It's been an excellent year for tech releases, with the arrival of everything from new TV panel developments, to groundbreaking drones, to awesome spatial audio speakers, to a new breed of AI-connected screenless fitness wearable.

It's also been a really difficult year in tech, though, due to the component crisis and rising prices across nearly all products. In the middle of that tension, it only makes sense for us to find out which companies navigated the challenges best by asking the community of tech lovers out there — and so here are the first TechRadar Readers' Choice Awards.

The results are in, so below we've listed the TechRadar Readers' Choice Awards 2026 winners winners in every category, all 100% voted by you!

Phones & tablets

Phone of the Year

Phone Brand of the Year

Phones Innovation of the Year

Best Value Phone

Best Mid-Range Phone

Best Folding Phone

Best Flip Phone

Best Camera Phone

Best Gaming Phone

Best AI Phone

Cameras & drones

Camera of the Year

Camera Brand of the Year

Camera Innovation of the Year

Best Beginner Camera

Best Mid-range camera

Best Professional Camera

Best Compact and Instant Camera

Best Action and Vlogging Camera

Best Camera Lens

Best camera accessory

Best drone

Computing

Computing Brand of the Year

Best Computing Innovation

Best Value Laptop

Best AI Laptop

Best Gaming Laptop

Best PC Gaming Handheld

Best Gaming Keyboard

Best Gaming Monitor

Best Gaming Mouse

Gaming

Gaming Device of the Year

Gaming Brand of the Year

Gaming Innovation of the Year

Best Console Accessory

Best Gaming Service

Best Gaming Controller

Best Gaming Headset

Best Gaming Chair

TV & home theater

TV of the year

Home Entertainment Brand of the Year

Home Entertainment Innovation of the Year

Best Gaming TV

Best TV for Sound

Best OLED TV

Best mini-LED TV

Best Value TV

Best Projector

Best Soundbar

Best Wireless Home Theater Speakers

Streaming

Streaming Service of the Year

Best Streaming Service for Movies

Best Streaming Service for Documentaries

Best Streaming Service for TV Series

Best Free Streaming Service of the Year

Audio

Headphones of the Year

Audio Brand of the Year

Audio Innovation 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

Best DAC

Best Stereo Speakers

Health & Fitness tech

Health and Fitness Device of the Year

Health & Fitness Brand of the Year

Health and Fitness Innovation of the Year

Best Smartwatch

Best Running Watch

Best Fitness Tracker

Best Smart Ring

Best Electric Toothbrush

Best Connected Fitness Tech

Home tech

Home Device of the Year

Home Tech Brand of the Year

Home Tech Innovation of the Year

Best Home Light Tech

Best Home Security Device

Best Robot Vacuum

Best Vacuum

Best Air Fryer

Best Coffee Machine

Best Value Coffee Machine

Best Fan

Sigma FP2: One-minute review

Sigma's FP2 is a successor to the world's smallest full-frame mirrorless camera, the FP, and it's even smaller, despite coming with a bunch of handy upgrades.

The FP2 packs a partially stacked 24.5MP full-frame sensor — one we've seen before in the Nikon ZR and Lumix S1 II. And like those cameras, it shoots 6K open gate video, only with Sigma's L-Log color profile, and RAW video through an external SSD.

It comes with 70GB built-in memory, plus a higher capacity battery — the same unit found in recent full-frame Lumix models like the S1 II and Lumix S9 — and it features a 3.15-inch tilt-touchscreen. All decent upgrades.

Autofocus performance has been improved too — the hybrid phase detection system can track more subjects, with what Sigma says is a 15% boost in speed and accuracy.

And these features are packed into a diminutive and sturdy metal body with a delightfully simple design and user experience — I love how the photo and video functions are neatly distinguished. It's an attractive package, and a camera that I thoroughly enjoyed having in my hand.

When considered purely as an upgrade to the original FP, the FP2 is a solid camera. However, Sigma's mission to make the smallest full-frame mirrorless camera comes with compromises, which means the FP2 won't be for everyone. For one, the camera doesn't have in-body image stabilization, whereas the Lumix S9, Lumix S1 II and Nikon ZR do.

There's also no built-in viewfinder, though unlike some rivals, there is an optional EVF and it's a fantastically bright and detailed 5.76m-dot unit that tilts for waist-level shooting.

When shooting photos, I regularly found myself bringing the camera up to my eye, only to remember it didn't have a viewfinder – photo and video creatives will absolutely want to pick up the optional EVF.

That for me is where the FP2 comes undone, somewhat. It's starting price is reasonable, but when you factor in the cost of accessories, the package starts to feel pricey.

There is a miniaturisation premium — Sigma isn't alone in this, however. Overall, there are better value conventional alternatives, but if size and feel matters to you, then the Sigma FP2 is well worth a look.

Sigma FP2: Price and release date

• Announced on October 23, 2026, priced from $2,199 / £1,899
• Can be purchased with various kits; with the Electronic Viewfinder EVF-21 or 50mm F2 DG | Contemporary lens
• Goes on sale from November 11

At first, the Sigma FP2 feels like excellent value — it's a beautifully designed and rugged full-frame camera with impressive specs for $2,199 / £1,899. However, that body-only price is just the beginning for a camera that works best with optional accessories — and for those the cost soon stacks up.

For example, photographers will want the divine EVF-21 5.76m-dot tilt electronic viewfinder, which which adds $500 / £500 to the cost when bought with the camera, and it costs even more when purchased separately. Or how about the camera and lens kit with 50mm F2 DG | Contemporary, which I had for the review and you can see in the pictures, which costs $2749 / £2419.

Other accessories include the Hot Shoe Unit HU-21 (same flash terminal as OM System / Lumix), base plate BPL-21, LCD viewfinder LVF-21 and battery charger BC-91. Sigma is still a decent value brand, but you just need to be aware that this camera system benefits from costly extras, and if you're upgrading that the likes of the EVF are not forwards / backwards compatible with the original Sigma FP.

Sigma FP2 specs

Sigma FP2: Design

• Even smaller than the original FP, but a fraction heavier
• Modular design with handy (albeit pricey) accessories, such as the lovely EVF
• Wonderfully simple user experience and interface

The FP2 carries the DNA of the original FP, but comes with some welcome design improvements. Crucially, it stays true to Sigma's core mission with this series — make the smallest full-frame mirrorless camera available.

It's designed as a photo and video hybrid, with a chunky switch to choose between the two and a neatly arranged menu for each discipline — the settings remain unique when you move between the two.

There's a chunky exposure dial, and a line of buttons neatly arranged under the screen, including one for color profiles (there are 13 presets, Log and RAW video options).

The 3.15-inch touchscreen is a tilt-type — impressive considering the camera is thinner than the FP, which has a fixed screen. Pulling the screen out reveals vents which presumably keep the camera cool during high-resolution video recording.

We don't get an EVF, which is no surprise given the size of the camera. However, Sigma sells the FP2 in a kit with the EVF-21 electronic viewfinder.

I actually think the modular design makes perfect sense. Shooting video and don't need a viewfinder? You have the tiniest full-frame shooter. Out taking photos and want the display? Add it on.

And I really did enjoy the display — albeit my brief experience with it. It connects to the camera's side through one of the two USB-C ports, and it's a 5.76m-dot tilt type.

Sigma has added internal memory, with 70GB of usable memory, plus there's the SD card slot. I used the internal memory a lot, and had no operational issues — I wish more cameras included internal memory like the FP2 does.

And then there's the battery — the same type as used in recent Lumix cameras, for a healthy shot-life that belies the compact size of the camera. I don't think I've seen such a large battery squeezed into such a small space before — Sigma really has worked wonders to keep the FP2 this small.

Naturally, there are compromises for the handling of such a small camera, besides the lack of viewfinder and flash. For one, it's flat-fronted, meaning there's no sculpted hand grip for a secure hold. That's no such problem with small lenses, but the FP2 is so small that even compact primes feel chunky by comparison.

It's true: when stripped back to its basic setup, there is no smaller camera in this class. But to get the most out of the camera, it needs bulking out, all adding to the cost.

What I will say is that the FP2 does modular very well indeed. Its two screw mounts for accessories are handily placed, and they can host the (supplied) loops used to secure the camera's strap, which is a neat bit of design.

The FP2's design isn't for everyone, but after almost two weeks of shooting with the camera, I really did appreciate and enjoy it, and can see how it will appeal to certain users.

Sigma FP2: Performance

• 24.5MP partially stacked full-frame sensor, no stabilization
• 6K open gate video recording up to 60fps, plus 4K slow motion up to 120fps
• 13 color profile presets and Log, but RAW video must be recorded through an external drive
• Improved autofocus performance and built-in memory

We've seen the 24.5MP partially stacked sensor before in various Panasonic Lumix and Nikon models, including the Lumix S1 II and Nikon Z6 III. In the Sigma FP2, however, the sensor is not stabilized, which makes handheld video recording much trickier.

