It's July, I'm fresh off writing my 2026 cameras half-year review, and in the process something became clear to me — neither Nikon nor Fujifilm has released a new camera this year (the Instax mini Evo Cinema instant camera doesn't count).

So while I've personally tested standout models from other manufacturers in recent months, such as the Sony A7R VI and Canon EOS R6 Mark III mirrorless cameras, plus the Ricoh GR IV and Panasonic Lumix L10 premium compacts, we're yet to see new Z-mount or X-mount bodies.

I'm sure the question on many a camera fan's lips is this: can we expect new Nikon and Fujifilm cameras later this year?

I've reviewed every major camera release over the last few years, attended countless events, and have studied the timeline and cadence of previous releases to form a picture of what could happen next.

I've considered which bodies could be due for an upgrade, and what direction each brand has been headed recently. So let's see what could happen next for 2026's quiet camera manufacturers, Nikon and Fujifilm.

Nik-none?

The last Nikon camera body was the Nikon Zr from September 2025, which was its first cinema camera co-branded with RED. It packed super-impressive video specs, many of which were borrowed from the superb Z6 III, into a particularly small body with an epic 4-inch touchscreen and stellar audio features.

For a true mirrorless hybrid with viewfinder, we need to go even further back, over a year in fact, to the Nikon Z5 II in May 2025. This was a decent upgrade of Nikon's affordable Z5, which delivered a raft of performance improvements to redefine what entry-level full-frame models can do, and went on to bag our Camera of the Year 2025 award.

Currently, the range of Nikon cameras includes the Nikon Z30, Z fc and Z50 II APS-C bodies, and the Z5 II, Z6 III, Z f, Z7 II, Z8 and Z9 full-frame bodies, plus the ZR cinema body.

The most heavily rumored Nikon cameras are the Nikon Z9 II — what with the Z9 being over four years old — and new cinema camera bodies; potentially a premium and larger option with pro-grade connectivity that could sit above the ZR, plus an even more affordable version with an APS-C sensor.

We could get a new Z f-series model — both of the retro-styled bodies have been around for a while now. Personally, I'd like to see a Nikon camera in the Z f style, but as a compact camera version with a fixed fast aperture prime lens.

Tipsters believe we're unlikely to see another Z7 camera; the Z6 III (and obviously the Z5 II) is too recent for a replacement, while the Z8 has aged well and still holds its own today. CoolPix compact cameras have seemingly been sunsetted — besides refreshing its old 125x zoom bridge camera with the CoolPix P1100, we haven't seen a true new CoolPix in several years.

For me, having been hosted by Nikon at IBC 2025 in Amsterdam last September around the launch of the ZR, it was clear that Nikon has its head in cinema camera gear, so a high-end cinema body to follow the ZR is highly plausible, though I don't know what it would be called.

A new Nikon cinema camera with an APS-C sensor is also highly likely. In theory, it would effectively render a direct Z30 successor redundant, although it would cost a fair whack more than a potential Z30 II would. That would be a shame — the Z30 is Nikon's cheapest mirrorless camera, and Nikon has otherwise largely ignored truly affordable cameras for beginner photographers.

Fujifilm's next generation processor inbound?

As for Fujifilm cameras, the X-T30 III was its most recent X-mount release, back in October 2025, which followed the classy X-E5 from June 2025.

Those launches meant that practically every current X-mount model is fitted with Fujifilm's latest X-Processor 5 chip, besides the X-Pro series, with a range of 26MP and 40MP options.

I wouldn't bank on an X-Pro 4 until the next generation of processor is out in the wild, if at all, and usually each new processor comes with the latest high-end X-T model, the most recent of which was the X-T5.

It comes as no surprise then that the X-T6 is the most-rumored Fujifilm camera, which is being tipped for a September release when Fujifilm typically hosts its once- or twice-yearly X-Summit.

I've written about what upgrades I'd hope for in an X-T6, especially improved autofocus performance and an all-new processor, but otherwise it's hard to see where Fujifilm can better the X-T5 without treading on the toes of the high-speed XH-series.

Elsewhere in the range, the X100VI premium compact continues to sell well, and so I'd be really surprised if a seventh generation model comes this year — a new processor needs to come first, too.

Stepping outside of new gear and into photography, it's worth noting that Fujifilm recently shared its new 'Look Up' campaign (see below), encouraging people to look up from their screens and connect with the world around them, saying:

'Our cameras bring you back into the moment, giving you agency over how you see, how you feel and how you remember. They allow you to turn emotions into images — a grounding force that doesn’t tell you what to think, but helps you stay focused and present.'

Are you a Nikon or Fujifilm photographer? Which camera would you like to see next, and what are the upgrades that would benefit your photography the most? Have your say in the comments.

Any serious photographer knows the importance of great glass. And while I've had the personal pleasure of testing the best cameras for 2026 so far, innovative lenses get me even more excited.

Only a true macro lens can bring the insect kingdom to life, or a telephoto optic get you close to distant wildlife, or a fast prime bag you punchy portraits with dreamy bokeh.

With that in mind, I regularly review the latest lenses as well as cameras, and I've played with some real crackers this year. These include Sony's overdue macro lens upgrade, Sigma's world first 135mm with an f/1.4 aperture, Viltrox's impossibly tiny 28mm f/4.5, Canon's affordable f/1.2 prime, and Nikon's fabulous 70-200mm F2.8 Mark II.

Each of the above lenses serve different use cases, and they come in at varied price points, starting at just $99 / £90 / AU$169. Let's dive into my top five lenses for 2026 so far…

Viltrox AF 28mm F4.5

• Release date: Staggered release for various mounts
• Lens mount: Sony E, Nikon Z, Fujifilm X
• Verdict: 4/5

The Viltrox AF 28mm F4.5 was first launched in 2025 for Sony E-mount, but it has been released for various lens mounts in 2026, including Nikon Z and Fujifilm X. I expect an L-mount version will land soon.

It's an impossibly small wide-angle prime considering that it features autofocus, full communication with the camera, and an impressively fast f/4.5 aperture. It's so small, in fact — measuring just 15.3mm in length and weighing just 2.1oz / 60g — that I'd describe it more as a body-cap lens than a pancake lens, with a neat sliding lens cover, and it costs just $99 / £90 / AU$169, with occasional sales knocking 10% or so off the price.

I'd describe image quality as characterful rather than technically precise, with detail being fairly soft in the corners, and some obvious vignetting. In the center of shots, however, it's actually pretty sharp. It's a full-frame lens, but the Viltrox 28mm F4.5 actually makes even more sense for Sony, Nikon and Fujifilm's APS-C cameras, because the 1.5x crop effectively transforms the lens into a 42mm optic, plus the softer corners are outside the image area.

The Viltrox lens is so small and so cheap that it's a zero risk purchase, and one that I'd happily keep on my camera instead of a body cap and for quick everyday snaps.

Read my Viltrox AF 28mm F4.5 review

Sigma 135mm F1.4 DG Art

• Release date: January 31 (announced late 2025)
• Lens mount: Sony E, L-mount
• Verdict: 5/5

World-first is a term that's banded around a lot, usually with caveats, but Sigma's pro portrait prime is a true first — a 135mm lens with a maximum f/1.4 aperture. I've tested my fair share of 135mm f/1.8 lenses recently, including the Viltrox 135mm and Nikon Plena, while Sigma has its own that's now nine years old, but Sigma's latest offering has an even faster aperture and creamier bokeh for the ultimate portrait photography quality.

It's a beast of a lens, mind you, weighing 50.4oz / 1,430g, and with a massive front lens element and 105mm filter thread. If you're willing to lug the lens around, though, you'll be rewarded with "razor-sharp detail" and "stunning shallow depth of field", as we noted in our in-depth review, with the lens earning a perfect five-star rating.

Currently the Sigma 135mm F1.4 DG Art is available for Sony E and L-mount cameras; pro Nikon photographers can only hope that a Z-mount version is on the way soon.

Read my Sigma 135mm F1.4 DG Art review

Sony FE 100mm F2.8 Macro GM OSS

• Release date: January 15
• Lens mount: Sony E
• Verdict: 5/5

If there was a Sony E-mount lens that needed updating, it was the 10-year-old Sony FE 90mm f/2.8 Macro G OSS — Sony's only true macro lens. Thankfully, 2026 delivered the new Sony FE 100mm F2.8 Macro GM OSS, and it's a notable improvement on the 90mm original in just about every regard.

With "improved optics, faster autofocus, steadier stabilization, greater magnification, increased zoom and teleconverter compatibility", we concluded in our review that the new Sony 100mm is "the go-to macro lens for Sony working pros who make an income from close-up pictures, whether it’s product photography, still life, flat lays or macro nature shots".

Key features include the new maximum magnification, which was upped from 1x to 1.4x, plus its compatibility with teleconverters to further extend its reach. Compared to Sony's other macro lens, the new 100mm macro is in another league, and very much merited its five-star review rating. It's not the first optic of its kind — Canon walked this path years before with its own 100mm macro with 1.4x magnification. Still, Sony photographers finally have the macro lens their cameras deserve.

Read my Sony FE 100mm F2.8 Macro GM OSS review

Canon RF 45mm F1.2 STM

• Release date: November 6 (reviewed in March 2026)
• Lens mount: Canon RF
• Verdict: 3.5/5

What's this now — an affordable f/1.2 prime lens from Canon? Pick my jaw off the floor. True, it's far from being a perfect lens, but Canon's 45mm F1.2 STM makes a fast aperture and the attendant shallow depth of field potential available to beginners who would otherwise be priced out of owning such a lens.

We gave the lens a 3.5 star-rating because of its optical flaws; there's significant chromatic aberration and "swirly distracting bokeh". It doesn't even come with a lens hood. However, we've got to respect what this lens represents, and Canon for delivering it.

Not only is this the most affordable proprietary f/1.2 full-frame lens for any lens mount, but Canon also makes the most affordable mirrorless cameras. I can see the 45mm F1.2 STM pairing nicely with an entry-level full-frame mirrorless camera such as the EOS RP and EOS R8, and even with an APS-C model like the EOS R100, on which you're getting an effective 70mm lens (approx).

Where rival brands are typically ignoring beginners and putting their efforts into high-end gear, Canon is regularly delivering new cameras and lenses for all budgets and skill levels.

Read my Canon RF 45mm F1.2 STM review

Nikkor Z 70-200mm f/2.8 S II

• Release date: February 23
• Verdict: 5/5

If there's one lens for 2026 that I desperately want to add to my bag permanently, it would be the Nikon Z 70-200mm f/2.8 S II. Granted, I'm a Nikon shooter who regularly works at these focal lengths, who is also in need of upgrading (I still use the DSLR version of this lens via an adapter), but that's not to take away from what I called a "flawless" telephoto zoom.

It follows the 24-70mm f2.8 S II in being a second-generation upgrade of what was already an excellent Z-mount zoom lens, bringing a lighter build, fully removable tripod collar and teleconverter compatibility. The lighter design is thanks to an entirely new optical design that's somehow simpler and sharper at the same time, while also improving close-focusing capabilities.

There's probably not enough reason for owners of the original Z-mount 70-200mm to upgrade, especially given the jump in price, but for everyone else there's arguably no greater 70-200mm f/2.8 available — and it's the kind of lens I've relied on for so many shoots down the years. With the Mark II version now available, I finally feel like it's time to upgrade from my aged DSLR lens.

Read my Nikon Z 70-200mm f/2.8 S II review

What do you think of the lenses above? Are there any other new lenses that appeared in 2026 that you particularly like? Have you say in the comments.

• Nikon is being tipped to release a fixed-lens full-frame compact camera
• It could have a similar form factor to the Nikon ZR, meaning no viewfinder
• That's despite it supposedly being for photography, with no video capabilities

Nikon could be working on a fixed-lens compact camera to rival popular models such as the Fujifilm X100VI, Ricoh GR IV, Sony RX1R III, and Leica Q3, and its rumored specs make for, let's just say, interesting reading.

That's according to Nikon Rumors, which suggests that Nikon will launch a full-frame compact this year, having changed tack from earlier this year when it was suggesting that a photography-centered variation of the Nikon ZR mirrorless cinema camera was en route.

The post then goes on to detail a surprising list of features, which, when combined, make for curious reading. It's the potential omission of a viewfinder that has sparked a strong reaction among fans in the comments section.

One Nikon fan reacted by writing, "It's not a stills-oriented camera if it doesn't have a viewfinder", while another simply wrote, "No viewfinder, no deal".

I'm still intrigued by Nikon's potential fixed-lens full-frame compact and believe it could fill a gaping hole in the premium compact camera market. Here's why...

The gap

Ever since premium fixed-lens compact cameras trended, thanks in no small part to the Fujifilm X100 series, I've been keeping my eye out for Nikon to get in on the action, especially knowing how good value it can be.

It also has a lesser-known history in this space — its (long-discontinued) Coolpix A was a tiny fixed-lens compact with 28mm f/2.8 lens and 16MP APS-C sensor, similar to the Ricoh GR series (I attended the product launch in 2013, long before my TechRadar days).

The latest rumors suggest my wait for a modern-day Nikon fixed-lens compact could soon be over, and it could be a full-frame model.

That would give it a sensor size advantage over the Fujifilm X100VI and the Ricoh GR IV with their APS-C sensors, and I predict an affordability angle over the Sony RX1R III and Leica Q3, which are extremely pricey full-frame compacts.

All those premium compacts are wildly popular and fabulous — I should know, I've tested them all — but there's an obvious gap that I believe Nikon could fill: an affordable full-frame option. I predict that this rumored camera could come in at up to half the price of the Sony and Leica cameras.

The rumored features, however, leave me with mixed feelings. I like the sound of a high-resolution full-frame sensor (perhaps the current 45MP one found in the Z8 and other models, but not the stacked type?). Also, a slimline body measuring somewhere between 22-25mm in depth sounds positively tiny (though presumably the built-in lens will protrude).

I'm less excited, however, by the prospect of no in-body image stabilization and no viewfinder. And most surprising of all is the suggestion that this mystery camera won't have video recording.

Let that sink in. This could be a photography-only camera, yet one without a viewfinder. In a recent poll about viewfinders, I asked our readers if they would buy a camera without a viewfinder, and the majority said no.

That being said, rumors suggest that a hotshoe will feature, and it will accept, an optional EVF accessory. It seems that Nikon could be prioritizing compact dimensions and a low price over certain built-in features, instead offering them as optional extras, such as a removable EVF.

There could also be a tilt touchscreen, which, for me, is preferable over the fixed screens in the Ricoh GR IV and Sony RX1R III. For all my concerns, I'm still excited by the rumored camera's potential.

What do you make of the Nikon fixed-lens compact camera rumors? Is this the kind of camera you'd be interested in trying? Let me know in the comments below.

Nikon Z 70-200mm f/2.8 VR S II: One-minute review

Hot on the heels of the Nikkor Z 24-70mm f/2.8 S II, Nikon has delivered its second mark II lens for its Z-mount mirrorless cameras — and the Nikon Z 70-200mm f/2.8 VR S II is another 5-star success.

The pro telephoto zoom builds on the original Z 70-200mm by being much lighter (and a fraction smaller), featuring a totally removable Arca-Swiss compatible tripod collar, and offering better close-focusing skills and a new optical design which improves image quality in various ways, especially bokeh.

I found the pricier Sony 50-150mm F2 GM a more exciting telephoto zoom to test, but there's no such lens for Nikon cameras yet; and, overall, it's hard to find fault with Nikon's latest stellar 70-200mm f/2.8. While it easily joins the ranks of essential Nikon lenses there is a big jump in price — it costs $3,199 / £2,999 / AU$5,399, where its predecessor cost around $2,600 / £2,600 / AU$5,100 at launch, and that lens is now available for less.

Is the new lens worth the extra? For me, yes. My own 70-200mm f/2.8G ED VR II for Nikon DSLRs was my most-used lens for weddings and portraiture work, and it has paid for itself time and again over its years of heavy use.

When I made the switch from DSLR to mirrorless, I continued using that lens via an adapter, such is its quality and versatility for paid work, until the day I could consider upgrading to its Z-mount successor.

The Nikon Z 70-200mm f/2.8 VR S was enticing, but I didn't see enough of an upgrade over my DSLR lens to make it worth splashing out. The mark II version, with its new optical design and lightweight body, is the upgrade I've been wanting all along, especially for long shoot days.

Nikon has squeezed every bit of quality in can into a lightweight successor to what was already a stellar telephoto zoom, and I expect many pro Nikon photographers to buy, and rely on it for years to come.

Nikon Z 70-200mm f/2.8 VR S II: Price and availability

• Costs $3,199 / £2,999 / AU$5,399
• Two tripod collars and a lens hood included

At $3,199 / £2,999 / AU$5,399, the mark II version costs a lot more than the current price of the original, which is now available for around $2,397 / £2,379 at leading retailers, or closer to $2,100 / £2,100 / AU$4,000 secondhand.

I think the weight savings and improved optical design with better close-focusing are worth the extra outlay, and Nikon lenses often receive healthy price cuts soon after launch, too — for example, the 24-70mm f/2.8 mark II briefly saw a 10% saving, so the 70-200mm's pricing might become a moot point soon enough.

In the box, Nikon includes the (removable) tripod collar, a foot-less collar, plus a lens hood which features a sliding door for easy access to attached filters and adjustments a breeze; the lens accepts 77mm threaded filters.

Nikon Z 70-200mm f/2.8 VR S II: specs

Nikon Z 70-200mm f/2.8 VR S II: design

• The lightest 70-200mm f/2.8 lens available, weighing just 2.2lbs / 998g
• Tripod collar is fully removable, and you'll save 182g of weight when you don't need it
• Multiple function buttons and a customizable control ring, but no display

Size-wise, the 70-200mm mark II measures up similarly to Nikon's previous offerings. It's slightly smaller than the mark I for Z-mount, but slightly bigger than the version for DSLRs (see my photo comparison above). However, there is a big weight saving.

The Z 70-200mm f/2.8 VR S II weighs 2.2lbs / 998g, or 2.6lbs / 1,180g with the tripod collar attached — the latter for me is more often how I would set a lens like this up even without using a tripod, because the collar provides an easy hold of the lens between shots. Even factoring in the tripod collar, that's over 25% lighter than other Nikon 70-200mm f/2.8 lenses (the mark I weighs 1,360g without collar and 1,440g with it, while the DLSR version is a fraction heavier again), and the lightest lens of its kind for any lens mount.

The tripod foot is now Arca-Swiss compatible, which is probably the most popular tripod-plate type. Don't need the tripod collar? There's a 182g weight saving to be gained by removing it, and Nikon also supplies a lighter foot-less collar that can go in its place. For shoots when you know you won't be using a tripod, that's a decent weight reduction that will be appreciated over long hours lugging around gear (although, as I said, I prefer keeping the tripod collar attached).

One chief reason for the weight saving is the new optical design. Nikon has done away with three lens elements: the mark II has 18 elements in 16 groups, while the mark I has 21 elements in 18 groups.

With a simpler optical design, you might expect a compromise in terms of image quality, but the opposite is true — I'll talk more about image quality in the performance section below. There are also 11 aperture blades, versus nine blades in the other two 70-200mm lenses, and inevitably, the additional blades will form a more rounded diaphragm for pleasant and smoother bokeh — again more on this below.

Close focusing has been improved too — it's 0.38m at 70mm and 0.8m at 200mm, delivering a 0.3x maximum magnification at 70mm, compared to 0.2x in the mark I. For a telephoto zoom such as this, those are impressive close-focusing skills — not quite in the realm of macro photography, but easily versatile enough to capture little details sharply, such as wedding rings.

As for build quality, the lens is exactly what you would hope for from a pro optic: it's rugged and weather-resistant, equipped with lightning fast autofocus motors, and packed with a suite of external controls, including clicked aperture control and a customizable control ring.

The supplied lens hood now features a door which slides open for easy access to threaded filters — that's a handy addition for circular polarizer and variable ND filter users, because these (often essential) filters require rotating to adjust strength and you would otherwise have to remove the lens hood to access them.

The only thing that's arguably missing is a digital display for the lens settings, nor are there focus-distance markings, meaning you'll need to check the camera's displays if you need such information. The former could be helpful, but it would add weight to the lens.

Nikon Z 70-200mm f/2.8 VR S II: Performance

• Practically no lens distortions at any focal length or aperture setting
• Dreamy circular bokeh, especially at 200mm
• Speedy and practically silent autofocus

I've tried the lens at every key focal length and aperture setting, and I've struggled to find a single optical weakness; it's pin sharp even at f/2.8, and lens distortions are extremely well controlled.

Take the scene below, with dappled background light. It's a testing scenario for any lens, but chromatic aberration, flare, ghosting and vignetting are all well controlled, even with the aperture set to f/2.8 — the widest aperture, which is typically where lens distortions are most obvious.

Bokeh is dreamy too, especially with the lens set to 200mm. It's more defined (read: smaller) at 70mm — that's to be expected at a wider focal length. Only an even wider maximum aperture at 70mm, say f/2, would make bokeh a similar size to what we get at 200mm. Ultimately, the more you zoom in, the bigger bokeh gets. You can see below how bokeh changes at the wide and telephoto settings as I reduce aperture from f/2.8 to f/4, f/5.6, f/8 and f/11.

I've really appreciated the improved maximum magnification which now goes up to 0.3x, if you make the most of the lens' 0.38m minimum focus distance at 70mm, or up to 0.25x at 200mm. I'm often wanting to photograph little details, and the mark II lens is more versatile than the previous-generation lens for such tasks.

It's also a supremely fast lens for autofocusing — the exotically named Silky Swift VCM (voice coil motors) make light work of the moving 18 lens elements precisely for accurate, lightning quick and practically silent autofocus. Nikon says it's up to 3.5x faster than the previous 70-200mm lens and 50% quieter, plus focus tracking while zooming is 40% more effective.

The lens provides 6-stop vibration reduction image stabilization, which pairs effectively with sensor-based stabilization in pro mirrorless cameras such as the Nikon Z8 (which I paired with the lens for this test). For example, I've been able to get sharp handheld shots at 200mm using shutter speeds as slow as 1/4 sec (though not every time).

Nikon Z 70-200mm f/2.8 VR S II sample images

Should you buy the Nikon Z 70-200mm f/2.8 VR S II?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 70-200mm f/2.8 VR S II

• Nikon loaned me a sample unit for four weeks, and I used it with the Nikon Z8
• I've taken identical photos at 70mm and 200mm, adjusting only aperture throughout the sequence to compare image quality
• I've shot street photography, portraits, landscapes, closeups and more

I was fortunate to get a long review period with the 70-200mm lens, and to be able to use it with Nikon's pro Z8 mirrorless camera. During this time, I had a week-long trip to China where I was able to use the gear in wide-ranging scenarios; at night for street photography, taking portraits and so on.

When I test lenses, I make sure all in-camera lens corrections are turned off. I shoot in RAW & JPEG format and compare files between uncorrected raws and processed JPEGs, which allows me to check for lens distortions, such as vignetting and chromatic aberration.

By taking a sequence of identically composed images at the wide and telephoto settings of the lens, beginning at f/2.8 and cycling through the aperture range in full stops, I can see which settings are best for quality, plus how bokeh looks and changes at various apertures.

First reviewed April 2026

• Yodobashi Camera has shared its best-selling cameras and lenses for 2025
• The shortlists are dominated by compact cameras and zoom lenses
• Fujifilm's X100VI still tops the cameras list, two years after its release

I've had the opportunity to take a peek inside Yodobashi Camera, Japan's – and indeed the world's – largest camera store, and it was a memorable experience for someone like me, packed as it is with isle after isle of camera gear new and old.

I visited Yodobashi Camera while in Tokyo for the launch of the Fujifilm X100VI, which was the most pre-ordered camera in history on its announcement, and tops our list of the best compact cameras. Two years later it's still a fan favorite according to Yodobashi, which recently revealed its best-selling cameras for 2025, with the X100VI topping the list.

The retailer's best-selling cameras list reveals a surprising trend: compact cameras are in. Eighteen of the 20 cameras on the list are compacts, and the other two entries were two different bundles of the same Sony vlogging camera, the Sony ZV-1 II (this E-mount mirrorless camera is actually smaller than some of the compacts in the list).

In one sense the list is hardly surprising – cheap cameras will shift in larger volume than pricey mirrorless models. But here's the thing: a number of the premium compact cameras in the list cost several thousands of dollars / pounds, including the Fujifilm GFX100RF, Sony RX1R III and Leica Q3, so price is clearly not the only factor here.

Yes, despite the advance of smartphone camera tech, compact cameras are still popular among photography fans.

I found the best-selling lenses list equally surprising – of the 20 optics featured, there's not a single prime lens. All 20 are zoom lenses, with Sony's FE 24-70m F2.8GM II taking top spot (and it's 70-200mm F2.8 GM II in third), while Canon boasted a brand-high of seven entries.

A breakdown of the best-selling lists for 2025

Here are the best selling cameras at Yodobashi Camera for 2025:

1. Fujifilm X100VI – it's also our favorite compact camera overall
2. Canon PowerShot SX740 HS – a six-year-old point-and-shoot travel zoom
3. Panasonic Lumix ZS99 / TZ99 – re-release of a point-and-shoot travel zoom
4. Ricoh GR IV – the recent update of Ricoh's small fixed-lens APS-C camera
5. Fujifilm X half – the quirky half-frame film photography-inspired model
6. Sony ZV-1 II – the only mirrorless camera in the list, a small vlogging E-mount
7. Ricoh GR IIIx – the previous-generation GR with a tighter 40mm f/2.8 lens
8. OM System Tough TG-7 – the undisputed best waterproof camera
9. Sony ZV-1 II Shooting Grip Kit – vlogging mirrorless camera with accessories
10. Kodak PixPro C1 – a super cheap, lo-fi point-and-shoot
11. Fujifilm GFX100RF – a medium-format monster with class-leading photo quality
12. Canon IXY 650 – Canon re-released a similar model last year with USB-C charging
13. Sony RX1R III – a full-frame 61MP model, coming 10 years after its predecessor
14. Leica D-Lux 8 – Leica's premium compact with Micro Four Thirds sensor
15. Canon PowerShot G7 X Mark III – a vlogging compact that trended on TikTok
16. Canon PowerShot V1 – new, improved from the G7 X Mark III with bigger sensor
17. Nikon Coolpix P950 – a bridge camera with mega 83x zoom
18. Leica Q3 – Leica's full-frame 61MP premium compact with fixed 28mm f/1.7 lens
19. Nikon Coolpix P1100 – a record-breaking bridge camera with 125x optical zoom
20. Sony Cyber-shot RX100 VII – long-in-the-tooth, versatile compact with zoom

And Yodobashi Camera's best-selling lenses for 2025 were:

1. Sony FE 24-70mm F2.8 GM II
2. Nikon Nikkor Z 24-120mm f/4 S
3. Sony FE 70-200mm F2.8 GM OSS II
4. Canon RF 100-500mm F4.5-7.1 L IS USM
5. Canon RF 100-400mm F5.6-8 IS USM
6. Tamron 28-200mm F/2.8-5.6 Di III RXD (E-mount)
7. Canon RF 70-200mm F2.8 L IS USM Z
8. Canon RF 70-200mm F2.8 L IS USM
9. Canon RF 24-70mm F2.8 L IS USM
10. Nikon Nikkor Z 180-600mm f/5.6-6.3 VR
11. Hasselblad XCD 2.8-4/35-100E
12. Nikon Nikkor Z 28-400mm f/4-8 VR
13. Nikon Nikkor Z 70-200mm f/2.8 VR S
14. Sigma 28-70mm F2.8 DG DN | Contemporary (E-mount)
15. Nikon Nikkor Z 24-70mm f/2.8 S II
16. Canon RF 200-800mm F6.3-9 IS USM
17. Sigma 16-300mm F3.5-6.7 DC OS | Contemporary (RF-mount)
18. Canon RF 24-105mm F4 L IS USM
19. Tamron 28-75mm F/2.8 Di III VXD G2 (E-mount)
20. Sigma 24-70mm F2.8 DG DN II | Art (E-mount)

So what are we to make of these lists?

Photography enthusiasts are seemingly keen on small, money-no-object premium compact cameras, while equipping their mirrorless cameras with high-end pro zoom lenses.

The latter point speaks volume of the quality of today's zoom lenses for mirrorless cameras – users clearly don't feel that they need a prime lens for outright quality, and that zooms win out for versatility.

What do you make of the two lists? Which of the above products do you own, or have your eye on? Let me know in the comments below!

• Nikon is rumored to be suing cheap Chinese lens maker Viltrox
• The legal action relates to alleged Z-mount patent infringements
• A hearing is seemingly set for March 2

I'm a big fan of Nikon cameras and Viltrox lenses, but it seems that all is not well between the pair according to The New Camera, who reports that Nikon is suing the cheap Chinese lens maker for alleged Z-mount patent infringements.

Reports on Chinese social media suggest the infringements relate to a “dispute regarding royalties during the temporary protection period of an invention patent”. It's not clear which Viltrox lens(es) are in question, although there is speculation around the 135mm f/1.8 LAB, which costs just a fraction of the pricy Nikon 135mm f/1.8 S Plena – two incredible prime lenses that I have tested.

The timing of Nikon's action is hardly surprising – Viltrox is one of the fastest growing third-party lens makers and is likely now in a position to settle any royalty fees it may or may not be required to pay.

Nikon Rumors further unpacks the case, suggesting several potential outcomes, the most drastic of which could be a cease and desist, as per the Canon vs Viltrox case in 2022 regarding Canon's RF-mount.

Nikon fans will surely be hoping for a different outcome and that Viltrox is able to continue launching new and affordable Z-mount lenses. After all, Viltrox's recent autofocus lenses are superb quality, being affordable alternatives for Nikon users looking for high-quality primes, even if Viltrox is yet to make zoom lenses.

The counter argument is that because Viltrox is known to reverse engineer lenses (allegedly with no license), while other third-party lens makers such as Sigma and Tamron license their own lenses for different mounts, that it's only fair for Viltrox to pay Nikon some kind of royalties.

A potential middle ground would be that Viltrox continues to launch new Z-mount lenses, while paying Nikon royalties, which would inevitably increase the prices of Viltrox lenses. Sony's E-mount, on the other hand, is seemingly completely open to third parties such as Viltrox. But how could the case affect current and future Viltrox Z-mount lenses?

