be seen from more angles.

I would, however, like to see a boost in EVF quality and performance. A brighter, higher-resolution display with a faster refresh rate feels like a sensible upgrade.

5. New lenses and kits

OK, so this isn't camera-specific and would also apply to the X-T5, but Fujifilm built up a lot of excitement when it hosted a live event in March, asking viewers to vote for their favorite of 14 Fujifilm lens concepts.

Two weeks later the results were confirmed, and the XF 16-80mm F2.8 concept (24-120mm effective) proved most popular, followed closely by the XF 18-50mm F1.4.

I bring the top lens up here because it could conceivably be part of an X-T6 lens kit, while the current kits for the X-T5 aren't quite as exciting.

Now to be clear, this is a concept and Fujifilm hasn't said if it will indeed make any of the concept lenses it presented to fans. But if it were to — and Fujifilm Rumors has also suggested there could be two lenses coming alongside the X-T6 in September this year — then it could be one of the best camera kits available.

Overall, I don't think there will be great strides in outright image quality improvements, but I predict an X-T6 will be a more rounded camera that cements Fujifilm's place at the top of the APS-C tree.

By now, we've seen dozens of incredible and inspiring Artemis II mission images, all taken with a range of cameras, including something similar to the iPhone you have in your pocket. Some of the best, though, were captured with pro-level, mirrorless cameras like the Nikon Z9, a powerful, behemoth of a 45.7MP shooter equipped with a 400mm lens.

For the past few weeks, I've been shooting with that very same kit, though, in my case, Nikon loaned me a massive 180 mm to 600 mm lens (Nikon told me it's like the newer version of the 400mm lens the astronauts used) and added a 2x teleconverter for good measure. It's inarguably the most camera I've ever used.

The Nikon Z9 is a robust (and at $4,996.95 expensive) camera that NASA chose because it can work in some pretty extreme environments. In addition to its most recent work on the Artemis II mission, it's currently on the International Space Station and is scheduled to join the Artemis III mission, which should land astronauts on the surface of the moon in 2027. The camera should, with a special enclosure, join the astronauts for space and moon walks.

When we reviewed the Nikon Z9 in 2022, we called it Nikon's "most powerful camera" yet, and I have to say it can be both powerful and complex. There are auto shooting modes, including nearly 500 points of auto focus capabilities, but the more I shot with the camera, the more I took control of the aperture, shutter, speed, and ISO, all in an effort to take the best moon shots of my life.

I mostly succeeded while also failing, largely because of my own fault.

The weight of the moment

When the full kit arrived, I realized how much I'd underestimated the size and scale of this equipment. Without a lens, the Nikon Z9 weighs almost three pounds. Part of that is to accommodate one of the largest batteries I have ever encountered in a mirrorless camera (it lasts for days). Even the storage media is larger: the camera uses a pair (one is for instant backup) of pricey Compact Flash Express cards (slightly smaller than classic compact flash).

Even though the Nikkor 180 mm to 600 mm lens ($2,095.96) features an internal zoom mechanism, it's still a foot long. Add the TC-2.0x teleconverter ($280), and it sticks out almost two more inches. The overall weight had to be close to 10 pounds, and I was glad I had a sturdy unipod, which came in handy during my first few days of trying to shoot the moon and various birds.

Let me start with a warning: if you don't have a pro-level, industry-grade tripod, keep walking. The Nikon Nikkor lens arrives with a collar that lets you attach the camera to your tripod with the weight properly balanced between the lens and the camera. That was a huge help for my unipod, but my tripod, which had been more than effective for my Sony Alpha a6000 and 200MM lens, was totally overmatched by this kit. It was barely strong enough to hold the thing still for long exposures.

A lot of my star or astrophotography was ruined by imperceptible vibrations. The other issue, I do blame on Nikon: No matter how hard I tried, I could not connect the camera via Bluetooth or WiFi to the SnapBridge app on my iPhone 17 Pro Max. With it, I could've used a remote shutter. At least I figured out how to gently touch the display to trigger a photo. When I did that, the camera would pause for a second and then snap the shot.

While the camera does not default to this setting, I chose to take every photo in both the highest resolution RAW and JPEG compressed. The former meant I could take all the information the sensor captured for every photo and pour it into Adobe Lightroom, where I would apply maximum adjustments to perfect each image.

Getting hooked

Yes, the Nikon Z9 with that massive lens is expensive and a bit overwhelming, but all it takes is one great photo to hook you, and let me tell you, I got hooked.

My first few days were spent taking some backyard bird photography. I had installed the 2X teleconverter, which essentially doubles your zoom but also amplifies any lens issues and removes a couple of lower f-stops (bigger aperture for more light), meaning you either need to increase the ISO or slow down the shutter.

The first bird photos I took on a cloudy day were grainy, even with some work in Lightroom; I didn't love them. So I opted to remove the teleconverter. After all, the birds weren't that far away (closer than the moon, at least), and with 45MP of sensor to work with, I could crop in quite a bit.

I saw instant improvement, and really appreciate the clarity and speed of the lens. The level of detail I was capturing, say, of local cardinals was stunning.

The big moment

Standing outside with the Nikon Z9 resting on my unipod, I scanned the sky for distant objects. The day was clear, and I noticed a fast-moving jet thousands of feet overhead. Mostly, I could see it's chemtrails, but I pointed the long lens at it and, for this shot, let auto settings (and autofocus do its work).

In the preview on the touch-screen viewfinder, I could see the plane, but I also thought I noticed a faint crescent nearby. Quickly, I opened Lightroom on my MacBook Pro and used the Nikon-supplied card reader and a USB-3-to-USB-C adapter to import the NEF file. That's when I saw it.

Not only had I captured the airplane, but the thin crescent moon; to have them both in frame like that was an incredibly lucky shot. In Lightroom, I did some adjustments to correct the sky color and help bring the moon and jet plane into dual focus.

You can see the photo above.

The moon and stars

I need to make something clear. The Artemis II astronaut's moon photos with the Nikon Z9 and other cameras are even more amazing when you realize that they captured these detailed views with relatively modest lenses. The Nikon Z9 they had was equipped with a 400mm lens. Nothing to sneeze at, but you look at what I captured with the Nikkor 600mm lens and then with the doubling 2x converter (akin to 1,200mm) and realize that my view is still not even remotely as close and clear as NASA's Integrity spaceship astronauts were.

It's humbling, really.

Even so, I did my level best to capture sharp, clear images of the moon and stars. As I noted above, the astrophotography was something of a bust. To do it well, you need not only to change all your settings to manual (including focus), but also to use the Nikon Z9's nifty Starlight setting on the large display viewfinder. It's an ultra-low-light view that helps immensely when you want to view the stars in your frame during what can be a challenging situation: outside, at night, in the dark.

I also had to adjust my ISO far higher to capture more light (I tried everything from 400 to 1250) and slow down the shutter speed, anywhere from 1 second to 30. My problem was the tripod, which, when I tried pointing the camera almost vertically at the stars, could not hold still. Most of my star shots have some starlight squiggles (not the tech term). Ultimately, I captured a couple of semi-usable images of Jupiter and its moons. One is super tight, and you can just make out some moons very nearby.

Fly me to the moon

I had better luck with the moon. It's a lot closer than constellations and planets, and far brighter, which meant I could lower my ISO (for less grainy shots), close down my aperture a bit, and use faster shutter speeds (usually 125th of a second).

I did not have the benefit of a full moon during most of my shooting window, but the 3/4 moon I saw the other night was still impressive. As before, I put the shots in Lightroom and did some adjustments to reduce the exposure and increase the contrast. I didn't adjust sharpness, and therefore the level of detail I can show you here (yes, I did crop the image) is still impressive. Since I didn't travel with the Artemis II crew, my photos still only represent the side of the moon we all see. They used the Nikon Z9 to show us the dark side in ways we had never seen before (and to capture views of our home looming in the distance).

There's no frustration that I could not fully match Team Artemis II's photographic accomplishments. Instead, holding that camera in my hand, I imagined what it must have felt like to look through the viewfinder and see the weathered face of our Moon in such impressive, almost touchable detail.

For the briefest moment, I felt a kinship with those astronauts, and while I'm aware that the onboard iPhone 17 Pro Max also captured some inspiring images, I know there's no substitute for a pro camera and big lens when it comes to capturing unforgettable, lucky, and sometimes historic astro and nature images.

When Panasonic launched its full-frame Lumix S9 mirrorless camera, I remember thinking that we needed more tiny lenses to complement its compact form factor, besides the collapsible 18-40mm kit lens and the oddball 26mm f/8 pancake. A full two years later, and the dinky S 40mm F2 has arrived.

I had a few days testing the fast prime ahead of its announcement, fitting it to the shiny new 'Black Titanium' special edition of the Lumix S9 — which is a sharp-looking colorway, I must say (it's pictured below) — and the lens is a perfect match, with the fast-aperture versatility that many Lumix photographers have been crying out for from such a small lens.

The Lumix S 40mm F2 lens costs $399 / £349 / AU$699 and is available in black and silver versions, while the new 'Black Titanium' special- edition Lumix S9 costs $1,899 / £1,299 (it won't be available in Australia), adding to what I count are at least 10 other color variants, including another special-edition 'Titanium Gold' version. There really is a color for every taste, and the latest is particularly classy.

Panasonic also revealed its latest lens road map alongside the 40mm F2, and two future lenses have been added: a wide-angle prime that sits somewhere between the 18mm and 24mm focal lengths, plus a large-aperture telephoto zoom, spanning somewhere 50-200mm, which could potentially go wider than Panasonic's two existing 70-200mm lenses.

My short review period has given me enough time to get a feel for the 40mm F2 lens when paired with the Lumix S9, and for its image-quality potential — here are my first impressions.

Finally… a tiny and high-quality L-mount Lumix prime

This is one tiny lens. Yes, the Lumix S 26mm f/8 pancake is an even smaller lens, but it's little more than a glorified body cap. What the new S 40mm F2 possesses that the pancake lens lacks is proper optics and the versatility of a fast f/2 aperture — in a size that I'd typically expect for a f/2.8 of f/4 prime lens.

And it's not that much bigger than the pancake lens – being similar in size to the 18-40mm F4.5-6.3 zoom (when that lens is collapsed), measuring just 1.6 inches / 40.9mm in length, and tipping the scales at 5.1oz / 144g. For full-frame, that's miniscule.

There are alternative optics, mind you — full-frame Lumix cameras are part of the L-mount alliance, which has 11 members and counting, including Sigma, other third-party lens makers and, most recently, Freefly, an American company specializing in drones, gimbals and cameras for commercial use.

Perhaps the closest lens in size and specification is the TT Artisans 40mm f/2, which costs around half the price, measures 1.7 inches / 43mm in length and weighs 5.9oz / 166g — those are negligible differences. I prefer the look of the TT Artisans lens, though I can't speak of it's optical quality.

Sigma's pricier Contemporary 45mm F2.8 DG DN is a high-quality alternative that's heavier at 7.6oz / 215g and a fraction longer at 1.8 inches / 46mm. Again, I prefer the look of the Sigma lens — and looks matter when we're talking lenses for the Lumix S9.

I think the rather conventional design of the Lumix S 40mm F2, which is consistent with other Lumix L-mount lenses, is its biggest drawback, especially if you're pairing it with attractive cameras such as the Lumix S9.

As you can see from the pictures above, however, the 40mm F2 is truly an ideal match with the Lumix S9 for size, and it would be equally at home on larger bodies too, such as the Lumix S5 II.

Build quality is solid — the lens is dust- and splash-resistant and features a proper metal lens mount, while autofocus speed is rapid.

The control ring operates smoothly, and its function can be customized — deep within a Lumix camera's menu is the Custom > Lens/Others > Focus Ring Setting During AF option. I started off with it controlling aperture, and the adjustments are precise, being ideal for smooth exposure control during video recording. There are nine other options to choose from, such as shutter speed, exposure compensation, and Photo Style.

Naturally, the same control ring operates focus when the lens is set to manual focus — there's an AF/MF control for switching between manual and autofocus — with helpful assist tools available for precise manual focusing, such as magnification.

Focus breathing is suppressed, making the lens a valid option for video as well as photography. Overall, I have no complaints with how the lens handles, and really enjoyed its compact size and lightweight design.

Image quality is impressive, too

Considering its size and weight, the 40mm F2 lens shoots sharp images, paired with that versatile f/2 aperture which is ideal for low light and blurring backgrounds.

It close focuses down to 11.8 inches / 30cm, which delivers a magnification of around 0.15x. That's fairly flexible for photographing small details, but this is no macro lens. The aforementioned TT Artisans lens can only focus down to 15.7 inches / 40cm, making the Lumix option the more versatile of the two.

I was able to give the lens a proper test during sunset in an idyllic setting surrounded by bluebells (it's that time of year in the UK). Taking portraits and close-up pictures of bluebells in bright light allowed me to test optical clarity, potential lens flare and distortions, and bokeh characteristics — I tested the latter by taking the same picture in a sequence, stopping the aperture down in full stops from f/2 to f/8.

For reference, I turn off in-camera lens corrections and shoot in RAW and JPEG format, which allows me to see the extent of lens distortion in uncorrected raw files versus processed JPEGs.

When shooting at f/2 away from sunlight, bokeh is gorgeous, being round and smooth. You can really see the difference in bokeh size between f/2.8 and f/4, which highlights how useful the f/2 aperture is, especially for portraiture. I took self portraits remotely using the free Lumix Lab app on my phone (which easily paired with the camera and worked flawlessly, by the way — this is one of the better camera apps I've used).

I then turned the lens to shoot towards the sun, backlighting the bluebells, and to shoot more portraits. This approach provided the most difficult of tests for this (and any) lens, and as you can see in the images above, there are instances of lens flare, a little fringing in bluebell silhouettes at f/2 (chromatic aberration), and bokeh fringing (LoCA).

I'd hardly call these lens distortions problematic, though, and with lens corrections applied in JPEGs most of the fringing is gone, though nothing can be done about lens flare.

There's only minor vignetting at f/2, which is basically gone by f/4, which is also the aperture at which you first get the sharpest detail the lens is capable of — and it really does look sharp. Overall, optical quality is impressive, especially for such a small lens with such a big f/2 aperture, and I wouldn't hesitate to call upon this lens for everyday photography.

I'd say the rather conventional styling better suits Panasonic's DSLR-style mirrorless cameras such as the Lumix S5 II. Nonetheless, and certainly with regards to its size, this is the lens that Panasonic's small full-frame cameras like the Lumix S9, and future compact Panasonic mirrorless cameras, have been crying out for, and I can easily recommend it.

• An intriguing new Insta360 camera has just leaked
• It looks like a traditional Micro Four Thirds mirrorless model
• The camera has been spotted once before

Just days after GoPro introduced a new action camera with a Micro Four Thirds lens mount — making it compatible with hundreds of external lenses — a new camera from Insta360 has leaked that promises to keep the Micro Four Thirds trend going.

The leak comes from Reddit (via 4/3 Rumors), and we get a decent look at the design of the device. There's no viewfinder here, but Insta360 seems to have kept everything relatively compact, and we get the white finish that Insta360 is keen on for its cameras.

We have actually seen a leak for this camera before, back in January when Insta360 CEO Jingkang Liu posted a mysterious shot to social media: it showed this camera in action, with the rear screen on display while a photo was being framed.

That previous leak pointed to 20MP photo capture and a fixed or interchangeable f/1.8 lens, but it now seems a Micro Four Thirds mount could be on board. The software interface looks to be similar to the one we're already familiar with from the Insta360 Ace Pro action camera.

Either 'hideous' or 'fresh'

A new M43 camera, from insta360. The rumor turns out to be real. from r/M43

While plenty of questions remain around this camera — such as whether the mount will come with autofocus and aperture control for existing MFT lenses — it's likely to be welcomed by those who have been missing new models in this specific category.

Reactions online have been somewhat mixed, with various commentators describing it as "hideous", "fresh", and "infinitely more useful... than whatever GoPro just released". Another more positive reaction was "this is amazing for mft [Micro Four Thirds]", with the argument being that it could fill a gap left by both OM System and Panasonic in the system for a truly compact mirrorless camera. We're going to reserve judgment until it's actually been made official.

Given Insta360's track record, this is likely to be beginner-friendly, while also trying to do enough to tempt the more professional crowd as well. Vloggers will no doubt be interested, as they will in the upcoming Insta360 Luna that's already been previewed.

With Micro Four Thirds camera launches few and far between in recent years, it's interesting that both GoPro and Insta360 are now investing in the technology again — but we'll have to wait and see what the demand for these models is like.

I spent an entire month last year using the Xiaomi 15 Ultra as my primary camera. It ticked a lot of boxes for me as a long-time photographer, and has become my favorite camera phone, not least for the natural photo quality from its large 1-inch sensor.

That phone was recently updated with the Xiaomi 17 Ultra, which appears to be a relatively minor upgrade, but which shares the same hardware as Leica's first globally available phone (other than in the US), the co-branded Leitzphone. (There was no Xiaomi 16 series, as Xiaomi hopes to "directly [compete] with the iPhone in the same generation.")

Both phones pack a triple-camera unit comprising the main 1-inch sensor camera, a 3-4x optical-zoom telephoto camera, and an ultra-wide camera, and which is powered by Qualcomm's latest and most powerful mobile chip, the Snapdragon 8 Elite Gen 5.

Leica has added its own design twist on the phone's exterior and it's a characteristically classy one, with a black finish and a knurled silver trim, plus a unique mechanical control ring that surrounds the circular camera unit and which can control zoom, but which be assigned to another control instead, such as exposure compensation.

There's also a nod to Leica's camera UI, with the camera app UI sharing the same style and typeface, which will be familiar to folks who have used a digital Leica camera such as the D-Lux 8. And, perhaps inevitably, when it comes to price there's also the 'Leica tax': the Leitzphone costs £1,700 / AU$2,299 (around $2,000), which is around 20% more than the Xiaomi 17 Ultra.

I approached my time with the Leica Leitzphone effectively treating it as an upgrade of my favorite camera phone, and so I couldn't resist comparing its image quality to that of my pro mirrorless camera in a few tests.

I'll soon share a deep dive on my experience with the Leitzphone as a photographer, based on using it every day over two weeks, but here I'm going to highlight one aspect of that experience: comparing the same portrait taken with the Leitzphone's telephoto camera and with my Nikon Z6 series camera paired with the superb Viltrox 85mm f//1.4 Pro lens.

Leitzphone vs full-frame mirrorless

Before I take you through how I shoot and edit portraits with the Leica Leitzphone, let's take a look at the two photos together, and see if you can spot which one is which.

One photo is taken with the Leica Leitzphone's telephoto camera, the other with a Nikon Z6 II and Viltrox 85mm f/1.4 Pro. For context, the kind of quality that my camera and lens pairing is capable of is equivalent to camera gear costing in the region of $5,000 / £4,500 / AU$8,000.

Reckon you know which photo was taken with which camera?

How I shoot portrait photos with the Leitzphone

You might have an idea already, but before I reveal which photo is taken with which camera, allow me to unpack how I came to the final edit of the portrait shot with the Leitzphone.

I used the Leitzphone's 3-4x telephoto camera to get a similar perspective to the stunning Viltrox 85mm f/1.4 lens used in this comparison. However, the 1/1.4-inch sensor of the phone (for the 3-4x camera), while bigger than the sensors in most other phones and able to blur backgrounds nicely, is dwarfed by my full-frame mirrorless camera's, and therefore the background blur, or bokeh, needs an additional helping hand.

For portraits, the Leitzphone offers a 'portrait' mode. It utilizes the 3-4x telephoto camera, and the captured photo looks the same as if you'd used the camera's regular photo mode. However, there's one key difference: the edit.

Selecting portrait mode enables a bokeh effect option — you can use a slider to dial in (fake it) a wider aperture effect. I selected f/1.4 to match my mirrorless camera's aperture setting (see the screen recording below).

It's also possible to select a bokeh shape — I opted for the natural (and desirable for purists) circular bokeh shape, while the Viltrox's bokeh is a little more cat's-eye in places, so now it might be a little more obvious which image is which.

Another tell is that the Leitzphone captures a greater depth of field than a full-frame 85mm lens at f/1.4, so the detail in the subject is sharper throughout, whereas the Nikon mirrorless camera portrait's depth is shallow — see the end of the beard, which is out of focus.

If you haven’t already worked it out, the top image was taken with the Leitzphone, and the bottom one with my Nikon Z6 II and Viltrox 85mm f/1.4 lens. I don't blame you if you struggled to tell the difference, especially if you're reading this feature on mobile — the differences between the two are minor, and proof of just how smart smartphone cameras have become.

In a way, the Leitzphone offers the best of both worlds in this scenario – big bokeh (albeit achieved computationally) with more depth in the subject. At a pinch, you could stop the mirrorless lens aperture down for more depth in the subject and go through the same edit process to increase bokeh size.

While I was at it, I did a light edit on the brightness, sharpness and tones of the Leitzphone portrait to get the look I liked. The preview makes the bokeh effect look ugly when you view the edit close up, but once the image is saved, most of those artifacts around the subject are gone (see before and after, below).

Honestly, when you look at the end result from the Leitzphone's portrait mode, it's mind-blowingly good.

I don't know about you, but the effect is so convincing, especially when viewed on a smart device, that I would happily use the Leitzphone for portraiture. It's not about to replace my mirrorless camera, but it might just make me think twice about packing it.

I've added a few more photo comparisons below. I hope you enjoy — and let me know what you think about the Leitzphone in the comments below.

• A photographer has captured the "first-ever" underwater shots of a rare seal
• The Ross seal was photographed in Antarctica using a Sony A1
• The photographer Justin Hofman called it "a bittersweet encounter" due to climate change

Imagine this — it's your fifteenth expedition in Antarctica and you're snorkeling by the ice edge photographing krill, with a Sony A1 in hand, when you see an ultra-rare species enter the water close by.

This was the moment facing pro sealife photographer Justin Hofman recently as a Ross seal entered his view. It was only his second sighting of a Ross seal, and he knew that the species has never been photographed in its habitat underwater before.

I asked Justin about the encounter, specifically the story around getting the pictures you see in this article. After setting up for photographing krill, Justin said: "My camera setup was, on paper, the absolute worst thing you could use to photograph big animals.

"If I was going to shoot seals or bigger animals I would generally have a wide-angle zoom on a dome port and hope to work very close to the animal to maximize impact and make the viewer feel like they’re in the water with the animal. Never in my wildest dreams did I expect this to happen, let alone that I would shoot it with a 90mm macro!" he added.

There was also one non-technical factor that helped the stars align. Justin added: "The thing that saved me, and probably lead to a more natural behavior by the seal, was the early season super clear water. Since the plankton bloom hadn’t happened yet, the water was incredibly clear which allowed me to stay far enough away from the seal to not bother it, and allowed me to use the reach of a 90mm macro lens. It’s total dumb luck that the encounter happened but I’m so fortunate to be able to use the camera and the conditions to my advantage."

"I was shooting with an external monitor as well, which allowed me to get the camera a little deeper, away from the surface, and have more precision with my composition," he added.

These monitors are typically associated with shooting video, but they can be a godsend for tricky conditions like underwater shooting. "Some people think that external monitors are only for shooting video, but I always use a monitor on top of my housing," Justin said. "I find that it allows me to get the camera into more interesting positions because I don’t have to worry about shooting through the viewfinder or struggle with the back LCD. It has been a game-changer to me," he added.

Yet for such a memorable moment, it was also a "bittersweet encounter" for Justin.

A bittersweet encounter

The Sony A1 was able to pick up the face and eye of the seal and track it across the frame, despite the slow focusing speeds of the 90mm macro, which is an old lens now and has since been updated with the five-star 100mm F2.8 Macro GM OSS.

By using smaller autofocus zones, the camera could prioritize and track the face of the seal, for off-center compositions.

Justin used a continuous high burst shooting mode to make the most of this chance encounter. He uses manual exposure mode because underwater metering is tricky, on account of the shifting/flickering light. He often uses strobes, but given the water was so clear, there was enough light to get these photos, without disturbing the seal.

And despite not being able to use his favored lens, I think you'll agree that the resulting photos are stunning. However, Justin was keen to point out that "the only reason that I was able to get these photos is because of climate change impacts on sea ice."

There's a wider story at play here. Justin told me: "2025 had one of the lowest levels ever recorded for sea ice formation in Antarctica, which allowed our expedition ship to venture much further south much earlier than ever before.

"On a 'normal' year, the Ross seal’s habitat is inaccessible because of the thickness and extent of the sea ice. But last season the ice levels were at an all-time low which meant we could access the refuges that Ross seals were using to complete their molting after the breeding season.

"So it’s a bit of a bittersweet encounter that wouldn’t have happened if the polar ecosystems weren’t in a state of drastic change. Antarctica is one of the fastest warming places on Earth and in my 16 years of working down there, I have seen a lot of changes that concern me."

If you're anything like me, musing on dream camera gear can be a bit of a habit. That lens you wish you owned, or the one missing from your camera system's line up. Fujifilm just democratized the process... of sorts.

During a 'Focus on Glass – Untold Stories' live event, the retro digital camera maker proposed 14 lens concepts, and it wants you to have your say on your favorite(s).

Fujifilm's Yukitaka Takeshita and Yumi Miyauchi, leads in the X-mount product planning team, unpacked each option throughout the 38 minute presentation (see the YouTube video below), covering Character Rich, Wide Aperture, Reviving Legendary and High-Magnification Zoom categories.

Three options included mark II variations of the original 35mm f/1.4 prime, but I expect various new 'wide aperture' options will get Fujifilm fans especially pumped.

The front runners

There's scope for picking your three favorites, and I've cast my vote. Fujifilm has set the vote results to live, meaning that once you've voted you can see the front runners, with the voting updated every 5 minutes.

I'm hardly surprised which two options are pulling away from the pack in the opening 24 hours; the XF 16-80mm f/2.8 and XF 18-50mm f/1.4 – two versatile, fast aperture zooms, taking 32% of the entire vote at the time of writing.

Remember, X-mount lenses are APS-C format, meaning the above lenses have equivalent 24-120mm and 27-75mm focal lengths in full-frame terms respectively. The f/2.8 zoom is expected to weigh between 400-500g, the f/1.4 zoom less than 800g, so both are moderately lightweight and compact considering the optical construction.

The XF 16-80mm f/2.8 is likely to top the votes overall – it feels like the perfect travel lens. For me, however, I'd be really keen to see one of the 'character rich' options – an XF 90mm f/2 APD. If you're unfamiliar with what APD means, it refers to an apodization element – a rarity in today's lenses and which is designed to add extra dreamy bokeh effects for portraiture.

Fujifilm's option is the equivalent of a 135mm focal length in full-frame terms, and harks to a Nikon F-mount lens I owned for many years before cashing in for more than I paid for it, the legendary 135mm f/2 DC. Sony has such as lens in its lineup too, a 135mm STF (smooth transition focus).

I'm sure you'll have your own ideas too. So if you're keen to have your say, head over to the Fujifilm site to see all the options, which also includes an XF 33mm F1.0, and cast your vote. You can pick up to three of the 14 options.

Of course, there are no guarantees that any of these lenses will be made. However, I'm a big fan of Fujifilm involving the public in such processes, and I'm sure if either or both of those two frontrunners are produced, they would be super popular.

The Canon EOS R5 was so future proof when it launched all the way back in July 2020, that even now it's considered one of the best full-frame mirrorless cameras money can buy. And it remains my workhorse body when I need professional results whether I’m shooting weddings, commercial property or product photography.

My only change during my ownership of the EOS R5 has been to add a battery grip to make it better to hold when shooting in portrait mode. I’ve also added a Canon EOS R6 Mark II to my kit bag, too — it has a lower resolution 24.2MP sensor which compliments the hi-res 45MP EOS R5 rather nicely, and is the better option when I’m shooting in low light.

I was lucky enough to attend the launch event of the Canon EOS R5 Mark II as well as the Canon EOS R1 in 2024, and I was blown away by some of the tech shown off. Truth is, however, when the excitement of playing with a brand-new shiny toy wore off, I found few compelling reasons to upgrade.

Putting the cost of forking out for a new camera to one side, I've compiled my reasons for sticking with the perfectly good original EOS R5. Do you agree, or do you prefer the latest and greatest features? Have a read, and let me know what you love about Canon’s EOS R5 and EOS R5 Mark II in the comments, and what you’d like to see from Canon for the EOS R5 Mark III.

Bigger isn't always better

To house all of the new tech found in the new EOS R5 Mark II, Canon had to make the body larger, seen in the additional space behind the LCD screen which houses the air vents for better passive cooling.

There’s also a larger viewfinder which features a sensor for eye tracking AF so you can move the AF point with your eyeball – very cool technology, but I’ve found its results to be quite hit and miss and tended to opt for other autofocus methods.

Bigger isn’t always better - I much prefer the smaller EOS R5 body to attract a little less attention when shooting street photography, and as a travel photographer every bit of space saved in my kit bag is a win.

I appreciate that the size probably isn’t going to go down when a successor to the EOS R5 Mark II does eventually come out – most likely around the 2028 Summer Olympics in LA – but that’s a bullet I reckon I'll have to bite when the time comes. I’ll continue to enjoy using the slightly smaller EOS R5 body until then.