I've included a sample reel below, which demonstrates how challenging it can be to record steady video handheld, even with a steady hand. There is a solution, mind you, and that's to record gyro data which can be used to apply stabilization to footage afterwards using specialist software. Alternatively, of course, the camera can be mounted to a gimbal.

I love the photo and video quality I was able to get from the Sigma FP2 and 50mm F2 DG Contemporary lens: 6K open gate video with a choice of 13 color presets make for quick and versatile output, in various aspect ratios for social media (4K vertical video is possible), while the Log profile is a better bet for users who want to edit after the fact.

Photos can be recorded in RAW and JPEG format, and Sigma cameras use the DNG RAW format, which is universally accepted in editing software. For high-speed action, the FP2 can shoot at a rate of up to 20fps, and for sequences up to 180 frames before the buffer slows up — a decent performance.

Sigma says that autofocus performance has been improved by 15% over the FP, with a broader range of subject detection. I found autofocus snappy on people, and it was smooth and subtle enough for video, too, but haven't had the chance to try it out extensively on other subjects, including animals.

There's 70GB of usable built-in memory, which proved reliable during my test. However, it's not possible to record the memory-hungry RAW video using built-in memory or SD card — you'll need an external SSD for that.

Sigma FP2 sample photos

Sigma FP2: also consider

How I tested the Sigma FP2

• I had the camera for 1-2 weeks before its announcement, along with the 50mm F2 DG Contemporary lens
• I tried the EVF-21 electronic viewfinder
• I shot a variety of photos and videos, all handheld

Sigma introduced the camera to TechRadar a week or two ahead of its global launch, where I saw the FP2, 50mm F2 DG Contemporary lens and various accessories, including the new 5.76m-dot EVF for the FP2.

I was loaned the camera and lens only for my review, and have made the most of that time, taking the gear with me on a break to Lisbon in Portugal where I used it extensively for portraiture and travel photography.

All my images and videos were shot handheld, with no stabilization for video footage. I tried the various color profiles for video and shot in 6K and 4K.

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

• Rumors point to a 'Nikon Z70' reveal before 2026 is out
• It's supposedly a mirrorless successor to the crop-sensor Nikon D500 DSLR flagship
• As such, expect a rugged design and high-speed photography to feature

One DSLR that Nikon is yet to give to give the mirrorless camera treatment to is the decade-old D500 — but rumors over the last few months suggest that the wait could be over soon through what's being dubbed the Nikon Z70.

The D500 was Nikon's flagship crop-sensor DSLR (APS-C, known as 'DX' for Nikon cameras), with a rugged body, dual card slots and high-speed burst shooting. In other words, it's a mini, crop-sensor version of Nikon's D6 full-frame camera that's used by professional sports, wildlife and news photographers.

We already have the Nikon Z9 as the mirrorless spiritual successor of the D6, and next there could be the crop-sensor equivalent, a rumored Nikon Z70, which sounds like a dream camera for enthusiast wildlife and sports photographers.

The long-time Z70 rumor mill still lacks firm details, and largely lists out educated guesses. The New Camera, however, spotted a Z70 listing on Apple's official ProRes and ProRes RAW Authorized Products page in August, and believes the Z70 will land in November this year.

A flagship Nikon crop-sensor camera would naturally sit above the Nikon Z50 II with a tougher pro-grade body, and likely a faster sensor (perhaps the stacked type like the Fujifilm X-H2S), in-body image stabilization, and shooting speeds we haven't seen from a Nikon camera before. New Camera also suggests video specs will be strong, and include internal ProRes Raw recording (based on the Apple listing).

These kind of features put the would-be Z70 in direct competition with the Canon EOS R7 — which could get a powerful successor soon — the Fujifilm X-H2S, and the Sony A6700, and I wouldn't be surprised if Nikon's tops the lot. Where it would currently come up short, however, is lens selection. On that front, there was concrete, promising news last week.

More good news for Nikon 'DX' shooters

While we don't know a lot about the rumored Z70, we do know that a new Z-mount lens for APS-C cameras was announced last week; the Sigma 16-300mm do-it-all travel zoom.

The lens has been around for over a year in Sony, L-mount and Canon RF versions, but it becomes the first Sigma zoom lens for Nikon's Z-mount, which is a promising sign for Nikon shooters.

Nikon has poured a lot of resources into its full-frame mirrorless camera system, but its APS-C cameras haven't received the same love. As such, it's slim pickings for any enthusiast sports/wildlife photographer wanting a high-quality Z-mount super-telephoto zoom native to its crop sensor cameras.

Sigma's 16-300mm lens, which has a 24-450mm equivalent focal length, isn't quite the bright aperture lens for demanding sports/wildlife photographers. But with the door seemingly open to Sigma, we could start to see more crop-sensor Z-mount lenses that might just scratch that itch.

And for photographers with a deep pocket (and a strong back), the Nikon Z 120-300mm f/2.8 TC VR S (with built-in 1.4x teleconverter) for full-frame cameras (which would work with crop-sensor cameras like the rumored Z70) is en route. Nikon announced its development earlier this year, and recent rumors suggest it will land soon.

Camera gear enthusiasts, myself included, can be an impatient lot at times. We want to see shiny new models with better features (whether we need them or not).

So what happens when two of the major manufacturers have had a particularly quiet year? Pandemonium (on the rumor sites' comment sections, at least)!

So far in 2026, Sony has released the 5-star A7 V and A7R VI mirrorless cameras, and revived its bridge camera range with the class-leading RX10 V. Canon has delivered another 5-star camera, the EOS R6 Mark III, and revealed an all-new design with the recent EOS R8 Mark II.

Where are Fujifilm and Nikon in this picture? Fujifilm is yet to release a single camera this year. The same was true for Nikon until recently, when it launched a viewfinder-less 'C' version of the Z5 II.

Before that, the last camera Nikon released was the Nikon Zr cinema/vlogging camera, and the Z5 II before that, marking 18 months with no truly new mirrorless camera.

Rumors heavily suggested a Fujifilm X-T6 would land in September, but one month on, we're still waiting. And it's set against this backdrop that fans with a touch of GAS (gear acquisition syndrome) are getting agitated.

Well, I'm here to address those concerns with a healthy reality check.

Already ahead of the game

Yes, new is exciting. This year I've felt the buzz of testing the Ricoh GR IV, Sony A7R VI, Lumix L10, OM System PEN, Leica Q3 Monochrom and Canon EOS R8 Mark II, among others. However, it was the last camera on that list that brought a point into sharp focus for me — cameras have a pretty long shelf life.

The EOS R8 Mark II was a decent upgrade from the EOS R8 from 2023, with a new look, design improvements, and in-body image stabilization added — basically addressing key drawbacks of the original. However, it still failed to reach the entry-level full-frame camera bar set by Nikon 18 months ago with the Z5 II.

In fact, every current Nikon camera fares well against direct rivals at every level — the Z8 from 2023, for example, remains an incredible pro camera. And if you were to ask me which APS-C mirrorless camera I'd recommend in 2026, it would have to be the Fujifilm X-T5. Yes, a camera released in 2022.

Fujifilm hasn’t launched a new camera in 2026. And Nikon's only effort so far is a version of an existing camera with the viewfinder removed. But I don't think that matters.

In the case of the 2025 Z5 II, it already set the entry-level full-frame camera standard and even Canon’s new model hasn’t met it. And you won't find a better APS-C sensor than the Fujifilm X-T5's stabilized 40MP unit. If and when Fujifilm does release an X-T6, it will be improving on an already class-leading model.

Of course, there is space and a need for improvement, but a manufacturer having a quiet year isn’t quite the big deal many Fujifilm and Nikon fans currently make it out to be.

What do you think? Do camera companies need to release new products every year? Have your say in the comments below.

Last month, Canon added the EOS R8 Mark II to its range of full-frame mirrorless cameras, and it brought a new 'retro' look with a 'modern twist' that has divided opinion — I think it looks more like a Sony than an analog Canon. It's a decent upgrade of the original EOS R8 mind you, adding image stabilization and a handy multi-controller (AF joystick). The original EOS R8 now costs much less, but if you're interested in the latest model, then I'd argue there's an even better option for the money this week in the Amazon Prime Day sales — the EOS R6 Mark II.

The EOS R6 Mark costs $1,999 at Amazon (US), but the standout deal has to be one in the UK — the EOS R6 Mark II with two additional batteries for £1,599 (was £2,299). Those prices are similar to the EOS R8 Mark II, which is available for pre-order ahead of its October 20 sales start, and has no discount currently. As such, I believe the mid-range EOS R6 Mark II is a much better deal, despite being almost four years older.

For starters, the EOS R6 Mark II (recently updated / replaced by the EOS R6 Mark III) has a better build quality — feeling very much in line with Canon's pro cameras rather than entry-level / enthusiast models, like the EOS R8 Mark II does.