'Will my [Viltrox] lens become a brick?' – potential outcomes of the case

Understandably, users of Nikon cameras and Viltrox Z-mount lenses are concerned about the impact on their existing lenses. 'Will my [Viltrox] lens become a brick?' is a question cropping up on Chinese social media.

There's a fear that Nikon could release a camera firmware update for its current cameras, such as the Z6 III, Z8, Zf and others, that breaks compatibility with Viltrox lenses. Such a concern, which there's currently no evidence for, is leading users to suggest avoiding camera firmware updates until they know more.

Of course, we're getting ahead of ourselves here, given that the case is still rumored and not even underway. We don't know if Viltrox had or did not have a license for the alleged infringement.

But as a user of Nikon's Z-mount cameras and lenses and Viltrox Z-mount lenses, I hope that I continue having the wide lens choice that I currently have, and that more lenses from both are in the pipeline.

As I look back over the past 12 months of camera gear and accessory launches, what strikes me is how strong a year this has been for new lenses.

It's not like there's been a shortage of new cameras in 2025, but it's in the lens market that design innovation has impressed me the most, with multiple first-of-a-kind optics, and new players emerging as impressive alternatives to leading camera brands.

I'm here to give some of the best new lenses for 2025 the recognition they deserve. After all, it's cameras that typically get most of the attention and fanfare, but as a photographer I know the importance of great glass.

I've had the pleasure of testing many of the latest lenses from Sony, Canon, Nikon, OM System, Viltrox and more, and below I've listed my top five.

Before we dive in, I must give honorable mentions to a few lenses from this year that I'm yet to try, and which didn't make the selection below. They are the Sigma 17-40mm F1.8, Sigma 12mm F1.4 DC Contemporary, Nikon Z DX 16-50mm f/2.8 VR (for APS-C), Sigma 135mm F1.4 DG Art, Sony FE 28-70mm F2 GM and Sony FE 100mm F2.8 Macro GM (for full-frame).

Now, let's unpack my five personal favorites, and why they stood out.

Sony FE 50-150mm F2 GM

• Release date: April 22
• Verdict: 5 / 5

I wasn't initially convinced by the specs of Sony's 50-150mm F2 GM, nor its premium price tag, but once it was in my hand I was so impressed that I awarded it five stars out of five in my in-depth review. It also took the title of the Best Camera Lens in the 2025 TechRadar Choice Awards 2025, scoring the most votes from our readers and expert TechRadar team alike.

I even described the 50-150mm F2 GM as a lens "worth switching systems for" – high praise indeed. So what makes Sony's unique pro zoom stand out?

Users will appreciate the constant f/2 max aperture whatever the focal length, which makes the 50-150mm a dream lens for events, weddings and portraiture. Focus is fast and silent, optical quality is top drawer whatever the lens settings, and bokeh is dreamy. Besides missing out on optical stabilization (and the matter of that heavy price tag), the Sony FE 50-150mm F2 GM is essentially flawless. I've never been more jealous of Sony shooters.

Read my Sony FE 50-150mm F2 GM review

Sony FE 50-150mm F2 GM sample photos

Nikkor Z 24-70mm f/2.8 S II

• Release date: August 22
• Verdict: 5 / 5

I didn't think Nikon's original Z 24-70mm f/2.8 S lens needed a successor, but when the mark II version landed in August it improved on the superb original in multiple ways, and is arguably the finest standard professional zoom lens available from any brand.

I own the original model and I'm more than happy with it, so it's all the more impressive that Nikon has been able to improve on the 24-70mm f/2.8 S in several ways. The new mark II version features an internal zoom which means the lens barrel doesn't extend as you zoom, and in my book that improved robustness is welcome, especially for the demanding shoots for which that I would typically use this lens, like events. The new version is also now the lightest 24-70mm f/2.8 lens for any full-frame camera, so more points to Nikon there.

As for image quality, it's fractionally better than the original, and pin-sharp from edge to edge at any setting. Bokeh is smooth, sunstars are crisp, and distortions are non-existent. Autofocus is snappier too. I'm still not about to sell my original 24-70mm f2.8 to upgrade, but that's no reflection on a lens that scores top marks in every metric (and which has already dropped in price).

Read my Nikon Z 24-70mm f/2.8 S II review

Nikon Z 24-70mm f/2.8 S II sample gallery

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro

• Release date: September 10
• Verdict: 5 / 5

The world's first 100-400mm (equivalent) lens with a constant f/2.8 aperture across its zoom range is truly special. I first got to try the 50-200mm F2.8 IS Pro out at a wetland center in the UK which is home to an abundance of birdlife, and was immediately impressed by the lens' versatility and quality. Even better, its reach can be further extended with a 1.4x teleconverter to create a 560mm f/4, or a 2x teleconverter for a 800mm f/5.6.

OM System doubled down on its outdoor photography credentials, ensuring the 50-200mm is properly weather sealed, something that's helped by an internal zoom. Pair it with a camera like the OM-1 II and you have a super-lightweight setup considering what the combo is capable of, including smart subject-detection autofocus, rapid burst shooting, and phenomenal image stabilization performance.

Fussy bokeh in certain scenarios, such as backlit macro photography shots, was a slight letdown, but otherwise the pin-sharp optical quality seriously impresses. There's a severe leap in price from the 40-150mm F2.8, but I think this new zoom is worth every penny. It's an incredible lens, especially for wildlife photography, with decent close-focusing skills adding extra shine. I'd go so far to say as this lens tops my wishlist, being the one that would make the biggest difference to my own setup.

Read my OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro review

OM System 50-200mm F2.8 sample gallery

Viltrox 135mm F1.8 LAB

• Release date: March 19 (Z-mount, late 2024 for Sony E-mount)
• Verdict: 4.5 / 5

Viltrox is rightly gaining a solid reputation as a high-quality, affordable alternative to pricey proprietary lenses, and fully deserves to be featured in this article. We've reviewed several of the Chinese lens maker's optics, including the five star 35mm F1.2 LAB, but it was the 135mm F1.8 LAB for full-frame cameras that impressed me the most.

Perhaps it was because I had previously tested the Nikon 135mm f/1.8 S Plena and declared it my dream portrait lens, only for Viltrox to pull it's own version out the bag for just 30% of the asking price.

Yes, the Viltrox version is weightier, but beyond that there's really not all that much to choose between to the two, except for the huge gap in price. Viltrox currently makes lenses first for Sony E-mount, and a number of those also are made for Nikon Z and Fujifilm X-mount further down the line.

Viltrox also joined the L-mount alliance in September, and so we should expect further options for its most popular lenses, one of which is 2025's impossibly small 28mm F4.5 pancake. My hope for 2026 is that Viltrox branches out from primes and into high-quality zoom lenses.

Read my Viltrox 135mm F1.8 LAB review

Viltrox 135mm F1.8 LAB sample gallery

Canon RF 45mm F1.2 STM

• Release date: November 6
• Verdict: Not yet rated

The one lens in this roundup that I'm yet to get my hands on is the Canon RF 45mm F1.2 STM, which is a never-before-seen f/1.2 prime lens without Canon's pro 'L' moniker or premium price tag. This is Canon sticking one back to cheap Chinese alternatives.

I know it won't be up to the same standard as a pricey pro prime equivalent like the RF 35mm F1.4L VCM – even the sample images provided by Canon demonstrate pronounced lens distortion (see below) – but it doesn't need to. What the 45mm F1.2 STM does is bring a super-bright-aperture prime, with its shallow depth of field potential, to beginners who would otherwise be priced out of owning such a lens.

Canon deserves kudos here – of all the leading camera brands, it's the one that's giving the widest camera and lens choice for users of all experience levels and budgets, from the award-winning pro EOS R5 Mark II to the EOS R100 (which is the cheapest mirrorless camera available) and now this cheap f/1.2 prime.

Canon is full of surprises, and while it continues to keep its full-frame RF lens mount closed to third parties, a lens like this finally makes that strategy feel justified.

Canon RF 45mm F1.2 STM sample gallery

Other outstanding lenses for 2025

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.

The TechRadar team is delighted to present the winners of the TechRadar Choice Awards 2025! These are our biggest awards ever, honoring the best products of the last 12 months in the major tech areas, while bringing in hot new categories such as open earbuds, and making sure we still have price-conscious categories, to represent how people are really buying gadgets today.

As always, the TechRadar Choice Awards are chosen by a combination of our expert judges' verdicts based on their experience with the products, with votes from you, the TechRadar readers. The vast majority are awards are voted on by the public, to make sure that products that people really love in the real-word are represented.

Our first category is our Readers' Choice Award, which is the award chosen 100% by reader votes, then we have our Editors' Choice Awards, which are selected solely by our expert judges. After that, every winner was picked by a 50/50 combination of the votes of our readers with the scores from our judges.

Readers' Choice Award

Editor's Choice Awards

Phone of the Year

Camera of the Year

Laptop of the Year

Gaming device of the year

TV of the Year

Streaming Service of the Year

Headphones of the Year

Health and Fitness Device of the Year

Home Device of the Year

One to Watch

Brand of the Year

Phones category winners

Phones Brand of the Year

Best Value Phone

Best Mid-Range Phone

Best Folding Phone

Best Flip Phone

Best Camera Phone

Best Gaming Phone

Best Phone Accessory

Best Tablet

Best AI Phone

Best eReader

Best Writing Tablet

Cameras category winners

Camera Brand of the Year

Best Beginner Camera

Best Mid-Range Camera

Best Professional Camera

Best Video Camera

Best Instant Camera

Best Action Camera

Best Dash Cam

Best Camera Lens

Best Compact Camera

Best Camera Accessory

Best Drone

Computing category winners

Best computing brand

Best value laptop

Best Chromebook

Best AI laptop

Best gaming laptop

Best gaming PC

Best computing innovation

Best processor

Gaming category winners

Gaming brand of the year

Best mobile gaming accessory

Best PC Gaming Handheld

Best console accessory

Best gaming service

Best gaming controller

Best Gaming Keyboard

Best Gaming Mouse

Best Gaming Headset

Best Gaming Monitor

Best Gaming Chair

TV category winners

Home Entertainment Brand of the Year

Best Gaming TV

Best TV for Sound

Best OLED TV

Best Mini-LED TV

Best Mid-range TV

Best Value TV

Best Projector

Best Portable Projector

Best Ultra Short Throw Projector

Best Gaming Projector

Best Soundbar

Streaming category winners

Best Streaming Service for Movies

Best Streaming Service for Documentaries

Best Streaming Service for TV Series

Best Streaming Service for Value

Best Free Streaming Service

Best Live TV Streaming Service

Audio category winners

Audio Brand of the Year

Best Wireless Headphones

Best wireless earbuds

Best Open Earbuds

Best Value Headphones

Best Value Earbuds

Best Value Open Earbuds

Best Wired Headphones

Best Wired Earbuds

Best Bluetooth Speaker

Best Wireless Speaker

Best Portable Audio Player

Best Turntable

Health & fitness category winners

Health and Fitness Brand of the Year

Best Smartwatch

Best running watch

Best fitness tracker

Best smart ring

Best Fitness App

Best electric toothbrush

Best connected fitness tech

Best electric bike

Home tech category winners

Home Tech Brand of the Year

Best Smart Lights

Best Home Security Camera

Best Video Doorbell

Best Air Fryer

Best Blender

Best Coffee Machine

Best Robot Vacuum

Best Vacuum

Best Hair & Beauty Tech

• Wildlife Photographer of The Year 2025 winners were announced on October 15
• The Canon EOS R5 was the most popular camera among the finalists
• Released in 2020, it has since been succeeded by the EOS R5 Mark II

If you’re anything like me, you’ll love being nosy about what other photographers are shooting with, especially award winners. With experience as a photo contest judge myself, unsurprisingly I found myself browsing through the winning images of the Wildlife Photographer of The Year 2025 contest, announced on October 15.

It was while looking closer at the technical details behind the successful entries, that I was quite amazed by the gear of choice. Surely speed and accuracy are paramount for wildlife photography, right? I'd therefore expect the top WPOTY shots to be taken with a flagship high-speed mirrorless camera.

The Nikon Z 9 featured, sure. The Canon EOS R3? That too. But there was a much more popular camera among successful entrants (besides the 11-year-old Nikon D810 DSLR used for the winning shot). It wasn't even the Canon EOS R5 Mark II, a winner itself of TechRadar's Choice Award for Camera of the Year 2024, but it was in fact the original model from 2020 that was the most popular among the WPOTY winners. Yes… it was the Canon EOS R5 (Mark I).

Now, I’m one of the first to preach about the throwaway nature of the tech industry, but when it comes to this level of imaging, I admit I was expecting more recent headline-grabbing cameras to be the weapons of choice for this group of award-winning photographers.

An enduring balance of pixels and power

The original EOS R5 was launched back in 2020, alongside its slimmed-down sibling, the EOS R6. Both cameras have since been replaced with the Canon EOS R5 Mark II and Canon EOS R6 Mark II – superb successors, which has got me wondering about why the five-year-old R5 still ranks so highly.

The EOS R5 lacks the Eye-Control AF of the Mark II, and the more recent EOS R3, but still makes use of a snappy Dual Pixel CMOS AF II system with 5,940 focus areas. More specifically, the EOS ITR AF X autofocus component incorporates deep-learning AI – a phrase with which we’ve quickly become accustomed, but which was truly futuristic tech at launch. This system was initially developed by Canon for the popular EOS-1D X Mark III DSLR camera, which coincidentally also made an appearance in WPOTY 2025.

The EOS R5 comes armed with a full-frame 45-megapixel CMOS sensor, 20 frames-per-second burst shooting with the electronic shutter, 8-stop body stabilisation, and 8K video. When you compare this to another frequent competition performer, the Nikon Z 8, a far more recent release, the resolution and top RAW burst rate of the older camera are more than a match. The same goes for the aforementioned Nikon Z9, which is not only more recent but is positioned higher in its range (it’s aimed squarely at pros, while the EOS R5 was also priced for enthusiasts). Meanwhile, 2024’s Sony A1 II has a comparable resolution of 50MP and 8K video, and only just beats the EOS R5 on top burst rate with 30fps.

When prominent wildlife shooters like Andy Rouse, and commercial pros such as Peter McKinnon choose the R5 for their top-level work, it’s hardly surprising that the camera was built to last. If anything, the success in the Wildlife Photographer of The Year 2025 proves that, just because newer, shinier cameras come along, it doesn’t immediately mean that older cameras become irrelevant.

You might also like

• Best wildlife photography camera 2025: our top picks from Canon, Nikon, Sony and more
• And the winning Wildlife Photographer of the Year 2025 image was taken with... an eleven-year-old Nikon DSLR
• Mirrorless vs DSLR cameras: the 10 key differences you need to know

• Nikon announces two new Z-mount lenses for its APS-C cameras
• These are both firsts for the 'DX' range – an f/2.8 zoom and a macro lens
• Both optics are designed for video and still photography

Nikon just announced its two latest Z-mount lenses, the Nikkor Z DX 16-50mm f/2.8 VR wide-angle zoom and the Nikkor Z DX MC 35mm f/1.7 macro lens, which is great news if you’re an avid user of Nikon’s entry-level models featuring an APS-C sensor, such as the recent Z50 II.

It's about time, really – the lion share of Nikon's lens announcements over the past couple of years have been for full-frame, largely leaving APS-C users out in the cold.

Back in the DSLR days, there was a significant number of 'DX' optics for the F-Mount, but mirrorless equivalents have proven slow to make an appearance. It’s a shame too, because DX doesn’t necessarily mean second best. Thankfully, Nikon has delivered two superb-looking mirrorless lenses for the format.

The smaller image circle enables diminutive lens designs and lower weight, but it doesn’t result in lower image quality. In fact, the Nikon Z DX 24mm f/1.7 even made it into our list of the Best Nikon Z lenses 2025.

The great aspect of the DX format is that wider maximum aperture settings and more complex optical designs can be incorporated at a fraction of the weight of a comparable full-frame lens ('FX' in Nikon terminology).

Thanks to the crop factor of the smaller APS-C sensors in DX cameras like the Nikon Z50 II, it’s possible to achieve a longer effective focal length (EFL) with a much shorter physical focal length design, as is the case with the new macro and f/2.8 zoom lenses.

Two new DX players enter the scene

It’s for all of the above reasons that Nikon users will be welcoming the news that two lenses have been added to the line-up. The Nikkor Z DX 16-50mm f/2.8 VR is a first in being the inaugural f/2.8 zoom lens in the DX range. This range offers an equivalent 24-75mm focal range in full-frame terms, placing it firmly in the territory of a professional standard zoom. After all, the 24-70mm f/2.8 is considered an essential pro lens that finds a place in the camera bags of many working photographers, from landscape shooters to travel specialists and portrait experts.

One concern of using an APS-C camera for portraits is that depth-of-field is automatically extended at any given focal length, compared to the same setting on a larger sensor model. It’s an inescapable matter of physics rather than something that the manufacturer can control. However, the Nikkor Z DX 16-50mm f/2.8 VR has a trick up its sleeve in the shape of a very close minimum focus distance of just 0.15 m at 16mm and a mere 0.25 m at the 50mm end. This means the user can move in really close to their subject to help push the background out of focus, for a more high-end look.

The lens also features a useful optical Vibration Reduction (VR) system, which Nikon says can reduce camera shake by up to five stops. Combined with the bright constant f/2.8 aperture, this should make the new 16-50mm ideal for low-light photography, such as in the dim light of a church wedding, for example.

Meanwhile, the Nikkor Z DX MC 35mm f/1.7 macro is the Z-system’s debut DX-format macro optic. Unlike some other lenses, which claim to offer a ‘macro mode’, this lens is a true close-up performer, providing life-size magnification. Well, technically, the lens itself only reproduces the subject at 0.67x, but once you take that 1.5x crop factor into account, you get an equivalent view of a 1:1 life-size lens on a full-frame camera like the Nikon Z f or Nikon Z 5II.

The 35mm f/1.7 (equivalent 53mm) can focus all the way down to 0.16 m, which might actually prove to be impractical when shooting skittish subjects like insects, but once again, it will make for super-shallow depth-of-field when shooting wide open at f/1.7. Sharpness and distortion should hopefully be taken care of with the aspherical ED glass element.

Both lenses are ultra-lightweight. The 16-50mm weighs in at only 330g, and the 35mm macro is a feather-like 220g, approximately. They are also designed to be video-friendly, according to Nikon, with fast and quiet autofocus and controlled focus breathing. I’ll be interested to test how effective this is once I get my hands on review samples.

With both models likely useful for everyday shooting, as well as more specialist functions, they should appeal to beginners and enthusiasts, who should be more reassured that Nikon intends to invest in developing this end of their product range.

“Our customers have been asking for more DX Z lenses, and we’ve been listening,” says Dirk Jasper, Product Manager at Nikon Europe. “With the introduction of a high-performance f/2.8 zoom lens and a fast macro lens, DX camera owners get two great opportunities to take the next step in their creative journey.”

Both lenses will be available from 30th October 2025. The Nikkor Z DX 16-50mm f/2.8 VR will cost $899.95 / £779 / AU$1,299, and the Nikkor Z DX MC 35mm f/1.7 will set you back $449.95 / £399 / AU$699.

You might also like

• Best Nikon Z lenses 2025: the finest glass for your Nikon Z-series camera
• Best Nikon camera 2025: the top cameras from Nikon's entire line-up
• Mirrorless vs DSLR cameras: the 10 key differences you need to know

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.

This week Apple held its big annual iPhone launch event and managed to cram in seven devices for us to get excited about, including four new iPhones.

We also finally get the debut of Spotify Lossless. Better five years late than never.

To catch up on all of this and more, scroll down for our recap of the week's seven biggest tech news stories.

7. We tried the Nikon ZR

The new Nikon ZR camera landed as the first in a new line of Nikon / RED cinema cameras, and it instantly makes Nikon a major new player in this space – a competitor that is even capable of going toe-to-toe with big names like Sony and Canon in the category.

It packs a bunch of Nikon Z6 III tech, including the same 24MP partially stacked full-frame sensor, 5-axis image stabilization, subject-detection tracking autofocus and more into an extremely compact, weather-sealed cinema camera body.

It boasts some fantastic features to boot, and to make things even better it costs just $2,199.95 / £2,199.99 / AU$3,499 – yes that’s a lot on its own but know that no other cinema camera comes close to the ZR for video features at this price point.

• Read more: The cinema camera market gets a major new player

6. Bose dropped new headphones

Stop what you're doing: the best Bose noise-cancelling headphones (and arguably the best ANC cans around, period) now have a successor. Behold! The Bose QuietComfort Ultra Headphones (2nd Gen).

Aside from choice new colorways including 'Driftwood Sand' and 'Midnight Violet', Bose's new flagship cans will now work with their USB-C cable for 16-bit/44.1kHz or 48kHz audio quality (and with the 2.5mm audio jack on the older model) just like the recent AirPods Max update.

Elsewhere, a total of ten (10!) microphones placed inside and outside each ear cup are now combined with an improved ActiveSense algorithm for "more precise adaptive noise cancellation and natural sound", and Bose has upped the stamina to a claimed 30 hours with ANC deployed for the updated model (although it's still 23 hours with Immersive Audio on, ie. ANC and various degrees of spatial audio added to the mix) or 45 hours with ANC turned off.

Pricing? They’re expensive, but only 2023 expensive…

• Read more: Bose QuietComfort Ultra Headphones 2nd Gen land, boasting even better ANC

5. Dolby Vision got a sequel

Dolby announced Dolby Vision 2, the next generation of its HDR format. It’s set to have benefits for both cheaper TVs, where a new picture analysis engine will deliver even richer colors and better contrast in HDR, and more expensive TVs. In the latter case, there’s a second version of it, called Dolby Vision 2 Max. This brings tools for a more accurate picture from today’s super-bright TVs, and – for the first time – Dolby Vision will give TV/movie creators control over your TV’s motion smoothing settings. Yes, the director can tell your TV when to turn motion smoothing on and off, and can even do this second-by-second.

Which TVs will support this new HDR format? Well, that’s complicated – only Hisense is confirmed, and other TV makers are thinking about it.

• Read more: I saw the difference Dolby Vision 2 makes on cheap TVs

4. Spotify finally found its Lossless music

Earlier this week, the day that millions of loyal Spotify fans have been waiting for arrived, and Spotify Lossless is finally launching to Premium subscribers. The rollout has already started for users and will expand to over 50 different regions in October.

The most surprising thing is that despite the rumors, Spotify Lossless is free, offering a bitrate of up to 24bit/44.1kHz FLAC, which is actually better than CD-quality. The streaming service added that Lossless will be available across ‘nearly every song’, but hasn’t provided an exact number.

Spotify Lossless will also be available across an array of devices from mobile, to desktop and tablet, offering compatibility with devices that support Spotify Connect including Sony, Bose, Sennheiser, and more. When it comes to enabling Lossless, all you have to do is head to Media Quality in Settings, and then select Lossless under the Low, Normal, High, and Very High audio options.

• Read more: Audiophiles rejoice! Spotify Lossless is finally here

3. Apple gave us new AirPods Pro

Alongside new iPhones we also just got brand new AirPods Pro 3 – which are a successor to the AirPods Pro 2 that, according to Apple, are the most popular headphones ever.

So does the new model do enough to convince folks to upgrade? Well among the new features are an in-built heart-rate sensor, which in combination with the built-in movement sensors can apparently track 50 workout types – no Apple Watch needed. They also get live translation. Apple says you'll be able to pinch both stems to begin live translation, and ANC kicks in to reduce their voice a little when you're getting the translation.

• Read more: 5 things you need to know about Apple's all-new AirPods Pro 3

2. New Apple Watches reached further than ever

While the iPhone 17 series was big news, fitness wearables got a lot of limelight too. The Apple Watch Series 11 and Apple Watch Ultra 3 got an upgrade people were begging for – increased battery life – along with 5G capabilities, satellite messaging for the Apple Watch Ultra 3 to connect from the wilderness, scratch-resistant screens and a much-vaunted hypertension detection feature designed to monitor blood pressure.

Meanwhile the Apple Watch SE 3 arrived to complete the range refresh, with fast-charging, the latest watchOS 26 features and the same powerful S10 chip as the other watches in the line, meaning it has access to neat current-gen tricks like gesture controls. All that and it's still terrific value at $249 / £219 / AU$399, too.

• Read more: I tried the Apple Watch Ultra 3, and it's a meaningful upgrade thanks to these 3 changes

1. Apple debuted 4 new iPhones

If we had to choose two words to describe the iPhone 17 launch, they would be “thin” and “orange”. Sure, we got four new iPhones across three different styles and varying sizes, specs, and capabilities, but people will be talking about the Cosmic Orange iPhone 17 Pro and the quite thin and durable iPhone Air for a long time. And, no, that’s not a typo. Apple’s Plus replacement eschews the numerology and focuses on the stunning build, which is the thinnest iPhone Apple has ever built. By the way, it does bend, but not break, and then bounces right back into shape (we have the video to prove it).

Aside from thinness and that bold new color, the lineup got new silicon in the form of the A19 and A19 Pro and new cameras that bring subjects closer than ever before. TechRadar is testing the phones, but you can read all of our first impressions.

• Read more: I tried and failed to break Greg Joswiak's iPhone Air

Cameras sure do feel pretty pricey in 2025, which is partly due to premium models trending over beginner-friendly snappers. However, there's still excellent value to be found if you look in the right places, and this list gives you that steer.

Of course, value can be pretty subjective – it doesn't reflect price alone. An expensive camera can still be excellent value, while a cheap one could in reality be a false economy. I've picked out 10 leading camera brands and ranked them from worst to best for value, which was no mean feat. Ultimately, value is about getting the most camera for your money, and a surprising brand is emerging as the best bang for your buck.

Just to flag before we get started – I haven't included action camera brands DJI, Insta360, GoPro and Akaso, because they're a whole category unto themselves. So, without further ado, let's dive in.

10. Leica

With its astronomical prices, it'll come as no surprise that Leica ranks bottom of the pile for value. Take the M11-D (above) – it's a stripped-back, screen-less digital rangefinder with full-frame 61MP sensor, which costs $9,395 / £8,100 / AU$15,990 body only. The price for Leica lenses starts in the thousands, too. Ouch.

That said, Leica is the Rolls-Royce of the camera world, manufacturing superb cameras that could last a lifetime, especially its M-series of analog and digital rangefinders (metal bodies, all made in low numbers in Germany). Plus, there's its Q-series of digital compacts such as the divine Q3.

In one sense, Leica can feel like decent value when you consider the quality of craftsmanship. But you're looking more than $20,000 / £16,000 / AU$30,000 for a Leica M camera plus a couple of lenses, while its more 'affordable' models like the D-Lux 8 compact are still twice the price of rivals – the reality is that Leica is an exclusive brand.

9. Hasselblad

A close run with Leica, Hasselblad is another legendary name in the camera world that's still producing new models in 2025, the latest of which are the X2D 100C (see above) and 907X CFV 100C.

Both of those mirrorless cameras are premium models commanding Leica-like prices. However, I'm placing Hasselblad as slightly better value than Leica based on the technology inside its latest digital cameras, which includes a larger, stabilized 'medium-format' 100MP sensor (sized 44 x 33mm), 1TB built-in SSD, and more.

Hasselblad's lenses cost a pretty penny too, but possibly a fraction less than Leica overall. And the quality of Hasselblad gear is jaw-droppingly good – the X2D tops my winning lottery ticket shopping list.

8. Sony

Now that we've got two premium brands out of the way, we're getting into the mainstream. And all things considered, from its flagship mirrorless models such as the A1 II, to vlogging compacts and lenses, I think Sony is a pricey pick.

Again, quality is superb, so if you can afford Sony, it's a top choice. I especially appreciate its latest lenses, such as the incredible 50-150mm F2 GM, which is my favorite lens this year and practically worth switching systems for.

That said, I get to enjoy using Sony camera gear through my job; I'm not spending my own money on it. The A1 II is almost double the price of some rivals, even those which offer 90-95% of the same features, and its premium lenses cost in the thousands too.

The saving grace for Sony cameras is the large number of low-cost third-party lenses from the likes of Viltrox, who tend to make lenses for Sony cameras first, and sometimes exclusively. Sony's quality and performance are unquestioned, but its prices are getting hard to swallow.

7. Canon

Like Sony, there's no doubting the quality of Canon camera gear. Its EOS R5 Mark II (above) scooped TechRadar's camera of the year 2024 award, and the brand has been busy rolling out a string of superb hybrid lenses for photo and video shooters this year. But, like Sony, there's a premium for Canon's full-frame cameras, such as the EOS R1, plus many of its RF lenses.

Where I think Canon fares better versus its rivals, especially Sony, is in producing low-cost beginner-friendly cameras, such as the EOS R100. It's Canon's entry-level mirrorless camera, and quite possibly the only sub-$500 / £550 mirrorless camera from any brand. There's a reason – from some of the dated tech inside and its basic fixed rear screen, which isn't even touch-sensitive. However, with a 24MP APS-C sensor and decent autofocus, it's still a decent starter camera.

Canon has also launched decent vlogging cameras in 2025, which are fairly well-priced. However, Canon only recently opened its lens mount to third parties to make lenses for its APS-C cameras (and there's still none for full-frame), so most of your choices are pricey Canon optics. Overall, Canon is a mixed bag when it comes to pricing and value.

6. Fujifilm

Fujifilm has nailed down the retro camera market with a string of excellent cameras, such as the X100VI and, most recently, the X-E5. It has long been seen as a low-cost Leica alternative, and that's still true. However, I've observed the premium path that Fujifilm has been taking following the launch of the X-E5, which was twice the price of its predecessor, the X-E4. Fujifilm is also cashing in on its popular X100 series.

Personally, I think it makes sense for Fujifilm to up the build quality of its cameras and therefore its prices – the metal top plate of the X-E5 is lovely and worth the extra outlay. Fujifilm's days as a good value brand, it seems, are limited.

Still, there are excellent value options in its X-series line up if you look hard enough, not least of which is the X-M5, which is a tiny 6K powerhouse that I've personally recommended to a number of vloggers looking for their first came. The X-S20 is a decent all-rounder too, while if you want a medium-format monster, Fujifilm is the value brand to go for because it costs much less than Hasselblad.