The OG is sporty enough for me!

The EOS R5 Mark II was launched in tandem with the EOS R1 ahead of the 2024 Olympics, and while some of its more athletic features will be a hit with pro sports photographers, I’d bet that most of us regular folk don’t need a camera quite as kitted out as this one.

One area where the Canon EOS R5 Mark II does see a big leap forward is for autofocus when shooting sports such as soccer, basketball and volleyball. It has an Action Priority mode powered by its secondary processor called a Digic Accelerator. This is also the same powerful mode found in the $6,799 / £6,999 Canon EOS R1 flagship. The R5 Mark II also has register face priority, allowing you tell the camera which star players on the field to prioritise when acquiring focus.

Now don’t get me wrong, these are impressive features. But as I don’t personally shoot a lot of sporting events regularly, it’s not reason of its own to merit an upgrade.

I do however shoot a lot of weddings, which is an area where the register face priority function could be very handy for registering the bride, groom and key family members to prioritize them. However, it’s not a deal-breaker for me at the moment – plus the EOS R6 Mark III has this feature so I may still benefit from it when I eventually upgrade my EOS R6 Mark II.

Resolution king

I will admit the one area that I can see the EOS R5 Mark II being particularly desirable for stills photos is its new sensor. While they both have a healthy 45MP resolution – the Mark II’s stacked sensor is new, and works with a second processor called the Digic Accelerator to boost readout speeds to reduce rolling shutter defects. It’s also backlit, placing the wiring behind the sensor, which gives it a boost for low light performance.

Even still, Canon’s EOS R5 is a formidable high resolution beast when it comes to stills. Its 45MP resolution serves pretty much all of my needs when supplying my clients with high quality images. The mechanical shutter of the EOS R5 is also rated to half a million shots, so mine has plenty of life left in it yet!

When it comes to video the EOS R5 can shoot up to 8K/30p or 4K/120p, and although it’s limited to a 30 minute record time and doesn’t have the better cooling design of the Mark II, it’s still overkill for what I need from a video camera. If you need the 8K/60p, 10-bit recording, 4:2:2, longer recording times, active cooling and Canon Log 2, the R5 Mark II will be a fantastic improvement.

• OM System announced that Songdian's parent company, Sonida, has joined the Micro Four Thirds System
• Songdian is a Chinese company that makes cheap digital cameras
• New M43 Songdian-branded products are expected imminently

If you are a Micro Four Thirds system user, you might have felt a little ignored lately. While there have been some new cameras from OM System such as the fantastic OM-3 and OM-5 Mark II, plus genuinely progressive lenses including the 50-200mm F2.8 IS Pro, there have been concerns that Panasonic might be winding down its M43 division.

Lumix models like the Panasonic Lumix G9 II and Lumix GH7 are still very popular, but there hasn’t been a significant announcement from the company that kicked off the M43 mirrorless format since 2024.

With news that some of the best Lumix lenses for the M43 mount are set to be discontinued, such as the much-praised Lumix G 20mm F1.7 ASPH, many devotees of the system will be concerned about how much of a future it has, if one of the two biggest players in the market is withdrawing.

If that’s you, then one piece of news that might pick up your spirits is the rumor that camera manufacturer Songdian is about to release a new Micro Four Thirds model.

If you’ve never heard of Songdian, I won’t blame you. The mysterious Chinese company is one of a raft of new players seeking a foothold in the low-cost camera market. It’s a division of the Shenzhen-based Sonida Technology Company which, despite proudly touting itself as having produced cameras for 16 years on its website, is largely limited to the domestic Chinese market.

It does sell cameras internationally, but not at the scale of other Chinese brands like Yongnuo, Laowa, and Viltrox, which make some of the best third-party lenses for major camera systems. So what could this obscure company offer established M43 shooters?

The new cheap Micro Four Thirds camera?

While details are still somewhat scarce, we can expect a new M43 model from Songdian soon. According to OM Digital Solutions, speaking on behalf of the Micro Four Thirds alliance, Songdian has joined the group and is expected to launch new products shortly. It might not be worth getting too excited, however, as Songdian products aren’t known for their mind-blowing quality.

The Sonida DC202, a 2024 digital camera, was even branded a ‘fake X100’ by reviewers and failed to impress many photography journalists on any metric. The image quality was pretty bad, the autofocus was exceptionally slow, and there wasn’t even much information given about the sensor size used. At least we can be sure of the latter detail on the new camera.

Exactly why the M43 alliance accepted Sonida and its Songdian-branded cameras into the fold is also a mystery. However, forever one to be positive about these things, I see an indirect benefit of increasing investment in the system, even from companies that are, themselves, unlikely to bring with them a huge amount of useful technology.

This news alone maintains interest in the M43 sensor format and its many (potential) advantages, when correctly applied, may encourage other more experienced brands like the aforementioned Laowa and Viltrox to increase their offering of lenses and accessories.

The company released a new teaser for the camera, which also didn't give away many details other than the appearance of the Micro Four Thirds logo, confirming what we already knew. It'll be interesting to see if Sonida goes all-in and produces an interchangeable lens camera, which would open up access to the fairly hefty range of high-quality optics from Lumix and OM System, or if it will be a fixed-lens model like the DC202. The former would obviously be the preferred choice since the lens on that camera also didn't win any awards.

It's hard to know what this new partnership can bring to the table. Speaking honestly, I can only really see there being an immediate advantage to Sonida, who can add the logo to their website and advertise a new range of 'large sensor' cameras (they will be compared to their other cheap compact cameras). For the other M43 system members and, by extension, the buying public, I haven't got my breath held for a camera that will revolutionize photography.

If you ask me which of the many cameras I tested and reviewed in 2025 was the hardest to return at the end of my loan period, there’s one model that stands out: the gorgeous Hasselblad X2D 100C II.

And that’s saying something considering that I also reviewed several other stunners this year, including the Fujifilm X-E5, Sony A1 II, OM System OM-3, Sigma BF, Panasonic Lumix S1 II, Leica M-EV1 and Nikon ZR.

Not only is the X2D II the finest camera for photography ever made – that is if outright image quality is your top priority – but it also saw a huge price drop from its predecessor, which bucked an unwelcome industry-wide rise in prices. Yes, $7,399 / £6,400 / AU$12,650 is still mega pricey, but Hasselblad is moving in the right direction, and competing with Fujifilm's GFX line.

Hasselblad also unveiled a stunning zoom lens alongside the camera: the XCD 35-100mm F2.8-4 E, which was the lens I tested the camera with. They're a formidable pairing, especially for landscape and portrait photography.

So what is it that makes the X2D II such a special professional camera – especially considering its limitations, which include no video recording and no color profile choice? Let me explain why it was such heartbreak so say goodbye to the X2D II, and why it now tops my wishlist.

Unparalleled design

I was already a fan of the original Hasselblad X2D, with its stunning minimalist design, pronounced grip, and large touchscreen. Put simply, no other brand makes premium cameras like Hasselblad.

Having used the X2D, I was right at home with the X2D II, but it includes two highly useful design upgrades – there's now an AF joystick, while the large tilt touchscreen can be pulled away from the body, clear from the viewfinder hump for unimpeded viewing.

The touchscreen performs flawlessly, with smartphone-like responsiveness, while the stripped-back menus are refreshingly uncluttered, even with subject-detection autofocus options entering the fray.

Having the choice between storing images on an internal 1TB SSD or CFExpress Type B card is super-handy too. Considering the large 44 x 33mm sensor size (full-frame is 36 x 24mm), X2D cameras are impressively compact, lightweight and always premium-quality.

Unmatched photo quality

No other cameras shoot such natural-looking photos either. Trust me: I compared the original X2D to my full-frame Nikon, and the colors are another level.

There's a wonderful simplicity to Hasselblad cameras – they rely on Hasselblad's color science alone for natural-looking portraits and landscapes, only in the X2D II we go up another level with a new option for end-to-end HDR capture, which increases the dynamic range in stills while somehow maintaining a natural look. It's really impressive.

Natural colors and impressive dynamic range are combined with a highly-detailed 100MP resolution and pin-sharp lenses, for some of the finest looking photos I've taken.

The X2D II also addressed a major drawback to the original X2D – poor autofocus. The X2D's autofocus was particularly slow and unreliable, which is far from ideal when, say, shooting portraits on location.

That all changed with the X2D II, which features Hasselblad's best-ever autofocus. In fact, it's Hasselblad's first ever continuous autofocus system; a hybrid phase- and contrast-detection system, with subject detection and LiDAR sensing. To me, it felt as capable as Fujifilm's AF; finally, I could rely on a Hasselblad camera's autofocus to give me that peace of mind in a range of scenarios.

There's also improved in-body image stabilization in the X2D II. Hasselblad rates it for an industry-leading 10 stops, and while in my experience it wasn't quite as effective as that, I could still happily shoot handheld with a 100MP camera and premium lens for sharp detail, even with a shutter speed as slow as one second, which is quite staggering really.

Yes, many of the same limitations from the original model remain, including a pedestrian three frames per second burst shooting speed, and the omission of video recording. And despite the camera being an improvement in all the right ways, there are of course better alternatives for high-speed photography and video work, available for much less.

However, for portrait photography and landscape photography I can't think of another camera that I would rather have in my hand. The X2D II is the kind of camera that motivates you to go out and shoot.

Nikon's Z6 III launched in 2024, and while there have been numerous newer competitors released since, it still firmly holds its place as the best mirrorless camera. However, its long list of upgrades over the Z6 II meant prospective buyers have been slugged with a retail price that's a lot higher than its predecessor's.

Thanks to this early Boxing Day discount, however, it's now available for its lowest Australian price yet – AU$2,891.50 for the body alone.

If you'd prefer to get a kit with a lens to get you started, then even the single-lens kits are significantly cheaper – all on Amazon via the same listing. In fact, one of the kits is cheaper than the AU$4,499 RRP of the body.

So, if one of your new year resolutions is to learn photography or improve your skills, trust me when I say this is the camera for you. I already use the Nikon Z8, but if I had to rethink that choice, I'd have bought the Z6 III instead.

Kogan is listing the Z6 III body for a lower price – AU$2,730 – but it's a marketplace listing from a third party, and I'm usually wary of those. The Amazon listing, however, is being shipped and sold from Amazon AU, although delivery will be post Christmas.

Admittedly, the 24.5MP sensor resolution on the Z6 III might put some people off – particularly landscape photographers looking for around the 40MP or 60MP resolution – but that's overkill for most people. And even though I myself use a 45.7MP full-frame camera, I'll be the first to admit that sensor resolution can be superfluous for the average user.

The Z6 III more than makes up for that in other ways, like speed. The partially stacked sensor is a first for Nikon and it's 3.5x faster than the one on the Z6 II. Not only can it rattle off up to 120fps bursts when shooting in the DX APS-C crop mode, it delivers up to 60fps using the full sensor. And you won't need to worry about buffer memory, as long as your chosen card can keep up. There is a CF-express slot.

It has the same autofocus speed and performance as the mighty (pro-level) Z8 and Z9 cameras, although the array of subjects is narrower, but that in no way impedes it from finding a subject and tracking it effectively.

The sensor is also better stabilised than the predecessor, with up to 8 stops of compensation for camera shake. And let's not forget the video performance too – 6K footage at up to 60fps N-RAW internal recording – which makes the Z6 III a fabulous hybrid camera.

According to TechRadar's Cameras channel editor, Timothy Coleman, the EVF on the Z6 III is the "best" he's seen on "any Nikon camera". I'm going to take his word for it as he's been a long-time Nikon user – I switched to Nikon less than two years ago after being a Canon fan for 13 years.

All these upgrades are arguably worth the higher price, but with these huge Amazon discounts you can snag the Z6 III for cheaper than ever.

Leica M EV1: two-minute review

The Leica M EV1 concept is polarizing: strip out the optical rangefinder that Leica M cameras have been famed for for over 70 years, and replace it with an electronic viewfinder (EVF).

It's yet another example of Leica tweaking and evolving its tried and tested rangefinder series design, however, and another reason that the oldest active lens mount still in production today has many years of life still in it.

You'd think the whole experience of taking photos with the M EV1 would be wildly different – but in fact, for me, in many ways it isn't.

Technically speaking, the Leica M EV1 shares many similarities with the Leica M11 / M11-P and Leica Q3 / Q3 43) – all use Leica's 60MP full-frame sensor, which delivers the most detailed photos among full-frame cameras.

It's like a Leica Q3 / Q3 43 premium compact but with Leica's M mount, which felt pretty intuitive to me straight away, as I've used other Leica M series and Leica Q series cameras extensively.

I can see the appeal for many Leica fans already in camp M EV1 – it has useful elements of Leica's Q series (minus autofocus, tilt screen and video recording), combined with the versatility of the Leica M mount and a wide choice of lenses. For some, that's the best of both worlds.

On the plus side, the EVF offers focus peaking, which is an extremely useful visual aid for manual focusing; trust me, it will increase your percentage of sharp shots compared to being guided by Leica's optical rangefinder, at least when you're manually focusing in the moment, rather than sticking to a set focus distance as some street photographers do. You lose a little of that old school rangefinder magic, but the EVF is way more practical in my experience.

Build-wise, there's greater similarity with the M11 – not just the M mount and interchangeable lenses, but also the control layout and fixed rear screen, although I'd rather have more Q3 attributes in the design.

For me, the Q3’s tilt screen is super-useful – I generally find myself switching between the viewfinder and rear screen, and I enjoy waist-level shooting for street photography, for which a tilt screen is hugely useful.

That meant I used the 5.76m-dot viewfinder more often with the EV1, and thankfully it works a treat. Rangefinder-style cameras like the EV1 are fairly inconspicuous too, making them ideal for street photography.

There is of course the other camp, for whom the M EV1 is the worst of both worlds, for whom the M EV1 makes less sense as a package. Sure, it costs less than the M11, but it costs more than the Q3, which is much more camera, with its built-in lens, autofocus, tilt screen and video recording. It's a natural comparison when you take the optical rangefinder out of the equation.

The M EV1 makes sense in some ways, especially if you already own multiple Leica lenses, but if you're starting out, or generally shoot with one or two lenses, it doesn't.

Nuts and bolts, the M EV1 makes less sense when I talk about it. However, I have to go with my gut, having used the camera extensively with the Leica 35mm f1.4 Summilux-M Asph lens for a week. I thoroughly enjoyed the experience. Yes, it feels slightly less organic than the M11, but if you don't mind an EVF then the EV1 feels like the new Leica M camera to go for.

Leica M EV1: price and release date

• Costs $8,995 / £6,840 / AU$13,990 for the body only
• Additional leatherette hand grip costs $460 / £340
• Available from October 23, 2025

Price-wise, the Leica M EV1 sits in between the Leica M11 and Leica Q3, which makes sense because an EVF is cheaper to manufacture than an optical rangefinder.

Ultimately, the EV1's list price makes the Q3 / Q3 43 feel like much better value, especially if you're not going to be swapping lenses a lot. The Q3 is much the same camera, for less, with additional features – and you get a built-in lens.

With the EV1, you're paying for the luxury of being able to swap lenses, and every Leica lens costs in the thousands.

Personally, if I had a spare $14,000 / £12,000 for Leica camera gear, I'd rather pick up both the Leica Q3 and Leica Q3 43 over the EV1 with a lens such as the 35mm f/1.4 Summilux, which together cost the same as two Q3s.

The M EV1 is supplied with a black leather strap.

• Price score: 3/5

Leica M EV1: specs

Leica M EV1: Design

• Compact rangefinder design
• 5.76m-dot EVF instead of an optical rangefinder
• Modest-size 2.95-inch fixed touchscreen

The obvious place to start when talking about the M EV1's design is its viewfinder, which is the same 5.76m-dot EVF found in the Leica Q3. It's also placed in the corner of the camera where the rangefinder traditionally sits, easily accessed with your right eye.

I was shooting with Leica's 35mm f/1.4 Summilux lens for this test, often wide open at f/1.4 where depth of field is really shallow, and getting sharp manual focus is historically a challenge with Leica M cameras. This changes somewhat with the M EV1.

Focus peaking is indeed supremely helpful for this manual focus-only camera, outlining the hard edges of your subject that's in focus – I had the camera set to red focus peaking, which in general is the color most easily seen. However, you shouldn't totally rely on the accuracy of focus peaking, especially with a shallow depth of field.

Focus magnification gives you a closer look, making it much easier to make fine adjustments and ensure sharp focusing where it matters, assuming you have time to use it. My ratio of in-focus shots has been much higher using the M EV1 than I would expect with a camera like the M11.

As a rangefinder-style camera, the EV1 is really compact, plus the shutter action is dampened for minimal vibration and noise, making for discreet picture taking.

The 2.95-inch rear screen feels a little on the small side, and being fixed it's less useful that a moveable screen, say a tilt or vari-angle type. The quality and feel of the display is top-drawer, though – with 2.3m dots it's packed with detail, and touch response feels smooth.

With the screen being less useful than I would like – I prefer the Q3's tilt screen – I leaned more into using the viewfinder, which is a lovely experience, even if traditionalists will turn their nose up at such a digital display. Sure, you lose a little of the rangefinder magic, but the EV1 is a more practical not just for focusing but also composition.

Like all high-end Leica M cameras, the EV1 is made in Germany and the body is fully metal – both aluminum and magnesium, with a leatherette finish. This is a classy bit of gear.

The style, profile and control layout of the EV1 are largely familiar – this feels like an M11, save for the omission of an ISO dial (which is a real shame) and of course that new type of viewfinder. I'm a fan of minimalist design, and thoroughly enjoyed shooting with the EV1.

• Design score: 4/5

Leica M EV1: Performance

• Manual focus only
• Poor battery life
• Content credentials included
• 4.5fps for up to 15 RAWs

Battery life, I must say, is pretty poor by today's standards, rated up to 244 shots. It's little wonder given that the camera uses Leica's BP-SCL7 battery with its modest 1,800mAh capacity.

Still, the M EV1 isn't the kind of high-speed photography and video-making heavyweight with which users would quickly drain a battery. The photography process here is slow and considered, and as such I typically got through a whole day without needing to charge the battery (which is done via the USB-C port on the underside of the camera).

Burst-shooting top speeds are a modest 4.5fps. The buffer memory is rated to 3GB, which means you can shoot 15 full-size raw files or 100 JPEGs at that top speed before the camera slows up, assuming you're using a high-speed UHS-II SD card. Put simply, this is no high-speed shooter.

Following the Leica M11-P, the EV1 is equipped with content credentials, which is the most widely adopted industry standard for authenticating the origin of digital images. It does so through a secure digital label, holding details such as names, dates, and any edits made to an image’s metadata.

GPS geotagging data can also be added to images via the Leica Fotos app, which is available on the Apple store and Google Play store for iPhone and Android devices. It's also possible to wirelessly transfer images to your device from the M EV1 through the app, as well as remotely control the camera.

I tested the EV1 before its official launch, which meant that it wasn't registered on the Leica Fotos app. However, I have plenty of experience with the app, such as with the screen-less M11-D, and it's one of the more reliable and pain-free app experiences from leading camera brands.

• Performance score: 3.5 / 5

Leica M EV1: Image quality

• Same 60MP sensor as the M11 and Q3, with digital crops
• Manual focus only
• No video recording

If you want a detail-rich full-frame camera there are none better than those that use this 60MP sensor, as Leica's current crop of M cameras do, along with the Sony A7R V.

Leica offers two digital crop modes: 1.3x and 1.8x, with a reduced 36MP and 18MP resolution respectively. With the 35mm lens I had for this review, those crops give a perspective equivalent to 45mm and 63mm lenses.

The ISO sensitivity range starts at ISO 64 and tops out at ISO 50,000, so images taken in good light with the base ISO are particularly clean and crisp.

Leica uses the widely adopted DNG raw format, with a 14-bit output and a limited number of color profiles to choose from – I mainly stuck to standard profile, and made color edits to raw files afterwards.

Sticking with the Leica M ethos, the EV1 doesn't shoot video at all. For video recording with a Leica, you'll need to look to the Leica Q series.

Would it have harmed Leica's reputation to add video recording to an M mount camera for the first time, in the same swoop as an EVF? No! I think the same video recording skills as a Q3 series camera could have been an excellent string to the M EV1's bow.

To conclude, assuming you nail focusing and are using one of Leica's high-quality M mount lenses, then photo quality is top drawer.

• Image quality score: 4.5 / 5

Leica M EV1: testing scorecard

Should I buy the Leica M EV1?

Buy it if...

Don't buy it if...

Leica M EV1: also consider

How I tested the Leica M EV1

• Leica loaned me the M EV1 for a week ahead of its launch
• I had one lens to test it with – the Leica 35mm f1.4 Summilux-M Asph
• I've used the M EV1 as an everyday camera, documenting the world around me

My experience with the Leica M EV1 was wonderfully simple. I had it close to hand for a whole week ahead of the global announcement, with the Leica 35mm f1.4 Summilux-M Asph lens attached to it the whole time.

I'm a fan of this lens for reportage photography, and naturally found myself documenting the world around me, mostly making use of the EVF and focus peaking to manually focus.

Of course, there's a decent range of Leica M lenses to choose from, making the most of the M EV1's design advantages over the Leica Q3 premium compact with its fixed lens.

• First reviewed: October 2025
• Read more about how we test

It has been a long time coming, but the Sony A7 V has landed four years after the Sony A7 IV, which was cutting edge back in 2021, and which as a full-frame mirrorless all-rounder sat in top spot of TechRadar's best camera and best mirrorless camera guides for a long time, before being replaced by the Nikon Z6 III.

So is the Sony A7 V reason enough to upgrade from the A7 IV, and on a separate note might it take back the best camera crown from Nikon? In this A7 V vs A7 IV article, I will be addressing the first point, and on that front, the two camera looks pretty similar at first.

However, before Sony fans feel disappointed, the A7 V has Sony's latest processor and a new kind of sensor, which combined deliver a raft of performance improvements. There are several tweaks to the A7 V's design too, which go some way to enhancing the user experience, as we found out during our product-testing period.

Without further ado, let's dig in to the key differences between the Sony A7 V and Sony A7 IV, based on real world testing.

1. Sony A7 V vs Sony A7 IV: sensor

• Both cameras have 33MP full-frame sensors
• The A7 V's is partially stacked, which delivers performance improvements
• On the flipside, partially stacked sensors historically reduce light sensitivity

The A7 V is Sony's first foray into partially stacked sensors and is a key difference from the regular sensor in the A7 IV (much like how the Nikon Z6 III upgraded the Nikon Z6 II). The pricier Sony A1 II has a next-level fully stacked sensor.

Both deliver 33MP stills, but the read out speed of the A7 V's sensor is faster, which delivers several performance improvements, including a better handle on rolling shutter distortion, which the A7 IV is notoriously bad for.

On the flipside, partially stacked sensors historically reduce light sensitivity, which should impact low light image quality and compromise dynamic range. Sony states on the contrary, noting the improved 16EV dynamic range of the A7 V over the A7 IV.

We didn't have the two cameras side by side for testing and making such comparisons, but it would seem from our A7 V testing that the new model's dynamic range is certainly no worse than the A7 IV's, even if 16EV seems ambitious.

Somehow, Sony has been able to deliver the performance improvements from the new sensor type, without image quality compromises.

• Sensor winner: Sony A7 V

2. Sony A7 V vs Sony A7 IV: autofocus and speed

• The Sony A7 IV has a new Bionz XR 2 processor
• It features an integrated AI processing unit and improved autofocus
• Max shooting speed is bumped from 10fps to 30fps, and now includes pre-capture

In a first for Sony, the A7 V features a new Bionz XR2 processor, which integrates an AI processing unit. This unit is separate from the main processor in the A7R V and A1 II which therefore have two processors, but here it is combined into one and delivers the 'AI' performance improvements you'd hope for, such as improved subject detection autofocus and white balance accuracy.

Sony says AF performance is ‘dramatically’ enhanced, because human subject recognition now includes eye, face, head and body, there is a wider range of detected subjects, plus a useful auto subject recognition mode. The A7 IV's autofocus, though highly competent, is much simpler.

Shooting speeds are also boosted, up from 10fps to 30fps using the electronic shutter. Those speeds can be maintained for 185 JPEGs or 95 RAWs, or for 1,000+ images at at 10fps. The A7 V's mechanical shutter is capped at 10fps, which matches the top speed of the A7 IV, whichever shutter type used. Pre capture up to 30 frames (so one second) is also now possible – that's new to the series.

In short, the A7 V can shoot at higher speeds for longer, with more versatile autofocus.

• Speed winner: Sony A7 V

3. Sony A7 V vs Sony A7 IV: performance

• The A7 V's in-body image stabilzation is rated up to 7.5EV to the A7 IV's 5.5EV
• Battery life is up from 580 shots to 750
• Video recording lasts longer in high heat

Other less glamorous but highly useful performance improvements include improved in-body image stabilization, battery life, and more durable video recording. For example, the A7 V's in-body image stabilization is rated up to 7.5 stops in the center and 6.5 stops at the periphery, whereas the A7 IV's is rated at 5.5 stops.

Battery life has been improved too; the A7 V's is rated at 750 shots using the LCD or 630 shots using the viewfinder, whereas the A7 IV's is 580 shots and 520 shots respectively. The A7 V's battery life is one of its standout features, not only over the A7 IV, but also over Canon and Nikon rivals.

Video record times are much the same, rated at 90 minutes in 25°C heat. However in particularly high 40°C heat, video recording is now up to 60 minutes versus just 10 minutes in A7 IV.

• Performance winner: Sony A7 V

4. Sony A7 V vs Sony A7 IV: image and video quality

• Both shoot 33MP stills with similar dynamic range, 14-bit RAW in the A7 V
• Video recording is improved, now 4K 60p (oversampled from 7K and no crop)
• Auto white balance accuracy has been improved

If you're mostly shooting landscape photography and easy static subjects, then you might not notice a huge difference in image quality between the A7 V and the A7 IV. For such photographers, the improved auto white balance accuracy will likely be the most notable upgrade. We found it the A7 V handled particularly trickily lit scenarios with ease, rendering lifelike and pleasing colors. Sadly, aggressive JPEG processing remains.

The image quality improvements for photographers are largely a fruit of the A7 V's improved performance, such as better autofocus accuracy and versatility, the elimination of rolling shutter distortion, and faster shooting speeds.

It is the video recording capabilities of the A7 V that enjoy a bigger upgrade. 4K video recording up to 60 frames per second is achieved with no crop and can be oversampled from 7K, while 4K at 120 frames per second has been added, albeit with a 1.5x crop.

One trick that the A7 V has is what Sony calls 'high-res raw processing', which is a mode that combines 16 images (using Sony's Imaging Edge desktop app) into a single file for better noise reduction and more resolution. This mode is particularly useful for static subjects such as landscape photography.

• Image quality winner: Sony A7 V

5. Sony A7 V vs Sony A7 IV: design

• 3.2-inch LCD touchscreen is now a dual-axis vari-angle, versus single axis
• The same EVF, but there's no blackout in the A7 V's
• Improved ergonomics in the A7 V

At first, the A7 V and A7 IV are strikingly similar looking cameras. This means that if you are familiar with Sony cameras, the switch between these two will be straightforward.

After extended time with the new A7 V, however, we noticed a few useful and subtle improvements in how it handles over its predecessor. For one, the grip has been redesigned and is more comfortable to hold for longer periods.

In addition to the improved grip shape, the rear 3.2 inch LCD touchscreen is now a dual-axis vari-angle type, whereas the A7 IV's is a single-axis vari-angle type. In practice, the dual-axis hinge can bring the screen away from the ports so the swivel of the screen is not impeded by any cabling that's connected to the camera. It also enables clear viewing in both vertical and horizontal shooting at awkward angles. We get the same EVF in both cameras, however, the A7 V's EVF has no blackout whatsoever – I know a few photographers who are taking note on this point.

As for ports, there are now two USB-C ports, one 3.2 and a 2.0. They can be used simultaneously to transfer data, connect to a gimbal and / or charge the camera. Sony says the internal mic quality has been improved too, especially in its ability to reduce background noise.

• Design winner: Sony A7 V

Sony A7 V vs Sony A7 IV: early verdict

Somewhat unsurprisingly, it's a clean sweep for the Sony A7 V, which is a better camera than the Sony A7 IV in just about every regard, even if the improvements feel evolutionary rather than revolutionary.

Still image quality is roughly the same, but the A7 V has next-level speed, which makes it a more versatile all-rounder. Also, its video quality has been improved, with a better handle on rolling shutter distortion, and no crop at 4K 60 frames per second recording. Auto focus performance has been improved, as has overall color rendition thanks to smarter subject detection skills.

I also prefer how the A7 V handles; its refined grip is more comfortable in the hand, while the dual-axis vari-angle screen is particularly helpful if you want to shoot in vertical and horizontal formats at awkward angles.

The only thing going for the Sony A7 IV in this battle is its price; because since it's four years old, it now costs much less than it did at launch, and than the A7 V. You can pick it up for around $1,000 / £1,000 less at the time of writing. And if you generally shoot still subjects and don't need the performance improvements, it could be the wiser choice of the two cameras.