• Browse the full Amazon Prime Day sale

As part of this premium build quality, the EOS R6 Mark II features dual card slots to the EOS R8 Mark II's single slot. It also has a bigger battery with more than double the shot life, and a bigger and better 3.69m-dot EVF with 0.76x magnification (the EOS R8 Mark II's is a 2.36m-dot unit with 0.7x magnification). It also has a mechanical and electronic shutter, whereas the EOS R8 Mark II only has an electronic shutter.

Does the EOS R8 Mark II have any factors in its favor? Well, it's smaller and lighter, has the new design which also comes with a tally lamp for video recording, plus Canon's latest autofocus, but that's about it. The two cameras share many similar features, mind you, including the 24MP full-frame sensor with image stabilization.

The EOS R6 Mark II price drop has truly changed the picture, and if you don't mind the slightly heftier premium body, it's the one I'd recommend. I've included the best deals for both cameras below, and added the original EOS R8 and EOS RP too.

Today's best Canon camera deals (US)

Today's best Canon camera deals (UK)

OM System PEN: Two-minute review

Given the ongoing component shortages and price pressures, producing an affordable camera in 2026 is no mean feat — and that's exactly what OM System has achieved with the new PEN.

It has delivered the rangefinder-style mirrorless camera many PEN fans have been crying out for, and equipped it with in-body image stabilization, twin displays, a retro weather-proof design (IPX1-rated), and a range of fun computational photography modes — and kept the price to $1,000 / £850 / $AU1,800. Need a lens? The 14-42mm f/3.5-5.6 III kit (see below) is just $100 / £100 / AU$300 extra.

Beyond that kit lens, the OM PEN is part of the Micro Four Thirds system, with hundreds of lenses to choose, covering just about any situation, though any of these will add to the cost. I found it to be a great pairing with the low-cost Olympus 45mm f/1.8 for portraiture.

There's little that's new here, mind you — we have the same 20.4MP CMOS sensor with 5-axis image stabilization as previous models, including the OM System OM-5 II, and the same 121-point hybrid phase-detection autofocus, with stripped back subject-detection options. The vari-angle touchscreen and 2.36m-dot EVF are borrowed from previous models, too.

However, the OM PEN remains utterly compelling because it's so much fun to shoot the everyday with, so easy on the eye, and kind on the wallet. Sure, the PEN could be better in various areas (some of the controls are particularly fiddly), but all is forgiven when you consider the overall package, and that price tag.

Having used the camera for several weeks (and made direct comparisons with the excellent Lumix 10 premium compact), I think the OM System PEN as an ideal starter camera for smartphone upgraders — and it's the best beginner camera for 2026 so far.

OM System PEN review: Price and release date

• Announced in September 2026
• Costs $999.99 / £849 / AU$1,499 (body-only) or $1,099 / £949 / AU$1,799 with new 14-42mm f/3.5-5.6 III kit lens
• Available in two colorways: all black, and black with silver trim

After years of rumors, OM System finally put its name on a successor for the Olympus PEN series of cameras. And like the OM-5 II before it, the OM System PEN is excellent value for money in an industry otherwise feeling the effects of component shortages and price hikes — where else can you find a new interchangeable-lens camera with a viewfinder and in-body image stabilization for less $1,000?

That price is for the body only, mind you, and if you're starting from scratch the best-value package is the camera with the new 14-42mm f/3.5-5.6 III zoom lens, and that costs $100 / £100 / AU$300 extra. The third-generation kit lens was announced alongside the camera, and gains a splash-proof design, matching the OM PEN camera.

The camera is available for preorder now in two colorways: black, and black with silver trim.

OM System PEN review: specs

OM System PEN review: Design

• Compact, IPX1-rated body that weighs just 13.9oz / 393g
• Twin displays: 2.36m-dot EVF and 1.04m-dot vari-angle touchscreen
• USB-C charging, mic port and hotshoe

There's no shortage of OM System bodies, but the PEN is the first OM-branded rangefinder proper, with its 2.36m-dot EVF neatly tucked into the top-left corner of the compact, IPX1-rated retro body.

It's the same EVF that you'll find in the slightly pricier OM-5 Mark II — a camera that we awarded a 5-star rating, and which sits in top spot in TechRadar's best travel cameras guide.

The key difference between those two bodies is that the OM-5 Mark II has higher-rated weatherproofing, a pronounced viewfinder bump, and a larger grip — meaning it's better suited to inclement weather, outdoor photography, and use with larger lenses. The OM PEN is also a superb travel camera, but you'd typically use it on city breaks, for everyday and street photography with smaller lenses.

It has the retro charm we've come to expect from Olympus / OM System bodies, and I particular liked the black and silver version I had for this review. It's equipped with a hotshoe for accessories such as an external flash (there's no built-in flash), a Mono / Color profile switch, a USB-C port for charging, micro HDMI, mic jack and a single SD card slot.

Most of the buttons are small and can be a little fiddly. I found accessing the computational photography a pain — you need to hold down the 'CP' button while rotating the top dial (that the shutter button is set within) to access the menu. Why not require just a press of the CP button to open the menu?

The on/off switch is poorly designed, too — good luck trying to land on the photography setting without skipping past it to the video mode. If you have moderately large hands like I do, the whole layout might feel a little fiddly. And I'm sure there are some retro camera fans who will be disappointed that there's no cable-release thread in the shutter button. All that being said, I still very much enjoyed using the PEN.

OM System PEN review: Performance

• 20.4MP CMOS sensor with 5-axis stabilization
• BLS-7 battery with 410-shot CIPA rating
• 121-point hybrid phase detection autofocus with subject tracking

A 20.4MP Micro Four Thirds sensor is nothing to get too excited about in and of itself when you consider the larger-sensor, higher-resolution alternatives that are available.

Computational photography modes can close the gap where there are drawbacks; addressing the fewer pixels and lesser dynamic range versus larger-sensor alternatives, though they don't work for every scenario. (I've included some examples, above.)

With 5.5EV image stabilization, the High Res Shot mode can be used handheld to increase resolution from 20MP to 50MP, though it won't work for scenes with movement in them. The same can be said for the HDR modes, which also work by combining several images captured sequentially together into one, and would otherwise have ghosting in them where there's movement in the scene during capture. For still scenes, HDR works perfectly well for increasing dynamic range.

As a starter camera, however, the level of detail this tried and tested sensor is able to capture is easily sufficient for travel and everyday photography. Add a decent lens — and there are hundreds to choose from, including the low-cost 45mm f/1.8 for portraiture — and you have the foundation for smartphone-beating images.

There's nothing wrong with OM System's 121-point hybrid phase-detection autofocus system, despite its stripped-back selection of subject-detection options that includes humans or animals (cats and dogs).

I've used other systems with a wider range of subject-detection modes, but for the most part you'd struggle to see a major difference in performance — when tracking birds, for example, I found the animal-detection autofocus to be sticky. There's not the same degree of complexity for face and eye detection, though — it's reliable, but you can't manually switch which eye the camera autofocuses on.

Battery life is decent, being rated at 410 shots, but video specs are fairly basic for 2026 — 4K up to 30fps / C4K up to 24fps, with a wide choice of color profiles including OM System's flat OM-Log400 profile, but just 8-bit color depth. The slow and quick mode unleashes up to 120fps slow-motion recording, or down to 1fps quick motion, but in 1080p only. Image stabilization works for video, though, which is a major draw for a camera at this price point.

Should I buy the OM System PEN?

Buy it if...

Don't buy it if...

OM System PEN review: also consider

How I tested the OM System PEN

• OM System loaned me the black and silver version of the PEN and the 14-42mm f/3.5-5.6 III kit lens for several weeks
• I also used it with Olympus 45mm f/1.8 / Leica 12-60mm f/2.8-4 lenses
• I took the camera to China for a work trip, and used it in a variety of scenarios, trying out the various computational photography modes

OM System sent me the black and silver version of the PEN with the new 14-42mm f/3.5-5.6 III kit lens, and I used the kit regularly for several weeks, including during a work trip to China. I also paired the camera with an Olympus 45mm f/1.8 lens and a (Panasonic) Leica 12-60mm f/2.8-4 lens.

I've tried the various computational photography modes, used slow shutter speeds, and shot video handheld to test the image stabilization effectiveness, and tried out various autofocus modes.

I've used the camera in light rain and in bright light, testing its splash proof credentials and the brightness of its displays. Along the way, I compared the PEN to the Lumix L10, a similar MFT camera.

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

• The Z5 II C is a lighter version of the full-frame Nikon Z5 II, without a viewfinder
• Prices start at $1,399 / £1,349 / AU$2,399, on-sale date mid-October
• It's available in black or black/silver colorways, and numerous lens kit options

Nikon redefined entry-level full-frame cameras with the Z5 II, which scooped our Camera of the Year 2025 award. Now the company is upending the notion that full-frame is just for pros with its most affordable and compact model in this format yet, the Z5 II C.

As its name suggests, the Z5 II C is a ‘compact’ version of the Z5 II, and the key difference is that it doesn’t have a viewfinder (and it has a single card slot rather than dual slots). This means the ‘C’ model is smaller, lighter and cheaper.