5. Sigma

Sigma is better known for its lens making skills, delivering premium optics typically for half the price of proprietary alternatives. And boy are its lenses good – available in L-mount and many more including Sony, Fujifilm, Nikon and now Canon.

The prices for its lenses are all the more impressive when you consider that Sigma is a family-owned business since 1961 that runs its entire production from its HQ in Japan.

As for cameras, Sigma occasionally forays into the market. Take the Sigma BF, which is probably the most talked about camera for 2025. It's uncharacteristically pricey for Sigma, but with good reason – the entire chassis is made from a single ingot of aluminum. So, while not cheap, it certainly is premium. With Sigma lenses, you're guaranteed excellent quality at affordable prices. As for its cameras, expect the unexpected.

4. Blackmagic

If you're a certain type of filmmaker, then you'll struggle to find better value than Blackmagic. Its Pyxis 6K and Cinema Camera 6K models deliver some of the best 6K footage you'll see, with a streamlined workflow to Blackmagic's own Davinci Resolve editing software – which is one of the best out there and comes free with a Blackmagic camera.

Blackmagic cameras use the L-mount too, for which there is a wide choice of lenses covering all budgets. That said, Blackmagic's cameras are truly video focused rather than hybrid, which will work for some and not others. For example, you'll get video connectivity and audio features not available with hybrid models, but equally they're less suitable for photography. With a lack of image stabilization and basic autofocus performance, they're also less suitable for run-and-gun filmmaking.

However, if you simply want the best video quality, then Blackmagic cameras top the list at their respective price points.

3. OM System

OK, so OM System cameras aren't exactly pushing the boat out in terms of upgrades, but a solid foundation was already laid by Olympus (before it was acquired by OM Digital Solutions).

Today's OM System cameras, such as the OM-3 (above), are a wonderful blend of portability, rugged quality, retro looks and cutting-edge computational smarts. They're fun to shoot with, and enjoy a huge range of lenses. Some may scoff at the Micro Four Thirds format which is half the size of full-frame, but it's perfectly suited for many genres of photography, especially when you consider the powerful features the smaller format unleashes – the OM-3 is the cheapest camera with a stacked sensor.

In 2025, OM System has been bucking a rising prices trend, namely when it launched the OM System OM-5 II with a lower list price than the three-year-old OM-5. I'm not sure you'll find a better value camera.

2. Panasonic

Panasonic has long been a leading light for value, especially with its video-focused mirrorless cameras, such as the Lumix GH series, the most recent model being the Lumix GH7. When I was looking for a versatile and portable video camera on a shoestring years back, it was the Lumix GH5 that made the most sense.

That same value extends across most of the line, from its bridge cameras to new compacts like the Lumix ZS99 / TZ99 and other mirrorless models – the Lumix S5 II is another perfectly pitched full-frame hybrid.

Recently, however, new Lumix models have felt uncharacteristically pricey, such as the Lumix S1 II and Lumix S1R II. They still offer plenty of bang for your buck, again if you shoot video as much as stills. However, in my book, there's another brand rising through the value ranks that has stolen Panasonic's top spot.

1. Nikon

I'm as surprised as anyone that Nikon takes top spot in this list. After all, it has been one of the leading camera brands for decades, from its analog SLR roots to DSLRs and then mirrorless.

If you look across its entire range, virtually every model costs less than its rivals, especially with seemingly permanent discounts at leading retailers. The Nikon Z8 stands shoulder to shoulder with the Canon EOS R5 II and Sony A1 II, but it's as comparative snip.

We rank the Nikon Z6 III as the best mirrorless camera overall, and again it's cheaper than Sony / Canon rivals despite being the newer, better model. The Nikon Z5 II raised the bar for entry-level full-frame cameras, the Z50 II is a well-equipped APS-C model, while the Z30 is one of the cheapest vlogging mirrorless models available, not forgetting the retro-styled Nikon Zf and Zfc.

Every model takes its respective top spot for value. The only strike against Nikon is there's no true beginner camera in its lineup, and some of its lenses are fairly pricey. Otherwise, Nikon is the undisputed best value camera brand in 2025.

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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

• Nikon announces Z-mount versions of the RED V-Raptor and RED Komodo
• The Nikkor Z 28-135mm F/4 PZ cine lens was launched simultaneously
• Since Nikon's RED takeover, we've seen permanent price drops for select RED cameras

Nikon's RED takeover is in full effect, following the launch of two RED cinema cameras with Nikon's Z-mount; the RED V-Raptor and RED Komodo. The Z-mount versions were launched alongside Nikon's own new cinema lens too, the Nikkor Z 28-135mm F/4 PZ.

Nikon instantly became a major player in cinema cameras when it acquired RED Digital Cameras in March 2024, and it's taken less than a year for us to see the fruit of the takeover, with Z-mount versions of two super popular RED cine cameras in the filmmaking industry.

It's a sucker punch to Canon – the RED Komodo 6K was previously only available with Canon's RF-mount, but its future is now firmly in camp Nikon. There will be various lens mount adaptors available, including Nikon Z to Nikon F and Nikon Z to PL, but RED's future is shifting away from Canon lenses.

What's more, the Nikon effect has extended to RED camera pricing, the cine camera maker's name, plus Nikon's own cameras are benefitting from RED tech. Let's take a look at what's been happening.

The Nikon effect is in full swing, and I expect more is to come

In and of itself, there's little that's new in the Z-mount versions of the RED V-Raptor and Komodo, besides the lens mount and what Nikon says is improved autofocus capabilities. The biggest impact is direct compatibility with Nikon Z-mount lenses, of which there are many, and which now includes the Nikkor Z 28-135mm F/4 PZ – a versatile and gimbal-friendly zoom with cine features that costs $2,596.95 /£2499 and has an April 2025 sales start date (Australia price and availability TBC).

What's even more exciting, especially to indie filmmakers, is Nikon slashing the prices of RED Komodo 6K bundles. In September 2024, we saw permanent price reductions of as much as $3,000 off – for example, the Komodo 6K Camera Production Pack now costs $11,995 (was $14,995). Still not cheap by any means, but more affordable for pros. Prices for the RED Komodo 6K with Z-mount start at $6,995 (around £5,600), while the RED V-Raptor 8K costs $29,995 (around £24,000 - converted from USD).

Nikon has also officially stripped back its subsidiary's name too, from RED Digital Cameras to simply RED, which is what most people call it anyway.

In the other direction, Nikon cameras are benefitting from RED tech. Back in September 2024, four RED LUTs color profiles were made available to Nikon's current mirrorless cameras, including the Nikon Z6 III, Nikon Z8, and Nikon Zf, and even certain DSLRs like the D780. Nikon's N-Log video footage can now be stylized into Rec.709 color using any one of RED’s Film Bias, Film Bias Bleach Bypass, Film Bias Offset, and Achromic – color profiles co-developed with cinema colorist Eric Weidt.

I don't expect the Nikon effect to stop here either. What do you think – what are the most exciting developments we can hope for from Nikon's RED takeover? Better video features in Nikon's mirrorless cameras? More Z-mount cine lenses? Let me know in the comments below.

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Nikon Z50 II: two-minute review

A tidily packaged APS-C camera with great handling and plenty of features at decent price, we rated the original Nikon Z50 highly. Its successor takes that recipe and supercharges it, with the help of an Expeed 7 processor. The result is a versatile mirrorless camera that’s perfect to learn and grow with.

Its dimensions are neat enough to compete with the best travel cameras, yet Nikon hasn’t sacrificed ergonomics. Slightly larger than the original, the Z50 II feels fantastic in the hand. With a deep grip and plenty of direct-access controls, as well as a useful vari-angle touchscreen and upgraded viewfinder, it’s a satisfying camera to shoot with, whether you’re capturing stills or video.

Under the hood, Nikon’s latest Expeed 7 processor runs the show – the same silicon found in the Nikon Z9 and Z8. It might be pitched as an entry-level option, but that chip gives the Z50 II some serious pace. The interface is quick as you like, while autofocus performance is superlative. Equipped with detection modes for nine different subject types, including people, animals and vehicles, it’s as fast and accurate as many of Nikon’s more expensive models.

Processor aside, a lot remains unchanged from the Z50. That includes the APS-C sensor which, at 20.9MP, is bettered by many of the best beginner mirrorless cameras. That said, it’s still capable of producing detailed and realistic images when paired with a quality Z mount lens. If you already own a Z50, you won’t notice a huge difference in overall quality – although noise performance has been improved thanks to the Expeed 7 processor, meaning stills are cleaner at the same ISO settings.

Nikon has also bolstered the video capabilities of the Z50 II, boosting its status as an all-rounder. 4K frame rates now top out at 60fps, albeit with a 1.5x crop, and it becomes the first Nikon APS-C camera to support 10-bit N-log video – giving videography enthusiasts more flexibility when color grading in post. A headphone socket is a welcome addition, too.

The features above are complemented by a new Product Review mode, which allows influencers to produce content where the focus shifts seamlessly from presenter to product. There’s also a Picture Control button on the top plate, which gives easy access to color presets, with the option to add downloaded Creator Recipes alongside the built-in presets.

Taken as a whole, the Z50 II proves that one camera can work effectively for different creative styles and experience levels. Buy it as a beginner and it will quickly yield impressive results. Stick with it as you improve and the Z50 II has the controls and capabilities to continue delivering.

Nikon Z50 II: price and release date

• Body-only price: $909.95 / £849 / AU$1499.95
• With the 16-50mm kit lens: $1,346.95 / £1,199 / AU$ N/A
• Available now

Like the original Z50, the Z50 II is positioned at the entry-level end of Nikon’s Z mount line-up. With a body-only price of $909.95 / £849 / AU$1499.95, that feels like a competitive offer for such a well-rounded APS-C camera.

In Australia and the US, the Z50 II costs pretty much the same as the original did at launch. In the UK, it’s cheaper by £50. That makes it excellent value. While the Z50 can now be found at a discount online, we think the second-gen version is the smarter buy: it’s not a total upgrade, but its powerful processor and video upgrades make it the more accomplished all-rounder.

That price also makes it slightly cheaper than the Canon EOS R10, our current favorite camera for beginners and arguably the Nikon Z50 II’s closest rival. Both are compact APS-C cameras with modern autofocus and comparable video skills. Which is right for you will come down to more than cost alone, but the Z50 II wins on price.

The Z50 II can also be picked up with bundled lenses. If you’re not already bought into the Z mount system, this is a great way to save on entry-level glass. Options include a single-lens kit with a 16-50mm VR lens for $1,049.95 / £999, and a twin-lens kit which throws in a 50-250mm VR number for $1,299.95 / £1,199. There’s also an 18-140mm kit in the UK and Australia for £1,299 / AU$2,279.

• Price score: 5/5

Nikon Z50 II: specs

Nikon Z50 II: design and handling

• Upgraded viewfinder and vari-angle touchscreen
• Slightly bigger dimensions with a deeper grip
• Dedicated Picture Controls button for style presets

At first glance, the Nikon Z50 II bears a strong resemblance to the original Z50. It’s a tidily packaged camera, very much in the established mold of entry-level mirrorless models. Its dimensions are compact enough to be travel friendly, yet it also benefits from a sturdy build and comfortable ergonomics.

That’s in part because the Z50 II is marginally bigger and heavier than the first version. In the hand, we found its grip substantial enough to wrap our fingers around, without being cumbersome. We also appreciated the extra grams: the body features plenty of plastic, but doesn’t feel flimsy in use.

Look closer at the Z50 II and you’ll find several welcome refinements. The flip-down display of the original has become a fully articulating screen, which can rotate around to face the front, even when the camera’s mounted to a tripod. This is a much more flexible framing solution, especially for videography and vlogging. So is the addition of a headphone port, which allows aspiring filmmakers to monitor audio in real time when recording footage.

The viewfinder has also received the attention of Nikon’s product developers. It has the same 2.36m-dot resolution as before, but is now twice as bright at up to 1000 nits. In practise, that makes the EVF an easier adjustment for the eyes when framing and shooting in daylight conditions.

Eagle eyes will also discover new additions to the control layout. In our review of the Z50, we complimented the layout and balance of its buttons and dials, praising its resemblance to full-frame Nikon siblings like the Z6 and Z7. The Z50 II gets closer still, with the addition of five new buttons.

You still don’t get a joystick, which means selecting the AF point requires use of the touchscreen. What you do get are zoom buttons, a display button and a dedicated drive button. These aren’t game-changing additions, but we valued their presence: they bolster the Z50 II’s chops for aspiring enthusiasts, making it easier to change key settings, without cluttering the interface.

The fifth new button sits on the top plate. A first for any Nikon camera, it gives instant access to Picture Controls – a library of aesthetic presets. To seasoned users, this might sound like a fad, but we think it will appeal to learners who want to get creative while shooting JPEGs. 31 profiles come pre-installed, with the option to adjust them through NX Studio. You can also download Creator Recipes from Nikon Imaging Cloud, and select which appear in the list.

The button’s presence leans into the Z50 II’s status as a camera for all kinds of creators. So does the fact that you can re-program its function, a useful option which will appeal to users as they move into shooting RAW stills and making color edits in post.

• Design score: 4.5/5

Nikon Z50 II: features and performance

• Expeed 7 processor drives subject-recognition AF
• Same 20.9MP APS-C sensor as the Nikon Z50
• First Nikon APS-C camera with 10-bit N-log video

If you already own a Nikon Z50, you’ll find a lot of familiar numbers on the spec sheet. The Z50 II uses the same 20.9MP APS-C sensor as its predecessor. Its mechanical burst speeds max out at 11fps. And, like many of the best mirrorless cameras for beginners, it still doesn’t offer in-body image stabilization. What it does have is a new engine.

The headline upgrade for the Z50 II is its Expeed 7 processor – the same chip used by the flagship Nikon Z9 and, subsequently, the Z8. This is the first time it’s been fitted to an APS-C body. As the motor that drives everything from autofocus to burst shooting speeds to video frame rates, it has a lot to do. Based on our experience, the Expeed 7 makes the Z50 II a proper pocket rocket.

Chief among the benefits of that new chip is top-spec subject-recognition autofocus. It might be an entry-level model, but the Nikon Z50 II can detect and lock on to targets rapidly and reliably. It has dedicated detection modes for nine different subject types, including people, animals, birds and cars, as well as an auto setting which can pick up a range of subjects at the same time.

In our experience, the Z50 II’s autofocus performance feels just as snappy in action scenarios as many of Nikon’s more expensive full-frame Z series models. With a new High-Speed Frame Capture+ mode which allows you to shoot at up to 30fps using the electronic shutter, this is a camera that’s perfectly comfortable covering action. We did encounter some rolling shutter when using this mode, but it's nevertheless an impressive feature for an entry-level camera.

It helps that the SD card slot now supports UHS-II cards for faster read and write speeds. The USB port has also been upgraded to a Type-C number, which brings a host of benefits: as well as 5Gbit/s transfer rates, it can be used to charge the camera directly, while UVC/UAC compatibility means it can be used as a webcam without the need for additional software.

Nikon has pitched the Z50 II as a hybrid, which is reflected in its video skills. Even with the same sensor as the Z50, Nikon has harnessed the power of the Expeed 7 to squeeze more recording performance out of it. That includes the ability to capture 4K/60p video, albeit with a 1.5x crop. Uncroppped 4K footage is shot at 30fps, oversampled from 5.6K.

It’s also the first Nikon APS-C camera to support 10-bit N-log video, as well as the option to use RED Luts. This makes the Z50 II a camera with the flexibility for budding filmmakers to grow with, as they learn the ropes of videography and start to explore the possibilities of color grading.

These enthusiast-grade video capabilities might go beyond what most beginners need, but the Z50 II is also well-equipped for first-timers. A new Product Review mode seamlessly adjusts focus from the presenter to an object brought into the frame, similar to the Product Showcase feature found on cameras like the Sony ZV-1. It won’t be relevant to everyone, but if you have ambitions of becoming an influencer, it’s an effective tool.

Like the Z50, the Z50 II features electronic vibration reduction to help steady handheld footage. As before, this applies a 1.3x crop to video. Nikon claims that the feature has been improved for the Z50 II, though our tests found that it still isn’t a replacement for full in-body image stabilization.

• Features and performance score: 4.5/5

Nikon Z50 II: image and video quality

• Excellent image quality in most conditions
• Better noise-handling than the Z50 at the same ISO
• 4K/60p video with a 1.5x crop

On the whole, images from the Z50 II are as they were with the Z50: realistic, vibrant and clear. While its competitors offer higher resolutions, the 20.9MP sensor inside the Z50 II still does an admirable job of capturing detail.

With the white balance on automatic, we found stills out of the camera to be nicely saturated and just the right amount of dynamic range, without straying too far from neutral. The metering system coped well in a range of lighting scenarios, delivering well-judged exposures. We found that skin tones in particular were rendered faithfully in natural lighting, with a touch of warmth only detectable when shooting under heavy artificial lighting.

While its sensor size and ISO range are unchanged, we found that the Nikon Z50 II handles noise better than the Z50, thanks to the Expeed 7 processor. It was always going to lose out to its full-frame siblings, but you can get away with pushing the ISO number higher on the Z50 II before significant smoothing becomes an issue. ISO 12800 is still the upper limit, but you can comfortably lean on ISO 6400 if the conditions demand it.

If you’re purely a stills photographer, you will get better resolution elsewhere. What sets the Z50 II apart as a value offering is its autofocus performance, as well as its hybrid video abilities. As noted above, stabilization isn’t perfect, but the same adjectives are true of 4K footage from the Z50 II as for its stills.

We found 4K/60p video to be well-defined and nicely balanced. In our tests, the Z50 II adapted well to different light sources and levels, producing lifelike footage that’s good for grading. Used with a tripod, we can’t see content creators having any issues with the video that the Nikon Z50 II captures.

• Image and video quality score: 4.5/5

Nikon Z50 II: testing scorecard

Should I buy the Nikon Z50 II?

Buy it if...

Don't buy it if...

Nikon Z50 II: also consider

How I tested the Nikon Z50 II

• Tested a production model over a fortnight
• Shot with multiple Nikon Z mount lenses
• Used with Nikon’s SnapBridge smartphone app

I tested the Nikon Z50 II for a fortnight, shooting with it on a daily basis. Nikon supplied me with three Z mount lenses for this review: the Z 35mm f/1.4, the Z 85mm f/1.2 S and the Z 70-180mm f/2.8. This allowed me to cover a range of subjects and scenarios with the Z50 II, from street scenes to portraits.

To assess its hybrid capabilities, I used the Z50 II to shoot a combination of stills and video. I also shot fast-moving subjects, including children and dogs, to put its autofocus and burst speeds to the test. During testing, I used one of the best SD cards, a SanDisk Class 10 U3 model, to ensure that performance wasn’t throttled by the memory card.

I also tested the Z50 II at various times of day and in different weather conditions, from bright sunlight to overcast skies. The resulting stills let me assess the white balance out of the camera, as well as how effectively the Z50 II handled noise at different ISO settings.

First reviewed January 2025

• Same 20.9MP APS-C sensor as the Z50
• Autofocus on par with pro Nikon Z9
• Support for Nikon Cloud and custom color profiles

Nikon has updated its four-year-old Z50 with the Z50 II. The mini-DSLR-style successor comes with the same 20.9MP APS-C sensor, but packs Nikon's latest Expeed 7 processor, which delivers a raft of performance-based improvements.

Nikon says the Z50 II has the same subject detection autofocus options as its professional Z8 and Z9 mirrorless cameras, with nine subject types to choose from, 3D tracking, custom-size autofocus areas, plus a smarter AF-A option (autofocus auto). It also debuts a Product Review mode, which easily switches focus between people and objects, much like Sony's Product Showcase autofocus mode.

Burst shooting now comes with one second pre-capture for a 15fps or 30fps High-speed Frame Capture+ mode (JPEG only), while 4K video up to 30fps is now oversampled from 5.6K, which means it should be nice and sharp.

After the Z6 III, the Z50 II is Nikon's second camera that works with Nikon Cloud. In addition to online image upload and storage services, users can upload custom color profiles directly to the Z50 II from the Nikon Cloud community (Nikon calls them Picture Profiles), in a similar way to the new Panasonic Lumix S9, complete with a new Picture Profile button for quick access. Neat.

Then there are the improvements to the handling of the Z50 II. It has an updated EVF with twice the brightness of the Z50, a larger 3.2-inch vari-angle touchscreen with a new hinge for twist and rotate movements, a larger hand grip, while it's part of Nikon's only series of mirrorless cameras to feature a built-in flash.

The Z50 II costs $965.95 / £849 body only, $1,096.95 / £999 with the 16-50mm lens, or $1,346.95 / £1,199 for a twin lens kit that adds the 50-250mm lens. In Australia, the camera is available with Nikon's 18-140mm lens for AU$2,279. Sales start at the end of November, preorders can be made from today.

The Z50 II looks like a decent beginner mirrorless camera for photographers, but Nikon is billing the camera for content creators, so does it hit the mark for them?

A camera with an identity crisis?

Nikon is heavily marketing its new Z50 II for content creators, but in my book it's the least obvious model of all its mirrorless cameras with APS-C sensor for such purposes.

The Z50 II looks like a nice camera to shoot with for photographers, thanks to its mini-DSLR form factor with an improved grip and brighter viewfinder. But for content creators who value a camera's looks and rely on its video flexibility? The cheaper Z30 or the retro-styled Z fc make more sense, as do rival models such as the Fujifilm X-M5 and Sony ZV-E10 II.

That's not to take away from the Z50 II. It becomes Nikon's most capable mirrorless camera with APS-C sensor because it utilizes Nikon's latest processor, which delivers an all-round speedier performance, including a faster start-up time, says Nikon.

It also has improved video features, such as 4K 10-bit video up to 30fps from oversampled 5.6K, plus Nikon's N-Log color profile. It's also Nikon's first camera that can livestream via USB-C, not requiring Nikon's Webcam Utility software.

However, there are no vertical video modes for social like you get in the X-M5, a camera that features higher resolution 6.2K video (which makes vertical video possible), plus multi-directional internal mics that can be isolated or used together. That camera feels more purpose-made for content creators; it's smaller, it looks the part, and it has Fujifilm's Film Simulation modes on tap.

It looks like Nikon has created a highly capable hobbyist camera in the Z50 II - one that we will complete an in-depth review of soon. I just think it's not the content creator's camera that Nikon's marketing suggests it is. A successor to the Z30 feels like a more obvious fit.

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Nikon Z 50mm f/1.4: two-minute review

The nifty-fifty lens is a staple in many a photographer's camera bag – a typically compact lens for portraiture that offers good control over depth of field to make your subjects stand out. It's the lens that I would recommend to beginner photographers having grown out of their kit lens and looking for a second lens to elevate the quality of their photos – and if they have a Nikon camera I would recommend the new Nikkor Z 50mm f/1.4.

Where mirrorless lenses can often be much pricier than DSLR equivalents – the classic 50mm f/1.8 lens for Canon and Nikon DSLR cameras is just about the cheapest lens you can buy at around $100 / £100 secondhand – Nikon is looking to buck this trend by creating affordable options for mirrorless, and the new Z 50mm f/1.4 is its cheapest Z-mount f/1.4 lens so far.

This isn't Nikon's first 50mm lens for its mirrorless cameras. It follows the optically-excellent Z 50mm f/1.8, which was one of Nikon's first lenses for its Z-mount, launched back in 2018, while there's also the 50mm f/1.2 pro lens with 'S' moniker, and the beastly 58mm f/0.95 Noctilux which costs a cool $9,000. However, the new Z 50mm f/1.4 is a stripped-back variation, with minimal external controls, a lightweight build, and offering decent rather than spectacular image quality.

It's pretty much in the same mold as the Nikkor Z 35mm f/1.4 lens which I reviewed recently – the pair share practically the same size, weight, 62m filter size and design. One on hand I respect what Nikon is doing; where Canon launches the pro-grade RF 35mm f/1.4 for mirrorless which costs around $1,500 / £1,820 / AU$2,699, Nikon is launching a lens for enthusiast photographers for around a third of the price.

The downside, however, is that optical quality, while very sharp, is decent rather than outstanding, especially when it comes to bokeh. You're not getting buttery-smooth out-of-focus light balls, but a slightly 'fussy' bokeh instead. I pitted it against the F-mount Nikon 50mm f/1.4G AF-S lens for DSLRs launched in 2008 (you can see the two lenses side by side, below) and the older lens has smoother bokeh.

However, bokeh is more circular in shape with the new Z-mount 50mm f/1.4, while its clarity wipes the floor with the F-mount 50mm f/1.4 G when shooting at f/1.4, which is what I suspect many photographers will be doing. In-focus detail is so much sharper at f/1.4, and even skin tones are more accurate – there can be a slight yellow-ish hue with the DSLR version of the lens.

That superior performance when shooting with the aperture wide-open is what you can expect with the best Nikon mirrorless cameras and lenses, while autofocus is snappier and more reliable too.

My F-mount 50mm f/1.4G AF-S, which by the way is almost the same price as the Z 50mm f/1.4, has notoriously bad back-focusing issues when used with a DSLR – you think the focus is on the eyes of your subject, only for it to be on the ears. When you're shooting at f/1.4 with such shallow depth of field, it's noticeable. This issue is somewhat improved when the lens is used on a mirrorless camera via an adapter, but the mirrorless lens still has the edge.

With mirrorless cameras, such as the Nikon Z6 III for which the Z 50mm f/1.4 is a perfect fit, you get the latest subject-detection and eye-detection autofocus, which will nail sharp focus on the eyes. And it's this performance which makes a Nikon mirrorless camera with this new 50mm lens an easy recommendation, even if the icing on the cake would be slightly better bokeh.

Like the 35mm f/1.4, I expect the 50mm f/1.4 to prove popular, even if it's not one of Nikon's best lenses. If you're upgrading from existing DSLR gear, of the two, I would buy the 50mm lens before the 35mm.

Nikon Z 50mm f/1.4 specs

Nikon Z 50mm f/1.4: Design

• Small and simple
• Decent pairing with Nikon's smallest mirrorless cameras like the Z6 III
• Quick and quiet autofocus
• Maximum 0.17x magnification ratio for moderate close-up photography

The Z 50mm f/1.4 design is pretty much a copy-and-paste of the Z 35mm f/1.4, meaning it's a small and simple lens. The lenses are practically the same in size and weight, with the Z 50mm a hair's breadth longer at 88.5mm in length, and tipping the scales at 14.9oz / 420g – that's just 5g more than the 35mm lens.

Nikon's equivalent F-mount lens for DSLRs – the 50mm f/1.4G – is smaller and lighter still, but so far as Nikon Z-mount lenses go, this is one of the smaller ones.

I tested the lens with a Nikon Z6 III and the Nikon Z6 II, mid-sized cameras for which the Z 50mm f/1.4 is perfectly balanced, being compact in form. Unlike those cameras, however, the Z 50mm f/1.4 isn't officially weather-sealed, and so it's probably best to treat it with care. Sure, the occasional light shower is no problem, but sand, dust, and heavy downpours could eventually prove the lens' undoing.

There's not a single button or switch on the lens, and as someone who regularly switches between manual and autofocus, I've missed having a direct control on the lens. I'd love to know Nikon's reasoning for omitting a MF / AF switch – surely it can't be a cost-saving exercise.

The only exterior controls are a generously-sized focus ring, plus a customizable control ring. The latter can be set to various functions, one of which is as a click-less aperture ring, which is a particularly handy control for filmmaking.

The minimum focus distance is 1.22ft / 0.37m, which results in a magnification ratio of 0.18x, which again is very similar to the Z 35mm lens. In real terms, you can easily fill the frame with close-up subjects like flowers, but this is no macro lens.

Autofocus is impressively quick and quiet. Pair this lens with the Z6 III, which boasts eye-detection autofocus and Nikon's best subject-detection autofocus performance, and you have a powerful tool for portraiture. Put simply, you can rely on this lens, mounted on one of Nikon's latest mirrorless cameras, to hit sharp focus where it matters most.

Autofocus is a refreshing and reliable experience when compared to shooting with my Nikon D800 and 50mm f/1.4 G AF-S lens, which I can't trust and; to be blunt, using it can be a little stressful, especially in pressure moments such as a portrait shoot or a wedding. I'm so glad that I upgraded from DSLR to mirrorless years ago, and it's lenses like the new Z 50mm f/1.4 that make the experience so enjoyable.

Nikon Z 50mm f/1.4: Performance

• Very sharp detail
• Handy wide aperture for shallow depth of field and low-light scenes
• Bokeh quality is just 'good'

Autofocus is quick and reliable with one of Nikon's latest mirrorless cameras, like the Z6 III, which is an excellent foundation for portraiture photography. Knowing that you're getting sharp focus on the eyes is one less thing to worry about, helping you relax into portrait shoots. But what is optical quality like beyond accurate focusing? Overall, it's just decent rather than spectacular.

Detail is very sharp. If you're shooting with the aperture set anywhere between f/2 and f/8 you can expect tack-sharp detail across the entire frame for subjects within the field of focus. Even at f/1.4 detail is very sharp, and this lens wipes the floor with the F-mount DSLR equivalent, the 50mm f//1.4G, which is much softer at f/1.4.

The optical construction, as with most 50mm lenses, is relatively basic. There are nine aperture blades for a rounded aperture, and bokeh is nice and round at f/1.4, especially when compared to the bokeh produced by the F-mount 50mm f/1.4G, which is more cat's-eye in shape in the corners of the frame. However, if you stop down the Z-mount lens to f/2.8 you'll see the more octagonal-like shaping.

It's the bokeh quality that could be a deal-breaker for professional portrait photographers, for whom the Z 50mm f/1.2 is the better choice, provided you can afford it (it's almost five times the costs of the f/1.4 lens). For everyone else, bokeh quality is fine.

If you look closely at images with the f/1.4 lens, the edging of bokeh 'balls' is a little pronounced, rather than them having a nice smooth fall-off. Thankfully there's little sign of aberrations in those edges, which would otherwise be impossible to fix at the click of a button. Only in the most extreme scenarios, like backlit water droplets (see above), will you see pronounced aberrations.