Sony A7 V: two-minute review

Some photographers, possibly even those working at Sony, see the A7 range of mirrorless cameras as the firm’s entry-level full-frame models. On paper alone, this may seem a reasonable suggestion when comparing the specifications to the most premium models. However, the Sony A7 IV, launched in October 2021, carries a 33-megapixel 36x24mm sensor, ISO50-204,800 sensitivity range, 5.5EV in-body image stabilization system, and a top continuous shooting rate of 10 frames per second. It’s by no means a slouch and this is all available for under $2500, so while it might be one of Sony’s more affordable E-mount bodies, it has been able to give pro-spec cameras a run for their money for several years.

On the face of it, the A7 V seems more of an iterative upgrade to its predecessor, rather than a revolution. However, once you dig deeper, there is a lot of exciting new technology to explore. Debuting the new partially-stacked sensor and new Bionz XR 2 processing engine, this camera represents a significant step forward for photography enthusiasts and semi-professionals. It’s more responsive than the A7 IV, both in focusing reaction time and accuracy, and delivers superior performance from the ground up.

Images are sharply detailed, and noise is well-controlled, especially for a model equipped with a 33MP resolution. It certainly matches or outperforms the current generation of competing cameras, such as the Canon EOS R6 Mark II or Panasonic Lumix S5 II, although I’ll be interested to see how low-light capabilities compare to the likes of the Canon EOS R6 Mark III when it inevitably comes to market, which is likely not too far in the future.

If you’ve used other Sony Alpha cameras, you’ll fall right into step with the A7 V. Some might call Sony’s conservative approach to design unimaginative, but it means that you can allow muscle memory to play its part on shoots where speed matters most. A few useful practical refinements notwithstanding, the A7 V is very similar to models that came before it, and on picking it up, you get a feeling of coming home, a comforting sensation when other stressful elements of a photoshoot come into play.

These days, I’m more likely to be blown away by enthusiast-level products than flagships, which rarely offer many surprises, as pro technology trickles down the rankings to more affordable offerings. The niche this camera inhabits has the potential to provide unbeatable value to the greatest range of photographers, and happily, the A7 V fulfills this promise. It’s an impressive upgrade to an already outstanding camera, serving up great responsiveness, useful features and exceptional image quality. I still wouldn’t call it revolutionary, and there are some quirks that I’d like to see refined, but if you’re an aspiring wildlife, event, or travel photographer, I’m confident you’ll fall in love with it, and that it will trouble TechRadar's best cameras and best mirrorless camera guides.

Sony A7 V specs

Sony A7 V: Price and availability

• Released December 2, 2025
• Body only price of $2,899 / £2,799 / AU$4,699
• Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II

The Sony A7 V launched worldwide on December 2, 2025 priced $2,899 / £2,799 / AU$4,699, alongside a new FE 28-70mm F3.5-5.6 OSS II kit lens. The lens costs $449.99 / £429 separately / AU$699 and will be available separately from February 2026.

Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.

This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 / AU$200 more than the Nikon Z6 III was at launch, but which is now available for much less).

• Price score: 4.5/5

Sony A7 V: Design

• Larger 3.2-inch rear LCD
• Versatile multi-pivot articulated monitor
• Hybrid memory card slot

Externally, I’d be very impressed if anyone could distinguish the A7 V from the A7 IV on looks alone. Apart from the name, discreetly emblazoned on the top plate, just to the left of the viewfinder, there isn’t much else to identify the latest iteration. However, a closer inspection reveals a redesigned handgrip. It’s very slight, with a tiny shift to the angle of the shutter button to account for the modest increase in weight from the Mark IV, but it makes a natural refinement to the ergonomics of the camera.

In terms of handling, the A7 V is supremely comfortable to hold, perhaps more so than most other Alpha bodies in the range. Logically, I know there is significant continuity between models, but something about the A7 V felt more balanced to me. I’ve always found Sony cameras to be too boxy for my tastes, especially when shooting for longer periods and when using larger lenses. The A7 V is unmistakably a Sony product, but it just fit my hands a lot better than I remember the A7 IV doing.

Shooting all day around London with the FE 24-50mm f/2.8 G lens, the setup was perfectly balanced, the center of gravity seemingly right where the optics meet the lens mount. This made shooting one-handed a breeze, even when holding the camera at arm's length over my head to shoot a street performer over the heads of a large crowd.

I appreciated that the playback and delete buttons are located on the same side of the camera body and immediately adjacent to each other on the back plate. This is a personal preference, of course, but I find this makes quickly making in-the-field quality control decisions quicker, rather than having to work two-handed and hunting for a control on the opposite side of the body to preview and delete obviously blurry shots.

Another excellent feature that seems unique to Sony cameras is dual-function card slots that fit both SD and CFexpress. As someone with more high-performance SD cards than I’d like to think about, I love this. Although I am gradually filling out my stock of CFexpress, I still like to have the choice, and a camera that supports both, while still allowing dual card functionality with either format is hugely thoughtful.

With a Canon EOS R5 Mark II, for example, you need to take a supply of both card types if you want the benefits of in-the-field backups, while the Canon EOS R6 Mark II requires two SD cards only, delaying investment in CFexpress until a future upgrade (which will no doubt be an expensive ordeal). On Sony cameras, there are no such compromises.

It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.

Another excellent design flourish is the extra control wheel above the Auto Exposure Lock button, which by default is set up to adjust exposure compensation in P, A or S modes. I enjoy not having to hold down another button to change this, and the additional dial allows you to amend the aperture and image brightness with single controls each. Naturally, each dial can be reassigned a custom function from within the A7 V’s Operation Customize menu, found under Setup.

The build quality is of an exceptionally high standard. I didn’t have the opportunity to test the camera’s weather resistance – unusual for a British reviewer in November – but nevertheless, there are no obvious compromises in the integrity of the construction. Apart from the hollow battery and memory card bays, no other part of the body reverberates excessively when tapped, giving the sensation of it being milled from a single piece of metal.

All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.

We also can’t talk about the design of the camera without mentioning the versatile dual-hinged main LCD. Sony has gone back and forth with its approach to screen articulation over the years, and as far back as the A99 II DSLR camera, the multi-point design has allowed the user to both tilt and swivel the LCD. Some photographers prefer the vertical tilt format, while others like myself appreciate a full swivel function.

Users of the A7 V don’t have to choose – unlike with the A7 IV which is single-axis vari-angle only – which I found useful when shooting ground-level street photos of graffiti artists under Waterloo Station. It’s a clever strategy also found in recent Lumix cameras, and which I’d like to see more brands adopting.

• Design score:4.5/5

Sony A7 V: Performance

• New Bionz XR 2 processor
• No dedicated AI autofocus processing engine
• Long 750-shot battery life

Speaking of LCD screens, the model featured on the A7 V is both larger and more detailed than its predecessor. It measures 3.2 inches, up from 3 inches on the A7 IV, while resolution has doubled the 1,036,800 dots previously available. I found it to be very crisp, and colors look natural. This is a attribute of camera screens that isn’t talked about enough. Monitors might be super contrasty and saturated as standard, but this won’t always give the most useful preview of the images about to be captured.

The touch sensitivity is just right, and I found it to be more responsive than both the Mark IV and the A7R V, demonstrating the difference that three years can make. It’s not that those cameras were particularly unresponsive, but this latest monitor gave me no sense that it was standing between me and the settings I wanted to access.

I especially liked the reaction time for touch focus; with a single tap the camera activates the AF and immediately snaps to the object selected. I don’t always use touch focus features, but combined with the versatile LCD pivot points, I found myself using them frequently during my testing of the A7 V.

Autofocus itself is smooth and super-fast. Built around a new system of 759 Phase Detection AF points that cover 90% of the frame, the A7 V can focus in lighting as low as -4EV. Although the camera did slow down as ambient lighting dropped, with the rate of focus hunting increasing, it still did a sterling job of finding and tracking the subject. It’s also incredibly precise.

Interestingly, the A7 V doesn’t feature a dedicated AI processor, as found on the Sony A1 II. This might surprise many industry observers, in an age where AI is king and excluding such features might seem a retrograde step. However, the new Bionz XR 2 moves all AF computations on-chip, instead of dividing the workload between two units.

Sony says the up-specced processor brings the same benefits of a separate AI engine, namely better AF target recognition, but with the added advantage of reduced heat emissions, superior speed, and improved battery life. After all, powering one chip is better than supplying two.

I didn’t have an A1 II body available to test the cameras side-by-side, but rarely did the A7 V struggle to locate my subject. There are plenty of options to customize subject recognition, and the camera coped well with human figures, cars, and airplanes, in the chaos of Central London and at Heathrow Airport.

Also new to the A7 V are the options to change AF responsiveness and to select an extra small or large AF point. While I didn’t find much need to alter these settings during my test, I could see where this might be of huge benefit. Turning down AF responsiveness if it’s likely that other objects will pass between the camera and the subject, like when shooting across a busy road or players on a football field, will help keep the focus sticky on your subject.

I can also vouch for the stated 750-shot battery capacity. After 300 frames, in the relative chill of a winter afternoon, I still had 75% charge, and by 650 shots, this sat around the 40% mark. This excellent, rival-beating performance included shooting both long still exposures and video.

In terms of shooting speed, the A7 V is one quick camera in operation. Startup is near instantaneous, and exposure assessment is now done at twice the number of calculations per second compared to the A7 IV.

Using the electronic shutter, it’s now possible to capture images at up to 30fps, up from 10fps on the previous camera. Pre-capture is also possible up to a user-selectable 30fps, meaning the camera is always ready and able to cover the action in the briefest of moments. Without wanting to sound like an advert for Sony (remember, this review is completely independent), there were times when I felt I was having to keep up with the camera. This isn’t something I encounter often, and it kept me on my toes.

It’s a very minor point, but I found the shutter release to be just a little too sensitive for my liking. There were a few occasions when I was simply trying out a composition and accidentally fired off a burst of shots – a bit of a laborious situation when the camera makes 30 frames every second! I’d definitely recommend re-assigning focussing to the AF-ON button to work around this.

• Performance score: 5/5

Sony A7 V: Image quality

• Excellent Dynamic Range
• Superior high-ISO performance
• Ultra-effective IBIS system

One of the headline features of the A7 V that is certain to get people talking is the new semi-stacked sensor. This CMOS design has developed somewhat of a bad rep because of its deployment in other cameras with limited success, such as the Nikon Z6 III. There is a risk of significant trade-offs in dynamic range for the additional readout speed a semi-stacked (or partially-stacked) sensor provides. Sony is confident enough, however, to claim a DR of up to 16-stops with the A7 V – that's an additional stop versus the A7 IV – so I couldn’t wait to see how the camera performed in the real world.

I’m not entirely convinced by the 16EV claim, as there were times when there was less highlight texture than I had anticipated, and clipped shadows where I hadn’t expected. However, the results were still impressive. In the majority of shots, there was recoverable detail across the range. From memory alone (and not having yet taken the A7 V into the lab for testing, that’s all I have to work on), I would place the dynamic range on an even footing with models like the 24MP Canon EOS R6 Mark II and Nikon Z6 III. Clearly, Sony deserves some applause for this, as it’s a clear indicator that the A7 V is a next-gen competitor.

Now let’s talk about color. Traditionally, this hasn’t been my favorite aspect of Sony cameras. I’ve always felt that, compared to Canon and Fujifilm models, Sony color science was a bit sterile. Accurate, maybe, but lacking warmth and ‘flavor’. These traits are present in the A7 V, as is to be expected, but I noticed colors seemed more organic than I’ve seen from its stablemates.

The auto White Balance system hardly ever missed a trick, even when shooting wall art comprising overlapping primary colors in mixed natural and artificial lighting: quite possibly a condition that cameras have nightmares about. The A7 V handled the situation beautifully. I could wax lyrical here for three more paragraphs, but I’ll summarize with this: if the camera could cope this well under these conditions, it could cope anywhere.

I don’t always believe rumors, but in this case the suggestion that Composite RAW capability was to be included on the A7 V has turned out to be true. Previously seen on the Sony A9 III, this mode captures a sequence of RAW files that are then combined to produce a higher-resolution file with reduced noise. It works nicely and does what it says on the tin – if you shoot landscapes or in the studio, this is a great feature for squeezing every oodle of quality out of the sensor.

Of course, it works less well with moving subjects, even when shooting at a high frame rate, so I chose not to use it for street photography. If you can support the camera, it would also be beneficial for capturing poorly-lit interiors at higher sensitivities.

Even without Composite RAW active, the signal-to-noise ratio will put a smile on your face. I spent most of my shoot at ISO 6400 and above, and the camera delivered a commendable balance of sharpness and grain. I wasn’t blown away by the in-camera treatment of JPGs though, and as low as ISO 800, there was smudging of detail through quite aggressive noise reduction. Weirdly, this didn’t seem to get much worse up to ISO 3200.

Further proof that the dynamic range is noteworthy is highlight retention at the extended low ISO settings. At ISO 50, which is essentially an overexposed image with the exposure digitally reduced, there was still data present at the right side of the histogram.

One of my favorite features of the A7 V is the IBIS system. Compensating for up to 7.5EV of shake in the center of the frame and 6.5EV at the edges, up from 5.5-stops on the A7 IV, the stabilisation enables hand-held shots at ridiculously slow shutter speeds. I was able to capture usable images at exposures of around one second – unthinkable just a few years ago. This enabled me to capture the movement of objects within the frame while rendering static areas sharp. It’s one of my go-to street and urban photography techniques.

It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.

Note from the Editor

Hi – it's Tim Coleman, TechRadar's Cameras Editor here. I've also used the Sony A7 V, and you can see some of my favorite images in the gallery below. They are all JPEGs taken with Sony's standard color profile (I'm going to check out the RAWs when those profiles are available to me).

My takeaways? For me, skin tones look spot on – which is not something I've always been able to say about Sony gear. Burst rates are both quicker and last longer too, meaning I was able to freeze the perfect moment of fast moving dancers. The A7 IV was already an impressive all-rounder, but the A7 V takes things up a notch.

Furthermore, I'm actually pleasantly surprised by the starting price of the A7 V. Yes, the A7 IV has dropped in price considerably now, but the A7 V is a lot of camera for your money.

• Image quality score: 4.5/5

Sony A7 V: testing scorecard

Should I buy the Sony A7 V?

Buy it if...

Don't buy it if...

Also consider

How I tested the Sony A7 V

• I tested a full production model
• The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
• Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range

I always like to push a camera to the edges of its capabilities and, to that end, I shot using the extremes of the ISO range. In bright light, I set the camera to the extended low ISO of 50, and then explored several low-light locations to test the camera all the way up to the expanded high setting of 204,800. I left the White Balance set to auto throughout the review to see how the camera responded to different lighting conditions. I also shot in RAW+JPG mode, so I had unprocessed files and compressed images for the sake of comparison.

• First reviewed December 2025

Cameras are expensive investments – I suppose it's fair to say that you won't be buying a 'real' one unless you plan to put it to good use. But did you know that a 'real' camera will take better photos than your phone because of the larger pixels on the bigger sensor?

Also, a capable camera can actually end up being cheaper than buying one of the best camera phones. Case in point: the Canon EOS R100.

It's a very basic, entry-level mirrorless camera. Don't let that fool you, though, because it's one of the best entry-level cameras and even one of the overall best cheap cameras on the market.

Even at full price, the camera with a single lens is AU$999 in Australia. This single-lens kit is now on the receiving end of a rather generous 27% discount on Amazon, dropping it to its lowest price yet of just AU$727. Want to step it up? Even the twin-lens kit is under a grand now on Amazon via the same listing!

Add to that the additional savings that could be had thanks to Canon's current 2025 Summer Cashback program and you can save an additional AU$50 on the single-lens kit or AU$100 on the twin-lens bundle.

The bundled lens isn't the only reason for my recommendation. I've used Canon cameras for 13 years and have tried several of the models in that time, but I was genuinely surprised at the value the EOS R100 offers.

If you don't want to take my word for it, TechRadar's camera editor also wasn't sure what to expect from it, but he too was impressed, as you can tell from his in-depth Canon EOS R100 review.

With a comfy grip and a simple menu system, Canon has made it very easy to begin your photography journey with the EOS R100. It might miss out on the fancy features of more high-end cameras, but it has everything an entry-level camera needs. And it performs really well too.

Its 24MP APS-C sensor is the same one used in the pricier EOS R50 and EOS R10, and boasts Canon's reliable dual-pixel autofocus system. With 3,975 autofocus points covering 143 zones, it's easy for anyone to get good, sharp shots. Its image quality is actually really good!

Take a look at some of the samples from the camera:

It won't serve you too well if you want to take action shots like sports, as its maximum continuous shooting speed tops out at 6.5fps, but sometimes that's all you need... at least to get started on learning the ropes.

It can shoot 4K video, but it will be cropped with a maximum frame rate of 24fps, but Full HD (or 1080p) footage is captured using the full width of the sensor. Admittedly this isn't as good as more expensive cameras, but you won't do better at this price.

Its 3-inch rear LCD screen is fixed, which might deter some potential users as an articulating screen can help with framing a variety of shots, but I still don't think it's a deal breaker for a beginner. It more than makes up for that with a very comfortable grip, which can make a world of difference if you need to carry it around all day on your travels, plus it's lightweight too.

If you were contemplating what to get a young photographer-in-the-making, this is a great choice. Or if you're keen to learn the fine art of photography yourself? This camera will help you without burning a massive hole in your pocket.

• Keen on vlogging? Take a look at our picks for the best cheap video cameras
• If you want to step it up a little, check out our picks for the best beginner mirrorless cameras in 2025
• Or you can peruse our picks for the best cameras in 2025, which includes options across several budgets and use cases

• Key upgrades include higher resolution 32MP stills and 7K video
• Available for $2,799 / £2,799.99 / AU$4,199, or in one of two lens kits
• For now, the EOS R6 Mark II remains available for a much lower price

Canon has unveiled the EOS R6 Mark III – its latest mid-range full-frame mirrorless camera, with upgraded photo and video skills, alongside the staggeringly affordable RF 45mm F1.2 STM lens.

It comes almost three years after the EOS R6 Mark II and improves on that model with a 32MP sensor that's likewise equipped with 5-axis stabilization, plus higher-resolution 7K video.

For reference, the EOS R6 Mark II shoots 24MP stills and 4K video, so the latest model is clearly a step up for detail-hungry creators, especially since it's also the first EOS R camera to shoot open-gate video.

Those open gate 7K video skills are inherited from the recent Canon EOS C50 cinema camera – the smallest entry-level model in Canon's range.

Like before, and despite increased resolution, high-speed action photography can be captured at 12fps using the mechanical shutter or up to 40fps with the electronic shutter. Together with pre-capture for up to 20 shots with the shutter half-pressed ahead of starting a sequence.

Canon says the EOS R6 Mark III's expanded buffer can handle up to 150 RAW photos with the camera shooting at full speed, which means it should maintain its top speed for around 30% longer than the EOS R6 Mark II.

As part of refined autofocus skills, there's also the Register People Priority autofocus function (see above), as found in the EOS R5 Mark II. Users can register up to ten different people to prioritize for autofocus, which is a handy feature for sports and wedding photography, where you might want to single one person out among many.

Moving on from those image quality improvements and smattering of new features, the EOS R6 Mark III's design is practically identical to the EOS R6 Mark II.

The weather-sealed body has the exact same dimensions (though it weighs 699g to the EOS R6 II's 670g) and the same control layout, 3-inch 1.62m-dot vari-angle touchscreen, and 3.69m-dot EVF.

Its LP-E6P battery (the same used by the EOS R5 II) is backwards compatible with the EOS R6 II, but delivers fewer shots from a full charge – 390 shots to 540 (using the EVF) or 620 shots to 760 (using the LCD).

The EOS R6 Mark III (body only) costs $2,799 / £2,799.99 / AU$4,199, or it can be purchased with RF 24-105mm F4-7.1 IS STM lens for $3,149 / £3,149.99 or the RF 24-105mm F4L IS USM lens for $4,049 / £3,899.99 / AU$5,999.95 – that's similar to the EOS R6 Mark II's launch price three years ago, and a pleasant surprise.

Canon will keep the EOS R6 Mark II on the shelves for now, and three years later, that camera has reduced in price by about 30%. If you don't need the EOS R6 Mark III's higher resolution stills and video, then the older model could still be worth considering as a cheaper alternative.

The ultimate hybrid mirrorless camera?

Sony, Canon, and Nikon each have a mid-range full-frame mirrorless camera in their ranks, all of which offer a tantalizing mix of performance, quality, and price.

Until our in-depth EOS R6 Mark III review is complete, the Nikon Z6 III will continue to hold the best mirrorless camera crown, with the Sony A7 IV looking a little long in the tooth now.

That being said, the EOS R6 Mark III seems to have the ingredients to surpass the Z6 III and take the top spot. It matches the Sony A7 IV's higher-resolution stills (which outperform the Nikon Z6 III's 24MP), and edges the Z6 III for speed (which comfortably beats the Sony). It goes one step further, too, with open gate video recording and the highest resolution for video creatives.

We've not had the time needed with the EOS R6 Mark III yet to come to a conclusive verdict, but we will be sure to share our in-depth review soon. But based on the details we have and past experience with Canon cameras, the EOS R6 Mark III could just be the unremarkable update that is, in fact, the camera to beat.

New details have emerged about Caira, the new Nano Banana camera we recently reported on.

While we already knew that Caira is a Micro Four Thirds mirrorless camera that connects to iPhones via a MagSafe connection and gives you enhanced photo editing capabilities using Google’s Nanao Banana, it has now been revealed that you’ll be able to access the camera using voice commands like “take a photo” and “make it black and white”.

Caira also includes six presets called Smart Styles, a set of curated pre-made color looks, trained using what Camera Intelligence calls “deep neural networks.” The Smart Styles will be hooked up to Voice Control, so you can select color settings with just your voice.

Snap, capture and share

Once the Caira camera body has been attached to your iPhone - a process as simple as touching the two together thanks to MagSafe - you can control Caira with an iOS app designed to be easy to use for camera beginners.

Any photo you take with Caira is instantly available in your iPhone’s Photos app, effectively doing away with the need for memory cards and meaning you can share your work straight away, from your iPhone.

In terms of specs, the camera features an advanced 4/3” Sony dual-native ISO Micro Four Thirds image sensor, an interchangeable MFT lens mount, and a 5,000 mAh battery. You’ll need your own lens to use with the Caira body.

A stand out feature of Caira is its ability to perform generative editing thanks to Google’s Nano Banana, an AI-powered image generation model which allows you to perform advanced real-time image editing using simple natural language prompts using your voice.

You can make pretty much any request you like, like “turn his red coat to navy” or “turn this daytime scene into nighttime”.

Not just a new camera

"With Caira, we are not just launching a new camera on Kickstarter; we are introducing an intelligent creative partner," said Vishal Kumar, CEO and Co-founder of Camera Intelligence.

"We’ve spoken to hundreds of solo creators, travelers, and marketers who have upgraded from their smartphone to their first mirrorless camera. They're overwhelmed and frustrated by complex camera buttons and the tedious post-processing editing workflows that come with high-quality content creation. These people want more than just great image quality - they need flexibility, connectivity, quick and fun editing features that match the pace of their imagination."

Caira will have an RRP of $995 (that’s for the body only), but on Kickstarter, Camera Intelligence is offering a super early bird price of $695 (30% off) for the first 100 backers, followed by $795 (20% off) for the remaining backers.

All Kickstarter backers will get Caira Pro, its $7 a month software subscription for Generative Editing, free for six months. Camera Intelligence says that if it hits its stretch goal it will extend this to nine months.

Camera Intelligence says that shipping for Kickstarter backers will be ready for delivery from mid-January to the end of February 2026, depending on the destination country.

• Canon teases its next camera, with an announcement set for Nov 6
• The attached lens confirms it's a full-frame model
• Previous rumors point to the EOS R6 III

Canon just teased its next camera on its Facebook page and other social media accounts, confirming a November 6 launch at 1am ET / 6am UK / 4pm AEST launch (that's Nov 5 at 10PM PT).

In the teaser, the camera is mounted to a tripod during blue hour in a mountainous terrain and is mostly silhouetted, but there are enough details for me to draw a few conclusions.

For one the lens mounted to the camera is the Canon RF 24-105mm F4L IS USM zoom, which is a full-frame lens.

Then there's the silhouette of the camera, which is the same profile as the EOS R6 II / EOS R5 II. Given the EOS R5 II is a recent release – taking our Best Camera of the Year 2024 award – that leaves a successor to the EOS R6 II, presumably named the Canon EOS R6 III, or an entirely new model.

I've been keeping an eye on the Canon rumor mill, and there are enough to suggest that the EOS R6 III may indeed be the next Canon camera we see. If that's case, it could be the biggest launch of the year for the market leader.

What the rumors say

We don't know for sure what Canon's next camera will be, but if it is an EOS R6 III, what can we expect?

According to recent rumors, the EOS R6 III is set to rival the Nikon Z6 III and the dated Sony A7 IV (which is rumored to be updated soon with the potential A7 V). It's also tipped to feature the same 34.2MP sensor (delivering 32MP stills) as the recent EOS C50.

A jump from 24MP to 32MP would be a decent upgrade, especially if the EOS R6 III also shoots open gate 7K video like the EOS C50, as Canon Rumors suggests. The sensor will presumably be stabilized too, given it is an EOS R6 series model, unlike the EOS C50 cinema camera.

Three years between releases would no doubt result in performance improvements, especially autofocus and burst shooting. The rumors say Canon's Dual Pixel CMOS AF II with enhanced subject detection will be on board, and 40fps burst shooting (using the electronic shutter), with pre-capture.

Put these potential upgrades together, and the EOS R6 III could become one of the most popular full-frame cameras, and I expect it'll trouble our best camera guide, especially with its predicted €2,899 price tag (around $3,100 / £2,700 / AU$5,000 based on current market conditions).

It looks like Canon could see out the year with a bang, according to its new teaser. What do you think Canon's latest camera could be? If it's the EOS R6 III, what upgrades would you like to see? Let me know in the comments below!

The OM System OM-5 II doesn’t have a big full-frame sensor, AI autofocus, 8K video or any of the other headline-grabbing features of the latest pricey cameras.

What the micro four thirds (MFT) model does have, however, goes right under the radar in the midst of all this tech-obsessed frenzy – it’s a camera that’s perfectly designed for travel photography. And we’re not talking specs, for once, but actual, physical design.

So what makes the OM-5 II so special that we recently put it in top spot of our best travel cameras guide? Quite a lot, actually. Let’s take a look...

1. Size and portability

We don’t need to explain the advantages of a small, portable camera system when travelling. It’s less weight to carry, it takes up less space in your camera bag and it’s less arm-strain to hold at your side and keeping bringing to eye level for shooting.

Now fans of APS-C and full-frame cameras will point out that the OM-5 II body is really not a lot smaller or lighter than a lot of rivals. That’s perfectly true. But the lenses are much smaller, and since it’s tricky to shoot anything without a lens, that’s a major point for travel photography.

Two examples come to mind. The M.Zuiko 12-45mm f/4 kit lens sold with this camera offers a 24-90mm equivalent focal range (pictured). There are no equivalent kit lenses on other formats that are as small and as light as this one (or as good – this is one of OM System's Pro lenses). Or how about the M.Zuiko 25mm f/1.8 II? This is a 50mm equivalent prime lens that’s absolutely tiny. And it’s weather-sealed too, which brings me to my next point…

2. Weather-sealing

You might not worry too much about weather-sealing in normal photography – after all, if it’s raining you just wait, or go out another day. But when you’re travelling, every day, every hour is unrepeatable. If it’s raining, you can’t go back another time. You have to take every shooting opportunity as it comes and celebrate the conditions, not hide from them. Weather-sealing is not a very sexy spec, but when you need it, you need it, and both the OM-5 II and many OM lenses are weather-sealed, including the 12-45mm f/4 kit lens.

3. One of the best stabilization systems around

You’ll read a lot of camera makers' CIPA-rated in-body image stabilization (IBIS) claims that might suggest all modern cameras are as good as each other, but what happens in the lab isn’t always reflected in real life, and it’s clear from practical experience that the smaller MFT sensor in the OM-5 II has significantly more effective stabilization than larger sensors.

Camera makers’ official figures are always flattering, best-case scenarios; but in practice, the OM-5 II reliably delivers almost all of its claimed shake compensation, not just some of it in ideal circumstances (mentioning no brands).

4. Computational features

If you’ve never used OM Systems’ computational photography features, you might think they’re just a gimmick that you’ll never use. But they grow on you, and they are especially effective for travel photography.

The Live Bulb is brilliant for neon-lit cityscapes at night because you can see the exposure build live, on the back of the camera. You’ll need a tripod, but hey, with all the weight you’ve saved with this system, you won’t mind a tripod so much!

• Check out our guide to the best travel tripods.

There’s also a Live Composite mode that’s perfect for traffic trails without overexposure, because once it’s recorded the correct ambient exposure it only adds ‘new’ light from moving traffic.

There’s Starry Sky AF if you want to try your hand at astrophotography, and there’s also in-camera focus bracketing for close-ups. If you want to add some movement blur to daytime shots, the Live ND mode will offer up to 4 stops slower shutter speeds (it’s not like having a 10-stop ND filter, but it still helps), and if you’re worried that 20MP won’t be enough for a once-in-a-lifetime cityscape or interior, use the 80MP high-res mode – it delivers a big jump in detail (the 80MP tripod mode is better than the 50MP handheld mode, to be fair).