It still has a tough magnesium-alloy body with a chunky grip, is sealed for dust and moisture resistance, and packs a healthy 3.2-inch, 2.1m-dot vari-angle LCD, all carried over from the Z5 II. The cameras share identical features too; the same 24.5MP full-frame sensor with image stabilization that’s rated up to 7.5EV.

Nikon UK's Training Specialist Ricci Chera briefed me on the camera ahead of its September 24 announcement and mid-October on-sale date, emphasizing that the Z5 II C is about choice, offering certain users the “benefits of full-frame, without paying for something they’re never going to use [a viewfinder]”.

Is Nikon onto something here? Is the $1,399 / £1,349 / AU$2,399 asking price enough of a gap to tempt first-time buyers, or sway them from the Z5 II?

So, full-frame is for beginners now?

The low £1,349 / AU$2,399 asking price of the ‘C’ version seems pretty appealing, especially given the spec and features you're getting: the Z5 II C has the same sensor as the Z5 II and Nikon’s latest processor, while its subject-detection autofocus can recognize subjects even when they take up as little as 3% of the frame, and which is low-light sensitive to -10EV (with a new ‘fish’ detection mode added — that’s a first),

There's also 14fps with a mechanical shutter (30fps electronic) and 4K video with 12-bit N-RAW internal recording, and much more. Besides the Lumix S9, I can't think of a better-value full-frame camera, and not one that launched for such a low price.

The price and compact size are the major selling points of this full-frame model, which Nikon says is about offering users "choice" — the pricier and larger Z5 II with a viewfinder and dual card slots, or the cheaper and smaller viewfinder-less Z5 II C. I get the logic.

However, I’d still stump up the extra cash for the Z5 II — its viewfinder is bright, big and immersive, it has the extra card slot, and I personally don’t mind the extra size and 100g in weight (the Z5 II C is around 600g with card and battery inserted while the Z5 II is around 700g).

Video-first users and even smartphone upgraders who've never experienced a viewfinder might not feel the same way, and for them the Z5 II C could prove to be the wiser choice, and one of the hits of 2026. We'll bring you our review of Nikon's latest full-framer soon.

• Canon announced its 3D image generation 'Dual Pixel 3D' tech
• It uses depth data from a single shot via Dual Pixel CMOS AF, through a free Windows-only app coming in October
• The EOS R10 and most models up to the EOS R5 series are compatible

Canon introduced a new Dual Pixel CMOS-type sensor and autofocus system in the EOS R5 back in 2020, and a string of cameras have since inherited this tech, most recently the EOS R8 Mark II announced today. And it's these cameras that just got a free upgrade that can add another dimension to photos: Dual Pixel 3D.

The new software leverages "depth and phase-detection data captured in a single shot via Dual Pixel CMOS AF", says Canon, using "an exclusive algorithm to convert your photos into highly realistic 3D imagery", plus 3D models in OBJ or GLB formats, or as an MP4 video, "complete with rich photographic textures."

This depth-adding tech will come in the (free) Dual Pixel 3D Converter software, which will be available for Windows only (Windows 11 64-bit 24H2 or later), from October 3.

So what exactly can users expect from the software, and which cameras are compatible? Let's take a look.

An extra dimension

Billed as 'simple 3D image generation technology', Dual Pixel 3D enables users to create immersive three-dimensional images and models from a single RAW photo, without needing specialized equipment or viewing devices. Canon also says the technology works with JPEGs captured by the new EOS R8 Mark II.

These files contain depth information from slightly different views, captured by each pixel's two photodiodes, which are then converted into 3D shape data.

Users will be able to fine-tune the degree of depth in the new software, for a more pronounced 3D effect or a subtler appearance. The depth information in Dual Pixel CMOS-captured photos also simplifies background removal, should users want to output a subject onto a plain background as a 3D model, or as a stereographic photo.

Can has shared tips for how to take photos designed to be converted for 3D on its YouTube channel (see below).

Photographers working in product and still life photography stand to benefit from the creative possibilities in particular. We'll be sure to try out the new software when it's released on October 3, and share our experience of making 3D imagery with it.

Compatible Canon cameras and lenses

Here's every Canon mirrorless camera that features Dual Pixel CMOS AF and can, therefore, enjoy the new Dual Pixel 3D feature, provided images are captured with a compatible lens:

• EOS R5 Mark II
• EOS R5
• EOS R6 Mark III
• EOS R6 Mark II
• EOS R7
• EOS R8 Mark II
• EOS R8
• EOS R10

And you'll need to be using one of these lenses;

RF24-70mm F2.8 L IS USM

RF24-50mm F4.5-6.3 IS STM

RF24-105mm F4 L IS USM

RF24-105mm F4-7.1 IS STM

RF35mm F1.8 MACRO IS STM

RF50mm F1.8 STM

RF70-200mm F2.8 L IS USM

RF70-200mm F4 L IS USM

RF85mm F2 MACRO IS STM

RF100mm F2.8 L MACRO IS USM

RF-S18-45mm F4.5-6.3 IS STM

RF-S18-150mm F3.5-6.3 IS STM

Canon's EOS R8 Mark II is here, with a fresh new look that's inspired by the world's leading camera manufacturer's heritage, and finished off with a "modern twist". The resemblance to Canon's analog SLRs such as the T80 or AE-1 is faint, but in any case the new model is certainly a decent upgrade of the EOS R8, adding image stabilization, a multi-controller, and various performance and design improvements.

When I pored over the specs and pricing of the EOS R8 Mark II during my hands-on, however, a surprising reality came into sharp focus: Nikon's year-and-a-bit-old Z5 II remains highly competitive and it costs less than Canon's latest entry-level full-frame mirrorless model.

If you're considering your first full-frame camera and are not tied to Canon or another system, you should totally read on to find out more about the new EOS R8 Mark II, and how it fares against our Camera of the Year 2025 winner, the Nikon Z5 II.

1. Sensor

• Both feature a 24MP full-frame sensor
• Both sensors are equipped with image stabilization, rated up to 7.5EV

This section is going to be straightforward: both cameras have a full-frame 24MP sensor that's equipped with image stabilization (IBIS) rated up to 7.5EV.

Besides nuances in how each camera handles color and noise, and personal preferences, the image quality will be pretty similar. Having said that, I've historically found Canon's image stabilization to perform better than Nikon's.

• Sensor winner: Tie

2. Video

• Both shoot 4K video up to 60fps, but the Z5 II has a 1.5x crop
• Both shoot 4K 30fps with 10-bit color depth from the sensor's full width, the Z5 II shoots 12-bit RAW
• 1080p slow motion recording up to 180fps (EOS R8 Mark II) and 120fps (Nikon Z5 II)
• Color profiles for video; new 'filmtones' for EOS R8 II, well-regarded RED profiles for Z5 II

There's much more to unpack and compare regarding each camera's video features. Both can shoot 4K video at 30fps with 4:2:2 10-bit color depth from the full width of the sensor, and up to 60fps at this resolution, although at this frame rate there's a 1.5x crop in the Z5 II.

The Nikon camera, however, is the only one that can shoot 12-bit internal RAW video, which certainly gives it the quality edge for users who want greater tonal depth and editing latitude, and who don't mind the larger file sizes.

Slow motion recording is also possible in 1080p, but again the EOS R8 Mark II has the frame rates edge — it can shoot 6x slow motion (180fps) to the Z5 II's 4x slow motion (120fps).

There's no shortage of color profiles for each camera, either. There's each company's version of a gradable, flat Log profile (C Log and N-Log) and Rec 709, while Canon has introduced two new 'filmtones' looks and the Nikon Z5 II features a RED RAW profile. Each can link with a companion app to import custom profiles, too. Users with either camera should have no issues getting a style they like.

Both camera's video recording is supported by powerful autofocus and image stabilization, making smooth and sharp run-and-gun filming a distinct possibility. The EOS R8 Mark II features a tally lamp to indicate when recording is active, but the Z5 II offers dual SD card slots for overflow / backup storage, whereas the Canon camera just has the one slot.

There are distinct advantages for each camera — and more besides that I haven't got into here — and as such it's tricky to call an outright winner in this category.

• Video winner: Tie

3. Design

• Canon EOS R8 Mark II: 546g body (with battery and card), not weather resistant, single card slot
• Nikon Z5 II: 700g body (with battery and card), weather resistant mag alloy, dual card slot

The EOS R8 Mark II is the guinea pig for Canon's new design. It forgoes the sweeping curves we've come to associate with Canon camera, in favor of straight, angular lines and a pronounced viewfinder bump that are "inspired by Canon's heritage". In this sense, it actually has more in common with the Nikon camera than previous Canon models.

Beyond the looks, the cameras are roughly the same size, but the EOS R8 Mark II is notably lighter at 546g. The quality of its buttons, controls and body have a much more entry-level feel to them, whereas the Z5 II feels more like a level up. The Z5 II feels like the more robust of the two, plus it's officially noted as weather resistant whereas the EOS R8 Mark II is not. The gulf in quality is compounded by the displays...