Vignetting – which is the light fall-off in the corners of images – is pretty standard. At f/1.4 it's clear to see, while those darker corners significantly brighten at f/2, and the effect is all but gone by f/4. Below you can see the same image shot at f/1.4, f/2, f/2.8, f/4 and f/5.6, so you can compare bokeh, aberrations, and vignetting.

Nikon Z 35mm f/1.4: sample images

Should you buy the Nikon Z 50mm f/1.4?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 50mm f/1.4

• Regular use over one month
• Paired with the Nikon Z6 III and Nikon Z6 II
• Like-for-like tests with the F-mount Nikon 50mm f/1.4 for DSLRs

Nikon loaned me the Z 50mm f/1.4 for a whole month, and it was my primary lens during this period. I've taken it on early morning photo walks, made portraits, and used it in a wide range of stills and video scenarios. It has tackled some tough tasks, such as shooting close-up photos of water droplets into the light.

All in-camera lens corrections were turned off, and I took all photos in raw and JPEG format to compare the results un-corrected and the processed results. As always, I took several series of an identical image, working down the aperture range (in this case f/1.4, f/1.8, f/2, f/2.8, f/4 and f/5.6) to see how sharpness and bokeh compares at the various settings.

I also dug out my old F-mount 50mm f/1.4 lens, which I've previously used with a Nikon D800 DSLR, and took like-for-like photos with it alongside the Z 50mm f/1.4 on the Nikon Z6 III (via an adaptor for the F-mount lens). The resolution of the full-frame cameras used for this test was 24MP. I avoided using the camera in heavy rain, but felt comfortable using it in cold and moderately wet weather.

• First reviewed October 2024

Nikon Z 35mm f/1.4: two-minute review

Fixed 35mm lenses, especially those with a fast aperture, are incredibly popular with visual storytellers. They're able to shoot clean images in high contrast and low light, provide decent close-focusing skills, and offer a moderately wide perspective that allows you to include your subject's surroundings as part of the story. These are true documentary lenses. 

In fact, when I lived in East Africa working for a non-profit as a photographer and writer, there was an 18-month period during which about 90% of the photos I took were with the excellent Sigma 35mm f/1.4 Art lens for DSLR cameras, a lens I still use today with my Nikon Z6 II mirrorless camera through the F-mount to Z-mount adapter. 

So I was really excited when Nikon finally announced a Z-mount 35mm lens, a lens that I expect to be one of the best-selling lenses for Nikon mirrorless cameras. Sadly, however, that doesn't mean the Z 35mm f/1.4 is one of Nikon's best lenses.

Sure, image quality is sharp across the entire image area, while autofocus is fast, quiet and reliable. However, I'm not seeing the sort of optical progress I'm used to when a manufacturer produces an mirrorless version of a DSLR lens.

We're getting the same sort of lens distortions as before, and I even prefer the bokeh in my stalwart Sigma 35mm f/1.4 Art lens, which is smoother compared to the Z 35mm f/1.4's fussy bokeh.

Still, Nikon's moderately wide fast-aperture prime does a lot of things well. It focuses much faster than my DSLR lens adapted to the Z6 II, and it's an entirely different offering to Canon's recent RF 35mm F1.4 which is bigger and much pricier.

Canon has opted for the pro route with its 35mm fast aperture lens, while Nikon has opted for the more attainable and affordable enthusiast route: this is not one of Nikon's pro 'S' lenses, meaning official weather sealing is off the table. 

Balance-wise, the Z 35mm f/1.4 is a perfect match with the new Nikon Z6 III, Nikon Z8, or even Nikon's entry-level full-frame camera, the Z5, and it's an all-round lens that I could see getting a heck of a lot of use if it lived in my gear bag; I just wish its build quality and bokeh characteristics were a little better.

Nikon Z 35mm f/1.4: Design

• Simple and compact design
• Handy customizable control ring
• Not officially weather sealed
• Minimum focus distance delivers decent close-focusing capabilities

There's not too much to run through with regards to the Nikon Z 35mm f/1.4's design because it's such a simple lens. The only exterior controls are a focus ring and a neat customizable control ring. What I like the most about the latter is that you can set it to be a click-less aperture ring, which is particularly handy for filmmaking. 

Otherwise, we don't even get a manual / autofocus switch. That's a shame for people like me who regularly switch between the two focusing methods, who must instead dig through an in-camera menus to make the change – an unnecessary time sink. 

What I do like is the form factor of the lens. It's impressively compact and lightweight at just 14.7oz / 415g, and an ideal pairing for extended periods out in the field with Nikon's mid-range mirrorless models like the Z6 II.

The size, if not the weight, is very similar to the heavier Sigma 35mm f/1.4 lens, although for DSLR lenses you also need Nikon's DSLR to mirrorless adaptor – you can see how the lenses compare in the product photos below.

Sadly, the Z 35mm f/1.4 isn't officially weather sealed, which is probably a deal-breaker for pros working in demanding conditions. I felt the build quality was fine during testing, and had no qualms exposing the lens to light rain, but I'd think twice about packing it in the bag for a couple of weeks in the desert. At one point I found myself taking my super soaker-touting child to task when she got me, and the lens, wet in the garden – I'm otherwise a good sport.

These moderate-wide-angle lenses historically focus impressively closely, meaning you can capture the finer details as well as your subject and their surroundings; after all, there are stories to be found in the micro and macro. We get a minimum focus distance of 0.89ft / 0.27m, which delivers a maximum magnification ratio of 0.18x. For reference, a 'true-macro' lens has a magnification ratio of 1x or more. 

What impressed me most about the design of the Z 35mm f/1.4, when compared to my 10-year-old Sigma equivalent, is the speed and accuracy of its autofocus performance. 

Where the Sigma lens through an adaptor was hunting, the new Nikon lens quickly and quietly latched onto my subject. Where the Sigma had front-focusing issues, even with the Z6 II's eye-detection autofocus in play, the Nikon Z 35mm was getting focus bang on the eye every time. 

It's the direct compatibility with a Nikon mirrorless camera and the autofocus performance that would most tempt me to trade in my old Sigma DSLR lens, and one of the key reasons I'm so glad that I upgraded from DSLR to mirrorless years ago. 

Nikon Z 35mm f/1.4: Performance

• Optically sharp edge-to-edge
• Wide aperture is handy for shooting in low light and for shallow depth of field
• Bokeh could be better

I'll start this performance section by re-emphasizing that autofocus speed and reliability are excellent, delivering accurate focusing on the eyes in portraits. The same couldn't be said in my tests when using an adapted Sigma lens for DSLRs; and I'll take accurate focusing over outright optical quality. 

That said, the optical quality from the Z 35mm f/1.4 is very good. Looking closely at an image of pebbles at f/5.6, I can see that detail is very sharp across the entire frame – there's virtually no drop-off in the corners, which is impressive. 

There's the usual vignetting that I would expect from a wide-aperture lens like this. Light fall-off in the corners is very evident at f/1.4, those corners brighten up a lot at f/2, and somewhere between f/4 and f/5.6 vignetting is all but gone. Check out the series of sample images below, taken at full aperture stops. 

Bokeh, however, is a mixed bag. If you're particularly close to your subject and shooting wide open at f/1.4, you can get circular bokeh 'balls' in out-of-focus light sources, such as dappled light through tree leaves. There are only moderate signs of cat's-eye bokeh in the corners – I've found the effect much more severe in pricier lenses. (I don't mind the cat's-eye shape, but some people get very picky about it.)

The big strike for me regarding bokeh is the fringing you get around those bokeh balls. Instead of the buttery-smooth edges like I was getting with my 10-year-old Sigma, edges are harsher, with green and magenta fringing. It's only obvious when you're looking really closely, but it is there (see the close-ups of a portrait, below). 

That being said, I did turn off all in-camera lens corrections for this test (something I always do), and there are aforementioned distortions that would be somewhat improved by activating those corrections. 

Also, I don't use a 35mm f/1.4 lens primarily for its bokeh quality. I use it for telling stories in scenarios with both good light and bad, for which the maximum f/1.4 aperture is a godsend. I regularly make use of the maximum aperture, and would absolutely pay the premium over cheaper f/1.8, f/2, f/2.8 alternatives to get a f/1.4 lens. 

Nikon Z 35mm f/1.4: sample images

Should you buy the Nikon Z 35mm f/1.4?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 35mm f/1.4

• Regular use over the course of several weeks
• Paired with the Nikon Z6 II
• Like-for-like tests with the Sigma 35mm F1.4 DG Art

Nikon loaned me the Z 35mm f/1.4 for a few weeks, during which time I documented everyday life and took it on an extended summer vacation. I used it in both fair and inclement weather (though I felt I needed to protect it somewhat during downpours given it's not officially weather sealed), and both in bright light and during the 'blue hour'.

The Z 35mm f/1.4 was been attached to my Nikon Z6 II, which is a 24MP full-frame mirrorless camera. I've not used the lens with a higher-resolution camera like the 45MP Nikon Z8, and I therefore can't comment on whether it's able to resolve detail from such cameras. 

I've made several series of the same images, working down the aperture range at full stops to compare how image quality stacks up at the various settings. I also took the chance to compare the lens with my 10-year-old Sigma 35mm F1.4 Art, taking like-for-like shots.

All in-camera lens corrections were turned off throughout my testing. 

• First reviewed August 2024

Nikon Z6 III: two-minute review

Sitting at the more affordable end of Nikon’s range of full-frame models, the Z6 III is designed to be an all-rounder, which can tackle a variety of subjects, whether that’s for photo or video. 

What makes it more affordable is its 24.5MP sensor, which is just shy of half that of other pricier models in the line-up, including the Z7 II, the Z8 and the Z9. However, it's an exciting new “partially stacked” sensor, which unleashes ultra fast shooting speeds available, making this a real powerhouse when it comes to sports and action - and marking a major improvement on its predecessor, the Z6 II. 

There’s up to an incredible 120fps shooting available - with some big caveats - but up to 20fps at full resolution in raw with full AF/AE. In practice, this turns out to be more than you’ll need for most types of action and returns a fantastic hit rate where almost every shot is in focus thanks to the superb autofocusing system which has been brought over from the Z8 and Z9 cameras.

For video, there’s now 6K up to 60fps available, as well as 4K at a range of frame rates up to 120fps. Being able to create oversampled video at 4K thanks to its 6K shooting ability will be appealing to lots of content creators, and gives you scope to get more shooting angles from whatever lenses you have.

In terms of body design and layout, much has stayed the same or similar since the Z6 II, however the III is now toting a fully articulating screen, making it far more suited to video work than ever before. 

We’ve also got a brand new viewfinder and it's Nikon's best yet, with a 5,760k-dot resolution and an ultra-wide color gamut, plus a 60fps refresh rate. These specs all combine to make the Z6 III’s viewfinder one of the best experiences on the market. 

Image quality doesn’t show a revolutionary improvement from the Z6 II, which is pretty much as we’d expect. However, it's easier to get the shots you want thanks to improved autofocus and burst shooting performance, so while individual shots might not be an improvement in terms of things like dynamic range, color and detail, the fact that you can get more shots in focus is what makes the big difference. Video quality is also great. 

When it comes to pricing, the Z6 III is more affordable than the Z8 and Z9, but you will be paying a premium for how much better it is than the Z6 II, especially considering that camera is now on sale since the Z6 III was announced. In fact, you’ll also be paying a premium right now over the high-resolution Z7 II. Between those two cameras, it’s up to you to decide whether you want high resolution at the expense of speed, or the other way around. 

If you mainly shoot landscapes and other still subjects, the Z7 II might be the better choice, but if you ever shoot anything moving - or at least think you might - then the Z6 III is a much better choice.

Nikon Z6 III: release date and price

• Body only price is $2,496 / £2,699 / AU$4499
• Available now

The Z6 series has always been on the more affordable end of Nikon’s pro-spec line-up. Although it’s higher in value than the Z5 series, it’s generally cheaper than the Z7, Z8 or Z9 cameras. That said, the feature-packed Z6 III will set you back more than its predecessor did at launch by around 25%, and with the Z6 II on sale, the Z6 III is £1000/$1000 more expensive for the body only version at the time of this review. Right now, the Z6 II feels like a comparative bargain, especially if you can live without some of the Z6 III's improved autofocusing and burst rates. 

The Z6 III is also currently more expensive than the Z7 II, so if you need higher resolution, you might opt for that model instead - again though, you’ll be missing out on things like fast shooting. If Nikon hasn't given up on the Z7 series, we could see a speedier Z7 III, but that would be treading a little too close to the Z8 and we think a new Z7 model is unlikely. 

Perhaps the best thing to compare the Z6 III within Nikon’s own line-up is the Z8, with which it shares similar focusing capabilities. Here you’ll need to fork out an additional £600, and use a larger and heavier camera - but you do get higher resolution.

In the end, it likely comes down to speed vs resolution. If you need speed, go for the Z6 III, if you need resolution, the Z7 II or the Z8 if you can stretch to that is the best choice. 

What about compared to other brands? Well, the Z6 III is significantly more expensive than its current main competitors, the Canon EOS R6 II, or the Sony A7 IV - both models which are also ripe for an upgrade. Although more expensive, you will get more for your money from the Z6 III, so if you’re particularly after some of its impressive features, then it’s likely to be worth the extra expense.

• Price score: 4/5

Nikon Z6 III: design and handling

• New vari-angle touchscreen
• Super high-res EVF 
• Chunkier grip
• New additional battery grip

If you’re looking for a fast Nikon, then you might have had your head turned by the Nikon Z8 or even the Nikon Z9, but then been quickly put off by the size of either of those models. The Z6 III is a a much more easy-to-manage size than either the Z8 or the Z9, although it's little heavier than its predecessor (760g vs 705g body only) – that's mostly down to the chunkier hand grip which I'm all for because it gives a secure hold. 

Layout and button placement remains largely unchanged from the Z6 II, with a mode dial to the left of the viewfinder, plus all of your regularly used buttons and dials on the right hand side. A relatively minor tweak, but one which makes a decent bit of difference, is the drive mode and playback buttons have been swapped over. This means you can hit playback with your right thumb, rather than having to bring in your left hand to quickly scroll through the images you’ve just taken. I find this particularly handy when I’m shooting and want to have a quick check in the viewfinder that whatever I’ve just photographed is in focus - then I can have another go if something hasn’t come out quite right.

Overall, the Z6 III is a fairly intuitive camera to use with everything pretty much where you’d like it to be. A useful joystick can be employed to move the AF point around, an "i" button houses a host of quick settings, and the rear and front dials work in tandem to control shutter speed and aperture.

Elsewhere, a pretty big difference compared with the old Z6 II is the new screen, which is now a fully articulated device designed to appeal to the video crowd. It’s also useful for shooting things like selfies, or anything awkwardly positioned that you want to frame vertically. Previously, we had a tilting display, which personally I prefer for stills, but I can see why articulating made more sense in this all-rounder model. The size and resolution of the screen, at 3.2”/2100k-dots remains the same as in the Z6 II.

The EVF has also had a bit of a glow-up. While the previous 3,690k-dot resolution EVF of the Z6 II was by no means bad to use, once you look through the 5,670k-dot device found on the Z6 III, you might find the Z6 II's viewfinder has been well and truly ruined for you. Not only is the Z6 III's high in resolution, it has also got an ultra-wide color gamut (DCI-P3, the first time this has been used in a mirrorless camera), and a fast 60fps refresh rate for a smooth display even shooting at high frame rates.

As with the Z6 II, we’ve got dual memory card slots. One is for CFExpress B, and is also compatible with the older XQD format. Another is the more widely used SD format with support for the faster UHS-II version, which is good news for anyone who doesn’t necessarily want to fork out on expensive memory cards to use this camera. 

If you want extra battery power, or better handling when shooting vertically, there’s an optional MB-N14 battery grip you can also buy. If you’ve already got an older battery grip, it’s a bit annoying that the old MB-N11 or MB-N12 battery grips from previous Z series models aren’t compatible here, though. On the plus side, the MB-N14 is compatible with both the newer and older models, so if you’re toting a multi-device setup, you can at least swap between the two.

• Design score: 4.5/5

Nikon Z6 III: features and performance

• Up to 120fps shooting with Pre-Release Capture
• World’s first partially-stacked 24.5MP sensor
• 8-stops in-camera image stabilization 
• 3D tracking and subject detection focus, plus focusing down to -10EV 
• 6K video up to 60fps
• New Nikon Imaging Cloud service 

The Z6 series has always been Nikon’s “all-rounder”, with a lower resolution sensor than the likes of the Z7 and the Z8/Z9, at a more attractive price and more-rounded feature set. 

With the Z6 III, you really do get an incredibly versatile piece of kit that's markedly more powerful for landscapes to sports and action, as well as meeting video and content creators needs too. 

Although resolution has stayed on the “low” side at 24.5MP (only by comparison with the super high-resolutions we’ve become a little bit spoiled by), we now have what’s known as a “partially-stacked” sensor which has been designed to be fast, without quite such a high-cost as we’d expect from a fully-stacked sensor found in the Z8 or Z9 camera. It’s also got the same EXPEED 7 processor as found in the Z8 and Z9.

So, while the Z6 III's sensor is still not quite as speedy as the Z8/Z9, it’s still 3.5x quicker than that found in the Z6 II, and what’s more, it’s better equipped to deal with rolling shutter distortion that you might expect to see when recording moving subjects.

As a result, we get up to a ludicrously fast 120fps shooting available - though you will have to shoot DX (APS-C) format JPEGs which end up at only 10MP. You do get full AF/AE while recording though. 

For full-frame shooting, up to 60fps is available (JPEG only), which should still be more than you really need for most types of moving subject. As if that wasn’t enough, there’s also pre-release capture which will start recording frames before you’ve even fully engaged the shutter button - super handy if you’re not sure exactly when a piece of action is about to begin. If you want RAWs to go along with JPEGs, you can shoot at 20fps with the electronic shutter.

Having super-fast frame rates is no good without a great AF system to go with it and there's good news there too. You get the latest autofocusing system available from Nikon, as seen in the Z8 and Z9, to give you 3D tracking and subject-detection options including humans, animals and a range of vehicles. 

It’s got to the point now where I’ve stopped using single-point AF, and leave it on automatic subject recognition and let the camera decide for me at least half of the time. If I’m photographing anything that is likely to move around the frame, such as my baby or my dog, then it just makes sense to let the tracking do what it does best and keep up with them. 

Also new is the ability to focus down to -10EV, making it superb at locking onto the subject in low-light too. There’s no messing about here.

Image stabilization has also been given a boost, with the Z6 III benefiting from the same 8-stop system as seen in the Nikon Zf. This 8-stops is measured using the 24-120mm f/4S that I’ve been using myself during this review. I’ve found that I can happily shoot with the telephoto end of this lens, at a fairly narrow aperture, in less than perfect lighting conditions and still get sharp shots almost all of the time, and the same is true of using longer lenses too. 

Content creators who crave decent video specs should find a lot to like about the Z6 III too, with this being a real hybrid shooter. There’s 6K recording and a variety of different frame rates, plus the ability to shoot at different bit rates and codecs including Nikon’s N-raw, Pro Res Raw HQ, ProRes 422HQ / H.265, H.264 codecs in 12-bit raw, and 10-bit log recording. 

OK, so there’s no 8K available, but 6K gives you lots of flexibility to crop in and produce oversampled 4K video, which is the quality most people require right now. Other functions here include 240p slow-motion, up to 120 minutes of record time, and the ability to use an external mic as a line-level input for recording sound directly in camera as you go. Having the screen now articulating means that those who want to record pieces to camera can do so easily, too.

It’s worth mentioning Nikon’s new Imaging Cloud service here. This is an instant backup and transfer service that will store your images for free for up to 30 days after they’re first transferred. It’s a neat way to back up your images on the fly, and only requires setting up the service once. Then, so long as you can connect freely to a WiFi network you can use it easily - although it's worth noting that if you need to login via a web browser it won’t work, which could be a problem in public locations such as cafes and hotels. 

As part of Nikon's new cloud service, you also get color-profile image recipes which can be transferred to the camera, as well as firmware updates that can be transmitted and either installed automatically or manually. For now, this is only available for the Z6 III, but it is due to come to other Nikon models at a later date. 

• Features and performance score: 5/5

Nikon Z6 III: image and video quality

• Similar performance to Nikon Zf 
• Great detail and and sharpness 
• Good colors and dynamic range 
• Excellent video results

Although there will always be those who are drawn to very high resolution cameras, models such as the Z6 III show that you don’t necessarily need all those megapixels to still get excellent shots - and there’s actually plenty of benefits to sticking on the low side too.

Pair the Z6 III with excellent Nikon Z glass and you'll find that you’ve got some incredibly sharp images, and while you don’t have the kind of fine-grain detail you’d expect from the likes of the Z7 II, the Z8 or the Z9, for most ordinary all-rounders, you’ve got plenty to be getting on with here. 

That said, with the lower pixel count, shooting in DX (APS-C) crop mode leaves you with only 10MP, which is a bit less usable than you would get from the same setup with Nikon's 45MP cameras. If this is something you think you’ll find yourself doing frequently, you might want to consider whether it’s worth paying the extra cash for the Z8. 

That said, it really does depend on what you intend to do with your images. I’ve taken some impressively sharp images of my dog using the 120fps DX-crop mode, which are - as you might imagine - more than fine to share on social media, or print at what you might call “normal” sizes (A3 or below).

There have been some reports that the new partially stacked sensor found inside the Z6 III performs worse for dynamic range than the predecessor, the Z6 II, in lab tests. While that may be true, it’s not something I can say I’ve noticed in my real-world shots, and I’ve actually found the colors and dynamic range to be excellent. 

Most of the time the “Auto” Picture Style results in colors which are a decent blend of vibrant and realistic - if you're shooting in raw you’ve got plenty of scope to adjust colors exactly how you want after the fact, too. Nikon’s Active D-Lighting does a great job of producing well-balanced exposures that require minimal post-production tweaking too, with good detail in the shadows and keeping blown-out highlights under control. Similarly, automatic white balance generally produces accurate results in a variety of situations.

It’s often the case that lower resolution sensors perform better in low light situations, so if that’s something you do quite a bit of, the Z6 III could be a good choice. I’ve found it to produce very clean images in low light situations, with even very high ISO shots (such as ISO 64000) resulting in a high-detail, low noise JPEG. There’s more noise in the corresponding raw file, which gives you the option to tweak noise-reduction settings as you see fit.

Overall, image quality here is pretty similar to the Nikon Zf, which also has a 24.5MP sensor, as well as the Z6 II. There was never really an issue with the quality of the final image from the Z6 II, but it was undeniably more difficult to get what you desired if you were shooting fast-moving subjects - in short the new sensor and focusing system makes the journey to a great picture far more achievable.

4K video sample

6K video sample

Video quality is just as great as picture quality, with plenty of detail and very little in the way of rolling shutter effect, thanks to the new sensor. You don’t have 8K video here, but the 6K option is excellent, as is the oversampled 4K. The internal mic is fine for clips on the fly, coping relatively well with some background noise. Of course, serious content creators will likely invest in external audio kit. Either way, there’s really a lot for hybrid content creators to get their teeth into here. 

• Image quality score: 5/5

Nikon Z6 III: testing scorecard

Should I buy the Nikon Z6 III?

Buy it if...

Don't buy it if...

Nikon Z6 III: also consider

How I tested the Nikon Z6 III

• Three week-review period 
• Paired with 24-120mm f/4, 50mm f/1.8, 14-28mm f/2.8 and 70-180mm f/2.8 lenses

I’ve had three weeks with the Nikon Z6 III, having previously used all of Nikon’s Z series since the format was first introduced in 2018.

During my two weeks with the Z6 III, I have tried it in a number of different shooting situations. I’ve photographed landscapes and interiors to get a feel for general image quality. I photographed my dog in action to give fast shooting and AF capability a good test run, as well as photographing birds to check that the Eye AF works across different species. I also photographed my daughter in a number of different situations to get a feel for how portraiture feels with the Z6 III. 

I have been using the Z6 III with four different lenses. The 24-120mm f/4 lens was chosen for its versatility and used most frequently. It was joined by the 70-180mm f/2.8 lens for action and (fairly close) wildlife, as well as portraits, the 14-28mm f/2.8 for interiors and landscapes and the 50mm f/1.8 for portraits, street and candid shots.

First reviewed July 2024

Voigtländer Nokton D35mm f/1.2: two-minute review

I've bemoaned the fact that Nikon's gorgeous new retro cameras, the Zf and Z fc, lack any lenses that equally pack the old-school appeal. However, it turns out that you won't need to make do with modern-style mirrorless lenses, or resort to adapting Nikon's old SLR lenses with old-school quality, because there's another name in today's retro game: Voigtländer. 

I first saw the old-time German lens maker's Voigtländer D35mm f/1.2 Nokton lens at the CP+ expo in Yokohama, Japan. It was mounted on a Nikon Z fc and the pairing offered up a true blast from the past.

Made in Japan, the lens might look like it's from the 1980's, but it is in fact a Z-mount lens for today's latest Nikon mirrorless cameras, and is around two years old now.

The super-brief amount of time spent with the retro stunner at CP+ left me wanting more, and I just had to get my hands on it again for a much longer play. Thanks to the good folks at Flaghead Photographic, that became a reality and now I've completed this long-term review. 

Voigtländer's lens has won over both me, and my camera enthusiast father who first introduced me to Nikon SLR cameras back when I was a teen. Mounted to a Nikon Z fc, the gear has taken us back to simpler times, all while offering Nikon's superb mirrorless tech for 2024. If you already own a Z fc or are considering one, then Voigtländer's lens should be your next lens to go with it.

Voigtländer Nokton D 35mm f/1.2: Design

• Made in Japan
• Meaningful attention to retro details
• Manual focus only

The Voigtländer Nokton D 35mm f/1.2 is an APS-C lens with approximate 53mm full-frame equivalent focal length. It's also available for Fujifilm X-mount and Sony E-mount, with each version being considerately designed to match each brand's style. For me, the Nikon Z-mount version is easily the pick of the bunch.  

It's a manual focus-only lens decked with a ridged focus ring, focus distance markings, plus an aperture ring with colorful aperture markings. The focus ring has a smooth rotation, while the aperture ring is clicked. All of these details are crucial; they're faithful recreations of Nikon's old-school design.

If you're already fond of Nikon's SLR lenses from decades past, then it will be love at first sight, love at first hold and love at first use. This is the real retro deal, with the design touches alone enough to elevate Voigtländer's lens to the top of Z fc owners' wish list.

Speaking of the Nikon Z fc, it has shutter speed and ISO exposure dials (see above); but, currently, not a single Nikon Z-mount mirrorless lens has an aperture ring. With the Voigtländer lens you now get aperture control, meaning the manual exposure triangle of ISO, shutter speed and aperture is complete. 

Build quality is solid. The lens mount is made of metal, although it isn't rubber-sealed nor weather-resistant. However, you're afforded the modern convenience of electronic contacts, meaning all metadata is logged in your files for easy reference, including camera settings such as aperture, plus the date created. 

You're primarily buying the Voigtländer Nokton D 35mm f/1.2 because of how it looks and feels, rather than its ease of use – it's a manual focus lens, after all – and, honestly, that will be enough for most people. But what of the images it can produce? 

Voigtländer Nokton D 35mm f/1.2: Performance

• True sharpness kicks in at f/2 to f/8
• Characterful bokeh 
• Manual focusing can be challenging when depth of field is shallow

Technically, you can use the Voigtländer Nokton D 35mm f/1.2 lens with a full-frame camera such as the Z f, but because it's an APS-C lens, you won't be making the most of the lens' image circle; the camera will automatically crop 1.5x because of vignetting, creating a field of view that's approximate to an 80mm lens.

With an APS-C camera, you have an every-day lens that's especially good for portrait photography, provided you get the hang of manual focus, which is pretty tough at such shallow depths of field. Without Nikon's subject detection autofocus at your disposal, you won't get as many critically sharp photos, no matter how long you hone focus nor how still your subject.

There's 12 aperture blades to create a smooth and rounded bokeh, especially when wide open at f/1.2. I've included various sample images that illustrate bokeh, sharpness and distortions, turning all in-camera lens corrections off (although there's no real reason to do that). The images below are taken in sequence at f/1.2, f/1.8, f/2.8, f/4 and f/5.6. 

Bokeh is cats-eye in shape in the corners; I don't mind that over the sought-after circular bokeh. And in some images the out-of-focus backgrounds have a surreal quality to them – for instance, the photo of the goat with the ground behind it in the general gallery below.

The f/1.2 maximum aperture is faster than any one of Nikon's lenses in this sensor format, giving you excellent low light and shallow depth of field potential. However, to begin seeing the lens' technical quality, you'll need to stop the aperture down to around f/2 for sharper detail and better control over lens distortions such as vignetting.

You're then in a quandry – for many users, the draw for the lens' images will be the fast f/1.2 aperture, where you can get dreamy bokeh, provided your subject in focus is close enough. I've included an out-of-focus shot to show what the bokeh could look like, but the other shot in focus is more realistic based on portraits you're likely to take.

Bang for buck, I'd say that image quality is good – and the primary reason for knocking a mark off the lens' score, while its undisputed design scores top marks.

There are technically better lenses available, but none can compare to the feeling you get with the Voigtländer. It has certain characteristics that you come to know and grow to love.

If you own a Nikon Z fc because you fell for its charm, then the Voigtländer Nokton D35mm f/1.2 should be the next lens on your shopping list, even if it's a fraction on the pricey side. 

Voigtländer Nokton D35mm f/1.2: sample images

Should you buy the Voigtländer Nokton D35mm f/1.2?

Buy it if...

Don't buy it if...

How I tested the Voigtländer Nokton D35mm f/1.2

• Regular use for over a month
• All kinds of photos, including portraits
• Used mainly in fair weather, plus day and night

I've had the Voigtländer Nokton D35mm f/1.2 and Nikon Z fc on long-term loan for this review. The gear has accompanied me on many days out, during walks, documenting family life, capturing portraits – in essence, a walk around lens. 

I've taken the same photos at all aperture settings to check lens sharpness and distortion, and paid much attention to the experience around portrait photography. The lens isn't weather-sealed and so, in general, I've guarded it well – although it has experienced light rain on the odd occasion.