The OM-5 II’s computational modes might sound like gimmicks if you’re coming to the OM brand for the first time, but actually they extend this camera’s abilities and versatility enormously.

5. Cost

Travel can be a hazardous business. Sometimes you’re leaning off the side of a boat, sometimes you’re dodging pickpockets, sometimes you have to sling your bag in the back of a bus and hope it’s still there when you get out again. It can be a worry, and if you take really, obviously expensive gear on your travels, it can be difficult to enjoy the moment without worrying about your camera.

Personally, I’d love to come back from a trip with shots taken on a Leica M11 or a Hasselblad X2D II, but that’s never going to happen because there’s no way I’d take one with me.

The OM-5 II is light enough to carry, tough enough to survive all kinds of weather and inexpensive enough that you’re not going to be worried about it all the time. It’s responsive, versatile, adaptable and has computational features that are genuinely useful, many of which offer capabilities you won’t find on other cameras.

On specs alone, the OM-5 II looks like it’s blown away by its rivals, but let’s get real – it’s still easily good enough for high-quality stills and video.

My key point here, though, is that as a physical product (not just a set of bullet points), it’s perfectly adapted to travel photography.

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I'm a week into my time extensively photographing with the premium Leica M EV1. It's a first-of-a-kind Leica M camera that's dividing opinions, and I have an overriding conclusion of my own, along with my M EV1 review. But first, let me set the scene.

The Leica M mount recently celebrated 70 years, after its introduction in 1954, and is the oldest remaining lens mount still in production.

During this time, Leica has made analog models with the famed optical rangefinder and then stepped into the digital age with digital rangefinders, most recently the M11-P.

Leica M has a dedicated fan base who love the system's unique and challenging experience of using the rangefinder to manually focus and compose pictures, plus, of course, the high-quality and compact design of the premium made in Germany bodies and lenses.

However, the EV1 marks a new dawn for Leica's M mount, or at least a subcategory of it – it's the first Leica M with an electronic viewfinder.

Such a move was only a matter of time – Leica isn't recording year-on-year profits this decade by standing still. It continues to evolve, while keeping one foot in its century-long roots.

The Leica M series is steeped in tradition. Meanwhile, the Leica SL and Leica Q series offer a thoroughly modern shooting experience, most recently the SL3 and Q3 and variants. However, the M EV1 dares to evolve the Leica M into a fully electronic experience (minus autofocus). It's a modern M.

Does the EV1 bastardize Leica M? Perhaps, but it marries Leica's traditional and forward-thinking design approach, and there's totally a place and a person for it.

So, with experience photographing with Leica M and Leica Q cameras and now a week with the M EV1 under my belt, would I myself buy the controversial model?

To M EV1, or to Q?

The Leica M EV1 has much in common with the Leica M11 digital rangefinder and the Leica Q3 premium compact camera, with the same 60MP sensor and base ISO 64 setting for super sharp stills, and a price tag somewhere in the middle.

The decision is not about quality, therefore, but about user experience, and ultimately, I feel the Leica M EV1 offers the worst of the Leica M and Leica Q worlds.

Crucially, you miss out on the charm of the optical rangefinder, like in the M11 (and superior battery life), and get the cold convenience of a 5.76m-dot EVF instead, as in the Leica Q3. Your complete frame and color profile are there to see, with easier manual focus aids to help nail the shot.

On the flip side, you are Leica M hamstrung, missing out on handy Leica Q3 features such as a tilt screen, autofocus, and video recording. The EV1 feels more like a Q3, only it doesn't handle as well.

Yes, you get the ability to change lenses and choose between superb compact optics, which is distinctly M, whereas the Q3 compact is stuck with its built-in 28mm f/1.7 lens. However, that lens is fabulous and, really, how many Leica lenses will you actually use?

I don't own any Leica gear. No camera, no lenses. And I think those with a collection of Leica M-mount lenses could be interested in the M EV1, especially if the optical rangefinder proves too challenging.

But for those likewise looking at Leica from scratch, I think the decision is pretty easy – you can pick up a Leica Q3 and a Leica Q3 43 (with its 43mm f/2 lens) for the same price as the Leica M EV1 and a typical M-mount lens, such as the 35mm f/1.4 Summilux-M ASPH. That's two Leica cameras and lenses for the price of one camera and lens.

I do think the EV1 is the most usable Leica M camera yet, but it loses a key part of that rangefinder charm, and I think a Leica Q handles better still.

I'm keen for your thoughts. Have you used Leica M and/or Leica Q cameras? How does the M EV1 sound to you? Let me know in the comments below.

The Fujifilm X-T30 III is a camera with decade-long roots. Its great grandmother is 2015’s X-T10, and the basic appeal of this range has been the same ever since.

These are small APS-C sensor mirrorless cameras that can do just as good a job for many stills-shooting folks as Fujifilm’s more expensive cameras. But Fujifilm has made things more complicated for potential X-T30 series owners and fans – birthing the X-T50 and X-T30 III from 2021's X-T30 II.

The X-T50 is only slightly larger than the X-T30 III, but has in-body image stabilization, once only found in Fujifilm’s much larger cameras. It has a higher-resolution sensor too, but costs significantly more in return.

We’ll dig into the details further in this article. But what are your other X-T30 III alternatives?

The last-generation X-T30 II, which could be discontinued soon, is similarly capable for stills, but doesn’t offer 4K / 60p or 6.2K video. Then there's the X-M5 from late 2024, which is technically very similar to the X-T30 III, but is sure to put off many more traditional photographers with its lack of viewfinder, and a design that prioritizes trim dimensions over grip and comfort.

But back to the main event, let’s compare the X-T30 III and X-T50, focusing on the main differences.

1. Kit lenses

• X-T30 III – available with the XC 13-33mm f3.5-6.3 OIS
• X-T50 – two kit options; XC 15-45mm f3.5-5.6 OIS PZ or XF 16-50mm f/2.8-4.8

Kit lenses are rarely all that exciting. With more affordable cameras like the X-T30 III they are the lenses you may one day hope to move on from. But this time it’s a little different.

Fujifilm used the X-T30 III’s launch to announce a brand new model in its keenly-priced XC lens series, the XC 13-44mm f/3.5-6.3 with OIS. It’s equivalent to a 20-50mm lens in the 35mm full-frame standard.

It goes significantly wider than the long-standing XC 15-45mm Power Zoom lens that ships with the more affordable X-T50 bundles, while of course not providing quite as much zoom power at the other end.

The new XC 13-33mm is even smaller and lighter too, at 125g and 61.9mm × 37.5mm. Fujifilm’s XC 14-45mm — which has been around since 2018 — weighs 135g and measures 62.6mm x 44.2mm when just chilling out on the camera body.

However, only the X-T50 gets a secondary option from Fujifilm’s XF lens series, the XF 16-50mm f/2.8-4.8. Don’t mistake this for the long-standing 16-55mm glass, it’s a new-in-2024 lens that is radically smaller and lighter. It weighs just 240g (the old lens is 655g) and is relatively petite at 65mm×71.4mm.

The trade-off is, for an XF lens, that the maximum aperture drop-off at the telephoto end is significant. Like the recently-discontinued, and semi-legendary, XF 18-55mm lens, though, edge of frame sharpness is good.

2. Price

• X-T30 III - $999 / £829 / AU$1,679 (body only), $1,149 / £999 / AU$1,949 with kit lens
• X-T50 - $1,399 / £1,299 / AU$2,599 (body only), $1,999 / £1,399 / AU$2,799 (XC lens bundle), $1,799 / £1,649 / AU$3,149 (XF lens bundle)

The Fujfilm X-T30 II costs up to $400 / £470 less than the X-T50, although the disparity can be lower when buying with a kit lens.

You’ll pay $999 / £829 / AU$1,679 for a Fujifilm X-T30 II, body only. Or $1,399 / £1,299 / AU$2,599 for an X-T50.

The gap drops to £400 with the base kit lens, because the list price of the new XC 13-33mm is a little higher than that of the XC 14-45mm.

The pricing of the new X-T30 III lets its slink under two important barriers. It’s under $1000 body-only in the US, and under £1000 with kit lens in the UK.

However, as seen across the Fujifilm range, US prices have been subject to tariff-related hikes in recent months. The Fujifilm X-T50 nowadays actually costs more than it did at launch stateside in late 2024.

3. Sensor

• X-T30 III - 26.1MP APS-C, X-Trans 4
• X-T50 - 40.2MP APS-C, X-Trans 5

While both of these cameras have APS-C size sensors, the X-T50's is a much higher resolution chip. It has 40.2 megapixels to its name, compared to the 26.1 megapixels of the X-T30 II. That lower-end series has stuck around this mid-20-megapixel ballpark since 2017’s X-T20.

As such, the X-T50 is going to provide significantly better scope for large prints, and for cropping into images without obvious compromise. This is especially useful if you intend to use some of Fujfilm’s brilliant prime lenses rather than the kit zoom lens.

Fujifilm has also compensated for the high resolution, by giving the X-T50 a larger frame buffer for burst shooting.

One unavoidable knock-on effect of having more pixels crammed into a similar area is smaller photosites, which ends up with lower native light sensitivity. However, being one generation on in sensor tech can hide much of this in practice, and the X-T50 has one special feature to more than make up for it...

4. In-body image stabilization

• XT30 III — No IBIS
• X-T50 - IBIS, 5-axis (7 stops)

The X-T50 is one of Fujifilm’s smallest, lightest cameras in this category with an in-body image stabilization system — just pipped by the X-E5, which is even smaller thanks to its rangefinder-style design.

This means you don’t need to use an optical image stabilized (OIS) lens to be able to use slightly longer exposures while shooting handheld, without clear risk of handshake blur. Fujifilm says it’s worth up to seven stops of effectiveness, mirroring the IBIS system of the much larger X-T5, which also weighs 100g more.

There is no IBIS system in the X-T30 II. And while the kit lens has its own OIS to help out, plenty of Fujifilm’s best lenses do not have OIS. It’s going to limit the kinds of photography you can do at night, and other lower light environments.

Back in this wider camera series’s earlier days, you had to make do with the X-H1 if you wanted IBIS. Brilliant as that camera was (and still is), it’s huge compared to the X-T50 at 139.8 mm × 97.3 mm × 85.5 mm.

5. Design differences

• X-T30 III - 118.4mm x 82.8mm x 46.8mm, 378g, 1.62M rear, 315 normal mode batt shots
• X-T50 - 124 x 84 x 49 mm, 438g, 1.84M rear. 305 normal mode batt shots

While impressively petite for an IBIS camera, the X-T50 is slightly larger than the X-T30 II. It measures 124 x 84 x 49 mm, compared to 118.4mm x 82.8mm x 46.8mm for the X-T30 III. A smattering of millimetres extra in each dimension.

Fujifilm has tried to mask this, though, with a new extra-rounded shape for the sides of the camera. The same technique is used in some phones, where rounded glass on front and/or back panels can trick your hands into believing a phone is slimmer than it is.

The X-T50 also has a slightly higher-resolution rear display, of 1.84 million dots to 1.62 million dots. It’s not a major upgrade, mind. Fujifilm hasn’t messed too much with the basic style either. Both cameras have that classic retro-inspired look, and come with either a black, charcoal or silver top third.

They also share the slightly contentious — among some circles at least — film simulation filter dial up top, instead of a more traditional mode dial. A backwards design step for those that change shooting settings more often than color profiles.

6. What's the same?

Higher resolution and IBIS are the two major differences between these two cameras. A lot of the other core elements are the same, or similar.

The Fujifilm X-T30 III and X-T50 can both shoot video at up to 6.2K resolution (although at different aspect ratios) or at 4K/60. They have the same processor and comparable auto focusing systems, offering Fujifilm's latest subject detection skills.

Neither requires an expensive CFexpress card for best results. A higher-speed SDXC will do the job just fine.

Verdict

Is substantially greater resolution and IBIS worth the extra money Fujifilm asks for the X-T50? To many, sure.

Fujifilm has even tried to flatten out the effects of the slightly increased bulk with an altered casing shape. We’re well past the range being separated into two size stratifications, where some features don’t bleed between the two.

The Fujifilm X-T30 III is still the better option for those new, or returning, to mirrorless cameras. It’s a lot cheaper, and with an OIS lens in tow you are still going to be able to capture similar images with either.

Mind you, if you can live without a viewfinder and shoot a fair amount of video, then the X-M5 is an even better pick than the X-T30 III, and it costs less.

Fujifilm X-T30 III: two-minute review

Fujifilm has updated its beginner mirrorless camera for photographers with the new X-T30 III, which comes four years after the Fujifilm X-T30 II.

It launches alongside a tiny new XF 13-33mm f/3.5-6.3 OIS kit lens (that's a 20-50mm effective focal length) that's smaller and lighter than the 15-45mm, the previous kit lens packaged with Fujifilm’s low-cost cameras. The portable pair weigh just 17.7oz / 503g combined.

Going on appearances alone, very little has changed. There's now a film simulation dial in place of a shooting mode dial, much like on other recent Fujifilm cameras including the X-T50, with all 20 simulations available, and the ability to add film recipe shortcuts.

Otherwise, the size, weight, profile and control layout are pretty much identical to the X-T30 II – this is a really small camera and lens combo that easily slips into a jacket pocket.

Headline features include the same 26MP sensor and current fifth-generation processor combo as used in the X-M5 and X-S20. This means the X-30 III sits below the pricer X-T50, which uses the latest 40MP stabilized sensor.

It has more in common with the slightly pricier X-S20, which with its in-body image stabilization, feels like a better pick. Otherwise, the specs are almost identical to those of the X-M5, which, with its viewfinder-less video-first design, costs less.

Despite its photography-friendly design, which also factors a built-in flash, the X-T30 III does in fact have the same video features as the compact X-M5, including 6K video with 10-bit color depth, 4K 60fps video and a vertical 9:16 short movie mode for social.

Personally, I think Fujifilm’s X-series range is getting a little crowded now, and would have liked to have seen the X-T30 III priced around 10% lower to help it to truly stand out for beginners.

However, it's still a compelling retro package – $1,150 / £1,000 / AU$1,950 for an attractive portable camera and lens with sharp 26MP stills and impressive 6K video is pretty respectable.

Fujifilm X-T30 III: price and release date

• Costs $999 / £829 / AU$1,679 body-only, or $1,149 / £999 / $1,949 with the 13-33mm lens
• Available in silver, black and charcoal
• Sales started on November 20, 2025

Designed for beginners, the X-T30 III was available from November 20 in silver, black and charcoal options, for a body-only price of $999 / £829 / AU$1,679, or with the new 13-33mm lens it costs $1,149 / £999 / $1,949.

The X-M5 remains the lowest-priced model in Fujifilm's range of X-mount cameras; the X-S20 is a fraction more, while the X-T50 is more again. Considering its features, I would prefer that the X-T30 III was around 10% cheaper in order for it to be more competitive.

Fujifilm X-T30 III: specs

Fujifilm X-T30 III: Design

• Weights just 378g, same dimensions as the X-T30 II
• Film simulation dial in place of a shooting mode dial
• Built-in EVF, flash and tilt touchscreen

The X-T30 III is a tidy, compact retro package, especially with the new 13-33mm lens – the pair weigh less than most rival cameras without lens attached, and I easily slipped the combo into my jacket pocket when I wasn't using it. The camera is available in three colors and it certainly looks the part, especially in silver.

Just like the X-T30 II before it, the new model makes a great travel camera. The retractable design of the 13-33mm lens gives it almost pancake optic proportions, and shooting around the busy city streets of Rome, the setup drew very little attention. Conversely, when I switched to its X-series sibling, the Fujifilm X-H2S, while not exactly a massive camera, got glances from passersby, especially at the major landmarks, where candid street photography can seem almost impossible. Even the X-T5 seems heavyweight by comparison.

Happily, this doesn’t have a negative impact on the handling experience, and I was still able to reach all of the buttons and controls with my thumbs, while my index finger remained on the shutter release. If you’ve used previous iterations of the camera, or indeed other enthusiast-level Fujifilm X-Series cameras, you should fall right into step with the layout.

The pronounced thumb rest gives a decent grip, and I happily (and securely) held the camera with one hand in both horizontal and vertical formats. I was concerned about the balance I might find when using the wide-aperture primes I’d packed to accompany me on my shoot, namely the Fujinon XF 56mm F1.2 R WR, which is on the bulky side. I needn’t have worried though, as even after several long days of shooting, the setup didn’t seem unduly imbalanced.

There's a quick menu button conveniently placed on that thumb grip, but all too often I found myself pressing it unintentionally. It's not a big drama as you just have to exit the menu, but it's something to be aware of.

One element I’m happy Fujifilm retained from previous models is the pressable control wheels. It’s a smart and sensible application of dual control – you can scroll through a menu and then select the desired item by pressing the wheel. It’s actually something I’ve wished more manufacturers would introduce as I’ve always enjoyed this underrated character of the X-series.

The rear touchscreen is tilt only and not fully vari-angle, which means you won't be able to easily shoot selfies.

I'm personally fine with the tilt design, which is handy for waist-level viewing. Also, the positioning of the USB-C, micro HDMI and mic ports on the side would obstruct a flip around screen, when those ports are in use.

The 2.36m-dot EVF is clear enough for such a small camera – I regularly used it rather than the screen, and it is particularly helpful on bright sunny days for photography.

Now, let’s talk about that new Film Simulation dial, which brings the camera in line with Fujifilm’s latest generation of cameras, including the X-T50. It replaces the mode dial which occupied the same space at the left side of the top plate, and now offers direct access to Fuji’s range of film simulations. While I can see the appeal if you regularly like to experiment with color profiles, and bearing in mind that film styles are something of a speciality of Fujfilm cameras, it’s more of a downgrade for advanced photographers.

Personally, I switch exposure mode more often than color profiles, so I'm a bigger fan of the shooting mode dial which is sacrificed. Since I also shoot RAW all of the time, anything I might select using this dial is rendered pointless in the captured image unless I reapply the style in Lightroom – an extra step reintroduced, only later in the production process.

The styles are lovely, and I wonder if Fujifilm created a physical control for them in an effort to make them feel like more of a genuine photographic tool than a gimmick, but I fear it may have had the inverse effect. The dial now becomes the defining feature of the X-T30 III.

There is also a secondary impact on the practical use of the camera body. Inexplicably, once I got started using the X-T30 III, I couldn’t seem to work out how to place it in aperture priority mode, which is my default exposure setting. I test a lot of cameras, so this was an unsettling predicament.

I always like to think I’ve done some reasonable homework on a camera before setting off on a trip with it, but here I was in the darkened streets of the Italian capital at midnight, in the shadow of St Peter’s Basilica, unable to find Av mode. I can’t say that’s ever happened before, at least not since my first week of taking photos. Notably, this was never a problem with the X-T30, X-T30 II, nor any other Fujifilm camera. The addition of the film sim dial is my only culprit.

Until I got my bearings, I resorted to the new auto mode instead which selects shutter speed and aperture based on the scene. The X-T30 III certainly feels designed for beginners.

There's a built-in flash, one of only three current beginner models with such a feature. The GN7-rated (ISO 200) flash is handy to have for sure, especially at parties. You only tend to get a built-in flash in beginner cameras which aren't weather sealed, like the X-T30 III, because they usually compromise weather sealing.

Speaking of which, the lightweight design does come with a few compromises. The build quality is a little plasticky, especially coming from a higher-end body like the X-T5. It didn’t especially bother me, considering how much I appreciated the camera’s low weight, but it isn’t a model with which I’d like to find myself stranded outside in a rainstorm.

Fujifilm X-T30 III: Performance

• New processor delivers 10% better battery life
• New Instax mode for instant photography fans
• Digital stabilization only

Packing Fujifilm's latest processor, the X-T30 III is a snappier camera than the X-T30 II. For example, 8fps (mechanical) and 20fps (electronic) burst shooting are sustained for 2x longer, for up to 173 JPEGs. That max speed can be upped to 30fps (electronic) with a 1.25x crop.

I didn’t count the individual frames, but even in RAW mode, the camera felt snappy and punched above its weight with regard to speed. I was able to shoot extended bursts of images, or several sequences in close succession, without the X Processor 5 notably struggling to clear the buffer before I triggered the shutter again.

Fujifilm also says battery life is improved by 10% thanks to the new processor, for up to 425 shots, and across a four-day trip, the two NP-W126S battery packs I had with me were more than enough. Of course, in more extreme temperature conditions, or if I had been exclusively shooting video, it might be a different story. It’s certainly a respectable battery life for a camera at this level, though.

Autofocus receives a boost, too, with Fujifilm's latest subject detection on board, which in addition to people can track animals, birds, cars, insects and more. I was very impressed by the speed with which the camera could snap between close and distant subjects. It also wasn’t easily fooled by tourists and traffic moving between the lens and my intended focal point.

It clearly isn’t a match for the advanced Dual Pixel CMOS AF system found in Canon cameras like the EOS R5 Mark II or EOS R6 Mark III, or even the comparably priced EOS R10, but it’s perfect for everyday photographic needs.

For me, the biggest sacrifice here versus a pricier model such as the X-T50, is in-body image stabilization (IBIS). There's digital image stabilization only, which is certainly better than nothing, but does somewhat limit the possibilities for smooth handheld video footage. The same goes for creative slow-shutter-speed photography.

Given the ultra-lightweight nature of the body, I did find getting sharp images at even moderate shutter speeds a challenge, and I always consider myself to have a steady hand. Perhaps I have been spoiled by seven and eight-stop IBIS systems, but I definitely missed it here. Given the limited aperture range of the kit lens, the optical IS within it struggled to have a meaningful effect once the sun dipped below the horizon.

Fujifilm X-T30 III: image quality

• 26MP stills and film simulations
• 6k 30fps, 4k up to 60p, and 9:16 short video mode
• 10-bit color depth for video

Ok, so pricier Fujifilm cameras such as the X-T50 and X-T5 boast Fujifilm's latest 40MP sensor for highly detailed photos, but the X-T30 III is no slouch, and still outshines other crop-sensor rivals for detail with its 26MP stills (and 14-bit 'RAF' format RAWs) – these rivals include the 20.9MP Nikon Z50 II, the 24MP Canon EOS R10 and the (older) 24MP Sony A6400.

It’s important not to get too caught up in pixel-counting and the X-T30 III is able to deliver exceptional levels of detail. Shooting in RAW, at base ISO and with a high-quality professional prime lens, the results are exemplary.

This is maintained up to around ISO800, where resolution starts to drop off. By around ISO6400, files have taken on a mushier appearance, and noise is most definitely present. It’s not as good a low-light performance as I’ve seen in some other high-end APS-C cameras, like the Nikon Z fc or Canon EOS R7, but given the target audience and price point, it’s not awful. In fact, up to around ISO4000 the fine grain is actually quite attractive, especially in black and white shots where it lends an almost filmic look.

Having Fujifilm’s film simulations at your fingertips is handy and furthermore includes customizable film recipes, even if that makes shooting-mode changes much more of a hassle. I've shot using various profiles in the galleries above and below, including Velvia (vivid), Reala Ace, Acros (monochrome) and others.

An area where the camera really excels is in its auto white balance system, which is superbly accurate. Combined with Fuji’s renowned color science, the X-T30 III is able to render beautifully naturalistic tones. This was one of my favorite aspects of the original X-T30 (also reviewed in Rome, coincidentally) and revisiting the same locations, I was happy to see the trend had been maintained in its younger sibling.

Video quality is excellent, too – 6.2K video and 4:2:2 10-bit color depth is excellent at this price point, even if in-body image stabilization is missing. The footage looks great straight out of camera, ready to share on socials. It’s a shame the LCD doesn't flip or rotate through 180 degrees, as overall the X-T30 III would make an ideal vlogging camera, but it’s still versatile enough for casual videography or B-roll capture.

I was especially keen to examine the performance of the new 13-33mm lens. This detail matters because most people will buy the camera with the new kit lens, which will spend most of the time on the camera.

As far as kit lenses go, it’s not bad at all and is capable of resolving a reasonable amount of overall detail. Impressively, sharpness is quite consistent across the frame, right out to the edges, even at 13mm. I’ll admit that I wasn’t expecting this and goes to show how far kit optics have come over the past couple of decades. This one is clearly designed to match the quality of the 26MP sensor, which it does admirably.

Don’t expect prime-level quality, but contrast and resolution are good enough for most shooting circumstances.

Fujifilm X-T30 III: testing scorecard

Should I buy the Fujifilm X-T30 III?

Buy it if...

Don't buy it if...

Fujifilm X-T30 III: also consider

How I tested the Fujifilm X-T30 III

• I spent time in both London and Rome, testing the camera in a range of lighting conditions
• I used the camera for several days, shooting multiple subjects from street photography to interiors and cityscapes
• I paired the camera with both the 13-33mm kit lens and a professional 56mm prime lens

I took the X-T30 III with me on a multi-day trip to Italy, where I knew I’d be shooting a range of subjects across a spectrum of challenging lighting conditions, inside and out. I made a point of shooting the camera as it would normally be used in practise, but also performed a standard regimen of technical tests.

To assess noise performance, I mounted the camera on a stable support, set Av mode (when I figured out how) and then shot a frame at each ISO setting, from the lowest to the highest. I also kept the camera in automatic white balance mode for the duration of the shoot, but also shot reference images with a custom WB or another preset where I felt it appropriate, so I could compare the camera's color decisions to my own preferences.

I took an X-H2S body along for the ride too, which made a good control camera for quality reference.

I used both the viewfinder and main LCD for composition throughout, and worked with the camera in both auto and manual focus modes at various points. Due to the nature of many of the locations in which I was shooting, I didn’t have much opportunity to thoroughly use the built-in flash – flash photography wasn’t permitted in most of the interior spots.

I used the 13-33mm kit lens extensively, but also switched to the XF56mm F1.2 R WR to see how much the cheaper optic may be limiting the maximum possible performance from the sensor and processor. All images were shot in RAW format and converted in the latest version of Adobe Lightroom, where no noise reduction or sharpening has been applied to the sample shots seen here.

• First reviewed: October 2025
• Read more about how we test

2025 felt like the year that camera brands broke convention and prioritized feel over function, with memorable new models including the Sigma BF, Fujifilm X half, OM System OM-3, Canon PowerShot V1 and Polaroid Flip.

There were standout pro models too, especially the powerful Sony A1 II and the surprisingly affordable (but still pricey) Hasselblad X2D II. However, it's an arguably run-of-the-mill camera that scoops our top Camera of the Year 2025 prize at the TechRadar Choice Awards 2025, the Nikon Z5 II.

There's no specific Z5 II attribute to get excited by, but no other camera blurs the lines so effectively between affordability and performance – the Z5 II is a distinctly mid-range feeling full-frame mirrorless camera, with entry-level pricing and positioning in Nikon's range.

Nikon's aggressive pricing, which also extends to its other 2025 models – the beginner Z50 II and recent Nikon ZR cinema camera – is a welcome relief from otherwise rising camera prices, and a big reason why Nikon won our Camera Brand of the Year award too.

Is the Z5 II exciting? Perhaps no. Is it effective? Definitely. It well and truly raises the bar for entry-level full-frame cameras. Let's take a deeper dive into why the Z5 II beat off stiff competition.

An outlier camera brand leading the way for value

The Nikon Z5 II feels anything but entry-level. It’s basically a Nikon Zf without the retro looks, lavished with a heap of upgrades including the same Expeed 7 processor as found on recent higher-end Z-series camera bodies.

It's equipped with in-body image stabilization, Nikon's best subject-detection autofocus performance, 30fps JPEG continuous shooting (or 12fps in raw format) and the same tried-and-tested 24.5MP back-illuminated sensor that previously appeared on the Z6 II.

In fact, as a Z6 II use myselfr, the Z5 II ticks all five of the upgrades I hoped for (and which came) in the Z6 III – yes, the Z5 II is a complete upgrade of a previous generation camera that's the next model up in the range. A camera which, by the way, I use for professional work.

Naturally, the Z5 II isn't for everyone, especially if video is your primary focus over photography. It’ll capture 4K at 60fps but with a 1.5x crop and 4K 30fps in 10-bit, but it's the 12-bit N-RAW photo skills that stand out. These specs are a lot beefier than what you’d normally associate with budget-friendly cameras.

Here's what our very own Alex Whitelock, had to say about the Z5 II, following his in-depth review:

"As soon as I got my hands on the Nikon Z5 II I knew it was a superb camera. Coming from one of the brand's older bodies, I knew to expect a rugged and well-thought-out design, but it's the Z5 II's bang-for-the-buck that makes it stand out. Simply put, you're now getting pro-level autofocus in a camera that barely breaks a mid-range price point. While rivals scrimp on things like IBIS or a decent EVF, the Nikon Z5 II manages to pack everything into an incredibly well-rounded and uncompromized body.

"Yes, it's a little pricier than the previous generation, but you get so, so much more. Autofocus, for one, can keep up with the likes of the Z8 or Z6 III, and the superb EVF and IBIS make it a beautifully usable camera. Video specs don't quite hold up against the Z6 III, but as an everyday hybrid shooter, it blows away the likes of the Canon R8 and Sony A7 III.