• Design winner: Nikon Z5 II

4. Displays

• Canon EOS R8 Mark: 3.0-inch 1.62m-dot vari-angle LCD and 0.39-inch 2.36m-dot EVF
• Nikon Z5 II: 3.2-inch 2.1m-dot vari-angle LCD and 0.5-inch 3.69m-dot EVF

Put simply, the Nikon Z5 II's LCD screen and EVF displays are higher-specced than the EOS R8 Mark II's, despite the camera arriving almost 18 months earlier.

Both screens are vari-angle, so they can be pulled out to the side of the camera and tilted for low-level shooting / rotated for selfies. The Z5 II's display is slightly larger at 3.2-inches to the Canon's 3.0-inches, and it has a higher resolution, although the pixel density is roughly the same.

I've used both cameras separately, but can attest to the superior quality of the Z5 II's EVF – it's physically bigger, has more pixels, higher magnification, and is brighter — in short, a more immersive display. This category is an easy win for the Z5 II.

• Displays winner: Nikon Z5 II

5. Performance

• Canon EOS R8 Mark: 220-shot (VF) / 340-shot (LCD) battery life, Dual Pixel CMOS AF II, 40fps with pre-capture
• Nikon Z5 II: 340-shot (VF) / 350-shot (LCD) battery life, Hybrid phase detection AF, 30fps with pre-capture

If you prefer using a viewfinder, then the battery life of the Z5 II is much better than the EOS R8 Mark II, although the playing field is somewhat levelled when using the LCD. Neither camera has a particularly impressive battery life, but both can be recharged on the go, via USB-C.

Both also have excellent autofocus performance, with subject tracking and detection for humans, animals and vehicles. I haven't directly compared the performance of each camera, but they do inherit autofocus systems from pricier models that I have tested at length. Canon's 'Register People' mode is super handy for prioritizing specific people in crowded scenes — and you can store up to 10 faces at any one time.

Canon improved autofocus sensitivity in low light down to -7.5EV in its second-gen EOS R8, but the Nikon camera was already more sensitive, being rated to -10EV.

For outright burst shooting speeds, Canon has the edge — it's capable of up to 40fps, compared to 30fps for the Nikon. However, neither are true sports cameras in the sense that once the buffer is full, they will slow up quicker than high-end models. The Z5 II has both a mechanical and electronic shutter, while the Canon model only has the latter.

• Performance winner: Tie

6. Price and availability

• Canon EOS R8 Mark II announced on Sep 16, 2026, for $1,899 / £1,729 / AU$2,529
• Nikon Z5 II was released on April 3, 2025 for $1,699 / £1,599 / AU$2,699, but the price has since dropped

Canon's EOS R8 Mark II has only just been announced at the time of writing, and its sales start date is October 20. It will cost $1,899 / £1,729 / AU$2,529 body only, or £2,119.99 / AU$2,859 with the budget 24-105mm F4-7.1 kit lens / $2099 with the 24-50mm f/4.5-6.3 IS STM lens in the US. Naturally, there are no price cuts yet.

Nikon's Z5 II, meanwhile, was released almost 18 months ago, and at list price was approximately 10% cheaper in the US and UK, but a little more in Australia — so no huge difference. However, it has since come down in price, and that margin has increased. Like the Canon model, it's available in a kit with a 24-105mm F4-7.1 lens, but there are other good-value kits on sale, including with the 24-200mm travel zoom.

• Price winner: Nikon Z5 II

Canon EOS R8 Mark II vs Nikon Z5 II: early verdict

As entry-level full-frame cameras, the Canon EOS R8 Mark II and Nikon Z5 II share many key features, including things like a 24MP full-frame sensor with image stabilization, 4K video recording and powerful autofocus.

There are specific features unique to each model that stand out, but not enough to swing the balance either way. However, where the gulf becomes clear is in each camera's overall handling and quality — the Nikon Z5 II's superior displays, control layout, body quality, extra card slot and better battery life deliver a better all-round shooting experience.

The Canon feels every much the entry-level camera with powerful features, whereas the Nikon camera redefines entry-level quality. And when you think that the Z5 II has pricier components but costs less, it feels like a solid win for the Canon rival.

• Canon EOS R8 Mark II upgrades the original R8 with image stabilization
• It also features a new design 'inspired by Canon's heritage'
• Prices start at $1,899 / £1,729 / AU$2,529, on-sale date mid-October

The Canon EOS R8 Mark II is here, and it isn’t the digital remake of the 50-year-old AE-1 analog SLR camera that rumors had been suggesting — but it is a new design direction for the world’s leading camera manufacturer nonetheless.

Canon has historically stuck with a consistent design approach for its DSLR and mirrorless cameras, with sweeping curves and familiar controls. The EOS R8 Mark II, however, is "inspired by Canon’s heritage" with a "modern twist", so a Canon spokesperson told me, and it's unlike any other model before it — check out my first impressions.

I like the new angular look, but I think the company has unintentionally made a camera that looks just like those from its chief rivals Sony and Nikon, and I don't think we can call it retro.

Canon fans hoping for an old school EOS R mount model to rival the Nikon Zf will surely be disappointed. Could Canon's design department have pushed the boat out more? Perhaps, but there’s nothing to say it won’t go full retro-style in the future with another model.

Design is the major talking point, but there are plenty of other features worth highlighting in what is a solid upgrade of the original EOS R8.

Beyond the looks

Like the EOS R8 — which Canon told me will remain on the market — we also get a 24.2MP full-frame sensor, but this time it features in-body image stabilization that’s rated up to 7.5EV.

Continuous shooting is again up to 40fps using the electronic shutter — in fact, like the EOS R8 there’s no mechanical shutter at all — but pre-capture has been added for up to half a second before you fully press the shutter, which is handy for when your reactions aren’t up to speed, and a first for a Canon camera at this price point.

And — praise be — an AF joystick has been added (Canon calls it a multi-controller), and it's positioned next to an autofocus button, both of which are conveniently placed right next to where your thumb rests. I was easily able to use the camera and its autofocus one-handed with a 24-105mm F4-7.1 IS STM kit lens attached.

Canon’s Dual Pixel CMOS AF II features, as does subject detection of people, animals and vehicles, plus Canon’s ‘Register People’ mode with the option to store up to 10 people for the camera to prioritize — handy for weddings, sporting events, and so on.

Video is still 4K, but now up to 60fps and oversampled from 6K, plus there's 180fps slow-motion recording in 1080p. There's a tally light to indicate when the camera is recording, while the SD memory card slot is now accessed through a side door, rather than underneath in the battery compartment.

Those are some of the major upgrades, but there's also plenty that's familiar. For example, the 3-inch 1.62m-dot vari-angle touchscreen and 2.36m-dot EVF are unchanged, and there’s the same battery too. In fact, with the power-hungry image stabilization feature in play, shot life is actually slightly lower than before — battery life is a major weak point of the EOS R8 Mark II.

The camera weighs 19.3oz / 546g with card and battery included, and the quality of the plastic body is decidedly entry-level once more — this isn’t a weather-sealed camera you’d thrash around like the tougher EOS R6 Mark III is, which is the near-perfect Canon camera that the EOS R8 Mark II sits below.

Overall, I think Canon has addressed the key areas for improvement from the EOS R8, adding in-body image stabilization into a body that feels better in the hand, even if the build quality and battery life position it well below the EOS R6 Mark III.

I must also mention the Nikon Z5 II from 2025, which is the obvious entry-level full-frame rival to the EOS R8 Mark II, and which is available for a slightly lower price. Nikon's camera has many similarities, but with a magnesium alloy chassis and weather-resistance it's clearly the tougher camera of the two, plus it has a superior LCD and EVF. If you're not already committed to Canon, the Z5 II looks to be the better of the two cameras.

The EOS R8 Mark II costs from $1,899 / £1,729 / AU$2,529 for the body only, or £2,119.99 / AU$2,859 with the 24-105mm F4-7.1 IS STM (don't confuse this lens with the pricier 24-105mm F4 L), or $2099 with the 24-50mm f/4.5-6.3 IS STM lens in the US, and it feels like the sweet spot for users who want powerful features but are less concerned about build quality and shot life.

What do you make of the new EOS R8 Mark II, especially its new design? You can vote in the poll above, and leave your comments below.

Canon EOS R8 Mark II: One-minute review

It might look like a Sony or Nikon, but I can assure you that the EOS R8 Mark II is a Canon camera. It's the realization of a long-rumored model that was expected to be a digital remake of the AE-1 analog SLR camera to mark that camera's its 50th anniversary, only those rumors proved unfounded, with Canon working in a "modern twist".

I can see the faint resemblance between the two cameras, and I like the EOS R8 Mark II's angular look, but I also think Canon has missed a trick by not going all-out retro here, in the way Nikon did with its Zf.

Design should have been the major selling point here, but instead we have a camera that blends in, and that's not a compliment. This makes it harder to forgive the dated elements of the camera that have been carried over from the original EOS R8.