• First reviewed May 2024

Nikon Z 28-400mm f/4-8 VR: Two-minute review

As photographers and videographers, sometimes we just want to pack one lens that can do it all, but this comes with a few drawbacks. Typically, the broader the focal range and faster the maximum aperture, the bigger, heavier and ultimately more expensive the lens. The good news for Nikon shooters is that the Nikkor Z 28-400mm f/4-8 VR lens – which the manufacturer refers to as its ‘superzoom’ – is the lightest full-frame lens in its maker’s line-up while offering a maximum focal length of 400mm. As well as being useful for bringing the faraway closer, the telephoto end is also well suited to portraiture, for when we want to attractively throw the background out of focus and achieve attractive bokeh, while keeping our subject pin-sharp. 

With a minimum focus distance of 0.2m at its widest setting allowing for reasonable close-ups of flora and fauna, and a still-useful 1.2m at the telephoto end, those shooting handheld in more demanding lighting conditions are aided by Nikon’s built-in Vibration Reduction image stabilization, here providing equivalent to up to five stops. This is boosted to 5.5 stops when the lens is used with a Nikon camera, such as the Z f, that has a Synchro VR feature. This allows for image-stabilized camera bodies and image-stabilized lenses to work in tandem – an automatic process if the user has already activated it, the result being less pronounced blur caused by camera shake. For the record, other Nikon camera bodies with this feature aside from the Z f include its flagship Z 8 and Z 9 mirrorless models.

At its widest 28mm setting this lens also proves perfectly suited for landscape and travel photography – it’s wide, without being so wide as to cause fisheye or barrel-like distortion – while nudge a bit further up the zoom range and it’s great for street photography and people watching. In short, yes, this is a single lens that can do it all.

It’s a contender for one of the best Nikon Z lenses, and of course you’ll need one of the best mirrorless cameras from Nikon to pair it with. I used the impressive retro-styled Nikon Z f for the duration of my test, which felt like something of a perfect marriage, in that the camera body and lens are almost identical in weight, so the combination doesn’t feel too ‘front-heavy’ in the hand.

Nikon Z 28-400mm f/4-8 VR: price and availability

• Costs $1,299.95 / £1,399 / AU$2,199
• Available to buy now
• Lens hood is supplied

The Nikkor Z 28-400mm f/4-8 VR was announced on March 26 2024, and costs $1,299.95 / £1,399 / AU$2,199

While it’s not a cheap lens, having spent some time shooting with it the price feels fair (and it’s much better value for Nikon users in the US than in the UK).  That’s not just because of build quality and performance, but because it’s basically capable of replacing a whole bag full of prime lenses that would otherwise be necessary to cover anything approaching the broad focal range on offer here. 

On top of that, most of us don’t want to kart a lens the size and weight of a dedicated 400mm around with us for day-to-day shooting, on the off-chance that we might actually need it – even if Nikon claims its Nikkor Z 400mm f/4.5 VR S is the lightest lens in its class at 2.75lb / 1,245g. Similarly, at the other end of the scale, a 28mm focal length might not be quite what we always have in mind for the treatment of a particular subject.

A possible alternative to the Nikkor Z 28-400mm f/4-8 VR is the Nikkor Z 24-200mm f/4-6.3 VR if you’re after a catch-all zoom for this specific mount. It starts out wider and only has half the reach of the 28-400mm, but it’s also less expensive at around $899.95 / £899 / AU$1,599.

Nikon Z 28-400mm f/4-8 VR: design

• 14.2x optical zoom
• Extending barrel
• Rubber-sealed and weather resistant

We get the equivalent of a generous 14.2x optical zoom, with common focal distances/framing options marked in millimeters at regular intervals on the barrel itself. Just behind these sits a control ring with a rougher feel and which is assigned to manual focus by default, although it can be assigned to adjust aperture, exposure compensation, or ISO. When set to manual focus, twisting the ring will momentarily override autofocus. 

The focus markings on the lens barrel start out at the maximum 28mm, progressing through 35mm, 50mm, 70mm, 105mm, 200mm and 300mm before arriving at 400mm. At this point the almost comically fully extended lens barrel resembles a child’s kaleidoscope, and not just the look but also the feel of this lens reminded me of a ‘super-zoom’ bridge camera like the Nikon Coolpix P1000. The lens’s ridged rubberized surface enables a nice firm grip when holding or rotating the barrel to cycle through its broad focal range.

The design of the Nikkor Z 28-400mm f/4-8 VR is further practical in offering a degree of weather resistance, with Nikon helpfully providing sealing around the mount and its moving parts. I was testing the camera in the UK in April, a month that’s prone to sudden rain showers, and while I made sure that neither the lens nor the camera got too wet, a light drizzle didn’t stop me from continuing to shoot.

A lens hood is included to prevent instances of possible flare in brighter conditions, and this can be ‘worn’ in reverse/inverted on the lens for easier transportation without affecting lens use. There’s also a lens lock to prevent the barrel from being accidentally nudged and extending as you’re walking around with it, although I didn’t often feel the need to engage this.

Nikon Z 28-400mm f/4-8 VR: Performance

• Only 1.6lbs / 725g
• Balances well with Nikon's smaller Z-mount cameras
• Speedy autofocus

This lens is as much about portability and practicality as it is about performance, and Nikon has attempted to balance these attributes without too much obvious compromise. A good start is that the lens weighs a manageable 1.6lb / 725g, which makes it fairly evenly balanced when twinned with a body such as the 1.57lb / 710g Nikon Z f I tested it on. The pairing makes for a very solid and sturdy combination that gave me confidence from the off. I carried the camera with lens affixed around for the day without experiencing neck or shoulder ache, although it’s probably at the limit of what I’d feel comfortable traveling with or taking on holiday.

The beauty of this lens’s multi-purpose nature is that if you suddenly come across practically any image opportunity when out and about, you have the tool in your hands to be able to capture that image. Autofocus is both rapid and accurate, and unless there’s busy foreground detail getting in the way you have a high likelihood of achieving the shot you want, which is worth its weight in gold, creatively.

While to my eye results at maximum telephoto weren’t always quite as razor-sharp as from a dedicated 400mm prime lens married to a full frame sensor – and I occasionally got some slight image blur at maximum telephoto when shooting handheld – that’s to be expected. On the whole, I was more than satisfied, and I reckon that all but the most demanding of enthusiasts and amateurs will find detail both plentiful and sufficient for their needs.

Generally speaking, images are consistently sharp across the frame, whether shooting at maximum wide-angle, extreme telephoto, or pretty much any point in between. Where I occasionally got a softer frame, this was often down to the fact that I was shooting handheld, and simply reframing an image and trying again with my palm wide open and supporting the lens barrel yielded a sharper result. Throughout my test period I kept Vibration Reduction active.

While a lot of zoom lenses have photographers wishing for just that bit more poke at the telephoto end to get them that bit closer, I found the Nikkor’s 400mm maximum setting useful and versatile. For those who prefer shooting with autofocus, I’m pleased to report that the lens’s stepping motor is as quiet as Nikon claims – imperceptibly quiet in fact. I was able to take several shots of a nearby robin perching on a tree branch at eye-level without startling it.

Nikon Z 28-400mm f/4-8 VR: sample images

Should I buy the Nikon Z 28-400mm f/4-8 VR?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 28-400mm f/4-8 VR

• A mixture of landscape, wildlife and portrait photography
• Used in changeable weather

Nikon pitching the Nikkor Z 28-400mm f/4-8 VR as a jack-of-all trades option, I tested it in a variety of shooting scenarios, and the lens generally proved to be a capable performer. Landscapes, wildlife, portraits – we shot them all, with consistently pleasing results. I was ‘blessed’ with changeable weather conditions during my testing period, allowing me to put it through its paces in less than ideal light, and it coped ably with a variety of conditions.

Smart telescopes are all the rage in the stargazing world, and they're probably the future of astrophotography. Now Unistellar has cemented its position in this field with the dual launch of the Odyssey and Odyssey Pro at CES 2024. 

They're strikingly similar to the Celestron smart telescope that was also announced at CES, and what’s neat about Unistellar’s Odyssey and Odyssey Pro is that they're controlled remotely using a newly developed Unistellar app. 

From the comfort of your sofa you can view what your Odyssey telescope sees on your smart device, and control which part of the night sky it's aimed at, using the telescope’s ‘autonomous field detection technology’, which Odyssey also calls a ‘smart star finder’. 

The makers say the new GPS-equipped smart telescopes can “autonomously point towards and track any desired celestial object from the moment they are turned on, so you can be admiring outer space in just a couple of minutes.“ In short, it’s stargazing made easy.

Unistellar innovation meets Nikon optics

Unistellar is a familiar name in the astrophotography world – it launched the Unistellar eQuinox 2 at last year’s CES, and also makes the mighty eVscope 2 (yours for $4,999 / £3,999 / about AU$6,500). This year’s models are much smaller and lighter and have a wider appeal, thanks in part to what Unistellar calls ‘Multi-Depth Technology’, which enables you to instantly switch between viewing nearby planets and faraway galaxies and nebulae.

You can easily choose what to look at via the Unistellar app for iOS and Android, with handy info about each of the 5000-plus planets and nebulae in the app database for newbies and enthusiasts to absorb, too.

Nikon has brought its lens making expertise to the table in these new smart telescopes too, designing the high-precision autofocus optics used in both models, and the electronic eyepiece found in the Pro model only – ideal for those who prefer to get hands on with their telescope. On the technical front, both models have a field of view of 34 x 45 arcmin, an 85mm mirror diameter and a 320mm focal length. There's more info on the Unistellar website.

At 4kg, the Odyssey and Odyssey Pro are much lighter than Unistellar’s previous offerings in the Expert range, and come supplied with a sturdy tripod, although their five-hour battery life doesn’t compare. Both models are available from the Unistellar website or camera retailers – the Odyssey will set you back $2,499 / £2,199 (about AU$3,750) while the pricier Odyssey Pro costs $3,999 / £3,499 (about AU$6,000). That’ll count out most people, but Unistellar has nonetheless transformed the experience of getting lost among the stars.

We’re covering all of the latest CES news from the show as it happens. Stick with us for the big stories on everything from 8K TVs and foldable displays to new phones, laptops, smart home gadgets, and the latest in AI.

And don’t forget to follow us on TikTok for the latest from the CES show floor!

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The Nikon Zf is one of the most exciting cameras we're hoping to see this year, but the first leaked images of the retro full-frame wonder suggest it could divide opinion among fans. 

Nikon Rumors has shared three photos of the incoming camera, which is expected to be a full-frame version of the Nikon Z fc, plus the video below. And they show a camera that looks very similar to the hobbyist-friendly Z fc, rather than the more pro-focused powerhouse some have been hoping for.

The camera's close resemblance to the Z fc should bring one benefit for travel photographers – the Zf will, based on the leaked images, likely be Nikon's smallest full-frame camera and also potentially cheaper than the Nikon Z6 II (which launched for $2,000 / £1,999 / AU$3,399 in 2020).

The only minor differences from the Z fc appear to be a slightly bigger grip (if one that's nowhere near as deep as the one on its Z6 and Z7 range) and a new 'B&W' option in the mode dial. The larger viewfinder also suggests that the Zf could also have an improved electronic viewfinder, which would be nigh-on essential for a full-frame camera.   

It doesn't look like the Nikon Zf will have a top-plate LCD for checking settings, and some other disappointments for pro shooters could be the apparent lack of an autofocus joystick or an AF-On button for back-button focusing (a technique often used by action and wildlife photographers).

Still, earlier rumors suggest that the Nikon Zf's biggest upgrades over the Z fc will be internal ones. It's expected to have in-body image stabilization (which appears to be present on the rear screen of Nikon Rumors' leaked images), two memory card slots (an improvement on the Z fc's single slot), and autofocus performance that ranks alongside the Nikon Z5 and Nikon Z6 II.

With a 24.4MP BSI full-frame sensor, improved build quality and Nikon's first high-res Pixel Shift mode also rumored, the Nikon Zf still definitely sounds like a promising option for keen amateurs. If not a primary camera for pro shooters looking for a retro-flavored Nikon Z8.

Analysis: More of a retro Nikon Z6, than a Z8

While our Nikon Z fc review called that camera "a triumph of design at an honest price", others were disappointed by its build quality, small grip and APS-C sensor. These leaked images suggest the Nikon Zf will address some of those concerns, without being quite as 'pro' as some are hoping for.

Like the Z fc, the Zf will again be inspired by the old Nikon FM2 (above) and the later FM3A, without going into full replica territory. The FM2 was, after all, a fully mechanical, battery-free workhorse that was known for being virtually indestructible, while the FM3A was Nikon's last fully-manual SLR.

The Nikon Zf, meanwhile, looks like it'll combine some of that spirit with the practical trade-offs that come with cramming in the latest mirrorless tech, like IBIS and a big electronic viewfinder. We're looking forward to seeing how much that build quality has improved from the Z fc and if there's now full weather-sealing, but it still looks more like hobbyist tool than a professional one.

Some may have preferred Nikon to go the whole hog and include AF joysticks, bigger grips and more, but the Zf's small size and modern full-frame specs could be a fine combination – if the price is right. According to the rumors, it looks like we'll find out the latter more when the Zf fully launches sometime between August and the end of September.

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The Nikon Zf is one of the year's most anticipated mirrorless cameras – and some fresh rumors suggest it could be launched within the next few days.

A Nikon Rumors post states that the full-frame mirrorless camera could land "on or around August 2nd". And while the rumor site adds that it isn't sure completely sure about that launch date, it does say that the Nikon Zf will "most likely" land in the first week of August.

If you're a fan of retro-themed cameras with modern mirrorless specs – think the Fujifilm X-T5 or Leica Q3 – then Nikon's imminent launch is definitely one to watch. That's because the Nikon Zf is expected to be a full-frame version of the Nikon Z fc, which we still rate as one of the best travel cameras around.

The latest Nikon Zf rumors do suggest, though, that it'll be a much more capable, and expensive, camera than the Z fc. Earlier leaks have suggested that the Zf will have the same 45MP full-frame sensor as the Nikon Z7 II, which is still one of the best around for dynamic range and overall image quality.

The good news for wildlife and street shooters is that, according to Nikon Rumors, the Nikon Zf will also have "improved autofocus compared to Z6II/Z7II", plus a small LCD screen on the top for you to quickly check settings.

But the Nikon Zf's design is really its most interesting feature. Like the Nikon Z fc, it's expected to pay homage to the Nikon FM2 (a 30-year-old film camera). But unlike the Z fc, the Zf is expected to have better build quality and a small grip that should make it better balanced with longer lenses. 

Analysis: What made the Nikon FM2 special?

The enduring popularity of film cameras and modern incarnations like the sold-out Fujifilm X100V show that photography fans still pine for retro tools – and the Nikon FM2 (above), which launched in 1982 definitely qualifies as a design classic.

The fully-mechanical FM2 ran without batteries and was known for being virtually indestructible. That isn't a feature that Nikon managed to bring into the modern day with the more flimsy Z fc, so we're keen to see how far it's improved the rumored Nikon Zf's build quality.

The FM2 actually lacked a grip to help differentiate it from the pro SLRs of the day, but it seems Nikon has made the practical choice of adding one to the Zf (according to rumors, at least). That makes sense given the chunky, modern-day lenses photographers would likely want to pair with the Zf.

When we spoke to Nikon about the design of the Nikon Z fc back in August 2021, it told us that it didn't want to make an exact replica of the FM2, and that will likely be the case again with the Zf. 

Nikon designer Shu Suzuki (ID Group, Design Center) told us in 2021: "While the design of the Z fc takes its inspiration from the FM2, the goal was never to reproduce the silhouette exactly, but rather create a new framework which preserves the overall essence of the earlier model."

If Nikon can do that with the Zf while sprinkling it with some of the latest mirrorless tech, we could be looking at one of the best cameras of the year.

The big camera manufacturers have remained pretty quiet about the rise of AI image generators like Midjourney so far, but Nikon has now broken cover, with a campaign that encourages a return to "natural intelligence" in photography.

As spotted by Little Black Book and Petapixel, a clever Nikon Peru campaign shows a succession of stunning real-world photos, on which are superimposed the AI prompts that might have inspired them, had they been AI-generated. 

The campaign, which features the tagline "Don't give up on the real world", has been designed to steal back the photography limelight from AI image generators, which have dominated the headlines this year – even though there are plenty of things the likes of Midjourney and Dall-E still can't do.

While it's the kind of argument you'd expect to hear from one of the world's biggest camera manufacturers – Nikon still sits third in global camera market share, behind Sony and Canon – it will also strike a chord with traditional photographers.

As Nikon Peru states in its promo video "this obsession with the artificial is making us forget that our world is full of amazing natural places that are often stranger than fiction". 

This AI revolution is seemingly having real-world consequences, with Nikon Peru adding that "millions of people around the world are generating surreal images just by entering a few keywords on a website, which is directly affecting photographers, especially in places with fewer resources". Those places include Latin America, where editorial and advertising photographers are "losing space, work and profits", Nikon adds.

The AI backlash begins

The flipside to Nikon's argument is that AI image generators – particularly those that are trained on photography that's been licensed from creators, like Adobe Firefly – are opening up dramatic landscape 'photography' to new audiences who can't afford to travel to remote places with expensive camera gear.

But Nikon clearly feels that, rather than co-existing with traditional photography, AI image generators could significantly hit the demand for real-world photography, and it's seen this happen already.

However you feel about AI image generation, Nikon's campaign is the first significant backlash from one of the major camera manufacturers – and is a nicely executed one, too. For example, a photo of Iceland's Reynisfjara beach (above) is given the mock AI prompt "a realistic Minecraft cliff at the seashore in winter season".

In another photo, which you can see higher up the page, the Coyote Buttes cliffs in Arizona, USA are described in their AI prompt as "a latte skatepark in the middle of the desert in Mars".

Of course, AI and cameras also aren't necessarily polar opposites – there are several examples of the ways AI is transforming how traditional cameras work, from increasingly smart autofocus to improved image processing. So the future of photography is perhaps one of peaceful co-existence between the two tools, rather than deathmatch between Midjourney and Nikon.  

Nikon’s next mirrorless camera has been a long time coming. Rumors have swirled about the Z8 – poised to be one of the year’s most exciting cameras – for more than two years. But if you’re eagerly awaiting its arrival, the latest rumors look like good news: according to Nikon Rumors, the Nikon Z8 could be “coming in early May”.

If that’s true, the latest addition to Nikon’s Z series could break cover in less than a month. While this is an exciting development for fans of Nikon’s Z mount cameras, it’s worth noting that Nikon Rumors has also qualified the statement with some uncertainty. Rumors are doubtful by definition, and the meaning of “coming in early May” can be interpreted in a few ways.

It could be that Nikon’s gearing up to fully launch the Z8 next month, or at the very least make an official announcement about its existence – something we haven’t yet seen. Equally, it might mean that Nikon is only planning to start the Z8’s marketing campaign in May. Or that next month is when Nikon will begin presenting the camera internally and to dealers.

So while we’re quietly hopeful that we’ll see the Nikon Z8 unveiled in the next few months, we wouldn’t necessarily bet on a full release happening in May. Still, the evidence does increasingly point towards the new mirrorless model arriving this year, set to slot in between the Nikon Z7 II and Nikon Z9.

Rather than twiddling our thumbs until it does, the latest rumors have got us thinking about what features we want to see on the Nikon Z8. We’ve put together an in-depth Nikon Z8 preview of what we think you can expect to see from the new mirrorless model, but we’ve also outlined some of our top predictions about the Z8’s best features below.

Nikon Z8: What we want to see

1. A Z9 with the body of a Z7

There’s an obvious gap that needs filling between the Z7 II and the Z9 in Nikon’s mirrorless line-up. The real question is how it gets filled – and we’re hoping the answer is with a combination of the two.

The Z9 is Nikon’s most powerful camera ever, with stacks of photographic performance. It’s also big, bulky and heavy. While the Z7 II is no slouch, it’s also more compact than the Z9, with a fantastic control layout and a handy form factor that we praised in our review.

In an ideal world, we’d love to see the Z8 borrow some of the Z9’s headline hardware – such as its stacked full-frame 45.7MP sensor – while adopting dimensions closer to the Z7 II. And if recent rumors prove true, our hopes could be fulfilled.

Nikon Rumors has described the Z8 as a “hybrid camera between the Z7 and the Z9”. In a mockup shared on the site, the Z8 is positioned as a stepping stone between the two. And comparisons to the Nikon D850 could be more than spiritual: if suggestions are true, the Z8 could be a similar height and width as its pro-grade predecessor, albeit slimmer as a result of its mirrorless setup.

2. 8K video at 60fps

More than one rumor has drawn comparisons between the Nikon Z8 and the Sony A7R V – one of the best professional cameras you can buy. If there’s one way we’d like to see the Z8 top its Sony rival, it’s in the video stakes: the A7R V shoots 8K, but only at 24fps.

We know that Nikon has the tech to record full-frame 8K at 60fps, because that’s exactly what the Z9 can do. But while its dimensions might ape those of the D850, it seems unlikely that the Z8 will have the power to capture footage of that quality – at least without an optional battery grip.

What we hope the Z8 will be able to do, though, is shoot cropped 8K video at 60fps. We also want it to record 8K at 30fps using the full width of the sensor, even if there are time limits for the sake of heat management. Both of these specs would give the Z8 the edge over the A7R V – and make it a properly powerful hybrid for enthusiasts.

3. A high-resolution EVF

For a camera with such superlative performance, the Nikon Z9 doesn’t have the sharpest EVF on the market. At 3.69m dots, it falls short of the Canon EOS R3’s 5.76m-dot viewfinder, and shorter still compared to the 9.44m-dot EVF of the A7R V.

In an ideal world, we would love to see the Nikon Z8 ship with an EVF to match: the specs suggested by Nikon Rumors include a 9.44m-dot EVF. This would give the Z8 a class-leading viewfinder to help it go toe-to-toe with the best mirrorless cameras.

The problem with this ambition is that it would give the Z8 a sharper EVF than Nikon’s flagship Z9. A more likely scenario is that it arrives equipped with a 5.76m-dot EVF. While this is still more megapixels than the Z9, it creates less of a gulf between the two. In any case, it wouldn’t be the first time that a ‘lower’ model in Nikon’s line-up trumps a ‘higher’ one: the Nikon Z6 II, for example, has higher burst shooting speeds than the Nikon Z7 II.

4. Improved autofocus abilities

The Z9 benefits from Nikon’s best-ever autofocus system, with automatic subject detection and simultaneous 3D tracking. It also has five times more auto-area AF points than the Nikon Z7 II. Yet if the Nikon Z8 is going to compete with the AI-powered subject recognition offered by the Sony A7R V, it may need to take things further still.

Nikon Rumors suggests exactly that, reporting that the Z8 will offer “improved autofocus”. What exactly this will entail isn’t clear, but we’d hope to see more AF points: the Z9 has 493 to the A7R V’s 693. We’d also like to see further advancements to 3D tracking and subject detection, whether that’s the ability to track more subjects – the Z9 can track 10 – or recognise additional types of subject.

On the one hand, it seems unlikely that the Z8 would usurp the Z9’s headline autofocus abilities. On the other, that’s exactly what it might need to do. What’s more, a firmware update could allow the Z9 to keep pace with any subject-detection enhancements introduced with the Z8.

5. A fully articulating touchscreen

Both the Nikon Z7 II and Z9 feature 3.2-inch touchscreens. The former has a panel that tilts vertically, while the latter uses a dual-axis display that can tilt both horizontally and vertically. Both make it easier to shoot from tricky angles, but neither offers the total framing flexibility of a fully articulating touchscreen. Which is exactly why we want to see one on the Z8.

Talk of a vari-angle touchscreen might be conjecture at best, but that doesn’t mean it’s any less appealing as a proposition: many of the best hybrid mirrorless cameras feature articulating displays, including the Canon EOS R5, the Fujifilm X-H2S and the Sony A7R V. A fully articulating touchscreen is therefore another opportunity for the Z8 to step up against Nikon’s hybrid mirrorless rivals.

It’s also one that would make the new model a more versatile all-rounder for both stills and video shooters. We’ve already seen vari-angle touchscreens on the Nikon Z fc and last year’s Nikon Z30, both of which have much smaller bodies than the Z8 is expected to. So we know that Nikon is capable – here’s hoping it delivers.

It's not often that a new camera has to be pried out of my hands, but that was the case when my on-loan Hasselblad X2D 100C was collected recently. Despite its price tag ($8,199 / £7,369 / AU$12,399), this souped-up design wonder has become my favorite medium format camera – and it eclipses my full-frame Nikon Z6 II in almost every way.

Medium format sensors are almost 2.5 times larger than full-frame, and Hasselblad has serious heritage in this space. Sitting above the equally lovely Hasselblad X1D II, the X2D is at least twice as fast as that camera, packs in twice the detail with its 100MP sensor, and has seven stops of in-body image stabilization (IBIS), which means you can shoot handheld photos with ease. It even throws in 1TB of internal SSD storage for good measure.

But despite all of these exotic features, can a mirrorless camera possibly justify that price tag? After all, it isn't just the body itself that's expensive – the divine new XCD V lenses cost anywhere between $3,699 / £3,599 and $4,299 / £4,059 each. And how much better is the X2D 100C than one of the best full-frame cameras? 

I spent a week testing this mirrorless beast against my trusty Nikon Z6 II to find out what is it about Hasselblad that still draws photographers in...

Scandi design

The Gothenburg-based Hasselblad does digital a little differently to most manufacturers, and the X2D is a stunning modern take on a classic format. 

The camera's high-quality design stands out, with a full-length grip that's comfortable in both landscape and portrait format. The touchscreen response is more in line with a smartphone's, meaning it handles better than most other cameras, and at 3.6in that screen is huge, too.

Putting a 1TB SSD inside is also genius, with most other cameras still relying solely on removable media. There's an additional CFexpress B card slot, so both options are covered. If you were to buy a 1TB CFexpress B card in 2022, it would set you back close to $1,000 / £1,000 – hopefully other brands will follow Hasselblad’s example.

The X2D 100C's shutter design also sets Hasselblad apart, with a 'leaf shutter' type built into the lenses instead of the camera. The benefits are a quieter and less aggressive shutter action, but also that flash sync is available with any shutter speed – in the X2D, that's up to 1/2000sec. Other shutter types are limited up to 1/250sec, which is why portrait photographers who use flash love Hasselblads.

As you'd expect of Scandinavian design, the menus are stripped back to the bare essentials, too. Yes, the X2D is a purist's photography experience that lets you focus on creating pictures. But people don't just buy Hasselblad because it looks, feels and handles differently. The big selling point is the quality of the pictures – and that's want I wanted to look at in the most depth.

Do you need medium format?

"Do you really need medium format?" is a question that's often thrown around in photography circles. After all, it's a more expensive format than smaller ones like full-frame and crop sensors, plus medium format cameras are slower, too.

This means the focus is very much on image quality. And the hard truth is that, if control over depth-of-field (or blurring backgrounds to make your subjects stand out) is your primary concern, there is no real-world advantage to medium format compared to other cameras.

This is because there are wider aperture full-frame and crop sensor lenses available that can counteract the difference that sensor size for depth of field. 

For instance, I used the XCD 2,5/55V lens (that's a 55mm f/2.5) with the X2D. Its equivalent full-frame focal length and aperture (for depth-of-field only, I should stress) is 43mm f/2 approximately. So, a full frame 50mm f/1.8 lens can match it and then some.

There's no real advantage to medium format for depth of field, then. But image quality and depth is more than just depth-of-field. It's about depth of color and tone. It's about color accuracy. And that's where things get more interesting.

I took identical pictures with a full-frame Nikon Z6 II and the Hasselblad X2D 100C to take a deeper look at exactly what's different between the cameras.

Color vision

As you'd expect, the numbers are overwhelmingly in favor of the Hasselblad X2D over full-frame; its 100MP BSI (backside-illuminated) sensor produces 16-bit raw images at 200MB a pop. With full-frame, we have the Sony A7R IV with its class-leading resolution of 60MP. Incidentally, the pixel pitch (size) is identical in those two cameras at 3.76μm.

My Z6 II is a full-frame all-rounder with a 24MP resolution – that’s a quarter of the X2D's. The quality of detail is night and day, feeling like the difference between 4K and Full HD. Of course, we'll only notice that difference when images are displayed large at full size, but the sheer quantity of detail in the X2D is staggering. Landscape photographers, studio, portraits – anyone that demands the most detail will love the X2D.

Unusually, Hasselblad doesn't do color profiles. Like virtually all other cameras, the Nikon Z6 II has a range of profiles; neutral, standard, vivid, monochrome, and so on. For the X2D, you rely on Hasselblad's 'Natural Color Science', and then editing software to make changes in post. Hasselblad's own software is called 'Phocus'.

The Z6 II color profile is set to 'Standard' as default, though I've changed that to 'Neutral' for a more natural look. I've also edited with both of those profiles to compare with the X2D's color rendition.

Take a look at the portrait made with the Z6 II's 'Neutral' profile in isolation and everything looks lovely. Nice skin tones, natural colors. However, put the X2D portrait alongside it (below), and there are subtle differences that a discerning eye notices when viewed at full-size.

There's a real accuracy with the X2D skin tones, while the tones of the Z6 II have a very subtle yellow tinge. You wouldn't notice it in isolation. The tones are also flatter than those in the X2D, while the 'Standard' profile appears particularly high in contrast – like it's trying too hard.

To match the skin tone of the X2D, I increased the contrast and vibrancy in the Z6 II 'Neutral' image – a happy middle ground between Neutral and Standard. Lovely. However, when I zoom out to view the whole image, the other tones like the yellow jumper became too vibrant to be real and a little out of whack, looking somewhat artificial.

In summary, then, the Hasselblad's Natural Color Science in the X2D is a simple, single-click edit for rich and natural tones across the entire picture. It is true depth and more accurate in terms of what the eye sees. I would have to separately work skin tones and other elements in the Z6 II image to get close to matching the overall quality, plus spend extra time tweaking those colors.

Don't get me wrong, I'll still use the Z6 II for professional work and the difference with the X2D is subtle on the face of it, but once you look closer, your eyes are opened to a better world out there.