"I shot over 1,000 images with the Nikon Z5 II and was blown away by how much of an upgrade it was over the previous iteration – it's a quantum leap in terms of performance over the Z5. With cutting-edge autofocus that brings the fight to the likes of Sony and Canon, the Nikon Z5 II now seems like the obvious choice in the lower to mid-range mirrorless market. Other cameras may have it beat on specific categories like video or burst rates, but the Z5 II is an excellent all-around package thanks to its 24.5MP full-frame sensor, excellent IBIS, and quality EVF."

So there you have it. The TechRadar Camera of the Year 2025 goes to the Nikon Z5 II. I've included a selection of Alex's photos, taken with the now award-winning Z5 II, below, plus links to the best deals.

What do you make of our decision to award the Z5 II the Camera of the Year 2025? Let me know in the comments below.

• Canon rumors suggest the Canon EOS R6 III will land in November
• It could inherit a stabilized version of the 32MP sensor in the recent EOS C50
• There are also rumblings of a Sony A7 V, which would be a direct rival

Canon could be about to announce a successor to the EOS R6 II – predictably named the EOS R6 III – if the latest Canon rumors are accurate.

The current model has been a superb Sony A7 IV-beating all-rounder mirrorless camera since its January 2023 release, but was outdone by the Nikon Z6 III in a few areas, which means that Nikon currently has the best camera crown. That could all change with the new EOS R6 III, though, at least if its rumored features are anything to go by.

Canon Rumors suggests sensor tech will be trickled down from the EOS C50 – Canon's recent baby cinema camera – including a stabilized version of the 32MP full-frame sensor, together with open gate video recording.

The latter feature would set the EOS R6 III apart from Nikon and Sony rivals, while the resolution bump (the EOS R6 II shoots 24MP stills) could see it outdo the Nikon Z6 III (also 24MP) for detail.

We might not have long to wait to find out the details for sure. Canon Rumors is clear that the EOS R6 III is coming on November 6, predicting a €2,899 price tag (potentially around $3,100 / £2,600 / AU$5,000, given current market conditions).

Nikon could get serious competition soon

If the EOS R6 III does indeed feature a 34.2MP sensor (delivering 32MP stills), it will presumably also shoot 7K video like the EOS C50 does and the sensor is tipped to be stabilized, up to 6.5EV.

We can also expect Canon's Dual Pixel CMOS AF II with enhanced subject detection, and up to 40fps burst shooting using the electronic shutter, with pre-capture, according to Canon Rumors.

Yet for video fans it's the likelihood of open gate video recording that could set the EOS R6 III apart from the Z6 III, and indeed the also-rumored Sony A7 V – another rival tipped for launch this year.

Sony's potential A7 V will likely compete in terms of resolution with its rumored 33MP sensor, and potentially its burst shooting performance too, although it could come up short in various ways for video.

It looks like Canon and Sony could see out 2025 with a bang with key camera announcements. What do you think of the latest rumors? Which camera sounds the most promising? Let me know in the comments below!

You might also like

• The best mirrorless camera for 2025: top picks for every budget
• Canon EOS R6 II review: hybrid just got better
• I've tried Canon's smallest cinema camera, and it's a Sony FX3-beating 7K powerhouse

OM System OM-5 II: two-minute review

What the OM System OM-5 II lacks in sensor and video specifications it makes up for with photographic features. If you want to go full-frame, or get a more powerful APS-C hybrid, then go for it; if you need these things, you need them. But if what you need is a small, affordable and supremely versatile camera that can follow you anywhere, then this is it.

What do you want to shoot? Landscapes? Nature? If you’re okay with 20MP, then the OM-5 II will do perfectly, thanks to its lightweight, hike-friendly size, weather sealing and rock-steady IBIS. Will you need to use any ND filters? The camera’s in-built Live ND can give you up to four stops longer exposures – perhaps not always enough, but it helps.

If you're into nature photography, and particularly macro work, you can use the in-built focus-stacking mode to keep your whole subject sharp, or focus bracketing if you want to merge the frames later in software.

Fancy some night photography? Experts will insist you need the low noise of a full-frame sensor, but the OM-5 II does pretty well with a fast prime and its Starry Sky AF. While you’re at it, you can use the Live Bulb mode to see long exposures build on the screen in front of your eyes, or use the Live Composite mode to capture bonfires, fireworks or urban light trails, recording only ‘new light’ so that the image isn’t overexposed.

What about sports and wildlife? The OM-5 II is not a dedicated action camera, but it does pretty well, shooting at up to 10fps with AF and up to 30fps with focus locked on the first frame. It also has a Pro Capture mode, which offers a rolling buffer of 14 frames with the shutter button half pressed so you don’t miss the moment the action starts.

There are limits. The OM-5 II does not have the newer stacked sensor that's in the OM-3 and OM-1 II, and it uses an older 121-point AF system rather than OM Systems’ new subject-tracking quad-pixel AF. But at this price something’s got to give, and the OM-5 II’s AF is still quick and effective, and fine for everyday use.

Video isn’t a strong point either. The OM-5 II peaks at 4K 30p, and while it can do the slightly wider C4K format, that’s only at 24p. You do get Flat, OM-Log400, OM-Cinema1 and OM-Cinema2 profiles, but since this camera shoots only 8-bit video there’s a limit to how far you’ll want to push any color grading later.

There’s one more thing to mention: the OM Art Filters. Fujifilm fans make a huge fuss over Fujifilm Film simulations, but that’s nothing. From gritty black-and-white (with borders, if you like!) to super-saturated pop-art to HDR-like dramatic tone effects to vintage, bleach bypass and instant camera looks, OM System Art Filters are a fantastic playground for creative photographers. Yes, you can shoot a raw file at the same time as a backup – heck, you can even bracket Art Filter effects to get multiple alternatives for each image.

The OM-5 II does have limitations – of course it does. You’ll want to stay away from sky-high ISOs, its AF can’t match the latest AI subject-recognition tech in rival cameras, and its video features are basic.

And no, it’s not a huge advance on the old camera, the OM-5; but as I've said, it doesn't need to be. If you stand back and look at what this camera can do, at this price (unchanged from the Mark I version, by the way), it’s an absolute pocket rocket, even today. In my book, the OM-5 II is the best affordable travel camera going.

OM System OM-5 II: price

You can buy the OM-5 II for around $1,199 / £1,099 body-only or $1,599 / £1,499 with the 12-45mm f/4 kit lens. Don’t underestimate this lens; it’s small, portable and offers excellent image quality well beyond the typical kit lens. OM System calls it a Pro lens, and it is. And, like the OM-5 II, the camera is weather sealed. You can get cheaper ‘starter’ cameras than this, but none which approach the OM-5 II’s feature set.

OM System OM-5 II: specs

OM System OM-5 II: design

• Reshaped grip for better handling
• Excellent top-mounted twin control dials
• Weather sealed (as are OM Pro lenses)

The OM-5 II is a small camera with remarkably good ergonomics. The grip has been reshaped so it handles larger lenses better (just as well, because the old add-on grip no longer fits), and the top-mounted control dials are easy to reach with your thumb and forefinger and have a precise, quality feel with just the right amount of weight.

This also applies to the main mode dial, which has a central locking button to prevent accidental adjustments. The buttons are a little less impressive, and seem a bit on the small side for anyone with big hands, but they work fine, and they’re clearly labelled and well spaced. There’s a new CP (computational photography) button on the top to make it easier to access the camera’s clever computational features, though you still have to turn a dial to select the one you want.

I’ll admit the button placement here did annoy me. The CP button and the video Record button are just too close together, and too hard to tell apart by touch. Hitting CP instead of Record was endlessly annoying during my video tests.

The ‘OK’ button on the back activates the camera’s ’Super Control Panel’ where you can make practically all of your day-to-day settings adjustments, and one of the key improvements in this camera over the old one is the redesigned menu system. That doesn’t sound like much of a thing, right? In fact, it transforms the experience of using this camera – if you’ve used the ‘old’ menus, you’ll know this was long overdue.

The EVF is not the highest-resolution, but it’s clear, contrasty and crisp, and it’s fine, especially at this price. The vari-angle rear screen is great too – and if you have the touch-shutter mode enabled, you can tap to focus and shoot in a single action and the response is practically instantanous.

For its size, this is an exceptionally well designed camera. Yes, if you’re new to it you will have to learn where things are, as with any camera. But once you’re past that phase you’ll find this camera fast and intuitive to operate, with fewer button presses and less lag than many of its rivals. What the OM-5 II lacks in state of the art specs, it makes up for as a pure shooting tool.

OM System OM-5 II: performance

• Only 121 AF points, but fast
• Excellent detail
• ISO best kept to 6,400 or below

The OM-5 II is an extremely responsive camera. It starts up fast, it switches between the EVF and the rear screen in a fraction of a second as you move your eye to and from the viewfinder, and the autofocus is extremely fast too, especially using the tap shutter option on the rear screen. The only respect in which the AF system is starting to show its age is the relatively modest 121 AF points on offer, and the fact that the individual AF boxes/targets are fairly large, though you can swap to a more precise Single-S (small) option.

Detail rendition is excellent with OM Pro lenses like the 12-45mm f/4 pro and OM primes like the 17mm f/1.8, 25mm f/1.8 and (especially) the 45mm f/1.8. All optical corrections are carried out in-camera, applied automatically, and embedded in the raw files as ‘manufacturer’ correction profiles. Dynamic range is really good too, though you can’t drag up really deep shadows more than 2-3EV before they start to get a little noisy – this is where a larger-sensor camera will often do a little better (though not always).

The maximum standard sensitivity on this camera is ISO 6,400, but it does offer an expanded ISO range up to 25,600 – personally I’d stick at ISO 6,400. At this setting the OM-5 II still produces very good results, though if you shoot raw files and use Adobe Camera Raw/Lightroom you might see a little more noise than you bargained for. That’s Adobe’s raw engine, not the camera. Of course, these days you can get some terrific AI noise reduction tools – I’ve used them on OM camera raw files and the high-ISO image quality is transformed.

As for video, check out the sample below. The conditions were pretty wild, but the OM-5 II did a great job under the circumstances

If you do use the OM-5 II for video you’ll get decent results. It won’t track you as effectively as some other hybrid cameras as you move around the frame, but if you keep reasonably still you should be fine. The OM-5 II is not designed for video in the same way that many hybrid mirrorless cameras are, but if you typically use video straight from the camera without any fancy grading effects, it’s fine, especially for social media use.

Should you buy the OM System OM-5 II?

Buy it if…

Don't buy it if...

How I tested the OM System OM-5 II

• I tested the camera for two weeks
• I used it with OM System's 12-45mm f/4 kit lens
• I shot both stills and video in a variety of conditions

I’ve owned several Olympus and OM System cameras in the past, so I’m very familiar with their strengths and weaknesses and exactly what they're capable of. I spent some time with the OM-5 Mark II, comparing its improved handling and menu system with the original OM-5 which I've also reviewed, and also with the E-M5 III before that.

I used the OM-5 II and its 12-45mm f/4 kit lens for a variety of projects including landscapes, street/travel shots, and video in wet and wild weather conditions. I wanted to compare the detail rendition with my full-frame cameras, the image quality at higher ISOs, and the effectiveness of the IBIS in order to explore the compromises and advantages of this smaller format.

• First tested: October 2025
• Read more about how we test

• Rumors point to third-gen X-T30 III and new 13-33mm f/3.5-6.3 lens kit
• The camera could sit below the X-T50 as an affordable alternative
• There are suggestions it'll have a 26MP sensor and Fujifilm's latest processor

Like most other brands, prices for the best Fujifilm cameras have been increasing recently, as is the case with the stunning, travel-friendly X-E5. However, if fresh rumors are to be believed, there could be an affordable alternative for beginners on the horizon – the X-T30 III.

According to Fuji Rumors, we should expect the X-T30 III along with a totally new 13-33mm f/3.5-6.3 kit lens within the month, and the pair could sit below the X-T50 with a stripped-back feature set and lower list price.

Fuji Rumors suggests the camera and lens will be launched together and available as a kit, although it's not sure if the new lens will replace the existing 15-45mm kit lens already available for Fujifilm cameras.

Key features being touted for the X-T30 III are a 26MP sensor (not the latest 40MP one) and current fifth-generation processor – the same combo used by the X-S20 and X-M5. However, unlike the X-S20, the X-T30 III is unlikely to feature in-body image stabilization.

Utilizing its previous generation, non-stabilized sensor will certainly keep costs down, and enable Fujifilm to position the viewfinder-toting X-T30 III below the X-T50 as its affordable mirrorless camera for photographers.

The very few specs being talked about at this stage suggest the X-T30 III will be much like the X-M5, which is Fujifilm's cheapest mirrorless camera designed primarily for vlogging, only for photographers, with a viewfinder and likely stripped-back video features.

Fujifilm style, for less

The current X-T30 II is four years old now, and ripe for an update – so in steps the X-T30 III. Well, that's according to rumors – I just need to remind you that all of the information above is based on speculation.

But if an X-T30 III were to materialize, I expect the bundle with the portable XC 13-33mm f/3.5-6.3 kit lens to hit the right note and be very popular indeed – chief reasons being the retro design with pronounced viewfinder, combined with an attractive price point.

Throw in a Film Simulation dial, which has been making its way into recent Fujifilm cameras, and that could be the ticket for a dream travel camera for beginners.

Yes, there will be sacrifices, but by stripping back the features when compared to the X-T50, we can expect the X-T30 III to cost less. I predict a little more than the X-M5 (because it will have a viewfinder), which currently sells for $900 / £900 / AU$1,500 with the 15-45mm lens.

We're short of affordable mirrorless cameras in 2025, and the X-T30 III could fill a sizeable hole. The fact that there are plenty of decent XF lenses to pair it with further sweetens the package – I'd expect an X-T30 III to populate best-selling lists for many months.

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• OM System just launched a niche E-M1 Mark III with IR-cut filter in front of the sensor
• Fine-tuned to pass through 100% of the Hα rays vital to astrophotography
• Two astrophotography filters for current OM System cameras were also revealed

If astrophotography is your thing, then OM System just launched the camera for you – the E-M1 Mark III Astro. It's based on the same design and equipped with the same features as the five year old E-M1 Mark III but with one crucial difference – it has an IR-cut filter in front of its sensor that's fine tuned to pass through 100% of the Hα rays.

With such a setup, vibrant colors of distant nebulae are revealed, colors that are otherwise invisible to the human eye. I've included side-by-side photos supplied by OM System of the same nebula taken with the new E-M1 Mark III Astro and a regular E-M1 Mark III to illustrate the difference one little filter can make (see below), plus other stunning images taken with the new camera by IIJIMA Yutaka.

In addition to the E-M1 Mark III Astro, OM System has also announced two filters: the Body Mount Light Pollution Suppression filter (BMF-LPC01) and Body Mount Soft Filter (BMF-SE01), which are available separately, or as a kit included with the new camera.

The filters are designed to be placed inside any one of OM System's recent cameras, such as the OM-1 Mark II and OM-3, between the lens mount and sensor, which means you can swap lenses while the filter remains in place.

The light pollution suppression filter cuts light bleed from artificial sources, such as street and city lights (a bane to astrophotography) resulting in more vivid night shots. Meanwhile, the soft filter blurs and highlights point light sources (stars), emphasizing their colors to make them stand out.

Available now from OM System's website only in the UK, the E-M1 Mark III Astro with those two filters costs £1,899, while the light pollution filter and soft filter are available separately for £259 and £179 respectively. In Australia, Camera House has stock of the OM System E-M1 Mark II Astro Kit for AU$3,199 (US price TBC).

A sky full of stars

OM System cameras are a compelling choice for astrophotography thanks to several computational modes that boost the quality of their night shots. These include 'starry sky autofocus', which should ensure you acquire sharp focus, and 'handheld high-res shot' which boosts 20MP stills to 50MP (with the diurnal motion of the stars corrected if the camera is mounted to a tripod or equatorial mount). In addition, you can also photograph live composite for star trails.

And if you want to go one step further, the E-M1 Mark III Astro is now a top pick. It's a bit of one-trick pony however; if you used it for photography other than astro, there will be a reddish / pink color cast to your images. This can be somewhat corrected through white balance adjustments when editing, or by reversing the effect with a UV / IR hot-mirror filter on your lens at the time of capture.

An alternative to a purpose-made astrophotography camera is converting an existing camera, given the main difference is a particular type of IR-cut filter in front of the sensor. If you search online, there are a number of companies that offer this service, typically for anywhere between $350-600 / £300-500.

If you know that astrophotography is something you'd like to explore further, the new E-M1 Mark III Astro with filter kit is well worth looking into – it will create vivid astrophotography images simply not possible with a regular camera.

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The Sony A7 V rumor mill has kicked into gear, which suggests the full-frame all-rounder could land soon. Tipsters speculate October or November this year – I reckon the latter of the two is more likely, but anything could happen.

And the fifth-gen model of the best-selling A7 series can't come soon enough for Sony. Its A7 IV lost the top spot in TechRadar's best cameras guide to subsequent rivals from Canon (the EOS R6 Mark II) and then Nikon (the Z6 III) in 2024.

A lengthy tenure in that guide is proof of just how far ahead the Sony A7 IV was at its launch in 2021. However, the powerful Nikon Z6 III, which came two and a half years later equipped with a partially stacked 24MP sensor, delivers an all-round speedier performance and polished video skills and is rightly regarded as a better pick overall today.

So what does A7 V need in order to steal back that best camera crown from Nikon and defend that spot from a potential Canon EOS R6 Mark III? I've hand picked five upgrades that it really, really needs.

1. A new kind of sensor

The New Camera leaked two A7 V images, one of which suggests that the upcoming model will have a 33MP full-frame sensor. That's the same resolution as the A7 IV, and already a sweet spot in the mid-range market.

What's less sweet is the performance of the A7 IV's sensor – it has known rolling shutter distortion in high-speed shooting and for video. To truly better rivals, the A7 V needs a new kind of sensor, even if resolution remains the same.

Sony could take inspiration the Nikon Z6 III, which has a speedier partially stacked sensor with faster read out speeds and none of the issues that plague the A7 IV, albeit with a lower 24MP resolution.

If the A7 V were to have a speedier 33MP sensor, then it's off to a great start. (A global shutter like in the A9 III would be another level, but is highly unlikely). I'd be surprised if the sensor turns out to be the exact same one as before, but I'm also unconvinced it'll be a stacked or partially stacked type either – expect a tweaked sensor, perhaps with faster read out speeds and improved stabilization performance.

• Likelihood: 3/5

2. An AI chip and improved autofocus performance

This upgrade feels like a safe bet. All current Sony Alpha cameras following the A7 IV, starting with the A7R V, feature an AI chip that powers sophisticated subject detection and tracking autofocus skills.

Placing such a feature in the A7 V wouldn't tread on the toes of its pricier siblings, the A7R V, A1 II and A9 III. On the contrary, I'd expect Sony to introduce this upgrade to the A7 V.

The upshot will be improved autofocus speed and performance for a wider range of subjects. Couple that with a speedier sensor and the A7 V would already be shaping up nicely, plus there could be even more performance-based upgrades...

• Likelihood: 5/5

3. The latest processor and improved burst shooting

The third upgrade should also center on speed, this time in the form of Sony's latest Bionz XR processor and improved burst shooting performance.

The A7 IV maxes out at a rudimentary 10fps in its continuous high-speed mode, and those burst sequences don't even last that long before the camera slows down. Rivals like the EOS R6 Mark II and Nikon Z6 III are leagues above, with faster and longer burst shooting capabilities.

If the A7 V were to combine a stacked or partially stacked 33MP sensor with Sony's latest processor, quicker burst shooting and versatile AI subject tracking autofocus, it would feel like a much more polished A7 IV, and one that could hold its own against the very best mid-range models of 2025.

Another scenario is that Sony introduces its next generation processor to replace the Bionz XR unit. Unlikely perhaps, but added processing power could be key for positioning the A7 V above rivals.

• Likelihood: 5/5

4. Improved video skills

The A7 IV held top spot in our best cameras guide for such a long time because of its 33MP sensor which is better for general photography than rivals. However, those lower resolution rivals have upped the bar for high-speed photography and video performance, and the A7 V needs to catch up.

As already mentioned, it will need to address the rolling shutter distortion that plagues the A7 IV, through a sensor with faster read out speeds, but the video specs also need a boost – 4K 60fps with a 1.5x crop won't cut it in 2025.

It's a given that the A7 V will have much better 4K video recording skills, possibly even 4K 120fps with no crop, and a range of new LUTs color profiles. The question is, will Sony break rank from 4K recording and offer detailed 6K like its rivals do? That I'm less sure of.

• Likelihood: 4/5

5. Refined displays

I really like how the Sony A7 IV handles, but Sony has since improved its Alpha design in consequent full-frame models, the A7R V, A9 III and A1 II.

Those models feature a 2-way tilt / vari-angle touchscreen, which can work for both tilt and out to the side selfies. Rumors suggest the A7 V will get such a display, which would trump rivals.

There's also speculation that a higher-resolution EVF will feature, possibly a 5.76m-dot unit. I'm 50/50 on this one – the recent RX1R III didn't get such an upgrade, so the A7 V could also miss out. If it does, expect complaints from grumpy reviewers.

In other areas, Sony needs little improvement, especially given its industry-leading battery life.

• Likelihood: 4/5

Quick prediction

I expect Sony to take a similar tack to Canon and Nikon, and deliver a speedier successor to the A7 IV that feels more polished than before, without breaking significant new ground.

The A7 V's sensor will be faster although possibly not to the degree that some hope, while autofocus, burst shooting and video recording should all receive a major boost, together with tweaks to the camera's design. I'm thinking it could be a lot like the A7R V, but with less pixels and a potentially speedier sensor, with an asking price of around $3,200 / £2,800 / AU$5,000.

Will the A7 V raise the bar once more? Perhaps, but unlikely to the extent the A7 IV did. At the least, it will put up a good fight and bring Sony back into the mid-range picture.

• The rangefinder-style Esquisse Camera is set for launch in Q4 of 2026
• It'll pack a Micro Four Thirds sensor and lens mount
• Dimensions and weight are similar to those of a Ricoh GR III

Despite a growing demand for compact and pocket cameras, most of the big brands continue leaving that market well alone. Step in the privately-funded French startup, Esquisse Camera.

It's a concept currently in the prototype development stage with a projected launch and delivery in Q4 of 2026, but the initial Esquisse Camera mockups and potential features got plenty of photographers excited when they appeared online yesterday.

We're looking at a clean Leica-like minimalist rangefinder-style camera with a Micro Four Thirds sensor and lens mount, that's a similar size to a Ricoh GR IV (like a deck of cards). Depending on which lens you whack on it, this could be a genuinely pocketable camera.

Many are already drawing comparisons to the widely-admired Panasonic Lumix GM5 (from 2014), a tiny MFT camera that Panasonic no longer makes despite the pleas of its admirers.

Being a Ricoh GR IIIx user and priced out of buying a Leica, I can certainly see the appeal of such a camera, which is projected to cost between 1,500-2,000 USD / GBP.

There's still much to be decided regarding the Esquisse Camera's design and features, but let's take a quick run through of what we already know and how photographers are responding to the concept so far.

Well, if Panasonic won't...

Esquisse Camera is focused on creating a high-quality, minimalist small camera that looks the part, and the mockups, while obviously not final, are a promising start.

The rangefinder-style, weather-resistant aluminum body features just three exposure dials on the top, two function buttons, one playback, and a clickwheel. A 3.69m-dot EVF is tucked into the corner, while a 3-inch touch display dominates the rear, which indicates just how small the camera will be.

It will measure 105×70×35mm – that's a twinge bigger than a Ricoh GR III – and weigh a total of 350g (without a lens attached).

We don't need to factor in the additional weight of a battery and memory, because those components are internal. That's right, a non-removable battery and 256GB internal memory.

The thinking behind an internal battery is keeping the design as clean and solid as possible, but the early response is that such a design choice will be a dealbreaker for some. Meanwhile, photos from the internal memory can be shared via USB or wirelessly, but there's no memory card slot, like in the Sigma BF.

This will be a photography-only Micro Four Thirds camera, shooting 20MP stills and no video, with 'lightning-quick autofocus acquisition'.

In essence, we're looking at a tiny, premium-quality Micro Four Thirds rangefinder that could be a fun Leica and Fujifilm alternative as an everyday carry. Côme Courteault of Esquisse Camera told me:

'Our vision is to create a camera that combines the timeless shooting feel of a Leica M, the pocketability of a Ricoh GR, and the modern performance of today’s Micro Four Thirds system.'

This won't be the first rangefinder-style camera to come out of France – check out the manual focus only Pixii. However, it could be the most accessible.

I'll be keeping a close eye on this project and how the camera develops. Will a hotshoe mount be added? Will there be any U-turns on any aspects of the concept already shared? I'm excited to see more!

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• Two leaked images supposedly reveal the upcoming Sony A7 V
• One shows sensor resolution, the other the camera's rear design
• It could be released in October or November 2025

The year 2021. That's how long ago it was that Sony introduced the current A7 IV and raised the bar for mid-range mirrorless cameras.

The 33MP full-frame model remains a remarkably capable all-rounder, but it lost top spot in our best mirrorless cameras guide to the Canon EOS R6 Mark II and consequently the even-better Nikon Z6 III.

There's potentially good news for Sony fans, however, because we might just have just seen the first leaked images of the A7 IV's successor, the A7 V.

The New Camera has shared what it says are two images of the Sony A7 V that seemingly reveal sensor resolution and welcome design upgrades from the A7 IV.

There's been a lot of speculation this year about what the A7 V will bring to the table and the leaked images seemingly pour cold water over dreams of a significant upgrade.

However, there's still a lot that we don't know and any speculation should be taken with a pinch of salt, no matter how reliable the source. Let's take a look at what's being said.

A mid-range mirrorless shake up?

Mid-range mirrorless cameras tend to hit the price / performance sweet spot and that's exactly what the Sony A7 IV did four years ago.

Since then, though, Canon and Nikon have gone on to set new standards in this class – the EOS R6 Mark II and Z6 III both shoot faster, and their video specs blow the A7 IV out of the water.

They've put the heat on Sony, who's original A7 series has long been one of the top sellers. So, will the mid-range market get another shake up if and when the A7 V arrives?

One of the leaked images shows the rear screen with the camera's resolution being displayed: 33MP large, 14MP medium, 8.2MP small. This suggests the resolution of the A7 V is unchanged from the 33MP A7 IV, which still beats rivals today.

What we don't know is if it's the same sensor as before, a revised one, or a new kind. For example, the Nikon Z6 III has a speedier partially stacked 24MP sensor, while premium models like the Nikon Z8 and Canon EOS R5 II have faster-still fully-stacked sensor.

Such a new kind of sensor would boost performance, effectively eliminating the rolling shutter distortion that plagues the A7 IV in video and burst shooting, as well as form the bedrock for improved performance which could see the A7 V match or surpass its rivals, and with a higher resolution sensor.

The second leaked image reveals a section of the A7 V's rear, suggesting the A7 V could get a versatile 2-axis tilt / vari-angle touchscreen like in the A1 II, although the grip might remain in a similar style to existing A7 models.

The New Camera has gone on to speculate on other improvements we might sensibly expect, touting 20fps burst shooting, Sony's AI chip for improved subject detection autofocus, uncropped 4K 60fps video, a higher resolution EVF, and improved in-body image stabilization.

It's also believed that the Sony A7 V is coming this year, potentially an October or November release. There's word of a Canon EOS R6 Mark III bound for 2025, too, supposedly with the 32MP sensor we saw in the recent EOS C50. Such a flurry of releases really would shake up the mid-range market.

We'll be sharing further thoughts about the rumored Sony A7 V shortly, unpacking the upgrades we think Sony needs to deliver to make a compelling case over its rivals. Stay tuned for that piece.

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Hasselblad X2D II 100C: two-minute review

If you've read any of my articles about Hasselblad's 'medium-format' mirrorless cameras, you'll know I have a soft spot for the premium Swedish camera maker's X-series.

They're stunning minimalist cameras with quality craftsmanship that are simple to operate and a joy to use. Naturally, it also helps that the recent models can shoot the best-looking photos this side of $10,000 (unless you're in Australia).

The latest addition to the series is the X2D II 100C, which is an update of my prior dream camera, the X2D 100C; it's refined in all the right ways, and it considerably less than its three-year-old predecessor, pushing it closer to reality for photographers on the edge of splashing out.

If I were to pick one camera for landscape photography, this would be it. You can expect highly-detailed 100MP resolution, gorgeous natural colors that need little to no editing, and 16-bit files with rich HDR, along with probably the best image stabilization performance for this full-frame-dwarfing format.

Usually cameras in this 44 x 33mm sensor format are largely confined to the studio for still life and static subjects, but the X2D II is way more versatile than that, especially since it gets an all-new autofocus system, equipped with subject-tracking continuous autofocus and LiDAR.

For the first time with a Hasselblad I felt confident using its autofocus for shooting portraits, given its largely reliable people-detection skills. There's no obvious gap in autofocus performance between Hasselblad and a Fujifilm GFX model now.

I also felt comfortable shooting without a tripod, getting sharp shots handheld with shutter speeds in excess of one second.