That's not to say the EOS R8 Mark II isn't a decent upgrade from the EOS R8 — it adds in-body image stabilization that's rated up to 7.5EV to the 24MP full-frame sensor, plus an AF joystick (Canon calls it a multi-controller) which makes autofocus selection simpler.

Video specs are also improved, autofocus performance enhanced, and pre-capture appears for the first time in a Canon camera at this price point.

The EOS R8 Mark II is a better camera than the EOS R8, but it also carries the same LCD and EVF displays, and the same tiny battery and entry-level build quality. These dated elements only highlight how much better a camera the Nikon Z5 II is — and that camera from 2025 costs less.

Still, if you're a Canon fan and committed to its system, the EOS R8 Mark II is a solid upgrade of the EOS R8, and a sensible alternative to the pricier EOS R6 Mark III for users who don't need the premium design, superior battery life and various high-end features.

Canon EOS R8 Mark II: Price and release date

• Announced on September 16, 2026, priced from $1,899 / £1,729 / AU$2,529
• Available in 24-105mm F4-7.1 IS STM kit for £2,119 / AU$2,859 (or with the 24-50mm f/4.5-6.3 IS STM lens for $2,099) in the US
• Dedicated Extension Grip (EC-G2) costs $99 / £89 / AU$169
• Goes on sale from October 20

Canon is expected to sell the EOS R8 Mark II from October 20, with a body-only price of $1,899 / £1,729 / AU$2,529, which rises to £2,119 / AU$2,859 for the 24-105mm F4-7.1 IS STM kit (not to be confused with the pricier 24-105mm F4 L IS USM), while in the US there's a 24-50mm f/4.5-6.3 IS STM kit for $2,099. Other bundles will be available, including one with an additional battery.

Canon also launched a grip for the EOS R8 Mark II, which costs $99 / £89 / AU$169. It's a grip only, and doesn't feature a battery, but it does feature a hinge allowing direct access to the camera's battery door.

Canon EOS R8 Mark II specs

Canon EOS R8 Mark II: Design

• Major new look for an interchangeable-lens Canon camera
• Multi-controller and tally lamp added
• Single SD card slot relocated to a dedicated side access door
• Same LCD and EVF displays as the EOS R8
• Body not weather resistant

I've already covered the new look of the EOS R8 Mark II. Whether that fresh design is going to be worked into other Canon cameras or remain exclusive to the R8 series, or if an unadulterated retro mirrorless body is on the way, we'll have to wait and see. I asked a Canon spokesperson about the prospect of an all-out retro body, and they didn't rule it out.

I've included a side-by-side photo of the EOS R8 and and EOS R8 Mark II, below, and you can see the sharper lines, and the deeper and textured grip of the new model, which for me evoke the look of Sony bodies more than Canon heritage.

One welcome addition is Canon's multi-controller button, which can be used to select the autofocus point among other things, and is a much loved feature by users who like to control to how their camera autofocuses, included point selection.

I really appreciated the placement of the multi-controller alongside the AF-ON (autofocus) button, which are both within a slight move of your thumb where it naturally rests in the grip. As such, it was entirely possible to hold the camera and make autofocus point selection one-handed.

A tally lamp has been added to indicate when video recording is active, while the single SD card slot has been relocated to a dedicated door on the grip-side of the camera, whereas in the EOS R8 it was found behind the same door as the battery on the underside.

Sadly, Canon hasn't used the space saved in the battery compartment (and deeper handgrip) to fit in a larger-capacity battery. The EOS R8 Mark II uses the same battery as its predecessor — shot life was already a major weak point — and has an even lower battery life when the power-hungry image stabilization feature is active, being rated at 220 shots when using the viewfinder (or 340 shots with the LCD).

Nor has the quality of the body been improved — Canon notes that the EOS R8 Mark II's body materials are part aluminum alloy, part polycarbonate, and it's not weather resistant. The controls, and the build quality, really do feel entry-level.

The 3.0-inch 1.62m-dot vari-angle LCD and 0.39-inch 2.36m-dot EVF displays are unchanged from the EOS R8, and look fairly dated when you compare them to the Nikon Z5 II's displays.

Canon EOS R8 Mark II: Performance

• 24.2MP full-frame sensor now equipped with 7.5EV image stabilization
• Digic X processor unique to the camera, 40fps burst shooting
• 4K video up to 60fps, oversampled from 6K, plus 1080p up to 180fps

The addition of in-body image stabilization (IBIS) is the major upgrade offered by the EOS R8 Mark II, and its effectiveness is rated up to 7.5EV. This feature makes life simpler shooting handheld in many scenarios — whether that's for sharp images in low light or with telephoto lenses, creative long-exposure shots, or run-and-gun video.

The sensor that incorporates the IBIS is otherwise the same as the one in the EOS R8 — a full-frame 24.2MP CMOS unit which is a decent all-purpose sensor. Nothing too exciting in 2026, but dependable.

Maximum burst-shooting speeds are once again up to 40fps, using the electronic shutter. Not that there's a choice — if you didn't already know it, the EOS R8 Mark II, like its predecessor, doesn't have a mechanical shutter.

Canon has added Pre-Continuous Shooting (more widely known as pre-capture) to the EOS R8 Mark II. In short, the camera is able to continually buffer up to 0.5 seconds while the shutter is half pressed, before the user fully presses the button to take photos. In this case, you get up to 20 photos spanning the half-second before you start photos — it's a really useful feature for wildlife and action photography, for when your reactions aren't otherwise up to speed. The feature was introduced in the EOS R5 Mark II, and the EOS R8 Mark II is the first Canon at this price point to get it.

Video recording has been improved in several ways. First of all, 4K footage is oversampled from 6K, so it should look sharper. Secondly, 4K frame rates have been upped to 60fps, while 1080p goes up to 180fps — that's 6x slow motion. Thirdly, there's the aforementioned IBIS, which makes smooth handheld shooting all the more possible. And then there are additional color profiles to choose from, including 'filmtone' looks and other picture styles which can be added using the Canon EOS Utility app.

Canon has also added a new 'defocus' feature, which can add a creative blur effect (not aperture dependent), and alter the speed of focus transitions. I haven't had the time yet to test any of the EOS R8 Mark II's video features, but I will do for my upcoming in-depth review.

Dual Pixel CMOS AF II powers the camera's autofocus, which like before includes subject detection of people, animals and vehicles, but which Canon says offers an improved performance. For example, the camera's focus sensitivity in low light has been improved, being rated to -7.5EV.

‘Register People Priority’ is a neat addition — users can select specific people’s faces, storing up to 10 people for the camera to prioritize. It's a handy feature for scenarios like a wedding, where you might want to keep the bride and groom in sharp focus among a sea of faces.

Canon EOS R8 Mark II: also consider

How I tested the Canon EOS R8 Mark II

• I had a two hour hands-on session with the camera and kit lens
• I spent the time getting a feel for the camera, and took some sample photos
• Canon provided the EOS R8 and EOS R6 Mark III for comparisons

I've only used the EOS R8 Mark II for a couple of hours at Canon Europe's offices in London. During this time, I got a proper feel for the camera, and paired it with the 24-105mm F4-7.1 IS STM lens that the camera is available with in a kit.

Canon supplied me with the original EOS R8 and EOS R6 Mark III, so I was able to make direct comparisons between the three cameras, though only how they handle — I didn't have time to take like-for-like pictures.

I took a stroll in the outside space, and took various photos of birdlife, foliage and buildings. Look out for our in-depth review of the EOS R8 Mark II, coming soon.

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

Looking for the perfect compact everyday shooter for travel or street photography? The brand-new OM System PEN could be a fantastic option for you. Preorders are now open for this affordable new rangefinder-style camera ahead of an October 1st release date, and several retailers have already updated their sites with listings.

Probably the best option for preorder today is over at Adorama, where you can get yourself a free wrist strap alongside both the body-only and kit-lens options. The strap in question is a black Clever Supply Skinny Wrist Strap worth $54, so it's definitely a nice little freebie that should complement your new camera nicely.

[Update 09/11] It looks like B&H Photo is also throwing in the same free strap with preorders now. I believe people who have already preordered through this retailer should receive one too!

If you're in the UK (or USA but would prefer to order a camera elsewhere), I've attached a roundup of other options below. Major retailers like B&H Photo, Wex Video Photo, and Park Cameras are all stocking the camera today, so there should (hopefully) be plenty of stock available for early adopters.

Note that the OM System Pen starts at $999.99 / £849 for the body, with additional kit lens options. The lens kit, meanwhile, with the new M.Zuiko 14-42mm f/3.5-5.6 III, is just an additional $100 / £100, which could be a better value option if you're new to the system, and looks like a particularly good option for travel photography. Not only is this kit a bargain, but the lens is also weather-sealed (unlike previous iterations).

Where to buy the OM System PEN

What's new with the PEN?