Focus of attention

Still, medium format does have its disadvantages. One thing I haven’t mentioned about using these cameras is focusing. In the above example of a static portrait, the playing field is equal because manually focusing the X2D was as easy as I could hope for. But for any action where autofocus is needed, the X2D is much harder to control and gaining sharp focusing where it matters most can be tricky.

The X2D's single point AF mode cannot be relied upon for super-critical focusing in shallow depth-of-field portraits. The Z6 II, on the other hand, has subject-tracking plus face and eye detection, so sharp focusing is one less thing to worry about. In short, it's all well and good having the most accurate colors and depth of tone, but it's a waste if the focusing is soft.

That said, I am encouraged by the progress in the X2D. I already knew of Hasselblad's quality, having used the X1D II 50C and 907X 50C at length, but the X2D with image stabilization and improved autofocus is a much more usable camera across a variety of scenarios, showing that medium format can close the gap in performance.

But that question comes back – is the Hasselblad X2D worth it, being three times the cost of my full-frame camera and lens? In a professional context, yes. It's a bit like why professional cinematographers use cumbersome cinema cameras over a hybrid one. Those subtle differences in color tone and depth matter. The image looks... natural. Whether or not those differences are enough to justify the X2D 100C's premium is a matter for you (and, perhaps, your bank manager). 

Two-minute review

Nikon's full-frame mirrorless cameras may grab all the headlines, but its APS-C system has now been neatly rounded off by the arrival of the Nikon Z30. That's now three cameras and three lenses in total, but is three the magic number?

Compared to its siblings, little has changed on the inside. The Nikon Z50 was introduced in 2019 with a 20.9MP APS-C CMOS sensor plus 4K/30p and HD/120p video recording with no crop – all of which have carried into the Nikon Z fc and now the Z30 in 2022.

Processor power and outright build quality is largely similar too, so we also now have three APS-C cameras that have been designer for beginner shooters. So what's really different?

You only need to look at the cameras to see what's truly different – each one has its own take on design. Out of the three, the Z30 is gunning to be one of the best cameras for vlogging, promising better quality and creative flexibility over a smartphone. If video and affordability are your priorities, it's also a contender for the title of best beginner mirrorless camera.

Given we've already covered the performance and image quality of the Z30's siblings in our Nikon Z50 review and Nikon Z fc review, the lion's share of this review will focus on the camera's design. After all, the Z30 isn't just for vlogging in the same way that the Z50 and Zfc are pretty capable vlogging cameras, too. (Plus, those optional vlogging accessories work for all three cameras.)

It must be said that three lenses for three cameras represents a poor ratio, and we need to see more glass for Nikon's system. In fairness, the 16-50mm is an excellent kit lens – and how many beginners actually buy additional lenses? There is also a smattering of well-fitted compact and compatible full-frame lenses like the 40mm f/2 and 28mm f/2.8 (and the F to Z mount adaptor if you're really stretching).

The lens roadmap rumor mill adds a 12-28mm DX lens to the mix which could well become the best option for vlogging, plus a 24mm DX lens. But as things stand, there isn't a native ultra-wide-angle lens for the Z30 and post-pandemic global supply issues remain should new ones appear.

Nikon's position with the Z30 isn't exactly helped by the fact that the rival Sony ZV-E10 already enjoys a swathe of excellent APS-C lenses, including a recently announced trio of compact, fast aperture prime lenses particularly suited to vlogging.

For most people, this likely gives the ZV-E10 the edge over the Z30. On the other hand, the Z30 has better handling and can shoot 4K/30p without a crop (a benefit over the 1.23x crop you get in the same mode on its Sony rival). 

With both cameras having similar price tags, you decision could well be swayed by the discounts on offer during the incoming Black Friday camera deals. Even if Nikon and Sony's vlogging cameras prove to be too new to see major discounts, we often see lenses given price cuts in the Black Friday deals. If Nikon's FTZ mount adapter and primes like the 28mm f/2.8 appear in the sales, the Nikon Z30 could soon offer even better value.

 Nikon Z30 release date and price

• $707 / £699 (body only, not available in AU)
• $847 / £839/ AU$1,299 (16-50mm kit)
• $1,197 / £1,069 (twin lens kit, not available in AU)
• $995 / £879 (vlogger kit, TBC in AU)

The Nikon Z30 is available to buy for $707 / £699 body only, or $847 / £839/ AU$1,299 with the Nikkor Z DX 16-50mm f/3.5-6.3 VR lens, and $1,197 / £1,069 for the twin lens kit that also includes the Nikkor Z DX 50-250mm f/4.5-6.3 VR lens. There is also a Vlogger kit option that costs $995 / £879 and includes the 16-50mm lens, a SmallRig tripod grip and SmallRig Wind Muff. Within the magnetic recess of the grip is the ML-L7 remote (included).

By excluding a viewfinder, Nikon has been able to create its most affordable mirrorless camera yet, with sensible kit options. Given that Nikon cameras were already competitively priced and the decent quality of the 16-50mm kit lens, by all accounts the Z30 is excellent value.

• Value: 4.5/5

Nikon Z30 review: design

• Large and comfortable grip
• Vari-angle 3in touch screen, but no viewfinder
• USB-C charging and connectivity
• In-camera stereo mic and mic input, but no headphone jack

Consider the design of the Z30 as video-centric, the Z50 photo-centric, and the Z fc as, well, nostalgia-centric. In the Z30 we have a camera with a striking resemblance to the Sony ZV-E10. Of the two it's bigger and has a more defined handgrip, yet it still measures up as Nikon's smallest APS-C or full-frame mirrorless camera yet.

More grips should be like this – it gives an excellent hold for shooting stills, but also for turning the camera onto yourself, with easy access to that shiny big red button.

Video shooters including vloggers compose via a screen and have little need for a viewfinder (though you may miss one when shooting stills). Omitting a viewfinder has enabled Nikon to not only make its smallest APS-C mirrorless camera yet, but its cheapest. Currently, there is no optional EVF (electronic viewfinder) available.

For its explicit vlogging purpose, the Z30 is designed really well. That 3-inch vari-angle screen works a charm, with the full range of touch functions including focus, playback and menu navigation on hand. A red border indicates video mode, while a tally lamp lets you know that the camera is recording video – handy stuff not found in the Z50 or Z fc.

Nikon's 16-50mm kit lens brings vibration reduction for photos, while in-camera electronic vibration reduction (E-VR) for video gives you that extra bit of stabilization for handheld shooting, though it’s not available for 120p slow motion video. There's a 1.3x crop with E-VR in play which is far from ideal if you need to shoot wide-angle. Serious run-and-gun vloggers might want to invest in a gimbal and keep E-VR switched off.

A stereo mic is on board and provides a reasonable sound quality for the times that you are caught out without an external microphone. It's an improvement over regular in-camera mics, plus there's a wind-reduction function and you can put an optional deadcat over those stereo mics that are positioned on either side of the hotshoe.

Those stereo mics are fine in quiet spaces, but we'd still recommend an external microphone for vlogging to ensure the best possible quality. As the video industry saying goes, bad visuals are forgivable, bad audio is not.

To that degree, it's a real shame that there is no headphone jack in addition to the mic input in order to audibly monitor sound. On-screen audio levels are simply not the same as listening in live or checking a recording on location post-capture, plus we couldn’t find a way to display those audio levels when the Z30 is in selfie mode. The last thing a video creator wants is to return from a shoot only to find unusable audio.

Battery life is average, if a little modest, and there's no dedicated battery charger provided with the camera, just the USB-C cable. However, a big plus to the Z30 is that it can be charged via its USB-C port at home, on the go and even while the camera is in use. Yes, USB-C charging works while live streaming and while recording video. Big win.

• Design score: 4/5

Nikon Z30 review: features and performance

• 4K/30p and HD 120p with no crop
• Sticky subject-tracking AF
• Reliable Nikon Webcam Utility & Nikon Snapbridge apps
• Up to 11fps

Virtually all modern cameras offer 4K video, but the quality of 4K does vary. For instance, 4K in the Z30 (and indeed its HD 120p slow motion setting) is taken from the full width of the sensor, meaning there is no crop. This is a godsend for vlogging in the context of the lack of wide-angle APS-C mirrorless lenses – you can maintain the full field of view of the 16-50mm lens.

There are also unlimited video record times in the Z30, unlike the Z50, Z fc and many others that are limited to 30 minutes. We say unlimited – ultimately it's down to card capacity, and Nikon quotes in the region of 120 minutes.

Arguably one of the most important camera features for vlogging is reliable continuous autofocus and face detection AF. Overall, the Z30's 209-point phase/ contrast detection AF (also found in the Z fc and Z50) doesn't quite live up to the autofocus performance and versatility of the Sony ZV-E10, however it's plenty good enough to track a self-shooter.

With the vari-angle screen front-facing, the camera switches to a selfie mode and recognizes your face and tracking AF reliably sticks to it. For other subjects, especially when the screen is rear-facing, tracking AF is still respectable, though can be a little less reliable. Dedicated AF modes with vlogging in mind would be welcome, too, like Sony's 'Product Showcase' mode.

It's important to share our experience connecting the Z30 to the Nikon SnapBridge app (Android version) for remote control of the camera and image uploads, plus the Nikon Webcam Utility for live streaming. In short, the Z30 provides a largely hassle-free and reliable connection to the SnapBridge – this should not be assumed or undervalued because not every system (ahem, Sony) can say the same.

Photographers can make high-speed sequences up to 11fps in the 'extended' mode, with continuous autofocus and auto exposure. In this mode, we've been able to rattle off 30 raw & JPEG pictures on a high-performance UHS-I SD card before the camera pauses and there's a bit of a wait to regain full-speed operation again. 

Continuous high mode is slower at 5fps where you can sustain a burst for longer, again with a bit of wait to shoot at full capacity again. This is the sort of performance we expect of a decent beginner camera, being well suited for quick flashes of action.

• Features and performance score: 4/5

Nikon Z30: image and video quality

All of Nikon's APS-C mirrorless cameras use the same 20.9MP CMOS sensor. And as we've mentioned in our reviews of the Z50 and Z fc, the Z30 will give you clean and vibrant pictures up to ISO 6,400 in a range of shooting scenarios. If possible, it's best to avoid using ISO 12,800 and 25,600 if you want to avoid the adverse impact of noise.

There's a color profile for most tastes; 'Vivid' makes the colors pop, while  'Flat' is the ideal profile for video shooters that want to make the most of the camera's dynamic range (and who don't mind color grading afterwards). Flat is the closest you get to a Log profile and is easier to grade, which makes a lot of sense for a beginner-level camera like this.

We like how the photo and video color profiles can be kept separate and the camera remembers the setting – for instance, you can have photo set to Vivid and video set to flat, or you can choose a 'Same as photo settings' option.

Nikon has a tried-and-tested color rendition for photos and video. One thing that's worth bearing in mind is how autofocus affects white balance. For example, the Z30 seems to prioritize subject detection for its color rendition. You can shoot the same scene and gain wildly different white balance based on whether or not autofocus has tracked and is locked on to a person.

The 16-50mm kit lens is admirably sharp, while some of the full-frame Z mirrorless lenses like the 40mm f/2 and 28mm f/2.8 are a good physical fit with the Z30 camera and are sharper still. 

But at the risk of repetition, there is an obvious lack of APS-C lenses, and not a single prime. We're cautious about camera systems with an unhealthy camera-to-lens ratio – here it's three for three, which is alarming. More APS-C mirrorless lenses please, Nikon. Oh and for vlogging, one that goes a little wider.

• Image and video quality score: 4.5/5

Should I buy the Nikon Z30?

Buy it if...

Don't buy it if...

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If our Nikon Z30 review has you wondering about alternatives, here are three rivals to consider...

Testing scorecard

Mirrorless cameras might be the future, but that doesn't mean that the best DSLRs don't have plenty to offer – especially if you value their trademark features, like optical viewfinders, tactile controls and excellent battery life.

The Nikon D850 is a great example – and today's best DSLR. It's several years old, but its full-frame sensor produced fantastic, high-resolution 45MP stills in our tests – and the images still hold up well today. We also enjoyed its rugged build, fantastic handling and dependable autofocus system, and think it's the standout choice for anyone who wants a classic DSLR experience. Better yet, it's often available at a heavily discounted price point.

The TechRadar team has tested and reviewed more than 200 DSLR cameras over the past two decades, and all of our recommendations are based on real-world shoots and not just specs.

This guide features the best DSLRs that you can still buy new, from entry-level options to professional workhorses. However, if you're happy to go secondhand, you'll find our recommendations on picking up a used DSLR towards the end of the page.

Why you can trust TechRadar

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

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

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

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

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

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

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

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

Meet the team

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

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Today's best DSLRs, still available new

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

The best DSLR for image quality

Nikon D850 sample images

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

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

Read our in-depth Nikon D850 review

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The best professional DSLR

Canon EOS 5D Mark IV sample image

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

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

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

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The best beginner DSLR camera

Nikon D7500 sample images

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

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

Read our in-depth Nikon D7500 review

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The best DSLR for sports and wildlife

Canon 1D X Mark III sample images

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

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

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

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

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The best full-frame hybrid DSLR

Nikon D780 sample images

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

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

Read our in-depth Nikon D780 review

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The best DSLR for enthusiasts

Canon EOS 90D sample images

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

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

Read our in-depth Canon EOS 90D review

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Second-hand DSLRs

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

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

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

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

Also consider

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

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

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

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

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

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

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

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

How to choose

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

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

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

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

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

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

Sacrificial cams

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

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

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

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

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

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

Cult classics

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

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

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

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

Twilight years

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

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

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

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

As camera companies slowly phase out their DSLR cameras in favor of lighter, flashier, mirrorless models, those of us who can’t afford the latest tech are increasingly turning to the second-hand market to save money. 

And a very good idea it is, too. While DSLRs lack many of the more intelligent features seen on today's mirrorless cameras, the best beginner DSLRs still have a proven track record and excellent imaging quality – and buying them second-hand allows new photographers to level up their photography skills on a budget.

Due to the camera market shifting towards mirrorless, DSLRs are becoming an increasingly cost-effective option for those that want to take high-quality photos and videos without emptying the bank. 

Why are DSLRs particularly good value? They have a slightly simpler operation due their optical (rather than electronic) viewfinders. In some cases, they also have a less sophisticated autofocusing system due to their age. But DSLRs also usually have superior battery lives, because the camera doesn’t have to power that electronic viewfinder or a rear live-view one to the same extent.

If you’d rather get a brand new DSLR, check out our roundup of the best DSLR cameras. Newcomers might also want to check out our guide to the best camera for beginners, too. But if it's a second-hand DSLR bargain you're after, this is the place for you. We'll start with some handy tips for buying a used camera, but if you just want to skip to our recommendations, use our menu bar on the left to jump straight to our price-ordered list (starting with the cheapest first, of course).

Buying a second-hand DSLR: quick tips

1. Check the shutter count

Just as you would look for the mileage on a pre-owned car, so too should you check the shutter count of second-hand DSLRs. Every camera has an approximate lifetime that can be measured in shutter counts. Each shutter count (aka actuation) is a photo that has been taken with the camera. Why is shutter count important? The more a camera has been used, the higher the shutter count and therefore the greater wear and tear on the camera.

Generally, most DSLRs top-out around 150,000 to 300,000 shutter actuations (photos) with entry-level cameras towards the lower end and high-end professional models designed to last longer to keep up with the jobbing photographer. After this limit it’s more likely that something may go wrong in the camera and you’ll be footing the bill for a costly repair or serious overhaul which may cost more than buying a new camera. You can find a camera's shutter count in the EXIF data of its photos –take a photo and then upload it to a site like Myshuttercount or, for wider compatibility, an app like ShutterCount.

2. Look out for original packaging

There’s some merit to looking for a pre-owned DSLR with its original packaging. Firstly, a DSLR with the original box, instruction manual, and any accessories it originally shipped with suggests that it's had a careful owner. This might mean the camera itself is much less likely to break down during your ownership. Also, not having to buy all those accessories separately will save a little money and time, too.

However, the main reason for looking out for original packaging is to check that it was distributed by reputable channels when it was first sold. Cameras brought into any given region from outside of that market are generally considered ‘grey imports’. 

This is imported stock that, while much more competitively priced than other comparable models, may have no warranty and little to no support available if things go wrong. Some camera servicing centers may outright refuse to service your camera. So above all, look for a camera that has the original packaging and paperwork to see if it’s a legitimate product or a grey import.

3. Choose a reputable dealer

Have a quick look online at second-hand DSLR sales and you'll soon see that cameras sold by private individuals are a little cheaper than dealers who buy and sell kit. So why is there a difference, and should you care? 

Well, the old adages ‘buyer beware’ and ‘sold as seen’ apply more to the former in this regard because private sellers (depending on your country and region) have to jump through far fewer hoops to shift their cameras. That means if you’re on your way home from collecting a new camera and it breaks, there’s almost nothing you can do about it from a legal standpoint.

Dealers, on the other hand, often give out limited warranties with their second-hand camera sales. They also clean the cameras when they come in, give them a small service to check they’re in full working order, and check for errors or glitches. So if something goes wrong, you’re more likely to be able to either take it back, ask for a repair, or get some support on the phone or via email if the worst should happen. 

Consider dealers such as MPB (above), Adorama, BHPhoto, and if you’re buying from a dealer on eBay be sure to check out how long they’ve been trading and their feedback history.

4. Consider lens ranges

When buying a used DSLR it’s easy to get swept up in the excitement of finding the best possible camera body without putting much thought into lens choice. But lenses are often far more important than the camera body itself because they offer up a whole range of different shooting possibilities.

If you’re thinking of going for that APS-C crop sensor body and you want to shoot astrophotography, check to see if that model is compatible with any ultra-wide lenses with fast maximum apertures. Want to get into sports? You’ll likely need a camera that’s compatible with the longer, professional telephoto lenses. 

Older DSLRs may also not be compatible with more modern lenses and vise versa. Even if a lens ‘works’ with your chosen camera, certain features like exposure control, autofocusing and image stabilization may still be incompatible, so check the lens range for that camera before buying.

5. Play it safe with the big names

Sure, we get it, the reason why you’re buying second-hand is likely to save a good chunk of change compared with new models. But don’t fall into the trap of buying third-party brands that seem to offer everything the main brands do, but at a fraction of the cost.

This difference in price can be seen in the quality of manufacturing and longevity of cameras. Instead, aim for reputable manufacturers like Canon, Nikon, Fujifilm, Sony, and more. They have a proven track record of producing high-quality DSLRs of exceptional build quality, so you’re more likely to be satisfied for longer. All you'll need to get started is a kit lens and one of the best SD cards.

The best second-hand DSLRs for beginners

Nikon D3500 (2018)

• Typical second-hand price ($490 / £350 / AU$680)

So impressively affordable yet full of helpful features, there’s a reason we still rate the Nikon D3500 as the best beginner DSLR you can buy. If you’re looking for a DSLR that will always be there when you want it, then the D3500 (and its 1,550-shot battery life) is one of the best around. For beginners, it also has a helpful Guide mode that'll save you from prying open a dog-eared, jargon-filled manual.

The deep grip on the camera body makes it a doddle to operate, even for smaller hands, and the D3500 has a wide range of native lenses to choose from for all kinds of photography. It does shoot video too, but only 1080p. The 3-inch, fixed screen is big and bright and an 11-point autofocusing system, while pretty dated by today's standards, is more than adequate for beginners.

It also has Bluetooth connectivity, allowing smart devices to connect and transfer files via SnapBridge, Nikon’s transfer software. It features Bluetooth Low Energy as well, which means that the connection is ‘always-on’ so your shots can be automatically transferred from camera to device.

• Read our in-depth Nikon D3500 review

Nikon D5600 (2016)

• Typical second-hand price ($600 / £450 / AU$700)

Another standout from Nikon’s entry-level DSLR range, the D5600 balances beginner-friendly usability with a feature set that gives you room to grow. In our Nikon D5600 review, we discovered a crop-sensor DSLR that's good for most styles of shooting, without particularly standing out in one area.

A 24.2MP APS-C image sensor is complemented by an articulating touchscreen, which is helpful for shooting from high or low angles. A 39-point autofocusing system means a good swathe of the frame is covered, but buyers should be aware that the D5600 is only capable of capturing 1080p video.

As one might expect at this price, the body is composed of a single piece of polycarbonate to retain strength and be as lightweight as possible. At 465g and measuring 124 x 97 x 70mm, it isn't the smallest DSLR in the world, but it’ll easily slip into a camera bag sling.

• Read our in-depth Nikon D5600 review

Canon EOS Rebel SL3 / 250D

• Typical second-hand price ($650 / £500 / AU$750)

Weighing in at 449g, the world’s lightest DSLR is also one of the prettiest, with wide-set features and a squat, chunky design. The grip feels deep and suits both adults and younger children alike. It even has a vari-angle touchscreen to make changing camera settings a doddle.

Similar to the Nikon D3500, the EOS Rebel SL3 (called the 250D outside the US) features a Guided UI mode that helps describe menu screens with simple terminology and icons. There’s a Creative Assist mode too that gives photographers the option of using in-camera visual effects to produce images like grainy black and white, fish-eye, soft focus and more. This is helpful for beginners who want to concentrate on the picture taking, rather than burden themselves with learning image editing at the same time.

There’s only a 9-point autofocusing system here, but they do at least all run off phase-detection tech for better accuracy. Wi-Fi and Bluetooth connectivity come as standard for remote triggering and file transfer, and there’s an expandable ISO sensitivity from 25,600 to 51,200 for emergency shots in the dark.

• Read our in-depth Canon EOS Rebel SL3 / EOS 250D review

Canon EOS 80D (2016)

• Typical second-hand price ($600 / £570 / AU$850)

Like the more affordable 750D and 760D, the Canon EOS 80D shoots 24MP photos. But the 80D also crucially packs a Dual Pixel CMOS AF sensor for superior autofocusing, and has a superior metering system that helps the AF system track moving subjects.

For video shooters who want to record in 4K resolution, this camera is likely one to skip as it only record 1080p video. However, it does do this at 50fps, which can help with you slow down the footage when editing.

One appeal to the 80D is that it has Wi-Fi connectivity and NFC technology built-in, making it simpler to trigger the camera and transfer images to smart devices from a distance, without the need for a remote shutter release. A maximum burst speed of 7fps is actually the same as its predecessor, the 70D, but the buffer is much bigger, with the 80D capable of shooting up to 110 JPEGS or 25 raw files consecutively.

• Read our in-depth Canon EOS 80D review

Nikon D750 (2014)

• Typical second-hand price ($700 / £600 / AU$1600)

The perfect all-rounder, the full-frame D750 is great for weddings or astrophotography – in fact, it’s difficult to find something the D750 isn’t good at. Originally a bridge between the very basic entry-level models and Nikon’s professional range, this streamlined full-frame DSLR is perfect for beginners who are aiming to make photography a long-term hobby.

Though it’s now eight years old, the D750 can still keep up with the young kids on the block when it comes to image quality. We've found it to be excellent at handling high ISO noise with uniform grain across the frame, including highlights and dark shadows. Pair the D750 with some fast Nikon f-mount glass and it becomes a bit of a photographic chameleon.

It also lets you capture the darkest night skies with ease, performing better than its bigger brothers the Nikon D810 and D850 here, and is just as happy shooting a wedding in an old, dimly lit church. A resolution of 24.3MP is enough for most people, but videographers should be aware it only shoots 1080/50p video.

• Read our in-depth Nikon D750 review

Alternatively...

While DSLRs still offer the best big bang for your buck, sometimes the compact size and modern shooting experience of the best mirrorless cameras can make them a better choice for some photographers. If that's you, here's an alternative second-hand mirrorless option to consider...

Olympus OM-D E-M1 Mark III (2020)

• Typical second-hand price ($1,100 / £1,000 / AU$2,400)

The OM-D E-M1 Mark III is a small and compact Micro Four Thirds camera that keeps up with the big boys of the DSLR world. Thanks to its magnesium-alloy body construction and weather-sealing, which help keep water and dust out of the camera, it’s built to last for professionals and hobbyists alike. Olympus also says it's capable of handling up to 400,000 shutter actuations, so even if you spot this second-hand gem with a couple hundred thousand on the clock you’re still only half way through its lifetime.

The articulated screen and joystick for repositioning autofocus make it a breeze to use. It’s also versatile when shooting handheld as well thanks to the 7.5-stops of image stabilization, which you get when the 5-axis in-body image stabilization (IBIS) is paired with a compatible lens. This means you don't have to rely in tripods quite as much, which is ideal for the beginner photographer.

• Read our in-depth Olympus OM-D E-M1 Mark III review

• Still undecided? Read our guide to whether or not you should buy a DSLR in 2022

The Nikon Z9 is the company's most powerful camera yet, competing with the Canon EOS R3 and Sony A1 for the full-frame mirrorless camera crown. It's a camera that has it all; 45.7MP stacked sensor, 20fps bursts with continuous 3D tracking AF and unlimited JPEG buffer, plus 8K video recording. Yet there's one thing the Z9 doesn't have – a mechanical shutter. 

For all its razzle and dazzle, we're particularly intrigued by the Z9's sole reliance on an electronic shutter. After all, other mirrorless and DSLR cameras (barring video-centric models like the Sigma FP) all include both mechanical and electronic shutter types. Is this an inspired and progressive design choice, or a potential catastrophic error?

To find out, we spoke to Nikon's product specialist Dirk Jasper and quizzed him about why Nikon's so confident in the Z9's new tech and what it means for the future of both shutter design and cameras. 

Before we find out if the Z9 really does spell the beginning of the end for mechanical shutter, though, let's unpack what camera shutters are for and why most cameras pair them with an electronic shutter.

Curtain raiser

What exactly is a mechanical shutter? In a digital cameras, it both protects the image sensor and opens to accept light and create your photographs. 

Originally used in film cameras, then DSLRs and mirrorless models, there are two main types of mechanical shutter; focal plane and leaf. A focal plane shutter has two metal 'curtains' that allow and exclude light, while leaf shutters have a circular arrangement of overlapping blades with the less 'aggressive' shutter action of the two. 

Most cameras also feature an electronic shutter, which has no moving parts but instead 'turns on and off' for image capture. This shutter type can be used for both photography and video. Until now, both mechanical and electronic shutters have featured in most digital cameras, but the Nikon Z9 is the first pro camera to go electronic-only. So why has Nikon done it?

The obvious answer is because it can. As Dirk Jasper told us "The Z9's sensor design and the supporting processing via Expeed 7 allow for the first time to have a mirrorless camera without the need for a mechanical shutter. By removing the shutter, we can enable technologies not being possible by using a mechanical curtain in front of the sensor," he said. As always, there's a bit more to it than that.

Mechanical vs electronic

More on the those 'technologies' later, but first let's dig into the relative strengths of mechanical and electronic shutters. As its name suggests, a mechanical shutter features moving parts and therefore its performance is limited. 

Its shutter speeds max out at 1/8000sec, while frame rates appear to have peaked at 16fps, as seen in the Canon EOS 1DX Mark III. There's also an audible sound and vibration during shutter-action, plus a shutter-action life expectancy. That said, only the most trigger happy image makers are likely to wear out a shutter and incur a costly replacement.

An electronic shutter trumps a mechanical shutter performance with faster maximum shutter speeds up to 1/32,000sec and lightning-fast frame rates like the 120fps we're seeing in cameras like the Z9. Another bonus is that the shutter action is vibration-free and can be silent – a dream for the likes of landscape, street and wedding photographers. All sounds promising, right? Well it's not all a one-way street, especially for freezing high-speed movement.

Unlike a mechanical shutter, where the whole image is frozen simultaneously, an electronic shutter 'reads' image data line by line onto the sensor – a process that's documented to typically take around 1/200sec and is otherwise known as 'rolling shutter'. Any action at higher speeds can display an adverse impact of rolling shutter. For example, you might have seen action images of warped golf clubs during a swing, oval-shaped balls in flight and curved airplane propellors in rotation. 

Along with movement distortion, rolling shutter can also suffer from an ugly effect called 'banding' (light-dark-light-dark) when using flash or under high-frequency 'flickering' artificial lights.

Why now?

Most cameras let you choose the right shutter for your shooting situation. Freezing action or using flash? Go mechanical! Shooting landscapes and need your camera as steady as possible? Electronic shutter all the way! But the Nikon Z9 is a camera made for action that is relying entirely on an electronic shutter, so what's changed?

As you might expect, it's partly about speed. Nikon cites a combination of the Z9's new 45.7MP 'stacked' CMOS sensor, Expeed 7 processor and support for high-performance CFexpress Type B memory cards. 

"The read-out speed of the sensor is the most relevant factor here," says Dirk. "Managing a high data flow at high speeds then also needs to be supported by the processing engine, which makes sure that all information is digitized and put away on a performant memory card at a scale that ensures the system keeps with the speed of new data coming in, be it high frame-rate shooting or high resolution video recording."

Indeed, Nikon told us that the Z9's scan rate is approximately 12× faster than that of the Nikon Z7 II. This means it exhibits roughly 1/12th the amount of rolling shutter distortion as the Z 7II. That's some serious power in its stacked sensor. 

If the Z7 II has a typical rolling shutter speed, then 12x that speed essentially means that there are no scenarios that the Z9 will exhibit rolling shutter distortion. The early signs are promising. During our full review of the Nikon Z9 (coming soon), we used the camera in a variety of high-speed scenarios and have not experienced rolling shutter so far.

That doesn't mean there aren't some small teething problems. "We have received rare reports where users report minor banding under very specific conditions," says Dirk Jasper. "We are looking into ways how to counter these effects automatically and will try to rectify them via firmware update. These effects can be easily avoided by a slight change of the shutter speed," he added.

Shutter priorities

Nikon could have kept a mechanical shutter in the Z9 as a failsafe, even if it doesn't get used at all. But another benefit of removing it is simplicity and durability.

"A mechanical element is always a restriction by design and also a potential breaking point." explains Dirk Jasper. "For higher-end cameras, Nikon always communicated the life expectancy of shutter as part of the product information. By removing the shutter, we also remove a piece of the system that can be a life-limiting factor for the device and needs expensive repair and re-adjustment in case of failure."

So, does this mean that all cameras will soon go electronic-only? Not necessarily. Dirk gives us a glimpse. "At Nikon we have always lived a philosophy of what we call 'technology transfer'. All new technology will eventually trickle down through our line-up as long as it is feasible and also possible to implement in terms of cost."