Don't get me wrong – I still needed to be more involved in the process to get the results I wanted than when shooting with my full-frame Nikon, but the X2D II has strong automatic chops too.

Otherwise, for the most part the shooting experience felt largely the same as with the original X2D 100C, which is fine by me.

The X2D II 100C has what for me is probably the best camera design bar none: a gloriously minimalist body with exotic curves, a high-quality build with a slight reduction in weight compared to its predecessor, a larger-than-average tilting touchscreen with gorgeous color and clarity, plus various refinements that include a new joystick for adjusting the autofocus point and more.

A built-in SSD provides 1TB of storage for those mammoth 200MB raw files, and a CFExpress Type B card slot offers another storage option.

Some downsides remain: it has middling battery life, there's still no video recording capabilities (which for some could be a plus, but for me would be a nice to have), while the quality of the 5.76m-dot viewfinder display feels only okay.

And while this is the best-performing Hasselblad yet, Fujifilm GFX rivals can shoot faster, while full-frame alternatives are faster still. The X2D II is a steady shooter, just not one for action.

But again, that's fine – a camera that can deliver such rich detail can't be expected to sustain high-speed burst sequences.

Improved autofocus performance was probably my top wish for a X2D 100C successor, and that wish has come true, alongside other design refinements which improve the overall user experience.

A pleasant additional surprise is the X2D II 100C's list price: $7,399 / £6,400 / AU$12,650. That's a good deal less than the X2D 100C, even if it's still a pricey premium snapper.

Hasselblad X2D II 100C: price and availability

• Available now for $7,399 / £6,400 / AU$12,650
• Costs less than the original X2D 100C
• Launched alongside a new XCD 35-100mm f/2.8-4 zoom lens

Hasselblad products are pricey, and with good reason – the build quality is top-drawer, as is the medium-format sensor tech, and here you’re also getting a built-in 1TB SSD. Yet despite several refinements in this latest model, it actually costs much less than the original X2D 100C, which was launched in September 2022.

The price difference depends on the region, but in the UK the X2D II 100C costs £1,000 less than its predecessor. It's still pricey, as is the new 35-100mm zoom lens (28-80mm effective), which costs $4,599 / £4,100 / AU$7,199, but this Hasselblad is edging closer to Fujifilm in terms of pricing.

• Price score 4/5

Hasselblad X2D II 100C: specs

Hasselblad X2D II 100C: design and handling

• Very similar design to its stunning, minimalist predecessor
• Slightly lighter than before, new joystick added
• Large tilting touchscreen with stunning display
• 1TB built-in SSD and CFExpress Type B card slot

Having tested the Hasselblad X2D 100C at length, the X2D II feels very familiar. At 840g with battery, the latest model is slightly lighter, but it retains the same form factor, with a wonderfully minimalist layout and an exaggerated grip. Given the sensor format, the X2D II is impressively compact.

The finish on the high-quality body is different, and I prefer the new version both in appearance and feel.

We have the same touchscreen as before, and it's delightful. At 3.6 inches it's larger than most, plus it's wonderfully bright, rich in color and contrast, and its touch response is spot on, which is something that can't be said for all cameras – touch response feels more smartphone-like than camera-like.

Initially, pulling out the tilt screen stills feels a little fiddler than it could be, and the tilt motion is stiff; but it feels durable, and the up and downward tilt range is handy, especially for shooting at low angles.

That tilt range also means the screen clears the viewfinder, which sticks out from the body, for unimpeded viewing from low angles. The large 5.76m-dot viewfinder display is lovely too, although it's far from the absolute best viewfinder I've used.

Once again we get a 1TB built-in SSD for storing images – and you'll need it, with each raw file coming in at a whopping 200MB. There's also the option to use removable media in the form of CFXepress Type B, which is one of the fastest card types today – I made use of both options during my review period.

One of the headline new features is an autofocus system that's totally new to Hasselblad, which I'll get onto in the next section, and in terms of the design this has prompted the addition of a joystick. This can be used to manually select the autofocus point – I find it a more intuitive method than the touchscreen. Despite the addition of the joystick, which is very welcome, the design still feels wonderfully minimal.

The same goes for the UI – menus are still super stripped-back and easily navigable, even with a new range of autofocus modes. The omission of video recording helps here, while there are no color profile options at all, and I really appreciate how quick and easy it is to make adjustments to settings.

I have only one niggle with design – the protective door for the USB-C port (the port which can be used to charge the camera), pops open all too easily, especially when using a camera strap.

• Design and handling score 5/5

Hasselblad X2D II 100C: features and performance

• 5-axis sensor-shift IBIS with up to 10EV stabilization
• New subject-detection autofocus recognizing humans, animals and vehicles
• Continuous shooting up to 3.3fps

The original X2D's autofocus is poor by today's standards – I used it to shoot a wedding, and I quickly reverted to my old DSLR for moments when I needed autofocus with a quick response.

Hasselblad has sensibly focused its attention on various performance improvements for the X2D II, and chief among them is a completely new autofocus system. The X2D II's focusing is a different proposition altogether, almost matching Fujifilm GFX standards.

This is the first Hasselblad camera with continuous autofocus, plus the first with subject-detection autofocus, being able to recognize and track humans, animals and vehicles. It also utilizes LiDAR focusing, an improvement that comes courtesy of drone maker DJI (which bought Hasselblad some years ago, and which introduced the built-in SSD in previous models).

I tested the camera on all of the subject types it's able to recognize, and it performed well, but don't expect the same degree of autofocus sophistication you'll get from, say, recent Sony / Canon / Nikon models.

Still, with the X2D II, it was the first time shooting portraits on location that I felt confident that the focus was going to be pin-sharp on my subject's eyes, and that's a big deal. The AF was also able to track my children's pet guinea pigs and recognize birds and horses.

Hasselblad says image stabilization performance has also been improved, and it's now rated up to 10EV, which would be a world-first for any camera in any format.

I was using the X2D II with the new 35-100mm lens, and put stabilization to the test. Technically, 10EV of stabilization suggests that, at the wide-angle end of the lens zoom range, the camera should be able to shoot sharp handheld shots with shutter speeds of 15 seconds.

Not a chance – that simply isn't the case. I was getting sharp shots like I was before with the X2D, down to around three seconds, which is more like 7.5EV. Nonetheless, it's still an incredible performance for such a high-resolution camera.

Despite its improved autofocus performance, the X2D II, like its predecessor, is not a camera for action photography. Its burst shooting performance is limited to around 3fps, which by today's standards is very slow. No, this is a camera for single shots really, like landscapes and portraits.

• Features and performance score: 4.5/5

Hasselblad X2D II 100C: image quality

• Stabilized 100MP 'medium-format' 44 x 33mm sensor
• 16-bit raw files and 'end to end' HDR capture
• No video recording whatsoever

Image quality for the most part is much the same as from the X2D, but Hasselblad didn't need to make any improvements here – the original model was already capable of taking the best-looking pictures I've ever made with a camera.

Not convinced? Check out this Hasselblad X2D vs Nikon Z6 II feature I wrote.

The X2D II utilizes the same 44 x 33mm sensor with 5-axis stabilization as before, shooting 100MP stills with 14-bit or 16-bit color-depth options. What is new, however, is what Hasselblad calls 'end to end' high dynamic range (HDR) capture – you simply check the box in image quality section of the menu to activate it.

HDR, as the name suggests, increases the range of tones in an image. Without it, the X2D II already has a wide dynamic range given the large sensor format and pixel density, but with it we get over 15EV of dynamic range. Check out some HDR landscape photos in the gallery, below.

I took photos with and without HDR active (in raw and JPEG simultaneously), and really I could take or leave HDR – the raw files are stunning either way. Yes, you get more visible detail in shadow and highlight areas, but you also lose some of the punch of the raw files as a result.

And there's plenty of latitude to brighten shadows and darken highlights of raw files for HDR-like results using editing software. Perhaps the main benefit to in-camera HDR is that you can skip the editing process for the times when you want more detail in the tonal extremes. It could also mean that shooting in JPEG-only format is a more realistic option. I still think HDR capture is an excellent feature.

If you're a camera owner who's used to a choice of in-camera color profiles, like you get with virtually all other cameras, such as Fujifilm's film simulations, then you'll quickly notice the absence of those here. There's not even a black-and-white mode.

It's another example of Hasselblad's minimalist approach which I appreciate, especially when the natural colors look this good – they're somehow vivid and natural at the same time – so unless you like to dial the saturation slider up to unnatural levels, stylize your images, or go monochrome, you really don't need to spend time tweaking colors in post. All the images in the gallery above are completely unedited.

The impressive image stabilization on board and improved autofocus performance really help too, meaning you can get sharp handheld shots more easily.

Hasselblad has left out video recording once again – the X2D II is purely for photographers. That will no doubt delight photography purists, but I can't see any harm in adding video recording, besides perhaps clogging up the menus.

One thing to note about all of the images included in my galleries – they are original unedited files. With 100MP to play with, there's plenty of cropping potential to focus in on certain details, like the distant person sat on a hillside, framed by the setting sun.

There's also various aspect ratios available in camera, such as Hasselblad's legendary X-Pan panoramic format.

• Image and video quality score: 5/5

Hasselblad X2D II 100C: Test scorecard

Should I buy the Hasselblad X2D II 100C?

Buy it if...

Don't buy it if...

Hasselblad X2D II 100C: Also consider

Like the sound of the Hasselblad X2D II 100C but keen to know what else is out there? Here are a couple of solid alternatives…

How I tested the Hasselblad X2D II 100C

• Hasselblad loaned me the X2D II 100C for three weeks ahead of its launch
• I had the new XCD 35-100mm f/2.8-4 lens to test it with
• I've taken camera and lens pairing on several outdoor photography shoots

I've had plenty of chances to use the X2D II with the new XCD 35-100mm f/2.8-4 lens ahead of their launches, taking the pairing on a few landscape photography trips, plus for candid portraits of humans and animals.

I've shot during daylight and nighttime, outdoors and in, and paired the camera with the latest (beta test) version of Hasselblad's Phocus app for remote control of the camera and image uploading.

My testing took place over the course of about one month.

First reviewed August 2025

If you've been keen to step up your photography from a phone to a 'real' camera, or you're keen to learn new creative skills, you're spoilt for choice when looking into mirrorless options. Selecting one out of the many, though, can be overwhelming if you don't already know what you need in a camera that can produce fantastic results and is user-friendly too.

The good news is that you don't need to spend thousands on a camera to get excellent performance. There are beginner-friendly models that cost less than a grand in Australia and my recommendation would be the Canon EOS R100.

Right now, it's got a small discount on Amazon that drops the price to AU$846 ( about NZ$885), which isn't the cheapest its been (I've previously seen it down to AU$743), but I would still recommend it over other similarly priced cameras like the Olympus OM-D E-M10 Mark IV that's available on Amazon for AU$807.46.

The main reason being is the Canon comes as a single-lens kit while you will need to invest in new glass for the Olympus (that said, that it's also a fantastic camera in its own right – just check out our in-depth Olympus OM-D E-M10 Mark IV review to see why it got a TechRadar Recommends seal of approval).

The bundled lens isn't the only reason for my recommendation. I've used Canon cameras for 13 years and have tried several of the models in that time, but I was genuinely surprised at the value the EOS R100 offers.

If you don't want to take my word for it. our camera editor also wasn't sure what to expect from it, but he too was impressed, as you can tell from his in-depth Canon EOS R100 review. There's a reason it's the best cheap camera you can get right now (with the aforementioned Olympus also on our list as the best cheap camera for travel).

With a comfy grip and a simple menu system, Canon has made it very easy to begin your photography journey with the EOS R100. It might miss out on the fancy features of more high-end cameras, but it has everything an entry-level camera needs. And it performs really well too.

Its 24MP sensor is the same one used in the pricier EOS R50 and EOS R10, and boasts Canon's reliable dual-pixel autofocus system. With 3,975 autofocus points covering 143 zones, it's easy for anyone to get good, sharp shots. Its image quality is actually really good!

It won't necessarily serve you well if you want to take action shots like sports, as its maximum continuous shooting speed tops out at 6.5fps, but sometimes that's all you need... at least to get started on learning the ropes.

It can shoot 4K video, but it will be cropped with a maximum frame rate of 24fps, but Full HD (or 1080p) footage is captured using the full width of the sensor. Admittedly this isn't as good as more expensive cameras, but you won't do better at this price.

Its 3-inch rear LCD screen is fixed, which might deter some potential users as an articulating screen can help with framing a variety of shots, but I still don't think it's a deal breaker for a beginner. It does, however, have a very comfortable grip, which can make a world of difference if you need to carry it around all day on your travels, plus is very lightweight too.

Long story short, it may have a basic spec sheet, but what its got, it puts to real good use. And it's a good price too, even as a gift for a youngster keen on learning photography.

As mentioned, this camera kit will also ship to New Zealand.

You might also like...

• Keen on vlogging? Take a look at our picks for the best cheap video cameras
• If you want to step it up a little, check out our picks for the best beginner mirrorless cameras in 2025
• Or you can peruse our picks for the best cameras in 2025, which includes options across several budgets and use cases

• Hasselblad is owned by DJI
• You’ll find Hasselblad-branded optics in DJI drones, and DJI tech in Hasselblad cameras
• Hasselblad’s next medium-format camera is set to get a performance boost

I've been in Gothenburg Sweden, this week, where the legendary camera brand Hasselblad and Chinese phone maker Oppo announced their renewed partnership, with the pair promising that “with the extension of our collaboration, we will push the boundaries of mobile imaging even further.”

As a photographer, I’m really impressed by Oppo’s current flagship phone, the Find X8 Ultra, which features Hasselblad-branded optics and even an X-Pan shooting mode which mimics the look of a famed Hasselblad analog format.

It's an upgrade of 2024's X8 Pro which, tellingly, we said features the "best camera system of any phone" – look out for my deep dive on the Ultra model's camera, coming soon.

And Oppo isn’t the only Chinese tech company the Swedish camera maker has cozied up with – you’ll also find Hasselblad optics in multiple DJI drones and, the company was acquired by DJI years back.

During the press event, I met up with Bronius Rudnickas, Hasselblad’s Global Marketing manager. I was keen to hear how Hasselblad has been benefitting from life under DJI ownership.

Firstly, Bronius pointed out that its recent medium-format cameras, such as the X2D 100C, are equipped with an internal 1TB SSD, which is made by DJI. It’s a feature I really appreciated when testing the X2D, especially given that the camera also features removable memory, so you're not wholly reliant on that SSD.

We also know that DJI, which is a much bigger fish in the global tech market than Hasselblad, is in a strong position for sourcing crucial components, such as sensor tech – like most of today’s cameras, Hasselblads are equipped with Sony-made sensors.

I was also keen to learn about other ways in which Hasselblad and DJI could work together to improve Hasselblad cameras. For example, could autofocus performance be improved in the next Hasselblad camera?

“It's definitely going to be better… and smarter,” Bronius told me.

That’s promising. For me, the single biggest drawback with the X2D, for example, is its poor autofocus performance. I really love its 100MP stills with stunning natural color – something that's beyond the capabilities of my own full-frame Nikon camera – but the X2D sure is challenging to nail sharp focus with, especially for shallow-depth-of-field portraits.

Personally, I’m excited for Hasselblad’s next camera – and if recent rumors are true, I might not have long to wait.

The next X2D could land very soon, with new DJI tech

Hasselblad tipster Mirrorless Rumors leaked US regulatory info, and early images of what it says is the X2D II, a couple of months ago, together with a basic list of specs.

These specs include a 100MP sensor (with dimensions of 44 x 33mm – that's much larger than full frame, and the same format as Fujifilm's GFX cameras such as the GFX100 II), 8EV image stabilization, and 1TB internal SSD memory. However, those are all features that are present in the current X2D 100C model – which is one of the best mirrorless cameras for image quality – so what could be new in Hasselblad's next camera?

Mirrorless Rumors suggests we'll see a LiDAR autofocus system, courtesy of DJI. If that's true, in theory this could improve autofocus tracking speed, though of course we won't know until we have our hands on such a camera.

Can we expect Sony and Canon-rivaling autofocus performance for stills next time around? Probably not, but we can expect better and 'smarter' autofocus. Personally, being able to rely on a Hasselblad camera's subject-tracking autofocus, even if just for human eye detection, would top my wish list for a future model – let's hope that turns out to be the case.

According to rumors the next Hasselblad could be unveiled as soon as August – and I'm excited at the prospect of a future Hasselblad with the usual stunning image quality, paired with better and smarter autofocus.

You might also like...

• Camera rumors for 2025: new gear we're expecting soon from DJI, Sony, Canon and more
• Want a super-rare Hasselblad? A new ‘Earth Explorer’ edition of the X2D 100C has been launched… for $14,000
• I tested Hasselblad’s 100MP camera, and it made my full-frame Nikon look ordinary

Panasonic Lumix S1 II: two-minute review

The S1 II is Panasonic's most powerful Lumix camera yet, debuting a partially-stacked 24.1MP sensor and an embarrassment of riches for video recording, including 19 pages of video codecs in the menus.

There are 6K and 4K options in various aspect ratios up to 60fps and 120fps respectively, plus a new open gate 5.1K option up to 60fps. Furthermore, ProRes Raw format is available in-camera with bitrates up to 4.2Gbps (that's not a typo), as is a Dynamic Range Boost mode – the latter delivers quite possibly the most detail-rich video I've seen at this price point.

The boost in performance from the partially stacked sensor extends to photography too, with up to 70fps burst shooting (or 10fps using the mechanical shutter) and an option for 1.5 seconds pre-capture.

Both photo and video capture benefit from class-leading in-body image stabilization – the Boost IS mode gave me some of the smoothest handheld videos I've shot – plus Panasonic's most effective autofocus yet, with subject-detection autofocus now extended to 'Urban Sports' such as parkour. Autofocus speed, versatility and accuracy are still not quite as complete as rival cameras such as the Nikon Z6 III, but it's impressive nonetheless.

As for the design, the Lumix S1 II's body is identical to the Lumix S1R II's – which is a good thing considering that it's the best Lumix design yet.

I've enjoyed the crisp 5.76m-dot EVF, 1.84m-dot vari-angle touchscreen, durable body and a generous handgrip, complete with vents that keep the camera cool during long record sessions.

The Lumix S1 II feels uncharacteristically expensive for a Lumix, but I'm still struggling to think of a better mirrorless camera at this price point for video-first users – it really is one of the best video cameras. As a photography-first user, the 44.3MP Lumix S1R II is the more obvious choice for me, even if it can't match the S1 II's raw power.

Panasonic also launched the Lumix S1 IIE on the same day as the Lumix S1 II. The two cameras are identical, except that the 'E' version has a regular 24MP full-frame sensor rather than a partially stacked one, which means a slower performance in a few areas and fewer video modes to choose from. It's $500 / £500 cheaper.

I feel like there's much more of a case for the S1 II than there is for the S1 IIE, especially given there's the cheaper Lumix S5 II in the picture, which is yet another 24MP Lumix. The Lumix S1 II is agonizingly close to a five-star rating, but its price point puts it among fierce competition, and takes it down a peg.

Panasonic Lumix S1 II: price and release date

• Body-only price is $3,199 / £2,899 / AU$5,299
• It was announced on May 13 2025 and is available now
• A Lumix S1 IIE version costs $2,499 / £2,399 (about AU$4,100)

The Lumix S1 II was announced on May 13, 2025, and it costs $3,199 / £2,899 / AU$5,299 body-only. The 44.3MP Lumix S1 R II costs $100 / £100 more, while the Nikon Z6 III, which is another obvious alternative, is a fair bit cheaper.

Alongside the Lumix S1 II, Panasonic unveiled the Lumix S1 IIE, which has the same skin and feature set, but a regular 24MP full-frame sensor rather than a partially stacked kind. The S1 II's partially stacked sensor delivers faster performance in several areas, and more video record modes.

Both cameras are available now.

• Price score: 4/5

Panasonic Lumix S1 II: specs

Panasonic Lumix S1 II: design and handling

• Rugged body, weighs 1.76lbs / 800g
• Clear and detailed 5.76m-dot OLED EVF
• Cooling vents for long record times without overheating

We've already reviewed the Lumix S1R II, and the Lumix S1 II's design is essentially identical. At 1.76lbs / 800g, it's a tiny bit heavier – that's because it features a partially stacked sensor – but that's the only real difference.

To briefly recap from our Lumix S1R II review, this second generation of Lumix S1 cameras is slimmed down from the first, being approximately 20% lighter and a little smaller in every dimension.

The S1 II, S1 II and S1R II trio are very comfortable to hold, and the S1 II balances really well with most of Panasonic's L-mount lenses – I had the 24-105mm F4 Macro OIS for this review.

I think Panasonic has evolved the design nicely – not only are the new S1 II / S1R II / S1 IIE models the best in the hand yet, but they're rugged, weather-proof, and feature built-in vents to keep them cool – an essential feature for big video hitters like the Lumix S1 II.

There's a slight feel of function over form here: the Lumix S1 II speaks video production work to me, rather than go-out-and-create. That said, the camera handles well in any situation.

As a hybrid mirrorless camera, no stone is left unturned – the Lumix S1 II features full-size HDMI, mic, and headphone ports, plus USB-C charging that doubles up for external SSD connection and recording.

There are twin card slots – one is CFExpress Type B, which you'll need for some of the higher-quality video codecs, and the other is SD UHS-II.

The vari-angle screen can spin around to the front for selfie recording, and the display features a helpful red border prompt during recording, together with front and rear tally lights – these are useful visual aids for busy filmmakers. There are also twin red buttons to start recording: a large one on the front of the camera, and a smaller one on the top.

Photographers in particular will enjoy the EVF – it's a bright and detailed 5.76m-dot OLED display. I also like the feel of the rear joystick, especially for navigating autofocus points and modes.

The button layout is all very sensible, and I also appreciate how simple Panasonic menus are (in general). For example, the video mode menu only has six pages in all, so features like image stabilization are easily found.

The same can't be said for video codecs – there are a staggering 19 pages of Full HD, 4K 5.1K, 5.8K and 6K video modes to choose from, with various aspect ratios, bitrates and formats.

Thankfully, it's possible to create custom profiles for your most-used settings, otherwise navigating between the options is a time sink.

• Design score: 5/5

Panasonic Lumix S1 II: features and performance

• Incredibly effective image stabilization for video
• Rapid 70fps burst shooting mode or a more sensible 10fps using mechanical shutter with continuous AF
• Average 350-shot battery life
• Panasonic's best autofocus performance to date

Panasonic stuck with a contrast-detection-based autofocus system for years when rivals had adopted a hybrid phase / contrast-detection setup, which is more effective for video. It was a big mark against Panasonic's otherwise-excellent video cameras.

Thankfully, Panasonic finally rectified the situation with the Lumix G9 II / Lumix S5 II in 2023, introducing a hybrid autofocus system which Panasonic says is now 1.6x faster in the Lumix S1 II.

Certainly, the Lumix S1 II packs Panasonic's best-ever autofocus, with an increased array of subject-detection modes. I've been shooting anything from grassroots sports to animal portraits with it, and on the whole have been really impressed.

While not scientific, my testing suggests that Panasonic's autofocus is still a little way behind the likes of Canon, Sony and Nikon, but not by much; in simple terms, autofocus performance is no longer a strike against Panasonic. You can see in the gallery below a range of subjects I've photographed, and my hit ratio of sharp shots was roughly 8/10.

What is less ideal is battery life, which is CIPA-rated at 350 shots, or up to 70 minutes record time. I've been able to squeeze more photos out of a fully charged battery than that, and there's on-the-go UBS-C charging too. However, Sony cameras, for example, boast better battery life.

Where the Lumix S1 II really shines is its in-body image stabilization, which is rated up to 7EV. In practice, I've found it to offer the most effective stabilization of any camera for video recording, especially in the Boost IS mode. There's a small crop of the image area in this mode, but handheld videos on the move are silky smooth.

There's also an extremely rapid 70fps burst-shooting mode. Personally, I find this to be overkill for the casual action photography I typically do, but to have a mechanical shutter that ticks over at 10fps for what are essentially unlimited sequences is a great to have.

Overall, the Lumix S1 II is able to sustain its high-speed performance to a level that the Lumix S1R II can't. I photographed a grassroots soccer match at last light (see below), and the camera's speed and autofocus held up well.

There's the option for data-heavy ProRes RAW video recording in-camera, which further highlights just how powerful a camera the Lumix S1 II is.

I also must commend the new(ish) Lumix Lab app, which is the most reliable camera app Panasonic has made yet. Unlike previous apps, which have frustrated me no end with my previous cameras such as the Lumix GH5, Lumix Lab provides a quick and reliable connection between camera and phone, together with remote control, image upload, and access to Lumix resources such as custom color profiles.

• Features and performance score: 4.5/5

Panasonic Lumix S1 II: image and video quality

• 24MP partially stacked sensor is a great all-rounder
• A generous range of video codecs, bitrates and aspect ratios, up to 6K 60p
• Color profiles and real-time LUTs can be imported from the Lumix Lab app

If you want the best-possible video quality, you'll struggle to find a better camera than the Lumix S1 II at its price point.

It tops out at 6K resolution, whereas high-resolution alternatives such as the Lumix S1R II, Canon EOS R5 Mark II, Nikon Z8 and Sony A1 II offer 8K, but otherwise the Lumix S1 II's video quality is top-drawer.

Not only does it offer more video formats and bitrates than rivals, but also aspect ratios which are taken from the full height and width of the sensor (open gate) and include 3:2, 4:3, 16:9, 17:9 and 2.4:1.

I've shot with a wide range of the video modes, and you can see what to expect across the various resolutions and frame rates in the (lengthy) sample video, below.

Special mention goes the the Dynamic Boost mode, which delivers quite possibly the best and most detail-rich video quality straight out of the camera that I've seen from a hybrid camera. You lose various features, such as slow-motion frame rates, but for outright quality it's incredible.

Something the Lumix S1 II does better than the higher-resolution Lumix S1R II is handle rolling shutter distortion. Yes, it's a way more capable all-round camera for recording video.

There are also a range of color profiles, including V-Log, plus any number of custom profiles made by pros in the Lumix community, and which can be imported directly to the camera from the Lumix Lab app for video and photo. You can see a range of looks in the photo gallery below.

If you're mainly going to be shooting photos, and appreciate the Lumix S1 II's all-round capabilities, then the Lumix S1 IIE could be a better shout. It's widely reported that partially stacked sensors can have an adverse impact on image quality in low light versus a regular sensor; it's a subtle difference, but images can be a little noisier. I haven't made direct comparisons between the Lumix S1 II and Lumix S1 IIE, but it's something worth thinking about.

Overall, however, I have no complaints regarding the photo quality of the Lumix S1 II. I'm used to full-frame 24MP cameras; they balance speed, performance, and image quality nicely.

• Image and video quality score: 5/5

Panasonic Lumix S1 II: testing scorecard

Should I buy the Panasonic Lumix S1 II?

Buy it if...

Don't buy it if...

Panasonic Lumix S1 II: also consider

How I tested the Panasonic Lumix S1 II

• Panasonic loaned me the Lumix S1 II for one month, together with the 24-105mm F4 lens
• My main focus of testing has been the video modes, though I have also used the camera in various photography scenarios
• In general, I've tested the camera in fair weather and fair light

I've had a good long time with the Lumix S1 II – over one month in all. Panasonic loaned me a 24-105mm F4 lens for the test, and this was the only lens I used the camera with.

My testing reflects the typical audience for the Lumix S1 II – I've shot a lot of video with it, using the various resolutions, codecs and frame rates, and recording onto a top-spec CFExpress Type B card.

That's not to say I've neglected photography – far from it. I've shot everything from grassroots soccer at last light to animal portraits and everyday subjects, mostly in fair weather and fair light.

First reviewed June 2025

I had an averse reaction to the new OM-5 II when it was announced a week ago, saying that my hopes for the Micro Four Thirds system are waning after what felt like another disappointing upgrade.

With three years between the OM-5 II and its predecessor – the admittedly still-excellent OM-5 – you'd have hoped for more meaningful updates than USB-C charging. Granted, that's a big feature for one of the best travel cameras, but it should've been in the OM-5 from the get-go, and it's the only upgrade worth writing about.

I've reflected on this a little since then, and while I stand by my comments, I think there's an under-the-radar reason why the OM-5 II remains a compelling mirrorless camera in 2025.

Bucking an unwelcome trend

Sony, Canon, Fujifilm, Nikon, and others are making superb cameras today, fine-tuning image quality, improving performance, and upgrading design.

In terms of technological progress, these brands are where it's at. However, some of their cameras sure as heck are getting pricey (Nikon aside).

Take the new Fujifilm X-E5. It launched this month at twice the price in the US of the four-year-old X-E4 – that's $1,699 / £1,299 / AU$2,699. Granted, it features an updated 40MP APS-C sensor and high-end premium aluminum top plate, but it's a pricey, non-weather-sealed rangefinder-style camera.

The new OM-5 II, on the other hand, was unveiled for $1,199 / £1,099 / AU$1,699 – that's the same price the OM-5 was at launch three years ago, and even cheaper in the UK and Australia.