• 2.36-million-dot OLED EVF
• IPX1-rated dust-and-splash resistance
• BLS-7 battery with USB-C charging

Much of the PEN's spec sheet will seem familiar to fans of the brand. As with most releases from OM System, the PEN is essentially re-using a lot of pre-existing tech in a new body at a lower price. However, its combination of a retro compact body, built-in viewfinder, image stabilization, weather resistance and accessible price makes it an attractive entry-level mirrorless camera, particularly for smartphone users.

Unlike the previous Olympus EP-7, the PEN now features a 2.36-million-dot OLED electronic viewfinder as well as IPX1-rated dust-and-splash resistance. Internally, you're still getting the familiar 20.4MP Micro Four Thirds sensor with 5-axis image stabilisation rated to 5.5EV, but the 121-point phase-detection autofocus with subject detection is a key upgrade.

Other upgrades include OM System's latest computational photography features, namely Live ND, new color profiles, and two Cinema picture modes aimed at 4K video. Like the higher-end OM-3, the PEN is designed from the ground up for JPEG customization thanks to a new color/monochrome switch which provides quick access to film-inspired looks.

Finally, it's worth mentioning that the PEN debuts a new BLS-7 battery, rated for an impressive 410 shots per charge, as well as support for USB-C charging - another massive boon for travel photography.

Is the PEN worth preordering?

We haven't fully reviewed the OM System PEN yet, but my initial impression of the camera is positive. It's 'nothing new', so to speak, but the rock-bottom price that the brand is aiming for has the potential to make this one a crowd favorite.

For one, I don't think any other brand is offering a package quite like this for $1,000. With inflation and various tariffs, we've become accustomed to spiralling costs, so it's refreshing to see a brand-new camera with a viewfinder, weather sealing, and a stylish design for this price.

Perhaps the closest competitor to the OM System PEN is the Fujifilm X-M5 - one of our favorite entry-level cameras here at TechRadar. Both cameras share a stunning rangefinder-style design and enticing price point, but the PEN looks like the better choice for photographers, in my opinion. The X-M5 has far superior video specs, but it lacks image stabilization, a viewfinder, and weather sealing.

With such features, the PEN looks like a very, very compelling budget option compared to the likes of the Fujifilm X-E5. That's another one of our favorite rangefinder-style bodies, but it comes in at an eye-watering $1,799 / £1,399 for the body-only. In comparison, the PEN is a more entry-level body, but it's definitely a good option if you're happy with 20MP.

• First new 'PEN' digital rangefinder with the OM System name unveiled
• It costs from $999.99 / £849 / AU$1,499
• New 14-42mm f/3.5-5.6 Mark III kit lens launched alongside the camera

Olympus fans, the day has finally come — OM System has relaunched the Olympus PEN series, and put its name on it, with the new OM System PEN.

The new PEN carries the torch of the iconic Olympus PEN-F, with a classic and compact retro form factor and a low-cost plastic body to keep costs down (rather than aluminum). I must say it looks every part the travel and everyday mirrorless camera, with an equally and surprisingly attractive entry-level price point more in line with the PEN E-P7's.

Whereas the (slightly pricier) five star-rated EM-5 Mark II has a viewfinder bump (which also looks great in my opinion), the OM System PEN is a rangefinder-style mirrorless camera, with the same 2.36m-dot OLED viewfinder that sits flush in the body instead.

And the specs are just as attractive as the IPX1-rated dust- and splash-proof body: the same 20.4MP micro four thirds sensor with 5-axis image stabilization rated up to 5.5EV, 121-point phase detection autofocus with subject detection AF for people and animals, plus a host of computational photography modes that are an absolute blast to play with — my OM-3 review paints a picture of how fun modes such as Live ND can be.

OM System has also added various color profiles, including two 'Cinema' picture modes designed for 4K video recording, and once again included a color/monochrome switch on the camera's front which packs numerous film-inspired looks.

The camera uses OM System's BLS-7 battery, which delivers a generous 410 shots on a full charge, while USB-C charging further enhances its travel-friendly credentials.

When you consider the retro IPX1-rated body, built-in viewfinder, and stabilized sensor, the PEN feels like exceptionally good value, even if it features a dated micro four thirds sensor which is smaller than APS-C and full-frame, and adds very little that is actually new.

For me, however, the format has always delivered a compelling mix of quality, power and features, and is an easy recommendation for people stepping up from a smartphone, who will find the computational modes addictively fun and familiar.

It was the PEN series that we have been waiting for OM System to refresh since it acquired the Olympus name, and now that day has come the new compact mirrorless model does not disappoint.

Pricing-wise, the new PEN becomes OM System's entry-level model — $999.99 / £849 / AU$1,499 bags you the camera body, in silver or black, or for an extra $100 / £100 / AU$300 the kit with the new mark III version of the 14-42mm f/3.5-5.6 lens, which was launched alongside the camera, with both due to go on sale from October 1.

I can't wait to get my hands-on the camera — if it's anything like the previous OM System cameras I've reviewed, it'll be a lot of fun to test. For me, the OM System PEN looks like a serious best beginner mirrorless camera of the year contender.

• Caira is adding generative video editing powered by Google’s Gemini Omni 1.1 Flash and Runway’s Aleph 2.0
• The feature can relight, reframe and extend captured footage or add simulated camera movements using natural-language instructions
• Every edit must start with footage shot on Caira, while AI-generated results are saved separately and marked using Google’s SynthID

Camera Intelligence, the AI camera startup that created Caira, an AI-native Micro Four Thirds mirrorless camera, today announced Generative Video Editing is being added to the existing Caira camera system. Camera Intelligence claims it is the first company to integrate video-generation models into a mirrorless camera system.

Generative Video Editing works through the Caira app with footage captured on the existing Caira device — it can’t generate its own AI video. A private beta opens for current Caira customers, before becoming part of the paid Caira Studio software package in Autumn 2026. Pricing hasn’t been announced.

"Last year we were the first mirrorless camera to edit photographs with generative AI, and we learned a great deal from the conversation that followed," said Vishal Kumar, CEO and co-founder of Camera Intelligence. "This year, after shipping Caira a large majority of our surveyed backers said generative editing for video would be useful to them - a clear impetus to bring these ideas to life.”

Powered by Google’s Gemini Omni and Runway’s Aleph 2.0

Powered by Google's Gemini Omni 1.1 Flash and Runway's Aleph 2.0, Camera Intelligence is the first company to embed video generation models directly into a mirrorless camera system.

Through the Caira app, you can apply visual and camera-motion effects in-the-moment to footage you have already captured with Caira via a series of templates guided by natural language.

We first reviewed the Caira camera last year. It combined a proper Micro Four Thirds hardware with the simplicity of a smartphone (the Caira snaps onto your iPhone using MagSafe) into a weird but impressive hybrid.

Under the hood it’s running a proper Micro Four Thirds sensor, powered by Qualcomm and Google silicon but its real party trick is Google’s ‘Nano Banana’ generative AI — a powerful on-device editor paywalled for $7p/m, which also unleashes smart voice control, and edits are rapid and impressive, meaning you can edit on the camera, without ever needing to open a laptop.

Staying rooted in photography

Video editing will work through a curated library of templates which can perform color grading or simulate drone-style sweeps and other complex camera paths. At launch the new system will contain Relight, Reframe, Camera Motion and Set Extension template. You can further refine them with conversational editing. Output will be in 720p and 1080p with it taking one to three minutes to generate depending on the resolution.

Since there is no text-to-video functionality every edit has to begin with footage you’ve captured with Caira. When you generate a video it is saved as a separate file from the original and watermarked with Google’s SynthID so it is clearly marked as AI-generated content.

This new Generative Video Editing feature forms part of the Caira Studio app, launching in Autumn 2026. The app will contain the already existing Image Editing feature together with one more, as yet unannounced feature. The private beta opens today and existing Caira customers can register their interest to join.

With the new Generative Video Editing features if feels like Camera Intelligence wants to put generative AI as close as possible to the act of filming while reassuring filmmakers that it isn’t trying to make filming unnecessary. That requirement keeps Caira rooted in photography: whatever the AI adds afterwards, the creative process begins with someone behind a camera choosing what to shoot.

Almost all of the big names in cameras — Canon, Sony, Nikon, Fujifilm, Panasonic, OM System, Sigma, Ricoh, Pentax and others — hail from Japan, the home of modern digital photography.

Want one of the best mirrorless cameras? Unless it's a Leica or a Hasselblad, right now it'll come from Japan. But a new superpower is rising up in the camera industry, and that's China.

Take DJI, which is headquartered in Shenzhen. It has surpassed GoPro to lead action cam sales, and dominates numerous other sales charts with its pocket vlogging cameras and range of drones.

Insta360, meanwhile, leads the way in 360 cameras. And within interchangeable-lens camera ecosystems, Chinese lens manufacturer Viltrox is a growing force, producing lenses for Sony, Nikon and Fujifilm cameras and, more recently, L-mount.