But it's likely to remain a high-end feature for now. "Other than with firmware driven changes, the use of a purely mechanical shutter in cameras is definitely connected to processing power and the sensor hardware, which come at a cost," he explains. "Therefore scaling factors induced by production cost will definitely impact how much we will be able to have this spread to more models in the future."

So, it seems for now that only the expensive flagship cameras can afford to offer us a mechanical shutter-'less' design. But one thing's for sure – the new power behind the Z9 paves the way for revolutionary camera design changes.

• Read our hands-on Nikon Z9 review

The Nikon Zfc has officially arrived in all its retro glory, with the mirrorless camera sporting a vintage design that harks back to the glory days of Nikon film cameras during the 1980s.

A compact, beginner-friendly camera that's effectively a redesigned version of the current Nikon Z50, the Nikon Zfc adopts similar looks to rivals like the Fujifilm X-T30 and Olympus OM-D E-M10 Mark IV – and if you're a fan of that look, the Zfc could well be a strong rival to those cameras.

Nikon's mirrorless cameras have largely been full-frame affairs, such as the Nikon Z6 II, which are aimed at experienced hobbyists or professionals. But, like the Nikon Z50, the Nikon Zfc is a more accessible camera, using a smaller DX-format sensor (Nikon's name for APS-C sensors) that makes it compact and relatively affordable.

• These are the best mirrorless cameras you can buy right now
• Or check out our guide to the world's best cameras
• Read our in-depth Nikon Z50 review

Beneath its retro skin – which Nikon says is inspired by the Nikon FM2 SLR from 1982 – the Nikon Zfc is almost identical to the current Nikon Z50, offering the same 20.9MP DX sensor, Expeed 6 processor and autofocus performance.

But there are a few key differences too. The Nikon Zfc gets a vari-angle touchscreen, which differs from the tilt-only display seen on the Z50, and will be ideal for vlogging. The new camera also has a USB-C port for charging on the go, plus a range of dedicated control dials, including ones for shutter speed, ISO and exposure compensation.

To celebrate the Zfc's vintage looks, Nikon is also releasing two new lenses with similar retro styling. The Nikkor Z DX 16-50mm f/3.5-6.3 VR Silver Edition is, as the name suggests, a restyled version of the existing Z-series kit lens, which we've found to be an excellent companion for the Nikon Z50.

There's also a new Nikkor Z 28mm f/2.8 SE prime lens aimed at street photographers, which again is inspired by lenses from the Nikon FM2 era. This offers an equivalent 42mm focal length in full-frame terms, making it a strong candidate for portrait and still-life shooting too.

That's the in-a-nutshell summary of the Nikon Zfc, but what other features does it have, and how much will it cost? Here's everything we know about the exciting new mirrorless camera…

Nikon Zfc release date and price

The Nikon Zfc will be available to buy from late July in a variety of bundles. If you just want to buy the camera body-only, it'll cost $959 / £899 / AU$1,499, but you can also buy it with different lenses, or in a lens kit with both wide-angle and telephoto zooms.

The ideal kit for street photographers will likely be the Nikon Zfc with the new Nikkor Z 28mm f/2.8 SE prime lens, which together will cost $1,199 / £1,129 / AU$1,899. If you'd rather go for the Zfc with the Nikkor Z DX 16-50mm f/3.5-6.3 VR lens, that kit will set you back $1,099 / £1,039 / AU$1,699.

In Australia, there's a two-lens kit also available for AU$2,000 that bundles the Zfc body with the 16-50mm glass mentioned above, as well as the Nikkor Z DX 50-250mm f/4.5-6.3 VR zoom.

Finally, those who are starting from scratch and want maximum versatility will have the option of buying the Nikon Zfc with both the 16-50mm f/3.5-6.3 VR and a Nikkor Z DX 50-250mm f/4.5-6.3 VR for £1,249 (around $1,740, AU$2,300).

That pricing compares pretty favorably to the Nikon Zfc's closest rivals – the Nikon Z50, which will remain on sale, is now available for slightly less than its original body-only launch price of $850 / £849 AU$1,399, while the older Fujifilm X-T30 (which looks very similar to the Nikon Zfc), currently costs $799 / £849 / AU$1,059.

The Nikon Zfc is, then, in the mix for the title of best camera under $1,000 and best beginner camera. We haven't yet spent enough time with the camera to judge where it deserves to be placed in those lists, but here's how it's shaping up on paper…

• The Nikon Zfc’s substance doesn’t quite match its iconic style

Nikon Zfc design

For those with a penchant for vintage film cameras, it's hard not to be charmed by the Nikon Zfc's design. It's inspired by the Nikon FM2 (below), a classic film camera from 1982 that the camera giant calls "a pivotal product in Nikon's history".

That's not hyperbole either – the Nikon FM2 inherited the genes of Nikon's classic F series (starting in 1959) but packaged them in a small, tough and compact body. It was a triumph of simplicity, featuring a fully mechanical shutter mechanism that was capable of fast 1/4000th of a second speeds.

Naturally, the Nikon Zfc features slightly more modern specs (see below), but the design means it offers a slightly different shooting experience to the otherwise similar Nikon Z50.

The Nikon Zfc's top plate features three dials (shutter speed, exposure compensation and ISO), and a small window that displays the aperture. 

Like Fujifilm's X-series, this gives you a more manual shooting experience, and it also means the Zfc is the first Nikon Z-series camera that supports exposure compensation in 'Auto' mode, so you'll quickly be able to create effects like silhouettes by underexposing, without leaving the comfort of 'auto' mode.

Alongside those dials, the Zfc also features a couple of smaller touches that are nods to the Nikon FM2. The electronic viewfinder has a circular eyepiece (unlike the more modern rectangular one on the Nikon Z50), while the logo on the front is straight from Nikon's 1970s-80s era.

While it lacks advanced weather sealing, which means you'll want to be careful about using the camera in the rain, the Zfc's magnesium alloy body should also ensure that it's tough enough to withstand some bangs and knocks. 

• These are the best film cameras you can buy right now

Nikon Zfc specs and features

The Nikon Zfc is a mid-range mirrorless camera that has almost identical specs to the Nikon Z50, which arrived in October 2019.

While that might seem slightly disappointing, considering camera tech has moved on a fair bit in the last 18 months, the Zfc's specs remain very competitive at its price point – and we also remain fans of the Nikon Z50, aside from its dearth of native lenses (more on that later).

The Nikon Zfc is powered by a combination of a 20.9MP DX sensor and Nikon's Expeed 6 processor. While the latter is current, pricier Nikon mirrorless cameras like the Nikon Z6 II use dual Expeed 6 chips to support faster burst shooting and more powerful video features.

The Nikon Zfc certainly isn't a slouch in these departments, though, offering a maximum of 11fps continuous shooting and the ability to shoot 4K/30p video without a crop. However, it unfortunately still only accepts UHS-I memory cards, which means your buffer will fill up relatively quickly compared to cameras that accept faster UHS-II cards. If you're after a sports camera, there will likely be better choices than the Nikon Zfc.

Still, that isn't really the Zfc's target market, and as an all-purpose camera for shooting a mix of photos and video it's shaping up well. It has the same 0.39-inch, 2.36 million-dot viewfinder as the Z50 (fairly standard at this price), and Nikon's latest hybrid autofocus system, which serves up Eye-Detection AF for both humans and animals.

Aside from its design, the Nikon Zfc also delivers two main bonuses over the Nikon Z50. Rather than a tilting rear screen, it has a vari-angle display (the first on a Nikon Z-series camera) which rotates around to the front for those who want to shoot video or stills to camera.

The Zfc also has a USB-C port (rather than an older micro USB one), which supports direct charging from external Power Delivery (PD) batteries. This is handy if you're looking to charge it out in the field or when shooting timelapses.

Talking of connectivity, the Nikon Zfc also has a 3.5mm microphone input, so you can plug in an external mic like a Rode VideoMic Go to improve your video sound quality. While the Zfc lacks in-body image stabilization, which is pretty common for a camera of this size, it certainly has the specs needed to make it a decent vlogging companion.

• These are the best Nikon Z lenses you can buy for your Z-series camera

Nikon Zfc lenses

While it is possible to use the Nikon Zfc with older F-mount lenses, via the optional FTZ adaptor, this will add bulk to its design – and the real appeal will be teaming it with newer Z-mount glass.

Unfortunately, the options here remain very limited for the Nikon Zfc, despite the arrival of the new Nikkor Z 28mm f/2.8 SE prime. That lens certainly looks promising, but otherwise your only other native lens for DX-format cameras like the Nikon Zfc and Nikon Z50 are the 16-50mm f/3.5-6.3 VR and 50-250mm f/4.5-6.3 VR.

We're expecting Nikon to flesh out its range following the arrival of the Nikon Zfc, with rumors predicting the arrival of a 35mm f/1.8 prime at some point, but it does remain a point of weakness compared to the likes of Fujifilm's X series, which offers a much wider array of native glass and similar retro charm.

Still, if you do have older Nikon F-mount lenses that you're looking to use with a newer mirrorless body, then the Zfc could fit the bill nicely – particularly as it has a retro design to match.

• Check out our guide to the best Nikon cameras

A new Nikon Zfc (or possibly Z-fc) mirrorless camera is close to launching, according to a big new leak – and its design is going to be heavily inspired by Nikon's film camera past.  

Whispers about a retro Nikon camera have been growing lately, and now a new Nikon Rumors scoop has filled in a lot of details, including its likely name and price tag.

The Nikon Zfc will apparently have very similar specs to the existing Nikon Z50, which is currently Nikon's only APS-C mirrorless camera, which means we can expect it to have a 20.9MP sensor, 11fps burst shooting and the ability to shoot 4K/30p video. But the big news is that vintage design.

• These are the world's best travel cameras
• Or check out our guide to the best mirrorless cameras you can buy
• We've ranked all of the best Nikon cameras

According to Nikon Rumors, the Nikon Zfc will have a similar handling and shape to old Nikon FM cameras (like the Nikon FM10 above), which were the company's 35mm film cameras from the late 1970s.

Like Fujifilm's X-series, this means it'll have mechanical dials alongside more modern touches like a articulating touchscreen. This is backed up by a possible leaked image (below), which reveals shutter speed and exposure compensation dials in a silver color scheme.

Alongside that silver livery, Nikon Rumors says the Nikon Zfc will also come in black and brown (possibly leather) colorways and will be officially unveiled on June 28. According to the leak, the Zfc will cost $999 (around £710 / AU$1,295) with a kit lens and will actually ship on July 28.

Despite the sizable leak, there are still a few big unknowns. For example, it's not yet clear whether or not the Nikon Zfc will have a viewfinder. The fact that it has a similar launch price to the Nikon Z50, though, suggests that it might, and a built-in EVF would certainly fit that retro design aesthetic.

Lens needs

The other big question mark about the Nikon Zfc is lenses. Currently, there are only two native DX lenses for Nikon's Z-mount mirrorless camera system, as the company has been focused on fleshing out the options for full-frame cameras like the Nikon Z6 II.

It is possible to adapt many older F-mount lenses using the FTZ adaptor (sold separately) though, and Nikon Rumors says that some new APS-C mirrorless lenses, including a 28mm f/2.8 and 35mm f/1.8, could arrive alongside the new camera. 

Small prime lenses like those would certainly suit a small, travel-friendly camera like the rumored Nikon Zfc, though Nikon Rumors says "the new DX lenses will not be retro", which raises question marks about how consistent the retro look will be.

These Nikon Zfc rumors confirm that Nikon is looking to take on Fujifilm in making retro, APS-C cameras for hobbyists and nostalgist shooters who remember its film days – or at least appreciate its heritage and that aesthetic.

The Fujifilm X-S10, in particular, is an excellent example of how to do this well, though that camera has features like in-body image stabilization (IBIS) and a huge range of native APS-C lenses. So we're certainly looking forward to hearing the official news from Nikon on how it plans to plant its retro flag in this part of the mirrorless camera space. 

• These are the best cameras in the world right now

A few weeks ago we saw rumors about a new retro-inspired Nikon mirrorless Z-series camera – and it's now been tipped to launch very soon.

Nikon Rumors says the slightly surprising launch, which would be an APS-C camera to sit alongside the Nikon Z50, is still en route and "could be announced at the end of June".

Other details remain scarce, but the reliable rumors site says we should expect the camera to have an old-school design "with mechanical dials and an articulating screen". Its post also includes a photo of the Nikon FM10, a film camera from the mid-90s, which suggests Nikon's next launch could follow that model's design lead.

• These are the world's best travel cameras
• Or check out our guide to the best mirrorless cameras you can buy
• We've ranked all of the best Nikon cameras

The only other piece of speculation around the incoming camera is that it could, like the Nikon FM10, have a "very thin camera body without a handgrip".

This would place it firmly in the entry-level category and suggests it'll be Nikon's affordable option for those looking to get into its Z-series system. Right now, the only other Z-series camera with an APS-C sensor is the Nikon Z50, with the rest of the series all higher-end, full-frame bodies like the Nikon Z6 II.

While Nikon's mirrorless cameras have so far had traditional looks, featuring the large handgrips favored by those who regularly shoot with long lenses, they haven't ventured into the vintage film camera-inspired designs favored by Fujifilm and Olympus. But it sounds like Nikon's next launch will buck that trend and give beginners and hobbyists a new lightweight option with genuine character.  

Back to the future

The film camera aesthetic, inspired by classic bodies from the 1960s, has never really gone out of fashion in the camera world. This is partly because it's the unique calling card of stalwarts like Olympus and Nikon, but also because those timeless designs provide a tactile shooting experience that simply isn't possible on smartphones.

It's an approach that's served Fujifilm particularly well, thanks to iconic models like the Fujifilm X100V, and we recently saw Olympus's new owners raid the design archives for the pretty stunning new Olympus PEN E-P7.

But that also means that Nikon would have some pretty strong competition in the retro-inspired mirrorless camera space – particularly from Fujifilm's X-series, which similarly have APS-C sensors, but are served by a well-established range of native lenses.

The same can't be said of Nikon's Z-mount yet, which only has two native DX lenses, although you can adapt many older F-mount lenses using the FTZ adaptor. That combination could actually suit Nikon's new camera well, if it does indeed have retro styling. 

But it would also call into question previous rumors about the Nikon Z30 (above), which was expected to closely the design of the Nikon Z50, only without a viewfinder.

• These are the best cameras in the world right now

Any camera worth its salt can shoot 4K video, but not all 4K cameras are made the same. The best camera phones all shoot 4K, for example, but you’ll get much better low-light results from a full-frame mirrorless camera. That’s why my team and I have tested a whole range of 4K cameras and ranked our favorites in this guide, covering options for every need and budget.

If I had to pick just one 4K camera to shoot with, it would be the Panasonic Lumix GH7. In my experience, its Four Thirds sensor hits the sweet spot between portability and performance. Blessed with a range of pro-friendly features and an arsenal of cinematic 5.7K modes, I think it offers great value overall. That said, you might find a better fit elsewhere in this list. The Fujifilm X-M5, for example, is my favorite entry-level 4K camera.

Each recommendation in this round-up is based on the feedback of my highly experienced reviews team. We put every camera through its paces in a series of real shooting situations, to assess everything from build quality to image stabilisation. We’ve distilled and divided the results of those tests in the summaries below

Why you can trust my judgement

Spec sheets can only tell you half the story. That’s why every 4K camera in this list has been taken out into the real world and tested by me or a member of my expert team, to see how it fares in the kind of shooting conditions that most users will encounter.

We usually start with an assessment of build quality and usability. That means checking how durable a camera feels, how easily it handles and what it’s like to carry around for a full day of filming. We check how straightforward it is to operate, whether the control placement feels natural and how intuitive the overall interface is to work with.

We’ll then run each camera through a range of performance tests. That means capturing lots of footage in a variety of scenarios, including high-contrast scenes, studio setups and low lighting. We also take every camera out for a walk, before reviewing the footage to analyze both the overall quality and the effectiveness of any image stabilization system.

Because different users will have different demands of the same camera, we also test how well 4K cameras hold up at different frame rates, shooting slow-motion footage, as well as testing out the color profiles and bit-rates that are available. Finally, we’ll record longer clips to see whether a 4K camera has any recording time limitations, and to assess how its battery will hold up for demanding videographers.

Meet the team

My expert team of reviewers has amassed thousands of hours testing the latest camera gear in real world situations over the last 20 years.

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The best 4K cameras

The best 4K camera overall

Panasonic Lumix GH7 video sample

The Panasonic Lumix GH7 looks identical to its predecessor, the Lumix GH6, and while the two cameras’ bodies and control layouts are the same, Panasonic has built on the GH6's strong showing and worked out any kinks, notably Panasonic's phase-detection autofocus which debuted in the G9 II, which is much smoother than the GH6's autofocus for video, while throwing in useful unique new features such as 32-bit float audio, provided you have the right accessories. The result is that the GH7 is a multi-talented mirrorless camera with no great weaknesses.

Filmmakers are spoilt for choice with video modes, which include 5.7K up to 60fps and 4K slow motion up to 120fps, with no limit of video recording times that to a built-in cooling fan. In fact, the GH7 is as professional-feeling a video camera you could hope for at this price range, with users spoilt for choice with Panasonic's lenses for video. If you can get over the fact that the GH7 uses a smaller Four Thirds sensor to, say, its full-frame sibling the Lumix S5 II, then this is as near a perfect video camera as we could hope for.

Read our in-depth Panasonic Lumix GH7 review

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The best cheap 4K camera

Fujifilm X-M5 video sample

There's a shortage of cameras under $1000 / £1,000, but Fujifilm really pulled one out the bag with the excellent X-M5 – a dinky, video-focused X-mount mirrorless camera for aspiring creators. It's got the Fujifilm retro swag, a cleverly thought out design which includes ports on the opposite side of the screen's hinge and mic input above the screen so they're not in the way, plus easy access to Fujifilm's trending Film Simulations through a dedicated dial.

Video recording modes seriously impress and give beginners some serious grunt – we don't think you can find 6K open gate video in color-rich 10-bit for such little outlay elsewhere, plus cinematic 4K video up to 60fps. where else could you get 6K open gate 10-bit video recording for such little money? That high resolution open gate sensor enables a new 9:16 vertical video mode in 1080p, meaning you don't need to rotate the camera, complete with useful preset recording times for social. You also get decent audio recording options with three internal directional mics that can be employed individually or together based on your video needs, or you can use an external mic for even better audio. Naturally there are compromises given the price point, namely no in-body image stabilization and so those that shoot videos on the move a lot might want to consider a gimbal, but otherwise the X-M5 is an unbeatable 4K camera for beginners.

Read our in-depth Fujifilm X-M5 review

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The best value full-frame 4K camera

Panasonic Lumix S5 II video samples

The original Lumix S5 was one of our favorite 4K cameras and things only get better with the second edition. Like its predecessor, we found the Lumix S5 II relatively small yet solid in the hand. It’s neatly packaged too, with direct-access controls making it an intuitive tool to use. Results from our tests proved the quality of its 6K/30p footage to be excellent, with notably wide dynamic range and rich colors. We also welcomed the flexibility offered by open gate recording: because the S5 II shoots 6K using its full sensor area, there’s plenty of room for cropping in post-production. That’s unfortunately not the case with 4K/60p, which has a 1.5x crop.

Panasonic has finally embraced phase detection AF for video with the S5 II, and it works very well. We also found image stabilization effective for handheld work, making the S5 II a top choice for recording 4K on the run. Serious videographers might be more drawn to the Lumix S5 IIX, with its live streaming options, SSD recording and native support for RAW output via HDMI. But with unlimited recording times, the S5 II is still a fantastic 4K camera for enthusiasts.

Read our in-depth Panasonic Lumix S5 II review

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The best 4K camera for filmmakers

Lacking niceties like tracking autofocus or image stabilization, the Blackmagic Cinema Camera 6K isn't a 4K camera for beginners. But if you’re a seasoned filmmaker who knows how to color grade, the Cinema Camera 6K is capable of producing incredible raw video quality. In testing, we found its large sensor and dual native ISO delivered clean footage even in dim conditions, with Blackmagic’s 12-bit codec and slick workflow making post-production painless.

Objectively, the Cinema Camera 6K doesn’t come cheap, and it’s chunky when you factor in L-mount lenses. But when you consider its video chops, it’s a smaller and more affordable option than many of its pro-grade competitors. Its stills performance is rudimentary at best, and it lacks several features found on most hybrids, such as USB power and a built-in viewfinder. But if you want a relatively portable tool for top-end cinematography, we think it’s tough to beat.

Read our in-depth Blackmagic Cinema Camera 6K Pro

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The best pocket 4K camera

DJI Osmo Pocket 3 video sample

For stabilized 4K video in a pocket-sized package, the DJI Osmo Pocket 3 is our top pick. It features a three-axis gimbal to keep footage steady, plus ActiveTrack 6.0, which includes clever automatic face detection and dynamic framing to keep solo videographers centered. Together with a larger 1-inch sensor which performs better than the DJI Pocket 2 in low light, these features worked together in testing to produce high-quality 4K video in a range of scenarios.

The new portrait mode is a win for social sharers, as is the 2-inch touchscreen, which now rotates for vertical framing. The display is still a fiddly affair, mind, with the app offering an easier way to adjust settings. Still, with support for 4K slow-mo at 120fps, plus expanded timelapse features, we think the Pocket 3 is a fantastic option for content creators. Its small size does come with a few compromises, but it remains an excellent choice for 4K vlogging on the go.

Read our in-depth DJI Osmo Pocket 3 review

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The best premium 4K camera for vlogging

Sony ZV-E1 sample video

If you want a compact vlogging camera with class-leading video, we think the ZV-E1 should be top of your list. In our review, it delivered Sony’s best-quality 4K footage, harnessing the superlative 12.1MP sensor from the A7S III to deliver clean 4K/60p footage in any light. We found that its S-Cinetone color profile looks fantastic out of the camera, too, while its image stabilization system proved superb at smoothing handheld footage.

We found its body easy to carry and operate when shooting solo, weighing in as Sony’s lightest full-frame camera with in-body image stabilization. That said, we were slightly underwhelmed by the vari-angle LCD display, finding it hard to read outdoors. The camera’s proportions also come with compromises: there’s just a single card slot and no cooling vents. But with class-leading AI smarts that mean footage is almost always in focus, plus an Auto Framing trick that tracks the subject as if there’s a manual operator, the Sony ZV-E1 has huge potential for vloggers working alone to capture 4K content.

Read our in-depth Sony ZV-E1 review

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Also consider

My team and I have reviewed a lot of 4K cameras – far, far more than the six included in this shortlist. Here are several honorable mentions that narrowly missed out – but we think are also worthy of consideration.

Best enthusiast 4K camera – Fujifilm X-S20: This hybrid camera is designed primarily for content creators, and delivers an impressive set of video features including 6K resolution and a dedicated vlog mode. It's expensive compared to its predecessor, however, and the lack of weatherproofing is disappointing in such a pricey camera.

Best pro hybrid 4K camera – Nikon Z9: This hugely powerful 45.7MP full-frame flagship comes with 8K recording, and employs an electronic-only shutter to deliver remarkable performance for both stills and video.

Best ultra-compact 4K camera – Insta360 Go Ultra: This tiny magnetic action camera weighs around 50g – a trait that not only cuts down on carrying bulk but enables it to be mounted in all sorts of weird and wonderful places. If you're looking to record 4K footage with the smallest possible footprint, it's a great choice.

Best 4K action camera – DJI Osmo Action 6: Following a firmware update, DJI's top action camera can record up to 8K video. It's impressive for something so small, waterproof, rugged and affordable, and when paired with a wireless mic it makes for a superb portable vlogging setup.

How to choose the best 4K camera for you

Mirrorless cameras are the cream of today's camera crop, but there's still a small (but dedicated) market for bridge cameras. The best bridge cameras are a great choice for anyone looking for a camera and lens combination that can cover just about every shooting situation, so long as you don't mind sacrificing some image quality.

With versatile zoom ranges and DSLR-style handling, bridge cameras are the photographic jack of all trades. If we had to choose just one bridge camera to shoot with, it would be the Sony Cyber-shot RX10 IV. While its 1-inch sensor can’t compete with the best full-frame cameras on outright quality, it still leads the class and captures superb detail in images and video. Its 24-600mm lens is hugely flexible, too. Sony recently discontinued the RX10 IV, but it can still be found at a few retailers and, for now, remains our top pick.

We've highlighted bridge cameras for every use case and budget in this guide, as well as a few cameras that didn't quite make the cut but are still worth checking out. Our team has tested and reviewed each of the cameras featured below, so you know our advice is grounded in real-world testing. Bridge cameras aren’t a huge part of the modern camera market – we tested some of these models several years ago. However, we’ve kept our advice up to date with relevant comparisons and pricing.

Why you can trust TechRadar's choices

TechRadar's expert reviewers have extensively tested every bridge camera in this guide. We've spent more than 15 years reviewing cameras in real-world scenarios, including the kind of situations you'd typically use a bridge camera for, especially wildlife photography. Each camera featured here has earned its spot by performing reliably in the field, relative to its price.

The best bridge cameras

Below, you'll find full write-ups for each of the best bridge cameras, as well as a link to our in-depth reviews. Our team has tested each camera extensively, too, so you can rest assured that our advice comes from trustworthy first-hand experience.

The best premium bridge camera

Sony Cyber-shot RX10 IV sample images

If you're on the hunt for a powerful all-in-one bridge camera, the RX10 IV is hard to beat. Featuring a hugely flexible 24-600mm f/2.4-4 zoom lens, photographers benefit from a generous amount of 'reach' when they can't get close to their subject. The RX10 IV builds on the RX10 III with an overhauled AF system that now does justice to the rest of the camera, and the 1-inch, 20.1 MP sensor achieves excellent levels of detail.

Alongside incredible zoom capabilities and amazing auto focus, the RX10 IV also delivers on the video front. Outstanding 4K capabilities are not commonplace in bridge cameras, but the RX10 IV bucks the trend. It's quite bulky for a bridge camera, and there's no getting away from the hefty price, but the RX10 IV is virtually in a league of its own and is perhaps even deserving of a better name than 'bridge'.

*Sony announced its intention to discontinue the RX10 IV in June 2024. It can still be found at select retailers, and will remain the top pick until it can no longer be purchased.

• Read our in-depth Sony Cyber-shot RX10 IV review

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The best cheap bridge camera

Panasonic Lumix FZ80D / FZ82D sample images

The Lumix FZ80D (known as the Lumix FZ82D outside the US) might be one of the most affordable bridge cameras here, but it still packs quite a punch. The zoom range is impressive, going from an ultra-wide 20mm through to a staggering 1200mm, and benefits from an effective image stabilization system.

There's also 4K recording with Panasonic's 4K Photo, which can shoot 8MP images at 30fps, meaning that you'll never miss out on capturing those split-second moments. It's also very easy to use, with an intuitive touchscreen. We found that the camera was especially easy to use, too, thanks to the intuitive touchscreen. On the other hand, the viewfinder could be better, seeing as there's no eye sensor to automatically switch between the viewfinder and rear screen, and the high-ISO performance can't match larger-sensor, more expensive rivals. That being said, the Lumix FZ80D proves that you don't have to break the bank to get your hands on a reliable bridge camera.

* The Lumix FZ80D / FZ82D was released in August 2024 to replace the FZ80 / FZ82 from 2017, introducing USB-C charging (to adhere to the European Union's Common Charger Directive enforced from 2025) and improved resolution for the EVF and rear screen. Otherwise, the cameras are identical.

• Read our in-depth Panasonic Lumix FZ80 / FZ82 review

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The best bridge camera for zoom

Nikon Coolpix P1000 sample images

The Coolpix P1000 is the follow-up to the P900 and stretches what we’ve come to expect from superzoom cameras a little bit further. It's all down to the lens, which packs a massive 125x optical zoom range, equivalent to 24-3000mm in 35mm terms. Photographers will be hard pushed to find an object that they can't zoom in on – that includes scenery, wildlife, and even the finer details of the moon.

If you need a camera with a 3000mm-equivalent lens, well, it's an easy choice – the P1000 is the only model that ticks the box. Unfortunately, it's not without its weaknesses, including a bulky body, unreliable autofocus, and a sub-standard LCD.

*The Nikon Coolpix P1000 has been replaced by the Coolpix P1100, so all purchase links are to the newer version. There are very few changes between the two models – I've written about the key differences in this Coolpix P1100 vs Coolpix P1000 article. To summarize, the new model has USB-C charging, a few auto scene modes such as Fireworks Show scene mode, selectable AF-area in Bird-Watching mode, plus enhanced Bluetooth and Wi-Fi connectivity. Optical stabilization and the power of the built-in flash are rated slightly lower in the new version.

• Read our in-depth Nikon Coolpix P1000 review

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Also consider

If you're looking to buy a bridge camera new, then it's slim pickings out there. However, if you stumble across any of the below, new or second-hand, they're well worth a look:

Best RX10 IV alternative bridge camera – Sony Cyber-Shot RX10 III: Decent savings could be had over the best premium model by opting for its predecessor, the RX10 III. Sure, you'll miss out on the advanced AF system, 2fps burst shooting, and touchscreen, but otherwise the design is pretty much identical, and you've got the same 24-600mm f/2.4-4 lens and 1-inch sensor combo, with 4K video to boot.

Best all-rounder – Panasonic Lumix FZ2000 / FZ2500: A budget pick compared to Sony's RX10 line, Panasonic Lumix FZ2000 / FZ2500 offers the next best image quality, with a like-for-like 1-inch sensor and a 24-480mm, f/2.8-4.5 zoom, complete with 4K video and a neat live cropping mode.

Best value – Canon PowerShot SX70 HS: This is the best pick for Canon fans – a conventional bridge camera with a mega 65x zoom, paired with a small 1/2.3-inch sensor and RAW format stills. Handling is decent, with full manual control, reasonable stabilization and autofocus performance, a fully articulated screen (it lacks touch sensitivity, though), and a decent electronic viewfinder.

Kodak PixPro AZ653 – Kodak is probably the most active brand in the bridge camera space, and announced the new PixPro AZ653 in July 2025. We are working on a review and will update this page once the review is complete.