Where the latest versions of most other cameras, with a few exceptions, are getting pricier, the OM-5 II is, in most regions, cheaper. Oh, and there's a fetching Sand Beige limited edition version of it, too – that will go well with my new stone chinos – I'm told that colorway is SO in right now.

Is the OM-5 II a good buy, or a goodbye?

So, the OM System OM-5 II bucks a rising prices trend, but is it still a good buy? Well, yes and no.

Despite its dated tech, which includes an older non-stacked version of OM System's 20MP Micro Four Thirds sensor and a modest 1.04m-dot 3-inch touchscreen, you'll struggle to find a more complete camera for the money.

That sensor is stabilized and unleashes handheld shooting skills other systems wish they had, there's some super fun computational photography modes to play (now accessible directly via a dedicated button), plus the body itself is weather-sealed – a rare thing at this price point.

All that being said, there are some decent OM-5 II alternatives. For example, if you can do without USB-C charging, prices of the older OM-5 have been slashed by around $300 / £300.

And then there are rivals such as Nikon's powerful Z50 II, which has a larger 20MP APS-C sensor, is weather-sealed and costs less, (I think Nikon is one of the best value camera brands today), or Fujifilm's X-S20 which can be had for a similar amount and beats the OM-5 II in a few areas. I've included links to the best prices for all of those cameras below.

Overall, I think the OM-5 II is an excellent buy today, and let's not forget that it's part of the Micro Four Thirds system, which features hundreds of lenses.

We're currently completing an in-depth review of the OM-5 II, so be sure to check back soon if you'd like to discover our full verdict.

As with most photographers, I love a full-frame camera. The latest bodies from Sony, Canon, and Nikon offer heaps of resolution, cutting-edge subject detection autofocus, and an ever-expanding line-up of superb lenses.

When I went full-frame, I thought I'd never look back. I'll admit, however, I've always maintained a certain curiosity in other formats. Fujifilm, Ricoh, even OM System? Yes, I'll admit, I'm even partial to the new OM-5 Mark II (now available in Beige).

My interest was recently bolstered by a trip to Spain where I, entirely by my fault, had to drag around a backpack of luggage during a scheduled trip to the Alhambra. Carrying my Nikon Z6, I looked on in envy while my partner effortlessly drifted around the monument with a tiny crop sensor camera.

My setup felt cumbersome, and if I'm honest, a little overkill for a packed tourist trap in the height of summer. I got some great photos, but I couldn't quite get over how much fun my partner was having with her compact setup. A sore back after the fact just confirmed my resolve to switch it up.

I briefly flirted with buying a Fujifilm camera, but one look at the inflated second-hand market confirmed my choice. I decided to throw my lot in with a comparatively ancient 16MP Olympus EM-5 Mark II from 2015. It is, after all the ancestor of TechRadar's best travel camera and a drop-dead gorgeous body that scratches that retro itch.

One year on, I've travelled extensively with the EM-5 Mark II. It's in many ways a deeply flawed camera, but it's one that's constantly surprised me. In fact, I'd go so far as to say it's challenged my notions of what I thought I needed in a camera in five ways...

1. Depth of field and resolution aren't everything

I didn’t miss them as much as I thought I would. I generally roll with a short telephoto prime and a wide prime, and in the case of the former, a lens like the Sigma 56mm f/1.4 does a lot of heavy lifting for depth of field. Even at an equivalent aperture of f/2.8 in full-frame terms, a prime like this is more than capable of completely blowing the background out.

Things get a little trickier if you're shooting with a wider lens, but the Panasonic Leica 15mm f/1.7 I use as my wide prime is capable of providing enough background separation for my uses. It comes out at around f/3.4 in full-frame terms, but its ability to focus relatively closely is really handy. I've never once thought I needed more depth of field while shooting with a crop sensor camera.

Resolution too, surprisingly, wasn't much of an issue. I have a tendency to do extreme horizontal crops to 'X-Pan' my images, and even with the EM-5 MII's anemic 16MP resolution, I tended to have enough room. Cropping to 16:9, as with the images shared in this article, is certainly not an issue. Would I blow these up to massive prints? Probably not, but these images still look great on my 1440p monitor.

2. Modern processing can do a lot of heavy lifting

Even if you're not a Lightroom expert, the sheer number of presets available online and the wealth of tutorials mean that the modern photographer has a huge number of options. I have a certain 'look' that I like to apply via post-processing and that certainly smooths out a lot of the rough edges for RAW files.

Crucially, AI-enhancement tools like noise reduction and resolution scaling mean you can really offset the inherent disadvantages of dated and smaller sensors.

Take the EM-5 MII's sensor, for example. It's a much older Micro Four Thirds sensor now and one that exhibits significant color shift if you push the shadows. Under normal circumstances, that would be a real issue for high dynamic range scenes, but a few clicks with Lightroom's noise reduction tool instantly corrects any problems.

The noise reduction can only do so much. For example, an image shot at 6400 ISO is going to be overly waxy and fake-looking if you crank up the noise reduction to 100%. A minor tweak like 10 to 20% noise reduction is enough to completely correct the color shift and clean up your image, however.

3. The crop-sensor fun factor

For me, this is the single most important point. Modern full-frame cameras are superb, and they shoot incredible pictures, but I find they sometimes fail to spark joy in the same manner as crop sensor cameras.

I don't think it's necessarily that full-frame cameras are bigger, although that's likely one factor, I think it's more to do with the design philosophy of bodies. Fujifilm and OM System's cameras tend to meld a nice tactile feel with a nostalgic look. There's something about it that just works. They've also been leaning into that retro vibe for a while now, so you can pick up a body for relatively cheap without having to spring for a full-frame Nikon Zf or Leica.

I think there's a lot to be said for a camera that invites you to take pictures, even if, on paper, it's an inferior choice. That's exactly what the EM-5 MII does for me. I enjoy how it feels in hand, I like the shutter sound, and I like the old-school look. I think there's some truth in the adage that limitations can make you more creative, too.

Anecdotally, I've also found that people tend to really dig these smaller, more retro-looking cameras. They don't get as intimidated when having their photo taken, and they're also more intrigued by the analog-style design.

4. Low light is the biggest issue

In most daylight conditions, a crop sensor camera is more than enough to capture a scene. As soon as the sun comes down, however, a full-frame camera really starts to show its advantage.

Can you use a crop sensor camera in low light? Yes, of course. Even without the superb image stabilization of some bodies, you'd be surprised at how good a Micro Four Thirds camera can capture some low-light scenes.

The issue, however, is that full-frame cameras give you much more flexibility in terms of what you can capture. My Nikon Z6 doesn't ramp up the ISO until it's really dark, and even when you do have a high ISO, the images are much cleaner. You're also able to capture scenes with movement much, much more easily, which makes a full-frame camera a natural pick for night-time street photography.

5. I didn't really save that much weight

This one was the most surprising to me, although it shouldn't have been. I'm someone who shoots primarily prime lenses rather than zooms, so generally speaking, the lenses I use are often on the smaller side.

My Nikon Z6 with a 40mm and 85mm prime are definitely heavier than my EM-5 MII with a 15mm and 56mm, but it's not something I generally feel when walking around. It's a difference of say, 300 grams, at the most, which isn't really that perceptible when everything is in your bag.

I understand that every bit of weight saving helps when you're hiking, and also that the weight difference becomes more acute when talking about telephoto zooms, but for my money, it wasn't as big of a perk as I'd expected.

There are a few minor niggles with shooting an older body, too. For example, the EM-5 Mark II doesn't support USB-C charging, which means you have to add an additional bespoke charger to your bag on trips. It's not heavy, but it's an annoying extra that just takes up space in your bag when travelling.

Was it worth it?

It's hard to summarize my overall thoughts after spending a year with the Olympus EM-5 Mark II. As I mentioned in my introduction, it's an ancient camera by today's standards and one that's deeply flawed in many ways. I can't deny, however, that I've been able to capture plenty of 'keepers' and had an absolute blast along the way.

Will it replace my full-frame Nikon setup? Absolutely not, but I think it's a perfect supplemental option for most photographers. It's like having a classic car for the weekends. You'd get annoyed if you had to drive it every day, but for certain scenarios, it's absolutely perfect and the right tool for the job. And, considering the abundance of relatively cheap crop sensor cameras on the second-hand market, it's a cost-effective way to experiment with a new setup.

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• OM System's OM-5 II is a modest upgrade of the OM-5
• Available in three colorways, including a limited edition Sand Beige
• Body only price is $1,199 / £1,099 / AU$1,699.95

I'm a fan of OM System's Micro Four Thirds cameras. They're compact, travel-friendly, compatible with a huge range of superb lenses, deliver incredible image stabilization for easy handheld shooting, plus their computational photography modes are addictively fun.

OM System cameras hit the mark on many fronts. But what they have also hit, it seems, is a ceiling. Case in point – the new OM System OM-5 II. It comes two and a half to three years after the OM-5, but you wouldn't know it – there's so little to differentiate between the two cameras.

That's no bad thing per se, we still rate the OM-5 as a top travel camera. But where Panasonic is adding meaningful improvements to its Micro Four Thirds cameras, especially for video capture in the Lumix GH7 and Lumix G9 II, in the OM-5 II we get USB-C charging, some video color profiles, and a rejigged menu. That's just about it.

I can't say I'm surprised. Ever since OM Digital Solutions acquired Olympus, the most notable updates we've seen in new cameras is OM System rebranding. I was still hoping for something bigger in the OM-5 II, though. If OM System was properly investing in the Micro Four Thirds system, there has been enough time since the acquisition for it to have started introducing new tech.

Instead, what we get is the same 20MP MFT sensor with 5-axis image stabilization, a modest 1.04m-dot touchscreen and run of the mill 2.36m-dot EVF, albeit packaged in a retro and rugged body. The OM-5 II still looks the part, and I'm a fan of the limited edition Sand Beige – it looks fab.

At least the legendary Olympus brand hasn't been killed off altogether, and continues to live on under a new name, because I still believe there's a place for such cameras.

Micro Four Thirds cameras, especially the inherited Olympus design ethos, hit a certain quality / portability sweet spot. I just wish OM System was giving fans a little more to be excited about going forward.

Can we ever expect meaningful upgrades again?

The glass-half-empty types of have preaching a doom and gloom for Mirco Four Thirds for some time now.

'Micro Four Thirds isn't dead', comes the response from fans who love what the camera system represents; superb build quality, a wide range of optics for specialist interests such as wildlife, birding and more, all in a lightweight system which weighs a fraction of full-frame.

But the fact remains, perhaps more specifically for OM System rather than Panasonic – we haven't seen any decent updates to its new cameras for years.

If OM System was indeed investing in future MFT cameras, I think we would have started to see it this year. Earlier in the year it launched the OM-3 – the first in a series with a slightly different retro styling. It was a delight to use, but not because of big technological improvements, but because Micro Four Thirds remains a really fun and versatile system to shoot with.

I'm glad MFT is here to stay for another few years until the next update cycle lands. However, at that point I'm slightly concerned that we'll discover the system has sung its final song, to live on only through its fans.

Do you love Micro Four Thirds photography? What do you think of its future? Let me know in the comments below.

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To say the Fujifilm X100VI compact camera was a hit when it launched in early 2024 would be an understatement. It attracted the biggest preorder numbers for a camera in my lifetime, with demand still strong today.

And it's for this reason that I think the new Fujifilm X-E5 could, or perhaps should, be a hit too – I've already had plenty of hands-on time with it, check out my X-E5 first thoughts.

Arriving more than a year after the X100VI compact camera – that’s four years since the X-E4 – the new X-E5 has pretty much the same exterior and internals as the X100VI; the major difference is that it's a mirrorless camera, meaning you can swap lenses, whereas the X100VI uses a fixed 23mm f/2 lens.

The X-E5 is a more versatile camera in theory, even if in reality its compact rangefinder design works best with small lenses for reportage, travel and street photography – and even if Fujifilm's most compact lens is the one that's fixed to the X100VI.

Thankfully, Fujifilm has unveiled its lightest lens yet alongside the X-E5: a tiny XF 23mm f/2.8 pancake lens, which weighs just 90g. Put that pairing next to the X100VI, and there’s not much to choose between the two, as you can see in the image above.

The Fujifilm X-E5 and X100VI are remarkably similar cameras on the whole, with similar price tags to boot (besides for shoppers in the tariff-hit US): the X100VI is priced at $1,599 / £1,599 / AU$2,799.95, while the X-E5 and new 23mm f/2.8 kit cost $1,899 / £1,549 / AU$3,049 with preorders officially open ahead of its prospective August 28 release. So which one is best? Let's take a look at the key differences.

1. The internals

• 40MP APS-C sensor with in-body image stabilization
• 6K video recording
• X-Processor 5 and subject-detect autofocus

Under the hood, there's essentially nothing to choose between the X-E5 and X100VI – they have pretty much the same image-making capabilities and processing power.

Core features include 40MP stills, a 2x digital crop and in-body image stabilization (the X-E5’s is rated slightly better, up to seven stops in the center).

Both cameras also offer video recording up to 6K 30p, although video is buried in the drive mode menu, which means both cameras are primarily designed for photography. If you shoot video regularly, you might want to look elsewhere.

The current X-Processor 5 engine features again, powering a number of subject-detection autofocus modes. What’s new in the X-E5, though, is not just size-altering for autofocus zones, but shape altering – the shape can be changed from square to rectangular. Both cameras offer extremely precise spot AF.

2. Lenses

• Fujifilm X-E5: Fujifilm’s X-mount, with a wide lens choice, including the new 23mm f/2.8
• Fujifilm X100VI: fixed 23mm f/2 lens

On the face of it, the Fujifilm X-E5 should be the clear winner between these two rangefinder-style cameras for lenses, because it uses Fujifilm's X-mount and so is compatible with a wide range of high-quality optics, whereas the X100VI compact relies on its fixed 23mm f/2 lens. However, it's hardly a slam dunk.

I’ve held the X100VI, and the X-E5 with the new XF 23mm f/2.8 lens – Fujifilm's latest and lightest lens, being similarly tiny to the XF 27mm f/2.8 lens – side by side, and the X100VI’s 23mm f/2 lens is smaller still and its maximum aperture is one stop brighter.

I’ve used the X100VI a lot, and gravitate to its f/2 aperture, particularly to defocus backgrounds– you’d be surprised at the difference between f/2 and f/2.8.

With their compact rangefinder designs, these are both cameras that are best used with small lenses. I expect the majority of X-E5 buyers to go for the more cost-effective kit with the 23mm f/2.8 lens over the body-only option, and I also expect most users to keep that lens on the X-E5 most of the time.

Which begs the question – why not just go for the more versatile of the two 23mm lenses, the f/2 one on the X100VI?

For many, I think simply having the option to use another lens is enough of a pull to opt for the X-E5 over the X100VI. Sure, it might just be for five percent of your shots, but that’s still enough, especially if it will be your only camera.

And it makes the X100VI lens aperture argument a moot point – the X-E5 can just as easily be paired with the (albeit bulkier and pricier) 23mm f/1.4 lens for travel photography.

3. Viewfinder

• X-E5: 2.36m-dot EVF only
• X100VI: Hybrid viewfinder – optical VF and 2.36m-dot EVF

Another difference, hinted at on each camera’s exterior, is the type of viewfinder in play: the X-E5 utilizes a 0.39-inch 2.36m-dot electronic viewfinder, while the X100VI features a hybrid viewfinder, meaning you get both electronic and optical displays.

The X100VI’s electronic viewfinder is essentially the same as the one on the X-E5, but the optical display is unique, and is in the retro spirit of the camera’s rangefinder design. Having spoken with many other seasoned camera reviewers, I’m in the minority who actually use the optical display more often than the electronic one.

For travel and street photography, I like how I can see outside the frame of my image composition when using the optical display – it makes timing a shot of a passerby all the easier, as you can see them before they enter the frame.

That said, the optical display is physically pronounced, which makes the X100VI feel less streamlined than the X-E5.

The X100VI has a front lever for switching between the electronic and optical displays. The X-E5 also has a front switch, but for a different purpose: a GFX100RF-style digital crop and aspect ratio selector, with various display options for the surrounding cropped-out area, including a border, greyed out, or simply magnified to your composition.

With a long pull of the switch a range of aspect-ratio crops from the sensor’s full 3:2 aspect appear – this is a function that's directly offered through a dial on the GFX100RF, but which is somewhat buried here, though equally fun to experiment with.

4. Design

• Fujifilm X-E5: refined controls, 1.04m-dot touchscreen, tilt up to 180 degrees
• Fujifilm X100VI: 1.84m-dot touchscreen with 100 degrees of tilt, built-in LED flash

Naturally, Fujifilm has tinkered with some fresh ideas for a refined design in its latest model, the X-E5. It also feels more premium than the X100VI (and X-E4) – it's much like a mini version of the high-end GFX100RF medium-format compact.

The shutter speed dial is set further towards the back of the top plate and with a slight overhang, which makes it easier to adjust with your right thumb than the dial set in the middle of the top plate in the X100VI. The top plate of the X-E5 feels the part, with cleaner lines, too.

Its tilt touchscreen has a greater range of motion than the X100VI’s – you can pull it out from the body and flip it up 180 degrees for selfies, whereas the X100VI is limited to about 100 degrees of tilt. That said, the X-E5’s screen resolution is 1.04m dots, versus the 1.84m dots of the X100VI, which feels a little stingy given the asking price.

A mark in favor of the X100VI is that it features an LED flash, albeit a low-powered one, that's handy for low-light and indoor portraits, whereas the X-E5 doesn't have one. Both cameras feature a hotshoe for connecting optional flashguns.

5. Film simulations

• Fujifilm X-E5: new dial with stripped-back selection from the full 20 simulations plus custom modes
• Fujifilm X100VI: all 20 simulations, accessed in-camera

Needless to say, Fujifilm’s famed film simulations feature in both cameras, but on the X-E5 there’s a cute window on the top of the camera that displays which look you’re shooting with – that’s a new feature – and a dial for making your selection from the stripped-back choice of six most popular looks, plus three custom slots to which you can assign any of the other 14 simulations, and optionally tweak these to create what are known among Fujifilm fans as film ‘recipes'. As you scroll through the options, their effect is previewed on the LCD screen too.

During my extended hands-on time with the X-E5 ahead of its launch, I created what are known among Fujifilm fans as film ‘recipes’ for each of those custom slots. For sunny Mediterranean weather, the monochrome Acros with red filter film simulation gave a high-contrast look bringing out the drama, with a few additional tweaks to contrast and so on. Another custom profile I went for was a variation on the Eterna cinema for a filmic look, this time tweaking grain and various other settings.

The X100VI has this same capability, but it doesn't have a comparable direct control for film simulations, even if they are easy enough to find in-camera. It has the full selection of 20 film simulations, which takes longer to scroll through.

X-E5 vs X100VI: Which is better for you?

Do you already own X-mount lenses, or like the idea of being able to change lenses? If so, there’s a clear winner here – the X-E5. Its refined design and clean lines, plus easy access to film simulations, plus digital and aspect-ratio crops, all make for an overall slicker experience.

Personally, however, I’d still go for the X100VI. The compact rangefinder design suits small lenses, and the camera with its brighter 23mm f/2 lens is simply the better package of the two. I'll caveat that as someone who already owns another interchangeable camera though, and if you’re totally new to the ‘proper’ camera game, the X-E5 probably has more staying power.

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Take Fujifilm’s most popular camera ever, the X100VI compact camera, swap out its fixed moderate-wide lens for a lens mount that's compatible with numerous X-mount lenses for different perspectives and use cases, and you have the new Fujifilm X-E5.

Well, sort of. You can read more about the other small differences between the two cameras in my X-E5 vs X100VI piece, which also compares the X100VI’s fixed 23mm f/2 lens and the new XF 23mm f/2.8 lens announced alongside the X-E5 – the pair can be purchased together as a kit.

The reason I draw the comparison is that I also predict good things for the X-E5 – it’s a slick and stylish rangefinder-style mirrorless camera, which is a rare commodity in 2025, armed with a stabilized 40MP APS-C sensor and with film simulations on tap, just like the X100VI.

These attributes make the X-E5 and 23mm f/2.8 kit a dream pairing for travel photography – which is why, ahead of the product announcement, Fujifilm invited me to road-test the new camera and lens in what should be a natural habitat – the charming city of Valencia in Spain.

With compact proportions similar to the X100VI's plus a refined control layout, the X-E5 and 23mm f/2.8 proved to be a discreet pairing, and I’ve come away with some lovely shots that nicely capture my experience in Valencia, hitting the tourist spots and soaking up the local culture.

Trust me, the X-E5 is a 'proper' photographer’s camera, ideal for travel, reportage and street photography. With the new lens, it costs $1,899 / £1,549 / AU$3,049, while the body only price is $1,699 / £1,299 / AU$2,699. Pre orders are officially open now ahead of a prospective August 28 release date, while the lens will be available separately from November for $499 / £399 / AU$TBC.

Here are a few things that stood out as I made photos that I was more than pleased with.

Getting the look

Fujifilm’s film simulations have been around for years now, and are a major reason why Fujifilm cameras have grown in popularity. Recently, these color profiles have gained a more prominent position in Fujifilm’s cameras, with a dial for accessing them on the X-T50 and X-M5.

Now it’s the X-E5’s turn, and it has a similar dial, plus the cutest feature of the bunch – a tiny window that displays your selected film simulation, from a pick of six popular looks.

However, it’s the three slots for custom looks that I want to draw your attention to. You can pick any one of the full list of 20 film simulations to assign to one of the custom settings, and then tweak the look to taste to create 'film recipes'. Again, nothing new, but the process is streamlined here.

Valencia’s city center boasts an ancient cathedral and churches, and charming streets, and so I wanted to shoot with color profiles that communicated that atmosphere.

For one custom slot I used the Eterna Cinema film simulation as my starting point – it’s a natural look, not too vibrant, not too flat, with an atmospheric grain. I further tweaked this profile, adding a little contrast here, a hue adjustment there, and settled on a look that felt right. Taking five minutes to do this before exploring the city paid dividends.

Given that it was sunny, and I explored a little during the brightest part of the day, I used one of the other custom settings for a high-contrast black-and-white look; Fujifilm’s Acros with Red Filter, which adds drama to the sky and which perfectly suited the incredible architecture of the arts and science buildings just outside the old town.

Timing the shots

Valencia is a bustling city, alive with tourists and locals, which makes timing and composition crucial components for travel and street photography, and stretches your photography skills.

Waist-level shooting is the discreet choice, because you're looking down at the camera’s display rather than straight at the people around you. I used this technique a fair bit, angling the tilt touchscreen up. The X-E5's display goes further than the X100VI's 100 degrees of tilt – it can tilt up 180 degrees for easy selfies too, although the resolution is just 1.04m dots, which is a downgrade.

Another tool I employed was the camera’s digital crop, which can easily be accessed using a lever on the X-E5’s front. (On the X100VI, a similar lever is used to switch between the electronic and optical viewfinder displays.)

Like the X100VI, the X-E5 has more pixels for you to play with than the X-E4 – 40MP stills compared to 26MP, meaning photos are still plenty big enough even when using the digital crop (which reduces resolution), which gave me the effect of a tighter focal length from the fixed 23mm lens.

There are three display options for the digital crop composition, plus the aspect ratio selection: the entire image area but with the cropped-out periphery marked out by a border, or greyed out, or just your digital crop only.

Either of the options that let you see outside of the frame makes timing street shots much easier, giving you that extra moment before the action enters the scene. It’s the kind of trick I've previously enjoyed with the X100VI compact and its optical display, which enables me to see outside the frame.

Overall, the X-E5's design and handling has several welcome tweaks over previous-generation Fujifilm cameras, which combine to offer a seamless travel photography experience. And I've only used the camera with the new 23mm lens – there are plenty of others to choose from, such as Fujifilm's similarly tiny 27mm f/2.8.

I’m currently completing an in-depth review of the X-E5, so make sure to look out for that for more details, and my final verdict. In the meantime, I hope you enjoy the generous gallery of images, below.

Fujifilm X-E5 sample images

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• First images of the rumored Hasselblad X2D 100C II surface
• Leaked specs suggest a new LiDAR autofocus system on board
• FCC application reveals further details, including refined controls

If money were no object, the stunning Hasselblad X2D 100C would probably be my first choice of camera for photography. The minimalist 100MP medium-format camera's looks, handling, and image quality are top drawer.

It's far from the perfect camera, though. I don't mind that it's a photography-only camera (that's right, no video recording capabilities whatsoever). But what did spoil my experience somewhat was its sluggish autofocus performance during testing – a drawback that could be addressed with its rumored upcoming successor.

MirrorlessRumors has flagged an FCC application for a Hasselblad X2D 100C II, which not only contains the first proper images of the second-gen model but also outlines various new features. Chief among those is LiDAR autofocus.

Should an upcoming Hasselblad X2D 100C II gain LiDAR autofocus, it would represent the first meaningful update courtesy of DJI since the Chinese-tech giant and leading drone maker acquired Hasselblad, and it couldn't have picked a better upgrade.

Getting up to speed

I love the X2D 100C II's image quality, so much so that it puts my full-frame Nikon camera in the shade. However, unlike my humble Z6 II, I couldn't rely on its autofocus for sharp focus where it wanted it, such as a person's eyes in a portrait.

Yes, improved autofocus tops my X2D 100C II upgrade wishlist, and the promise of pricey LiDAR autofocus, which is utilized by DJI's Ronin 4D and will presumably deliver a huge boost in autofocus performance, is exciting news.

Elsewhere, the new images reveal a new joystick control and refined button layout, while internal SSD storage could again be up to 1TB, together with a CFExpress B card slot.

Otherwise, I'm not expecting many other meaningful improvements, not that many were needed – the X2D 100C II will seemingly feature the same or similar 100MP sensor with class-leading 8EV in-body image stabilization, 16-bit color depth and 15-stops dynamic range, for probably the best photo quality you can get on the affordable side of $10k / £10k.

Depending on how you look at it, the rumored X2D 100C II is a minor update of the X2D 100C. But for me, it looks set to fulfill my "if I had one wish". How does the rumored X2D 100C II sound to you? Let me know in the comments below.

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• OM System OM-5 II rumored to land this month
• It could become the cheapest mirrorless camera with a stacked sensor
• Other details are scant, but expect USB-C in a new model

Rumors courtesy of 43rumors suggest that the OM System OM-5 II could be unveiled later this month, coinciding with the Bild Expo in New York, which takes place on June 17-18.

Such a model would succeed the OM-5, which remains in top spot of our best travel cameras guide, despite being almost three years old. That's thanks to its compact body, retro styling, superb lens choice, and competitive price.

OM-5 II details are scant at this stage, which leaves me skeptical about such an imminent announcement. However, there's one potential tasty upgrade being touted for the second-gen model – a stacked sensor.

Recent OM-System cameras have tended to be minor upgrades, but a stacked sensor would represent a huge boost in performance from the original model.

The likely downside is a big price hike. That's because stacked sensors are much pricier than the regular kind, as used in the OM-5.

Currently, the OM System OM-3 is the cheapest mirrorless camera available with a stacked sensor, but it still costs a lot more than the OM-5.

A potential OM-5 II needs a sensible price gap from the OM-3, and if it materializes with a stacked sensor for less, it could be a bargain, cementing the OM-5 series' position as a top pick for travel.

That said, the competitive price of the OM-5 is a key factor for its top position in our best travel cameras guide, and utilizing a stacked sensor will inevitably push up the price.

Beyond potentially inheriting a stacked sensor, we know precious little about the potentially forthcoming OM-5 II.

One update I can be sure of, should the OM-5 II land, is USB-C charging. After all, the EU's new common charger directive mandates USB-C as the universal charging port standard, and the current model was one of the last cameras to launch with micro USB connectivity.

What do you think, is a stacked sensor a good idea for an OM-5 successor? What new features would you like to see? Let us know in the comments below.

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• Fujifilm X-E5 rumored to be launching in June
• News comes four years after the release of the X-E4
• X-E4 received mixed reviews for its minimalist approach

With retro looks and tactile controls, Fujifilm’s early X-E cameras gained an enthusiastic following. But when the X-E4 launched in 2021, it split opinion. Praised for its compact style, fans of the series felt that Fujifilm had stripped away too many features. Now, fresh rumors suggest its successor is set to land next month. Many will be hoping it rights those minimalist wrongs.

According to Fuji Rumors – a reliable industry source – the Fujifilm X-E5 is due to make its debut in June. While Fujifilm hasn’t officially confirmed the model’s existence, news of a summer launch doesn’t come as a huge surprise. Talk of the new model’s imminent arrival has been circulating since late last year.

The big question is what approach Fujifilm will take with the X-E5. Back in December, we touted it as one of the most exciting cameras of 2025. Since then, we’ve learnt nothing substantive about its specs. There have been no major online leaks, which is unusual for a camera that’s deep into development.

In the absence of anything concrete, we can only speculate about what the X-E5 will look like – and what we want to see from Fujifilm’s comeback camera.

What the X-E5 needs to get right

On paper, the X-E4 had the makings of a winner: it inherited the 26MP X-Trans sensor and X-Processor 4 from Fujifilm’s more expensive X-mount cameras. It also retained the compact proportions and attractive rangefinder styling of previous versions. But the physical execution proved divisive. In pursuit of minimalism, Fujifilm removed a lot of the physical controls found on the X-E3.

