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I shot two 35mm rolls of LomoChrome '92: one with an Olympus Stylus Epic and the other with a Nikon FM2. This photo, lightly processed to taste in Lightroom Classic, was snapped with the latter.

I remember 1992 well: Bill Clinton was elected president, Barcelona hosted the Olympic games, Dr. Dre released The Chronic and film photography was at the height of its popularity. Okay, maybe I don't remember all of those things – I was only four years old – but I do recall the presence of cameras in my life from an early age: My family was all about documenting special moments.

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These photos, often shot on cheap drugstore film, have become cherished memories from a time long gone. Coincidentally, the era I speak of is now having a moment, especially amongst Gen-Z. And like so many hip brands in 2023, Lomography is tapping into the 1990s nostalgia craze with its recent release of LomoChrome ‘92 film stock. This ISO 400 color negative film is available in 35mm, 120 and 110 formats and is meant to mimic the look of that once ubiquitous drugstore film.

Buy now:

$12.90 at Lomography Who is Lomochrome ‘92 for?

If you’re searching for a color film stock that accurately captures the hues and tones of real life, this isn’t it. Lomography even says that LomoChrom ‘92 users should expect “fascinating blue hues, vibrant reds and delicate pastel undertones.”

Unlike common ISO 400 color films, like Kodak UltraMax or Fujifilm Superia, LomoChrome ‘92 is significantly more experimental in nature. To shoot with it is to embrace the unexpected, from strange color shifts to odd textures and oversized grain. If you want to fully enjoy LomoChrome ‘92, you’ll need to let go of some creative control.

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In the digital age, this can be difficult. Indeed, I was a bit disappointed when I first got my scans back by how muted and somewhat 'blah' many of them looked, especially compared to how I visualized them in camera. But that feeling quickly passed.

What does Lomochrome ‘92 look like?

First, without any digital adjustments, my LomoChrome ‘92 scans came back flatter and less punchy than I expected despite shooting in a wide range of lighting scenarios, both with and without a flash.

The grain also appears rather chunky for an ISO 400 film stock. Some of my shots additionally have an unappealing greenish hue in the shadow regions, which, thankfully, is easy enough to correct with a bit of help from Adobe. And that’s exactly what I did.

I'm not entirely sure what caused the light leak here, but I dig it. This is the type of image you can't plan for. Shot with the Olympus Stylus Epic. How to make LomoChrome ‘92 shine

With a good night’s rest and fresh eyes, I reapproached my LomoChrome ‘92 shots with a new perspective: The ‘bones’ of the images were good; they just needed some toning and exposure adjustments to shine.

Seeing as I edit all of my own film scans digitally using Lightroom Classic — repeat after me, ‘It’s okay to digitally edit film scans,’ and if you think otherwise, keep it to yourself — I figured I’d give these shots the same treatment.

Unedited LomoChrome '92 scan. Edited scan with green cast removed.

After all, a little white balance, exposure and contrast adjustment never hurts. Moreover, I wanted the results I shared in this review to be as close to something I’d share with my own social media.

Beyond basic adjustment to exposure variables, white balance and curves, I used the color mixer in Lightroom to lower the saturation levels of those pesky green tones plaguing some of my shadows. However, after experimenting with noise reduction on several images, I ultimately decided to leave it off and embrace the film’s oversized grain.

Other thoughts on LomoChrome ‘92

Ultimately, polishing most of these up took little effort. But I’m still somewhat perplexed by the assortment of light leaks and partially exposed frames I ended up with.

LomoChrome '92 features big grain and cool tones. Shot with the Nikon FM2.

For the sake of variety, I purposely shot two rolls of film with two different cameras, the Nikon FM2 and the Olympus Stylus Epic. However, both rolls came back with the anomalies mentioned above. It's also worth noting that I've shot with both cameras recently, with no mechanical issues or light leaks to report. Hm.

Shot with the Olympus Stylus Epic.

Either way, these happy surprises didn’t ruin any crucial shots and even added additional character to others, like the car image above. So, even though my results were not quite what I expected, ultimately, I am pretty happy with the outcome. And isn’t that the Lomography way?

What’s the point of LomoChrome ‘92?

In one word: fun. Lomochrome ‘92 isn’t for those wanting the tightest grain and cleanest reds, yellows and blues. It’s for folks who want to experiment with 35mm and – gasp! – not take film photography too seriously. After all, serendipity is one of the best parts of the analog photography experience.

So, does LomoChrome ‘92 really evoke a feeling of the long-gone 1990s? Absolutely. These shots bring me right back to my childhood, from the big grain to the slightly-too-cool tones. LomoChrome ‘92 is far from a perfect film stock, but it's definitely nostalgic. And that's the whole point.

Shot with the Nikon FM2.

Moreover, I’m excited to see Lomography expand its film lineup with this whacky yet enjoyable stock. It might not be my go-to choice for everyday use, but it's definitely an interesting one to experiment with from time to time. And I encourage other analog avengers everywhere to give it a spin through their favorite cameras.