How to choose the best bridge camera

How we test Bridge Cameras

When spending such a significant amount of money, you want to make sure you're buying something that will not only last well but also fit your particular requirements. To help you make an informed decision, we have spent countless hours thoroughly testing every camera in this guide.

The first part of our tests involves handling the camera and getting a feel for its design and build quality. By using the camera on a tripod and handheld, we are able to assess who the camera is designed for and whether it'll stand the test of time.

Following on from this, we put a formatted SD card into the camera and shoot both RAW and JPEG formats. We take RAW images into an editing application such as Lightroom to see how far we can adjust exposure, highlights, and shadows.

Burst shooting is tested by using our test settings (1/250 sec, ISO 200, continuous AF) before shooting a series of frames in front of a stopwatch to see if it lives up to its advertised speeds.

Another vital element in terms of performance is the camera's ability to quickly find focus in autofocus mode. We test this using different types of subjects as well as in various lighting conditions. Alongside this, we'll shoot a variety of different photos and put metering through its paces. In all of this, we're also assessing the camera's ability to handle noise.

In terms of battery life, we use the camera from full charge to empty, and then make a note of the number of shots that it was able to take. This is then compared to the camera's CIPA rating. As most cameras have video functionality now, we'll also put it into video mode and test its resolutions, frame rates, and live view mode.

With all of this in mind, we write a final verdict that brings everything together.

Despite there now being a bigger proliferation of camera brands on the market than perhaps ever before, the old Canon vs Nikon debate continues to rumble on. For first time camera buyers, these two heritage brands will likely be at the forefront of your mind. Although there's now lots of competition from other brands such as Sony, Nikon vs Canon tends to be an obvious starting point for those new to photography.

DSLRs were once the main stay of Canon and Nikon, with mirrorless options being pioneered by brands such as Olympus and Sony. However, it's now true to say that all brands are concentrating their efforts on mirrorless, with both Nikon and Canon offering some very strong mirrorless - indeed even class-leading - options in their respective line-ups. If you're still keen on DSLR though, and you still have plenty of reasons to be, they both still offer more traditional options for photographers.

Choosing your first camera can be a difficult task, with an at-times overwhelming amount of choice.  Once you add in picking between DSLR and mirrorless, the choice becomes even harder. However, if you've at least narrowed it down to these two classic heritage brands, at least your decision has been made a little easier. With these two brands, it's likely you'll be thinking first about the type of camera you need. For that reason, we've compared models from the two brands across all categories and price points. 

Speaking of price point, if that's your main concern, you'd do well to wait a little while until Amazon Prime Day 2021. This year, we're expecting lots of camera models to be discounted, especially models which are a little older in the line-up and have perhaps subsequently been replaced by newer models. Remember that older cameras are still fantastic, they just might be missing some of the bells and whistles that you might not even require.

If you're thinking of starting to become serious about photography and want to up your game from a smartphone to an entry-level mirrorless camera. If that's you, then we've got plenty of options here for you. After that, we'll be taking a look at higher-end mirrorless options. Finally, we'll compare the best Canon and Nikon DSLRs, for beginners, hobbyists and those with the most experience looking for full-frame models.

Keep reading to discover how we answer that classic battle - Nikon vs Canon, which is best?

• Mirrorless vs DSLR cameras: 10 key differences

Canon vs Nikon: Beginner-friendly mirrorless

When it comes to buying your first camera, mirrorless options are a fantastic choice. Generally, they’re smaller and lighter than equivalent DSLRs, so making the jump up from your smartphone doesn’t feel like such a huge step.

Both Canon and Nikon have great options for those new to photography, but unlike DSLRs which have been around for much longer, they can be a little pricier. Shifting your thinking to consider 'best value' rather than outright cheapness is a good way to look at it – investing in a good camera usually means you won’t outgrow it quickly and have to spend again to upgrade.

The best of the current crop of Nikon and Canon entry-level mirrorless cameras, offering all-round shooting capabilities, are both APS-C models, in the shape of the Canon EOS M50 and the Nikon Z50. We think the latter is the better of the two, largely due to it being a better all-round offering and much newer. Recently, Canon introduced the Canon EOS M50 II, which is a very minor upgrade which adds a couple of extra features primarily aimed at vloggers. As it uses the same sensor and processor as its predecessor, for stills photographers, it's worth sticking with the original.

Making its debut in late 2019, the Nikon Z50 is an excellent mid-range, enthusiast camera. As well as being popular for beginners, it’s a great option for travel, with its smaller proportions making it easy to transport. It shares the same Z mount with its full-frame siblings, but there have been a number of lenses specifically designed to match the smaller chassis, such as the 16-50mm f/3.5-5.6 pancake lens which you’ll generally find bundled with the Z50.

The screen and viewfinder of the Z50 are both impressive, with the the former tilting downwards and forwards, making it useful for shooting selfies and possibly even vlogs – though it’s not possible to mount the camera on a tripod and flex the screen at the same time, annoyingly. 

Importantly, image quality is very good from the 20.9MP sensor, and there’s also 4K video recording and a 209-point AF system that puts in a decent performance. In essence, the Z50 is a lot like using a miniaturized version of the higher-level Z6/Z7 models.

By contrast, Canon’s EOS M50 is now three years old – and while in some ways it’s beginning to show its age, it’s still a cracking little camera for lots of different users. The recently announced Mark II has done little to address those age concerns, too.

The sensor offers a 24.1MP resolution, and although it shoots 4K video, unfortunately it is cropped – so vloggers may find it a little on the restrictive side. Better news is the vari-angle touchscreen display on the rear, which is joined by very decent viewfinder.

Excellent proportions make the Canon EOS M50 a pleasure to use, with streamlined controls and an intuitive user interface. Unlike the Nikon Z system, Canon uses a different mount for its APS-C mirrorless models and full-frame options - which is frustrating as lenses can’t be shared between the two should you decide to upgrade at a later point.

Other entry-level models are also available and are worth considering, with two full-frame models for those who are keen to progress to the larger format. Canon has the Canon EOS RP, while Nikon has the Nikon Z5. Both distill the vital elements of the company's full-frame mirrorless offerings into more affordable packages, but with a number of trade-offs that come from the cheaper price.

Winner: Nikon Z50

• Best cameras for beginners 2021: 10 models to help you learn photography

Canon vs Nikon: High-end mirrorless

These days, the capabilities of modern mirrorless cameras mean they easily match, and often outdo, their DSLR counterparts. As such, they’re the perfect tools for advanced hobbyists and professionals who want the very latest camera technology. 

Both Canon and Nikon offer excellent high-end mirrorless cameras, all with full-frame sensors. In the Canon camp you have the fairly recently announced Canon EOS R5 and Canon EOS R6, a duo of exceptional models that suit an extremely diverse range of shooting setups. 

Meanwhile, its big rival has the Nikon Z7 II and Nikon Z6 II, also new to the market, boasting improvements on Nikon’s original full-frame models which debuted a couple of years back. 

The Canon EOS R5 is almost certainly Canon’s best-ever stills camera, being an incredibly powerful tool which delivers exceptional results for almost every kind of photography. Its superb autofocusing system, matched with 12fps shooting, makes it adept at keeping up with fast-moving subjects, while in other areas – such as low light – it also performs well. 

On top of that, handling is great, with an optical viewfinder that is virtually indistinguishable in use from the optical devices used in DSLRs. Video-makers will be drawn in by the 8K video spec headline, the excitement for which is tempered by some overheating issues. For the ordinary user who is supplementing stills work with video, it’s less of a problem, though. 

For a professional-level system, naturally, there’s a professional-level price to pay. As such, for those who are more budget conscious, there’s the Canon EOS R6. Targeted more squarely at the high-end enthusiast than the professional, it also features superb autofocusing, 12fps burst shooting, an ergonomic design and the ability to record 4K video. 

Squaring up to Canon’s efforts are the Nikon Z7 II and Nikon Z6 II, which although impressive in their own right, don’t quite match up to the Canon’s superlative performance. 

Both are an evolution of the original Z7 / Z6 models, and as a result, the latest incarnations offer more of a tweak of the originals than an outright revolution. Both share the same body design, so it will be the internal specifications – or perhaps the price – which will help you choose between the two. 

Big news for the Z7 II / Z6 II is the addition of a second memory card slot, a huge criticism of the original models which help to give peace of mind for those looking to make backups they shoot. Otherwise, you get the same superb handling as we already saw, with a chunky grip and sensible button layout. The viewfinder is excellent – if not quite as high-spec as the Canon equivalent – while the tilting screen is also useful. 

Internally, the Z7 II is the higher resolution of the two, but the trade off is a slower max frame-rate. Autofocusing is decent, but action shooters are likely to be disappointed – especially in comparison to what Canon is capable of with the R5 / R6. Both the Z7 II and Z6 II offer 4K video recording at 60p, making them both good all-rounder type cameras for those who like to record both stills and video. 

Comparing Canon and Nikon’s efforts side by side shows us that Canon is the clear winner – however, it’s worth considering the price point. While it’s true that the Canons have more to offer, they also cost more, too. It’s also worth pointing out that for photographers who are mainly concerned with still - or slow - subjects, it’s unlikely you’ll be disappointed by the Z series.

The best is arguably yet to come here from both Nikon and Canon. We've had development announcements of both the Nikon Z9 and the Canon EOS R3. These high-end professional-level mirrorless systems will square off against each other, showing off exactly the tech prowess that each brand has to offer.  

Winner: Canon EOS R6

• Best cameras 2021: the best cameras you can buy right now

Canon vs Nikon: Beginner-friendly DSLRs

Generally we consider anything under the £500/$500 mark to be the benchmark for entry-level buyers. Luckily, if that’s your budget there’s plenty to choose from. 

Although both Canon and Nikon have been concentrating on mirrorless recently, there's still an excellent range of DSLRs that can be picked up at affordable prices. As the technology is generally older, you'll normally find them at cheaper prices than equivalent mirrorless cameras. You might also see good discounts and cashback offers on these older models, too.

As it stands, the best current options are the Nikon D3500 and Canon EOS Rebel SL3 / EOS 250D, with the former edging it in our book.

The Canon EOS 250D sits towards the upper end of the company's entry-level options. The cheapest options you can pick up are the Canon EOS 4000D (known as the EOS Rebel T100 in the US) and the Canon EOS 2000D (known as the EOS Rebel T7 in the US). 

The Canon EOS 250D (known as the Rebel SL3 in the US) is the newest of the entry-level models, while you can still find the older Canon EOS 200D (the EOS Rebel SL2 in the US) in some stores. 

So what are the differences? The cheapest model, the Canon EOS 4000D / EOS Rebel T100 is very affordable, but you have to be prepared for some fairly big compromises. It features an 18MP sensor, a plastic lens mount and a less than mediocre 2.7-inch display – in short, it’s worth saving up for a bit longer and buying something of a better quality if you can.

Step forward the Canon EOS 2000D (EOS Rebel T7). For your extra cash you get a jump in resolution (24.1MP from 18MP), plus a better screen for a much better user experience. 

Invest even more money and you’ll end up with the Canon EOS 250D (EOS Rebel SL3), which has a newer 24.2MP sensor, along with Canon’s Dual Pixel AF system which comes in handy when using Live View (or video recording, which is available in 4K). It can also shoot at 5fps, which while not blisteringly fast, can be handy for capturing moving subjects. There’s also a handy vari-angle touchscreen, and the latest Digic 8 processing engine. The downside is a fairly basic 9-point autofocus system, but it’s a great camera to learn with. 

Nikon has been a little bit quieter recently when it comes to entry-level models, but in the current line-up we have the Nikon D3500, which is our currently number one in our list of the best beginner DSLRs. You might also be able to find the Nikon D3400 on sale in some stores. Both have 24.2MP sensors, with an 11-point AF system and 5fps shooting. The Nikon D3500 has a better battery life, a larger handgrip (for better comfort) and a redesigned sensor. 

Overall, at the cheapest end of the market, there isn’t a huge amount of difference between the two manufacturers. That said, Canon has launched beginner-level models more recently, so you’ll get newer tech if you opt for one of those. If your budget is quite fluid, we’d suggest the Canon EOS 250D, but if need to keep it tight, the Nikon D3500 is the best first-time choice.

Winner: Nikon D3500

• Best entry-level DSLR: 10 budget DSLRs perfect for the beginner

Canon vs Nikon: Mid-range DSLRs

If you’ve got a bit more wiggle-room in your budget, the next step up is the 'mid-range' camera. In recent years, these models have thinned out a bit – so you might want to jump to the next section (enthusiast), if you’re looking for something to cater for a wide variety of shooting needs.

Still, in Canon’s current-line up in the 'mid-range' level is the newer-of-the-two Canon EOS 850D, while Nikon has the Nikon D5600 in its arsenal.

Announced at the start of 2020, but marred by delays thanks to Covid, the Canon EOS Rebel T8i / EOS 850D is essentially a modest refresh of the 800D, bringing it more in line with up-to-date expectations, such as 4K video. 

Cameras like this do little to outdo beginner-friendly mirrorless models, but if you prefer the handling of a DSLR, the 850D is a decent mid-range choice. Perhaps you’ve already got some EF-mount lenses kicking about and want a new body to go with them.

Handling is good, albeit with a slightly plasticky body. It’s got a nicely chunky grip and a decent array of control dials and wheels. Image quality is very good, while perhaps one of the big plus points for cameras like this is its extensive battery life – exceeding most mirrorless options by quite some way.

If you already own the 800D – or perhaps you can find it cheaply somewhere – there isn’t a huge amount to tempt you to upgrade, unless you’re particularly keen on 4K video (but bear in mind it has a significant crop factor which limits its appeal somewhat). 

Meanwhile, the Nikon D5600, despite being quite some way older than the EOS Rebel T8i / 850D, offers a similar shooting experience. It also has a 95% viewfinder and a plasticky finish, but it's also missing 4K video – if you're mainly concerned with stills, though, then that shouldn't bother you too much. More positive aspects are its good image quality, a well-performing 39-point AF system, plus a comfortable design.

The Canon just about edges it, mainly due to those limited video specs on the D5600, but it is a very close call. It’s hard to pick between these two cameras – with them both sharing similar specifications, it might come down to your budget – in which case, the D5600 is the better value of the two. Both are good 'step-up' cameras, and they’d also make ideal choices for first-time buyers. Head to the 'enthusiast' section if you’re looking for something with a little more power, though. 

Winner: Canon EOS Rebel T8i / EOS 850D

• Best Canon lenses: 10 top options for Canon APS-C DSLRs
• Best Nikon lenses: 10 top options for Nikon APS-C DSLRs

Canon vs Nikon: Enthusiast DSLRs

Once you’ve outgrown your first DSLR, or need something which can handle more challenging shooting situations, then you’ll be looking towards Canon and Nikon’s enthusiast options. Today, these are headed by the Canon EOS 90D and the Nikon D7500.

Both the Canon EOS 90D and the Nikon D7500 sit in the same kind of category, but being the newer of the two, the Canon is more expensive. That said, given that the EOS 90D inherits some high-end features from models above it, you could argue that it offers better value for money. 

The Canon EOS 90D includes the highest resolution sensor you’ll find in an APS-C body, at 32.5MP. You also get great handling with lots of dials and controls, a long battery life, an optical viewfinder which offers a 100% view and uncropped 4K video recording. That’s a lot of bang for your mid-range buck.

Although older, the Nikon D7500 doesn’t fare too badly in comparison. The biggest difference is the sensor resolution, which is a more modest 20.9MP – but you could very well argue that this makes the files easier to handle, as well as being better suited to low-light shooting. Otherwise, the specs are relatively similar, with a 100% optical viewfinder, 4K video recording and a good battery life.

At this point in your shooting career, you may well already be invested in a system. If you’re already toting a bag of lenses, we probably wouldn’t recommend jacking it all in to switch to a different camera at this level. But if we had to pick one, the Canon EOS 90D would be the winner, especially if budget is not too much of a concern.

Winner: Canon EOS 90D

Pro-spec APS-C DSLRs

There are some DSLRs which straddle the enthusiast and pro category. They feature APS-C sensors, but include a number of high-level specifications that advanced shooters are usually keen to get hold of.

Here, there’s healthy competition between the two brands, with them both offering very appealing models which are great all-round performers. 

There’s the Nikon D500, which goes up against the Canon EOS 7D Mark II. Both are fairly old (in camera terms), but still have a number of class-leading specifications which are still worthy of your attention.

Although many pros will naturally head towards full-frame, having a crop sensor makes a lot of sense for wildlife and sports photographers, as you can get closer to the subject. Both of these models have also been designed with photographers who shoot fast-moving subjects in mind. The Nikon D500 has a 20.9MP sensor, while the 7D Mark II is a 20.2MP affair – so far, so similar.

Where the two diverge is in terms of the focusing systems. The Canon 7D Mark II offers a 65-point all-cross type AF system, while the Nikon D500 boasts 153-points (with 99 cross-type/55 which are manually selectable). Both cameras give you 10fps shooting, but when it comes to the buffer, the Nikon D500 is the clear winner – you should be able to shoot 200 raw frames before it’s full, compared to the more modest 31 from the Nikon.

There’s also a couple of areas where the Nikon comes out on top here too, such as 4K video recording and a larger, touch-sensitive screen. These specifications keep the D500 still looking relatively fresh some five years after its announcement. Meanwhile, the 7D Mark II, now over seven years old, is starting to show its age. In some respects, if you’re a Canon user you’d be better off plumping for the 90D, especially if video work is your forte.

Again, it stands a good chance that if you’re in the market for either of these models, you’ll already be fairly heavily invested in one camera system or the other. But if not, it’s the Nikon D500 that's the clear winner of the two here.

Winner: Nikon D500

• The 10 best enthusiast DSLRs you can buy right now

Canon vs Nikon: Top range, full-frame DSLRs

Sitting at the top of the DSLR tree, you have the full-frame offerings. 

Both Canon and Nikon offer a good range of full-frame options, with them generally being split into two price levels to cater to different audiences. From Canon, we have the affordable 6D Mark II, while Nikon has only very recently updated its entry-level full-frame model in the shape of the D780.

The Canon EOS 6D Mark II was the follow-up to the very popular 6D. It features a 26.2MP sensor, with a 45-point AF system, Dual Pixel CMOS AF and a vari-angle touchscreen. What it doesn’t give you, is 4K video recording and it only offers 6.5fps shooting. However, with it now being close to three years old, it’s a much cheaper proposition than the more recent Nikon D780. 

After the popularity of its mirrorless models, Nikon has essentially distilled many of the things that were great about its Nikon Z6 camera and housed it inside a DSLR body with the D780. This is great for those who prefer the handling of these cameras (and perhaps have a slew of DSLR lenses ready to go). 

The D780 has a 24.5MP sensor, 4K video recording, 7fps (or 12fps if you shoot in silent mode), Eye AF and a tilting touchscreen. It has a 51-point AF system which borrows the autofocus algorithm from the top-of-the-line Nikon D5, as well as housing 15 cross-type sensors. 

On paper, it’s a no brainer that the D780 is the clear winner over the 7D Mark II – but once again, if you’re already invested in the Canon system, it’s debatable whether there's enough to justify ditching the whole system for the D780. As a newer model, the latter is also quite a bit more expensive than the Canon offering, though we expect prices to even out a little as time goes on.

If you’re keen to stick with Nikon, but your budget is on the tight side, the Nikon D750 is still available to buy. With a new model out, this is a now a relative bargain. Here you get a still pretty decent 51-point AF system, a tilting screen (no touch sensitivity though), and 6.5fps shooting. You don’t get 4K video – but if stills are your main thing, it’s still a decent all-rounder.

Winner: Nikon D780 (or Nikon D750 if you're on a budget)

High-end options

If you have a healthy amount of cash to spend, or perhaps you’re looking to step up to some pro work, then both Canon and Nikon have the best DSLR options around. 

From Nikon we have the Nikon D850, while Canon have the Canon EOS 5D Mark IV. Above that there’s also the Nikon D5 and the Canon EOS 1DX Mark III – but unless you’re a full-time working professional (or have very deep pockets), it’s unlikely you’ll be considering the latter two options.

The Nikon D850 is probably still – after more than three years on the market – the DSLR to beat. It’s a fantastic all-rounder and a great workhorse camera for any working professional, as well as those enthusiasts who want a fantastic performer. It features a 45.7MP sensor – one of the highest resolutions on the market – as well as a host of other features that are still sought after today. 

There’s 4K video recording, 9fps burst shooting, and Snapbridge connectivity. There’s also an excellent optical viewfinder and a tilting touch-sensitive screen. 

By contrast, the Canon 5D Mark IV has a more modest 30.4MP sensor (the files are a bit more manageable though), 7fps shooting, and 4K video recording. The screen is touch-sensitive, but it doesn’t tilt. If you need higher resolution, you can still get hold of the Canon EOS 5DS and 5DSR cameras, which feature 50.6MP sensors, though most photographers should find that 30MP is more than enough.

We’d have to pick the Nikon D850 as the winner here, but again, if you’re already in the Canon system, you definitely won't be disappointed by the 5D Mark IV.

Winner: Nikon D850

• Best full-frame camera: 10 advanced DSLRs and mirrorless cameras

Rumors suggest that Nikon is about to announce some new products, with an event scheduled in Asia for early June. 

We’ve been waiting for a new APS-C mirrorless from Nikon for a couple of years now, with hints that the Z30 could be just around the corner, a logical product launch as many of us head into the sunniest months of the year – during which we might actually be allowed out to take some shots.

What could prove to be very interesting though is the perhaps slightly wacky suggestion that a retro-inspired body akin to the Nikon Df, and other cameras from Nikon’s heritage, could be about to make an appearance.

• Nikon Z30: release date, price, rumors and what we want to see
• Best Nikon camera 2021
• Best mirrorless camera 2021

Nikon met with a mixed response when it released its Df DSLR back in 2013, but there are plenty of other mirrorless models on the market, particularly from the likes of Olympus and Fujifilm, that show there are plenty of consumers out there who prefer the old-school look. 

To date, only one Nikon Z model has featured an APS-C sized sensor: the Nikon Z50, which was announced in 2019 and is aimed primarily at the more beginner end of the market. It would arguably therefore make sense for a new APS-C model to feature retro stylings, since it’s likely to also be aimed at a younger, more inexperienced, and more fashion-conscious user. 

Body design 

According to NikonRumors, the camera would feature mechanical dials and an articulating screen, while the body itself would be very slim, and quite closely resemble the Olympus OMD or Nikon FE10 (analogue) cameras.

There’s also a chance that Nikon could take the gamble even further and release a full-framer, perhaps called the Nikon Zf, using the same internals and design principals as the Nikon Df.

Other than that, details are sketchy at the moment – and of course, it could all turn out to be nothing more than a designer’s wishful thinking. A design patent filed for what was assumed to be the Z30 shows it looking almost exactly like the Z50 – so fashionistas perhaps shouldn’t get too excited just yet. 

• Discover the best camera you can buy right now

Several Nikon F-mount lenses appear to be on the discontinued chopping block, signaling a possible end to some classic DSLR camera glass – and maybe Nikon’s beginner DSLR cameras. 

As spotted by Nikon Rumors, seven F-mount lenses are listed as ‘old product’ on Nikon Japan’s website or appear in the discontinued section. The lenses are also listed as out of stock by some US and UK distributors, meaning they’re now tough to find new.

Most of the lenses are at least five years old, with many going as far back as 2010, so it’s not hugely surprising news given the shrinking demand for DSLRs. But a couple of the lenses, including the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR, are affordable companions for cameras like the Nikon D3500.

• These are the best DSLRs you can buy right now
• Or check out out guide to the best beginner DSLRs 
• Read our in-depth Nikon D3500 review 

The D3500 and D5600 themselves have both been listed as “old products” on the Nikon Japan website, so the discontinuation of some of their stalwart lenses is perhaps to be expected. But for fans of cameras with optical viewfinders, it is another example of the rapid shift from DSLRs to mirrorless cameras.    

The news follows similar reports last month that Canon had discontinued several EF lenses for its DSLRs. And it seems likely that news like this will continue, as brands like Nikon and Canon shift their focus away from their legacy systems towards their Z-mount and RF-mount lineups. 

Which lenses are being discontinued? 

At the time of writing we were still able to find some of the lenses below available on the official Nikon websites for the UK and US. 

We don’t know how quickly this will change, but if the Nikon Rumors prediction is correct, it seems likely that these lenses will become trickier to buy new.

• AF-P DX Nikkor 18-55mm f/3.5-5.6G VR – UK: Out of stock, US: Backorder
• AF-S Nikkor 16-35mm f/4G ED VR – UK: In stock, US: In stock
• AF-S Nikkor 28-300mm f/3.5-5.6G ED VR – UK: In stock, US: Backorder
• AF-S Nikkor 200mm f/2G ED VR II – UK: Out of stock, US: In stock
• AF-S DX Nikkor 16-80mm f/2.8-4E ED VR – UK: In stock, US: Backorder
• AF-S DX Nikkor 18-300mm f/3.5-6.3G ED VR – UK: In stock, US: Backorder
• AF-S DX Micro Nikkor 85mm f/3.5G ED VR – UK: Out of stock, US: Backorder 

While some of the entries, like the popular AF-S DX Nikkor 16-80mm f/2.8-4E ED VR, might come as a surprise, it doesn’t mean an immediate end for Nikon’s DX or FX format DSLRs. 

Right now, there are still over 50 lenses in stock for those cameras in the UK and US. And even for officially discontinued lenses, there will likely be enough stock available in third-party stores (and in the second-hand market) to satisfy demand.

But the trend is clear. While DSLRs and their lenses remain the cheapest way to get a camera with a viewfinder, the newest lenses (with the latest autofocus tech) will be available for mirrorless cameras, which are clearly now the focus for Nikon and Canon.   

If we hear of any more Nikon DSLR lenses being discontinued, we’ll be sure to keep you updated.

• Best Nikon lenses 2021: 20 top lenses for Nikon DSLRs

It's been an extremely quiet start to the year for Nikon, but the camera giant has hit back at growing rumors that its new Z-mount lenses have been delayed.

So far in 2021, Nikon has only made a single development announcement for its Nikon Z9 mirrorless flagship – with no news at all on the several long-awaited lenses in its Z-mount roadmap.

This had led to growing speculation, from the likes of Nikon Rumors, that a planned launch for some of these lenses has been pushed back. The site claims that "Nikon was supposed to release several new Nikkor Z lenses in April, but the announcement was postponed", with the reason apparently being that "Nikon is now concentrated mainly on the Z9".

• These are the best mirrorless cameras you can buy right now
• Or check out our guide to the best Nikon cameras
• Read our in-depth round-up of the best Nikon Z lenses

We asked Nikon if it's true that there have been delays to its Z-mount release schedule, and it told us in no uncertain terms that "there is no such delay".

We then followed up by asking Nikon if, as reported by the Japanese website Nikkei last month, it was still planning to release 12 new Z-mount lenses by the end of this financial year (which ends in March 2022).

It confirmed to us: "We are planning on expanding the Nikkor Z lens lineup to approximately 30 lenses by the end of the fiscal year 2021".

Despite that "approximately" qualifier, this will offer some mild reassurance to owners of Nikon mirrorless cameras, who last saw a new lens announced almost exactly eight months ago in September 2020. 

But Nikon will need to get a move on and it seems likely that, at some point, we're going to see a big splash of new Z-mount lens announcements – possibly to tie in with the full announcement of the Nikon Z9.

Analysis: Pro Nikon shooters hungry for lens news  

To be fair to Nikon, it hasn't reneged on any promises for its Nikon Z lens roadmap yet. The most recent version of the roadmap targets "a total of 27 amazing lenses and two teleconverters" being available by the end of 2022.

The frustration for Nikon mirrorless camera owners is the speed of that rollout, particularly compared to Canon and Sony. Canon recently announced two pro-level RF telephoto lenses for its mirrorless cameras, alongside the system's first true macro lens. 

Sony, meanwhile, has by far the largest collection of native lenses for its full-frame mirrorless cameras, having had a significant headstart, and has recently been on a spree of announcing exciting primes that aren't even in Nikon's roadmap yet.

But the picture also isn't quite as simple as a race to big numbers. Nikon owners have long been prepared to trade lightning-fast development for the sheer quality of its lenses. Also, there is a difference between a company announcing lenses and being able to buy them.

For example, if we compare the availability of mirrorless lenses for the Canon RF mount and Nikon's Z mount in their official UK stores, there isn't much difference. In Canon's store, from a total of 20 RF lenses, only ten are in stock. Likewise, from a total of 16 Z-mount lenses in the Nikon store, you can again only buy ten of them.

Your level of frustration with Nikon is likely to vary depending on the kind of photographer you are – and the recent spike in rumors and concern around Nikon's Z-mount is likely borne out of the lack of news around its pro-level offerings. 

Right now, the Nikon Z system doesn't have any native lenses with a focal length over 200mm or any macro options. These options are prized by wildlife and landscape photographers, who will currently need to use the FTZ adaptor to use Nikon's older F-mount lenses for cameras like the Nikon Z7 II.

That's perfectly acceptable as a stop-gap, but the promise of the new Z-mount – and the reason many have moved from Nikon DSLRs to mirrorless cameras – is the promise of next-level optics, thanks to the new mount's design.

Photographers also tend to see lens announcements as a marker of the health and longevity of the system they've bought into – even if they don't ultimately end up buying those higher-end jewels in the Z-mount's crown. 

Nikon insists that much-anticipated offerings like the Nikon Z 100-400mm and 200-400mm are en route and haven't been delayed, but it looks increasingly like they won't be available to buy until later this year. Still, if Nikon fans can hold on a little longer – or if Nikon can sate them with a 'development announcement' – they may well find they're worth the wait.

• Nikon Z7 II: 8 reasons why it's convinced me to finally upgrade from my Nikon DSLR

The Canon EOS R3 and Nikon Z9 are incoming flagship mirrorless cameras that continue to dig the grave for DSLRs. 

Both cameras are aimed at pro photographers who demand extremely fast burst performance, long battery lives, vertical grips and speedy AF. Everything DSLRs had over the earlier generations of mirrorless cameras, in other words. 

The Canon EOS R3 and Nikon Z9 have been announced as “in development”. That means there's still a lot we don't know about both cameras. Still, a few features have been officially revealed and we know what they will look like, ahead of their full announcements later this year.