Gone were the rear control dial, AF lever and flash, plus a few buttons. Fujifilm ditched the grip, too. With no in-body image stabilization or weather-sealing either, many felt that the X-E4 prioritized style over substance. Critics pointed to the lack of dual SD card slots as evidence that the X-E4 wasn’t a tool for serious photographers. All of which was harder to justify with a body-only launch price of $850 / £799 / AU$1,399.

When the X-T30 II launched in November 2021, it looked like much better value. In a telling indictment of the X-E4’s shortcomings, Fujifilm stopped X-E4 production after just a couple of years. Ironically, the resulting rarity of the model actually drove its price up.

Against that background, the X-E5 has two jobs to do: win back favor among Fujifilm enthusiasts and re-establish the position of X-E series in the maker’s mirrorless line-up.

The former doesn’t have to be difficult. Looking at online comments, the formula for success needs to include the reintroduction of certain physical controls, including the rear dial and a built-in grip. Other common wishlist items are a high-res EVF, a bigger battery and a 40MP APS-C sensor. In-body image stabilization would really sweeten the deal.

That spec sheet would signal a clear shift back towards the enthusiast roots of the X-E series. In reality, it’s unlikely that we’ll see all of those features on the new camera, but it’s not a fools bet to suggest that Fujifilm will pitch the X-E5 as a proper photographer’s camera. Especially with the X-M5 now catering for videographers.

If Fujiiflm can inject the X-E5 with enough substance while keeping its analog charisma intact, it could be one of the sleeper hits of the year. Then it simply needs to make enough units to meet the inevitable demand. Rest assured, we’ll be keeping a close eye on Fujifilm announcements and rumors over the next few weeks.

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• The S1 II is the first Lumix camera with a partially stacked sensor
• Its design is identical to that of the pricier Lumix S1R II
• It's been announced alongside Lumix S1 IIE and new 24-60mm F2.8 lens

Panasonic has unveiled a trio of new products, headlined by the Lumix S1 II full-frame mirrorless camera, a video powerhouse that delivers a raft of upgrades over the Lumix S5 II / Lumix S5 IIX, which we currently rate as the best video camera for most people.

Chief among those upgrades is a 24.1MP partially stacked sensor – it's the first of its kind for Lumix, but likely the same sensor chip as found in the Nikon Z6 III, and should deliver the speediest performance for any Lumix camera to date.

The upshot includes 4K and 6K video recording up to 60fps from the full sensor area (open gate), a new 5.1K option, ProRes Raw internal recording, a Dynamic Range Boost mode, plus 70fps burst shooting with the option for 1.5 seconds pre-capture.

Panasonic also says the Lumix S1 II's autofocus speed is 1.6x faster than the Lumix S5 II, plus it debuts an Urban Sports autofocus mode, which should recognise the likes of parkour and freestyle football – I'll start doing my warmups now.

Design-wise, Panasonic has utilized the Lumix S1R II body, meaning the Lumix S1 II features a 5.76m-dot EVF, 1.84m-dot vari-angle touchscreen, and a durable body with generous handgrip – it's probably the best Lumix design to date for prosumers.

The Lumix S1 II body is yours for $2,899 / £2,899 / AU$5,299 – that's a fraction cheaper than the Lumix S1 R II, but costlier than the Nikon Z6 III – and it's set to be available from June.

The supporting cast features the cheaper Lumix S1 IIE – which again has a Lumix S1R II skin, but inside is the regular 24MP full-frame sensor like in the Lumix S5 II – plus a lightweight L-mount 24-60mm F2.8 lens that's much lighter and cheaper than the pro 24-70mm F2.8 lens.

The Lumix S1 IIE body costs $2,499 / £2,399 / AU$4,199, while the lens is £899 in the UK and AU$1,899 in Australia. We've yet to see US pricing for the lens.

Did Lumix just get expensive?

Panasonic's line of full-frame cameras just got a little more crowded with the launch of the S1 II and S1 IIE – and pricier.

There's natural separation between the new cameras and the Lumix S1R II with its higher-resolution 47MP sensor, despite an identical design, while the compact Lumix S9 is an altogether different proposition.

The Lumix S1 II series are two more 24MP cameras that make the S5 series look somewhat redundant, even if latter is now a more cost-effective option.

That said, while there's enough going for the pricer S1 II with its partially stacked sensor, the 'E' variant mostly packs S5 II tech into a S1R II body, plus it costs a fair whack more. I'm struggling to see a case for it.

The new 24-60mm F2.8 lens, meanwhile, looks like a smart addition to the L-mount, balancing superbly with the latest Lumix full-frame cameras, as I discovered during a hands-on session ahead of launch. It's also much cheaper than the pro 24-70mm F2.8.

I have a lot of experience with the Lumix S5 II cameras – they're highly functional video-first hybrids. The Lumix S1 II takes things up a notch, and will likely join our list of the best video cameras.

However, the price increase this time around feels uncharacteristically steep for Lumix, a brand I historically think of as a budget choice, especially compared to Sony and Canon. That budget mantle could well be claimed by Nikon now – its Nikon Z6 III feels fairly similar to the Lumix S1 II, and is cheaper, and should give cost-conscious filmmakers pause for thought.

I'm currently testing the Lumix S1 II, and there's no doubt that it's a powerful hybrid mirrorless camera with a comprehensive suite of video recording modes, top-drawer 8EV in-body image stabilization and crop-less electronic stabilization, plus the handy Lumix Lab app, which just got an update. I'll share more thoughts from my real-world testing soon.

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Canon EOS R100: two-minute review

The Canon EOS R100 looks like a pretty dated camera in every sense, and it'll feel alien if you've only used a smartphone camera before. However, don't judge a book by its cover – it actually makes perfect sense for people looking for a cheap camera, especially for the family, and in particular for any budding photographers in the family.

This is the cheapest mirrorless camera that you can buy new, and it's one that utilizes the same 24MP APS-C sensor and reliable dual-pixel autofocus as Canon's pricier models, the EOS R50 and EOS R10.

Naturally there are compromises. The build quality is basic, especially the fixed rear screen, which isn't even touch sensitive, and the video specs are dated too.

However, after using the EOS R100 for many months my family has found it to be an excellent little snapper, and a perfect fit for small hands. Furthermore, I actually think the EOS R100's limitations are its strength, especially for first-time photographers.

With its old-school DSLR-style design, a viewfinder, and a rear screen lacking touch functionality the EOS R100 isn't trying to compete with a smartphone, and this has led my kids to explore what each external control does, and consequently pick up some photography basics.

There's been further good news since the EOS R100 launched, too. Canon opened its RF-mount to third parties for manufacturing APS-C lenses, and Sigma has already seized this opportunity, launching RF versions of many of its excellent DC DN Contemporary lenses that enhance the EOS R100's photography chops, where previously lens choice for Canon's mirrorless cameras was severely limited.

I've particularly enjoyed using a quartet of Sigma f/1.4 prime lenses, which are all compact, lightweight, high quality, and an excellent physical match with the EOS R100 – I'd highly recommend the Sigma 56mm f/1.4 DC DN Contemporary as a second lens after Canon's 18-45mm kit lens, which is pretty basic.

There's a part of me that still can't warm to the EOS R100; but I'm an experienced photographer, and it's not designed for me. It's my family that have really taken to it and actually used it – which is more than I can say for some of the dedicated cheap kids camera we've tested, and pricier alternatives that are complicated to use.

I felt like I can trust my kids with the EOS R100, and they've taken some excellent photos with it, taking the experience to another level by (easily) printing some of their favorite shots using a low-cost Canon Selphy printer. It's this sort of positive engagement with creative tech that I've always hoped my kids would have.

Canon EOS R100: price and release date

• The Canon EOS R100 and 18-45mm kit lens launched for $599 / £669 / AU$1,099
• That bundle now sells for as little as $350 / £410 / AU$800
• It's available body-only too, and in a twin lens kit with the 18-45mm and 55-210mm lenses

I often have friends asking me to recommend a first camera for their young kids / tweens, with a budget around $500 / £500, and naturally they'd rather buy new. That leaves few other options besides the EOS R100.

And that's exactly the point of this beginner mirrorless camera. The design is stripped back, it has basic build quality and some of Canon's earliest mirrorless tech, and it's mass produced, readily available, and sold on the cheap. If general photography is your intended use and you don't need flagship power, the EOS R100 still holds up well today.

The camera was launched in May 2023, and with the 18-45mm kit lens it cost $599 / £669 / AU$1,099. However, since then I've seen some incredibly good deals, especially in the US during Black Friday 2024 and other seasonal sales, during which time the camera and lens price fell to as low as $350 / £410 / AU$800. It costs even less body-only – it's quite simply the cheapest mirrorless camera you can buy new.

• Price score: 5/5

Canon EOS R100: specs

Canon EOS R100: design and handling

• Canon's smallest mirrorless camera, and an ideal fit for smaller hands
• It features a viewfinder and a fixed rear screen that's not touch sensitive
• Images are recorded onto a single SD card

The EOS R100 feels like a shrunken-down version of Canon's DSLRs of old, only with mirrorless tech under the hood.

It's comfortable to hold thanks to a pronounced grip, and its diminutive proportions are a perfect fit for little hands – my kids, aged between five and 12, could all hold the camera comfortably and easily take photos with it.

A dinky viewfinder provides a clear view of your scene for when it's otherwise tricky using the rear screen, such as in bright daylight.

Personally, I'd rather the rear screen at least tilted for easy viewing from awkward angles – the slightly pricier EOS R50 features a vari-angle touchscreen – although the fixed screen was less of a limitation for my kids, whose knees are rather less creaky than mine.

At first my kids were thrown that the rear screen didn't respond to touch – they've grown up with tech and are familiar with smartphones, and the camera's screen felt alien to them.

Eventually, however, the lack of touch functionality caused them to turn their attention to the EOS R100's physical controls, and I felt like this encouraged them to they explore the camera more, figuring out what each control and button did.

I initially called the camera 'out of touch' with beginners, precisely because of its old-school design and non-touch screen, but after extended use I've changed my mind – this is in fact an ideal camera with which to learn photography basics.

The body is built from a sturdy plastic. It's not weather-sealed, but as it's cheap and feels solid I felt comfortable letting my kids get on with using it without intervening too much, although I was also conscious of its potential vulnerability in inclement weather and dusty outdoor areas.

As I'm an experienced photographer, the EOS R100 isn't enough for me – there would be far too many occasions when I'd miss having a certain control or a feature at my fingertips. However, for beginners the EOS R100 makes a lot sense.

• Design score: 3.5/5

Canon EOS R100: features and performance

• Canon's original dual-pixel autofocus is snappy for general photography
• Burst speeds are a fairly average 6.5fps for continuous shooting
• Video specs are basic – this is primarily a camera for stills

As you can imagine, Canon's cheapest mirrorless camera is fairly stripped back when it comes to features, and limited when it comes to outright speed.

It does, though, feature Canon's dual-pixel CMOS autofocus with face detection and human subject-tracking autofocus, which I found to be really sticky and reliable for portraiture.

Should you wish to employ a different autofocus mode, such as spot AF, the convoluted process involves diving into a menu, while there's no joystick for speedily selecting focus points manually.

Canon's latest autofocus system in the pro EOS R5 Mark II is another level, with a range of subject-detection modes for animals and vehicles, sports priority, the option to store specific people to prioritize, plus Eye Control AF – the two cameras are worlds apart. However, for general photography, the EOS R100's autofocus is very good.

The EOS R100 has rudimentary burst shooting speeds of up to 6.5fps, with sequence lengths up to 97 JPEGs or just six raws – an action photography camera this is not.

Video recording options include 4K up to 30fps, plus Full HD up to 60fps; that's the minimum I'd expect for a video-capable camera launched in 2023. Dig deeper into the specs and you'll find that video recording is in 8-bit color, which is much less color-rich than 10-bit.

The camera has a hotshoe for attaching accessories such as a flash gun. It's the more basic 5-pin type, meaning not all of Canon's flash guns are supported by the EOS R100, so if you're looking to purchase such an accessory check that it's compatible with the camera first.

• Features and performance score: 3.5/5

Canon EOS R100: image and video quality

• Same trusted 24MP APS-C sensor as pricier Canon cameras
• 4K video recording up to 30fps, 8-bit color
• No C-Log color profile or 'recipes'

There's not too much more to say about the EOS R100's image and video quality that hasn't already been covered in our EOS R10 review – it has the same potential for natural-looking photos with Canon's lovely color profiles.

This also means the EOS R100 can grab detail-rich photos of similar quality to the likes of the Sony A6100, Nikon Z50 II and Fujifilm X-T30 II, all of which utilize a sensor with a resolution around the 24MP mark, which is impressive considering that the EOS R100 is a much cheaper camera.

All of the photos above were taken with either Canon's RF-S 18-45mm or RF-S 55-210mm.

Canon's RF-S 18-45mm kit lens doesn't quite match the quality of Nikon's 16-50mm kit lens, while the RF-S 55-210mm lens, which is available in a twin-lens kit with the EOS R100, is decent without overly impressing; detail is a little soft in the images of ducks, above, while bokeh in the cat portrait has an onion-ring effect.

To truly elevate image quality, I would recommend buying another lens. The photos included in the first gallery directly below are made with some of Sigma's DC DN Contemporary f/1.4 primes – the 16mm , 23mm and 30mm. In the second gallery below, all the photos are made with Sigma's 56mm lens, which is ideal for portraits.

Video quality is rudimentary. Yes, the EOS R100 can shoot 4K, but only up to 30fps and with 8-bit color depth, which isn't as rich as 10-bit, which cameras like Fujifilm's X-M5 offer.

Flat color profiles for video, which would give color graders more to work with when editing, are missing too, as are custom profiles that can be uploaded to the camera, something that's available with the Nikon Z50 II via Nikon's Imaging Cloud

None of this is surprising given the EOS R100's price point and target user, though, and we're left with Canon's familiar range of color profiles which, thankfully, are better than most.

• Image and video quality score: 3.5/5

Canon EOS R100: testing scorecard

Should I buy the Canon EOS R100?

Buy it if...

Don't buy it if...

Canon EOS R100: also consider

How I tested the Canon EOS R100

• I picked up the EOS R100 more than six months before writing this review
• During that time both I and my children have used it regularly
• I've paired the camera with many lenses, primarily the RF-S 18-45mm kit lens, but also third-party ones

This review is a reflection of long-term testing over many months. And it's not just my thoughts and testing of the camera that have informed my thoughts, as my kids have taken a keen interest in the camera too.

Initially, I used the camera with just the RF-S 18-45mm kit lens, but we've also tried out Canon's RF-S 55-210mm telephoto zoom, plus four Sigma Contemporary lenses – 16mm, 23mm, 30mm and 56mm f/1.4 primes.

We've primarily used the camera for taking photos rather than video, shooting landscapes, portraits, wildlife, pets, closeups and more.

First reviewed April 2025

Nikon Z5 II: two-minute review

The Nikon Z5 II may be the ‘entry-level’ model in the brand’s most recent lineup of mirrorless bodies, but it’s by no means the stripped-down back-to-basics affair that its predecessor was. Nikon has conspicuously taken the body up a notch in terms of performance and features – and, for that matter, price.

It inherits the lion’s share of specs from the outstanding Nikon Zf, and subsequently it’s a fully-fledged hybrid shooter that excels in all but the most extreme of use cases. Notwithstanding its position in the Nikon range, don’t think of this as an entry-level camera – it’s anything but.

At the heart of the Nikon Z5 II is the same Expeed 7 processor that's in the recent higher-end Z-series bodies. Subject detection? Check. Super-sticky 3D tracking? Check. In terms of autofocus, video, and meaningful quality of life changes, this camera blows away the original Z5 in every area.

If I had to nitpick, I would say that the almost 25% price increase over the Z5 is a glaring sore point for this camera. I do, however, think the massive jump in performance makes this camera worth every penny; you pay more, but you also get substantially more camera. If you've been eying up the Zf, but were put off by its hipster charms and questionable ergonomics, then the Z5 II is the clear choice here.

It's also, arguably, the top choice in the entry-level to mid-range full-frame mirrorless market right now. It's carefully placed just below the Z6 III in terms of burst rates and video specs, but compares favorably to the likes of the Canon EOS R8, Panasonic S5 II, and Sony Alpha A7 III. All have their merits, but the Nikon Z5 II offers a compelling blend of price and performance without any glaring compromises. In short, it beats its competitors on either price or specs – it really is well positioned.

As a stills camera in particular, it's hard to fault the Z5 II. You get a tried-and-tested 24.5MP back-side-illuminated sensor that's capable of excellent results, and 12fps raw capture. I'd also argue that this is one of Nikon's best cameras for JPEG shooters yet, thanks to the inclusion of the handy Picture Control button and support for sharing custom JPEG recipes via Nikon Imaging Cloud.

The video specs are a little weaker considering that 4K 60fps video is cropped, but the Z5 II is still capable of full-width 4K video up to 30fps – that's significantly better than the previous model.

In the rare cases where you need 6K video capture or quicker readout speeds, the Z6 III is likely a worthwhile upgrade. Otherwise, however, the Z5 II is going to be an absolute winner for most users. Sure, it's not a resolution beast like the Z8, nor is it particularly quick like the Z6 III; but the Z5 II is a superb camera in its own right, and one that's going to have mass appeal, even outside the Z-Mount ecosystem.

Nikon Z5 II: price and release date

• The Nikon Z5 II body-only costs $1,699 / £1,599 / AU$2,699
• Zoom kit bundles starting at $1,999 / £1,899 / AU$3,249
• Roughly 25% more expensive than first Z5

At $1,699 / £1,599 / AU$2,699 the Z5 II arrives with a significant price jump over the first-gen model. At launch it’s roughly 25% more expensive than the first iteration, and the price difference is even more glaring considering that the Z5 has hit as low as $999 in the US in recent months.

Judged in terms of specs, however, the Nikon Z5 II is an aggressively priced body. I’ll elaborate more later, but the Z5 II is simply in a different league to its predecessor when it comes to both performance and features, and in my book this quantum leap softens the blow of the price hike significantly.

You could easily compare it to the most recent offerings from Canon R8 or Panasonic S5 II, but I’d argue that the Nikon is the more fully featured camera for the price. The R8, for example, is cheaper at $1,499 / £1,629 / AU$2,489, but forgoes IBIS and a second card slot. The S5 II is more comparable in term of specs, but it’s pricier in the US and UK at $1,999 / £1,699, and the Z5 II inherits the outstandingly refined subject-detect autofocus of the higher-end Z-Mount bodies.

The Z5 II is also well placed to compete with older mid-range models like the Sony Alpha A7 III. Sony’s former hybrid king is still available for new for around $1,799 / £1,679 / AU$2,000, and features a compelling mix of excellent autofocus, extensive lens choices, and specs that still hold up for enthusiast users.

It’s a testament to the A7 III that even in 2025 it remains a competitive choice, but the Z5 II finally gives customers a better option than Sony's seven-year-old camera in this price bracket. Sony’s traditionally killer USPs of autofocus and lens choice are less deadly to rivals now – and the Z5 II also features meaningful quality of life upgrades like a fantastic EVF, flip screen, and excellent IBIS. The Z5 II is so well featured that it’s hard not to recommend it, despite the unfortunate price bump.

• Price score: 4.5/5

Nikon Z5 II: specs

Nikon Z5 II: design and handling

• Similar design to the Nikon Z6 III
• Fully articulating display
• Picture Control button for JPEGs

Despite the Z5 II’s internal similarities to the Zf, outwardly the two cameras couldn’t be any more different. Nikon has returned to its modern design language with the Z5 II, and like its predecessor it essentially shares the same body as the most recent higher-end Z6 model, aside from that camera’s top LCD panel.

The Z5 II’s design is typically Nikon. It’s function over form, although the brand has made subtle tweaks compared to its previous generation of cameras. For one, the body is slightly thicker, and Nikon has also made a few changes to the EVF housing, which now sweeps around to the generously sized Z mount on the front. It’s a blink-and-you’ll-miss-it change, but the camera looks more modern for it.

The button layout is essentially the same as on the previous model, but there are some changes. The playback button and sequential shooting menu have been switched, for example, and there’s now a handy ‘Picture Control’ button to quickly access JPEG settings. Either way, everything is in the right place, and if you’re already a Nikon shooter you’ll feel right at home. Notably the grip remains the same; chunky, with plenty of purchase for when you're using larger Z-mount lenses.

As on the Z6 III, the top and back plates are made of a sturdy magnesium alloy, and you also get the large and bright EVF that’s typical for Nikon cameras. The EVF is the same 3.69k dot OLED panel as on the previous model, although Nikon says it can now reach up to 3,000 nits of brightness.

Perhaps the most meaningful design change for the Z5 II is the inclusion of a fully articulating display. Previously, the Z5 only featured a tilting display, so it’s nice to see the inclusion of a flip screen that’s particularly useful for talking-head scenarios. There’s some debate around whether a tilting screen is still superior, but I much prefer the fully articulating option personally in terms of versatility. Not only do you get that selfie and talking-head option, but the flip-out screen is great for getting low-angle shots in portrait orientation, plus it isn't partially obstructed by the viewfinder for waist-level shooting like the previous screen.

Ports-wise, the Z5 II features micro a HDMI port, plus headphone and microphone jacks, and USB-C with charging support. Unlike some budget models from the competition, notably the Canon R8, the Z5 II also features two card slots. You get support for two UHS-II cards here rather than the CFExpress Type-B combination that’s common on Nikon’s higher-end bodies, but it's still a fantastic inclusion for an entry-level camera. It’s also a nod to the Z5 II’s intended enthusiast target market, since the supported cards here are much cheaper than the CFExpress cards.

I'm grasping at straws to find a valid criticism of the Z5 II's design, but there are a few minor quibbles. The PASM dial, for example, doesn't feature the usual locking mechanism you find on higher-end bodies. It's a minor thing, yes, but it's easy to knock the dial out of your mode of choice, and it seems like an easy thing to rectify. Otherwise, the Z5 II is almost perfect in terms of function for a modern body.

• Design score: 4.5/5

Nikon Z5 II: features and performance

• Inherits subject-detection autofocus from high-end bodies
• Now shoots 4K 30fps footage uncropped
• 12fps burst for raw / 30fps JPEG with pre-capture

The previous Z5 was an entry-level camera through and through. It was capable of capturing lovely images, sure, but pedestrian autofocus performance and lesser specs meant it was best consigned to rather sedentary subjects.

The Z5 II, however, is a significant leap in terms of performance. With an almost identical specs sheet to the mid-range retro-bodied Nikon Zf, the Z5 II is in a completely different class to its predecessor.

There’s really no other way to express it: the Nikon Z5 II is just a superb camera for the vast majority of applications. The 24.5MP back-side-illuminated sensor in combination with the Expeed 7 imaging processor means the Z5 II is an extremely capable body regardless of the price tag.

Readout speeds, while not up to the level of the Z6 III with its stacked sensor, are dramatically better now. The Z5 II supports raw burst rates up to 12fps versus its predecessor’s pedestrian 5fps. If you’re happy to go with JPEGs, then you can crank that up to 30fps, with additional support for pre-capture.

Video specs have also been improved significantly. The Z5 II now features full-width 4K footage at 30fps instead of the 1.7x crop of the Z5, and you also now get support for advanced formats like 12-bit N-RAW and 10-bit N-Log. Technically, the Z5 II can capture 4K at 60fps, but its 1.5x crop means it's still far behind the higher-end Z6 III when it comes to hybrid capabilities.

The two cameras do, however, share a lot of DNA, particularly when it comes to autofocus. The Z5 II inherits the various person, animal, and vehicle subject-detection capabilities from the higher-end Z Mount cameras, and is all the better for it.

Especially when compared to the older Z5 and Z6 models, the subject-detection autofocus is multitudes more effective here in all scenarios. On previous Z-mount bodies I was accustomed to having to manually steering the camera via tracking points or defined AF areas, but that’s not the case with the Z5 II.

In testing, I found myself shooting with full-area continuous autofocus in the vast majority of scenarios, simply letting the camera do its thing. The Z5 II has no issues picking out people, birds, eyes, and moving subjects in crowded or otherwise demanding scenes. 3D tracking is also significantly stickier now, which is handy for the rare occasions when subject-detection fails.

In terms of price relative to performance, it’s extremely hard to fault the Z5 II here. Sure, it’s not the quickest camera from Nikon, or the prettiest, but it’s an extremely capable body that’s perfect for a wide range of users. The Z5 II really is a versatile camera that’s going to be a fantastic tool for the vast majority of enthusiast shooters.

• Features and performance score: 4.5/5

Nikon Z5 II: image and video quality

• 24.5MP back-side-illuminated full-frame sensor
• Now supports custom JPEG recipes
• Internal 12-bit N-RAW and 10-bit N-Log video

The Z5 II’s sensor is a known quantity by now. It’s a sensor that’s been knocking around in Nikon cameras in some form or another since 2018. That’s by no means to its detriment, though, since this 24.5MP back-side-illuminated sensor is capable of providing incredible results across a wide range of subjects and scenarios. You could say it’s an old favorite, even.

I have a fair amount of experience with this particular sensor, having shot with the older Nikon Z6. So I was immediately at home with the Z5 II’s output, and I’m pleased to note that it’s more than capable of producing detailed images with pleasing color straight out of the camera. It’s hard to fault a sensor this good – there really aren’t any limitations aside from the relatively middling 24.5MP resolution limiting cropping potential in the most extreme circumstances.

If you can live with ‘just’ 24MP, then you’ll find the Z5 II’s output excellent – JPEGs in particular are fantastic. The image stabilization is rated at an impressive 7.5 stops – this sensor was already known as a low-light beast, but the image stabilization really adds to the camera’s night photography credentials.

Looping back to the Z5 II’s excellent JPEG output, it’s worth mentioning just how Nikon has significantly upped its game with the Z5 II. The camera now supports the new Nikon Imaging Cloud, which unlocks a much smoother image upload workflow and the seamless sharing of image recipes a la Fujifilm.

Given that my processing app of choice (Adobe Lightroom) didn’t support my pre-production Z5 II’s raw output, I quickly found myself tinkering with numerous JPEG presets. Switching between presets is extremely easy thanks to the dedicated Picture Control button on the top of the camera, and the interface also enables you to tweak various settings like sharpness, contrast, and clarity.

If I have a complaint, it’s that the various in-camera JPEG sliders are still rather basic, and the default profiles lack the polish of the likes of Fujifilm. The Nikon Z5 II, however, has a secret weapon in that it can store up to nine additional custom color profiles from the NX Studio app. This app fully supports color grading and other advanced options, so it’s perfect for really tailoring your JPEGs to match your raw workflow.

I imported a few presets onto my Z5 II, and was instantly able to get some superb results right out of the camera. The process is extremely smooth, and Nikon’s excellent in-camera retouch options easily allow you to test out your profiles on the various raw files already saved to your card.

Below are a few images showcasing what's possible with these in-camera presets.

These presets can also be used for in-camera color grading, although advanced videographers will likely want to make use of the camera’s new internal N-Raw and N-Log formats for maximum flexibility and dynamic range. Generally speaking, video output is excellent here – especially with the oversampled 4K footage at 30fps.

If the Z5 II has any weaknesses when it comes to video, they're generally down to the sensor's middling readout speeds. Aside from the 1.5x crop at 4k 60fps you also get some rolling shutter when panning quickly, as with most bodies without a stacked sensor. If you want a more fully-featured and modern video platform, it could be worth investing in the higher-end Nikon Z6 III.

While we’re here, it’s worth mentioning the number of excellent lenses that are ready to pair up with the Z5 II. While the Z-Mount supports plenty of high-end glass, even modest choices like the Nikkor 24-50mm f/4-6.3 kit lens are capable of providing great results. My favorite lenses for the Nikon Z5 II in particular are the super-lightweight Nikkor 40mm f/2 and Viltrox 85mm f/1.8, both of which are great lower-cost lenses that pair perfectly with the Z5 II.

Most of the example images you can see here were shot with either those two lenses or the Nikkor 24-200mm f/4-6.3 zoom, which is another kit option for the Z5 II.

• Image and video quality score: 4.5/5

Nikon Z5 II: testing scorecard

Should I buy the Nikon Z5 II?

Buy it if...

Don't buy it if...

Nikon Z5 II: also consider

How I tested the Nikon Z5 II

• Nikon loaned me the Z5 II and some lenses for two weeks
• I tested it with the 24-50mm and 24-200mm kit zooms
• I also used the Nikon 26mm and 40mm and Viltrox 85mm primes
• I carried the camera daily, testing its video and photo capabilities
• I shot over 1,000 images with the camera

I used the Nikon Z5 II as my everyday camera over a two-week period, which gave me the chance to shoot more than 1,000 images and videos. I was able to test the subject tracking, low-light performance, and image stabilization effectively thanks to using the camera in a diverse range of environments, both indoors and outdoors.

Nikon sent me the Nikkor 24-50mm and f/4-6.3 Nikkor 24-200mm f/4-6.3 zoom kit lenses to try, as well as the Nikkor 26mm f/2.8. I also made sure to use the camera with a third-party lens, in this case the Viltrox 85mm f1/.8.

First reviewed April 2025