A string of recent reports and rumors suggest that certain China-based manufacturers are about to break new ground by producing their first mirrorless cameras — and I think this could be the dramatic shake up that the industry needs.

What Chinese mirrorless cameras can we expect?

First, there are the concrete reports. Insta360 CEO Jingkang 'JK' Liu revealed the 360 camera specialist is making not one but two mirrorless cameras. He described one of these as being "a shape no one thought of" that has "the potential to completely change the way we take pictures", while leaked pictures of the other point to a minimalist Micro Four Thirds body.

Liu's reference to a new camera shape, along with the Insta360 CEO's recent post about replacing photographers with "intelligent photography robots" (remarks he clarified somewhat when I interviewed Insta360) has me thinking that a completely new kind of camera could be on the cards.

And it's not just Insta360. Viltrox, which makes superb lenses for multiple camera systems — many of which I have reviewed, most recently a superb 'pancake' optic — is in an excellent position to disrupt Canon and Sony's 70%-plus share of the digital camera market.

Viltrox makes top-quality lenses for a fraction of the price of proprietary optics, though it's yet to produce a zoom lens (I'm expecting one soon enough, though). If it could apply that same value principle to an equally high-quality camera body, it could potentially dominate the beginner segment of the market, with its own lenses already in production. For many, mirrorless cameras are simply unaffordable, and Viltrox could change that situation.

Think about it: Viltrox might have already made the lenses for a future Viltrox mirrorless camera. Currently, it makes optics for the full-frame and APS-C formats (we're yet to see a Micro Four Thirds lens, despite a teaser suggesting we should have some by now).

If I were a betting man, I'd put my money on a beginner-level Viltrox mirrorless camera in the APS-C format, with an L-mount. Why so? We've seen reports of two new Viltrox APS-C format prime lenses for L-mount.

Two new lenses don't mean much in isolation. But when you consider that there are no current APS-C format camera bodies using the L-mount, that begs up the question: why make lenses that no current camera can use, unless you're making that camera yourself?

I might be getting ahead of myself. But an industry that's long been dominated and shaped by the big three — Canon, Sony and Nikon, more recently joined by Fujifilm, which has wrestled third place from Nikon after it sparked a surge of interest in retro cameras — could do with a shake-up.

I don't mean another AI-powered shake-up, along the lines of the Nano banana-equipped Caira camera, which can make live edits to your photos in-camera based on word prompts, but a shake-up that makes mirrorless cameras more affordable, and in which the form factor / handling playbooks are ripped up. Those are the kind of changes I'd be excited to see.

• OM System has shared a YouTube teaser for upcoming camera launch
• The viewfinder experience is the teaser's key focus, and the camera's form is revealed
• The launch is set for September 9

Since Japan Industrial Partners acquired Olympus in 2021, creating OM Digital Solutions and rebranding new cameras as OM System, we've seen upgrades for every Olympus camera series except one: the PEN-F / PEN E-P7 line of digital rangefinders.

The Olympus PEN-F is a camera that's much admired for its stunning retro looks, described by some as the 'best looking camera ever made'. Olympus fans have been calling for a successor to the series for years — and they might finally be about to get their wish.

A YouTube video from OM System (below) just teased what could be the long-awaited successor to the PEN-F, and it's coming on September 9.

The teaser focuses on the experience of using the built-in 'rangefinder'-style viewfinder — a hallmark of PEN cameras — and then reveals the camera's form factor, with some detailing of the top plate.

Based on these low-key visuals, we could be looking at the spiritual successor to the beloved Olympus PEN-F — which inspired the design of the stunning OM-3 — or perhaps a re-imagining of the low-cost Olympus PEN EP-7.

Either way, the rangefinder-style camera is getting Olympus fans excited, if the comments section of the YouTube video are anything to go by. "Let's go!" chime several viewers.

Given the length of time between the original Olympus models — the Pen-F is 10 years old, and the Pen EP-7 five — there are a few upgrades that could find their way into this new camera, including a speedier stacked sensor, improved phase-detection autofocus, and additional computational photography modes.

All will be revealed on September 9, and you can follow the live event on the OM System site, which is advertising a five-day program of live discussions, all seemingly centered on the new camera.

The official Canon UK store has kicked off a limited-time-only sale as part of its celebrations for World Photography Day. While the big day itself is today, the sale will be running over the next few days until August 23 — in which time you can get your hands on some impressive bundle deals and discounts on refurbished models.

I've been scanning through the sale today, and you can check out my personal picks just down below, including discounts of up to £270 on the Canon R8, the Canon EOS R6 Mark II, and the Canon EOS R6 Mark III.

- Check out the Canon World Photography Sale in full

Today's sale is particularly good if you're looking to get started in the Canon ecosystem, as there are some great value options. I'd particularly highlight the Canon R8 bundle as a fantastic buy, as you get the camera — which is a really nice lightweight full-frame body — with two very useful lenses. The R6 Mark II bundle is also worth a look, as this full-frame flagship still holds up great despite not being the latest model anymore.

Aside from bundle deals, today's sale at Canon places a heavy emphasis on refurbished listings. These are professionally refurbished models, so they're very much worth considering if you're looking to save a bit of cash. Note that most of the lenses on sale are for the older EF DSLR mount, however, so you'll need an adaptor if you're planning on using them with one of the brand's latest R-mount mirrorless cameras.

Canon World Photography Day: camera deals

Canon World Photography Day: lens deals

Truly low-cost cameras that are actually worth buying are hard to come by, and that's what makes the Lumix G97 so special today in this unbeatable deal ahead of Prime Day.

In our Lumix G97 review of its 2025 release, we awarded this beginner mirrorless camera 4.5 stars out of 5, saying its "competitive price point makes it a very appealing camera for novice photographers and vloggers". And B&H Photo just slashed that already great price by $260 — you can grab Lumix G97 with 12-60mm f/3.5-5.6 lens kit for $597.99 at B&H Photo and other leading retailers.

I've included links to the best deals below, many of which include handy extras to get you started. For example, B&H Photo throws in a memory card and shoulder bag for no extra cost!

The deal is less impressive for shoppers in the UK — the Lumix G97 with 12-60mm lens costs £649 at Amazon (was £749). That's still excellent value, but if price is your main concern, then there are decent alternatives worth considering, such as the Canon EOS R50 for £659 at Amazon (was £900). Conversely, the deals for the Canon camera are less impressive in the US.

In its favor, the EOS R50 has a larger 24MP APS-C sensor and superb autofocus. However, lens choice is pretty limited. On the other hand, the Lumix G97 — despite being a refresh of the much older Lumix G95 / G90 — still very much packs a punch, with decent 20MP micro four thirds sensor, superb ergonomics and a huge choice of affordable lenses. Trust me, it's a fabulous first camera.

Whichever model you prefer, you are getting standout prices for one of the best beginner mirrorless cameras. I've included more deals below for other top models, including the Fujifilm X-M5 and Olympus OM-D E-M10 Mark IV.

Today's best Lumix G97 camera deal (US)

Today's best Lumix G97 camera deal (UK)

Best beginner mirrorless camera deals today — including Canon, Fujifilm, Lumix and more

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

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

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

1. Sensor

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

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

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

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

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

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

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

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

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

2. Performance

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

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

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

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

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

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

3. Battery

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

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

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

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

4. Handling

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

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

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

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

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

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

5. Price

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

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

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

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

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

Conclusion

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

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

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

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

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

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

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

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

A vintage bargain

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

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

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

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

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

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

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

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

They don’t make ‘em like they used to

So what about the technology inside?

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

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

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

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

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

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

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

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

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

Enough for the everyday

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

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

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

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

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

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

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

Are old cameras worth it?

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

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

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

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

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

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

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

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

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

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

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

The super-supertelephoto lens

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

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

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

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

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

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

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

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

The speedy, highly detailed camera

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

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

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

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

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

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

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

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

The birdlife

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

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

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

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

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

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

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

Sony A7R VI: Two-minute review

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

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

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

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

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

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

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

Sony A7R VI: price and release date

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

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

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

• Price score: 4.5/5

Sony A7R VI specs

Sony A7R VI: Design

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

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

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

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

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

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

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

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

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

• Design score: 5/5

Sony A7R VI: Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Performance score: 5/5

Sony A7R VI: Image and video quality

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

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

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

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

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

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

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

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

• Image and video quality score: 5/5

Sony A7R VI: testing scorecard

Should I buy the Sony A7R VI?

Buy it if...

Don't buy it if...

Sony A7R VI: also consider

How I tested the Sony A7R VI

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

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

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

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

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

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

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

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

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

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

1. Who’s the EOS R6 V for?

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

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

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

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

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

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

2. Sensor

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

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

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

3. Design

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

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

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

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

4. A new ‘kit’ lens

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

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

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

5. Pricing

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

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

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

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

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

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

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

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

1. The next generation processor

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

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

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

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

2. Improved autofocus

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

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

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

3. A new sensor

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

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

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

4. Design tweaks

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

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

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

5. New lenses and kits

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

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

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

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

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