A 35mm roll is $12.90 and develops in C-41.

Updated Nov 23, 2023

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Long gone are the days when all of us owned some kind of compact camera: the convenience and increasing quality of smartphones saw to that. But there are still some situations in which a compact can do things a smartphone can't. In fact, there are several types of compact camera that each offer capabilities that aren't easily replicated by even the best smartphones.

We'll try to spell out what these capabilities are, and what the best compact camera is to provide them. Because there are definitely still some circumstances in which a compact camera still makes sense.

Our recommendations:

• Long zoom camera
  • Best long-zoom camera: Sony Cyber-shot DSC-RX10 IV
  • Best ultra-zoom camera: Nikon Coolpix P1000

• Compact superzoom cameras
  • Best compact superzoom: Panasonic Lumic DC-ZS200

• Waterproof cameras
  • Best waterproof compact: OM System Tough TG-7

• Vlogging cameras
  • Best vlogging compact Sony ZV-1 Mark II

• Enthusiast camera
  • Best enthusiast compact: Canon PowerShot G7X III
  • Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII

Long zoom cameras

Perhaps the greatest weakness of smartphones is their lack of zoom. Many of the best phones have a camera with a slightly longer focal length and then try to crop into their images and use AI algorithms to try to approximate the fine detail to give the impression of zooming, but this has its limits.

Dedicated cameras aren't constrained by the need to slip into your pocket, which can afford them the space to have an optical zoom lens to gain you more reach than your smartphone can deliver. There can be a trade-off: the small sensors required to put lots of zoom in a relatively small camera will be outshone by the computational cleverness that modern smartphones will bring to bear on their images. But superzoom cameras can gain you the kind of reach that no current smartphone can get near.

Best long-zoom camera: Sony Cyber-shot DSC-RX10 IV

20MP Type 1 Stacked CMOS sensor | 24-600mm equiv. F2.4-4 lens | 4K video

Photo: Dan Bracaglia

Buy now:

$1698 at B&H $1698 at Adorama $1698 at Amazon What we like:

• Long, very sharp lens
• Very good image quality
• Impressive subject tracking
• Excellent video quality and features

What we don't:

• Very expensive
• Large and heavy
• Some camera features locked while buffer clears

The Sony RX10 IV is a superzoom cameras with a large Type 1 (13.2 x 8.8mm) Stacked CMOS sensor and a 24-600mm equivalent F2.8-4.0 zoom lens. The large sensor gives it image quality up there with the best smartphones while the lens delivers a 24x zoom that smartphones can't come close to matching.

The RX10 IV has been on the market for a while, so its autofocus isn't as good as Sony's newer cameras, but its fast Stacked CMOS sensor and excellent face detection system means it'll track action very well. This combines with its ability to shoot at 24 frames per second to stretch its capabilities even further beyond those of a smartphone.

The RX10 IV offers a reasonable degree of direct control and customization, including a dedicated aperture ring, exposure comp dial and controls that can be kept silent for video shooting. It has a hefty, weather-sealed body along with a tilting touchscreen display and high-res OLED viewfinder. "The RX10 IV offers a high level of competence across an impressively broad range of shooting situations" The F2.4-4.0 lens means you can get a decent amount of light to the sensor at any focal length, which helps get the most out of the camera's Type 1 (13.2x 8.8mm) sensor. The JPEGs' color isn't our favorite but the sophisticated sharpening and noise reduction mean they remain detailed even in fairly low light. The camera's oversampled 4K is some of the most detailed available and exhibits little in the way of rolling shutter. Mic and headphone sockets, along with a selection of tools to help judge exposure make the RX10 IV a very flexible all-in-one package. The RX10 IV is an expensive camera but it's also unique in its combination of zoom range, image quality, autofocus and excellent video with a lot of detail. It's not the best possible solution to any one question but it offers a high level of competence across an impressively broad range of shooting situations.

Read our Sony RX10 IV review

See the Sony DSC-RX10 IV studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1816870055","isMobile":false}) }) Best ultra-zoom camera: Nikon Coolpix P1000

16MP 1/2.3" BSI-CMOS sensor | 24-2000mm equiv. F2.8-8 lens | 4K video capture

Photo: Barney Britton

Buy now:

$997 at B&H $997 at Adorama $997 at Amazon What we like:

• Focal range cannot be matched by any camera
• Respectable image quality, given camera's purpose
• Raw support
• Well-built, with logical control layout

What we don't:

• Large and unbalanced when zoom is extended
• Lens is slow at long end, reducing sharpness
• No touchscreen
• Poor battery life

The Nikon Coolpix P1000 is a small sensor camera with a vast zoom lens. The Type 1/2.3 (6.17 x 4.55mm) sensor will be out-performed by a good smartphone's clever merging of multiple images but the Nikon's gargantuan 24-2000mm equiv lens is its selling point.

The small sensor means image quality isn't the camera's strength, but its frankly ludicrous zoom reach means it can photograph distant subjects in a way no other device (smartphone or dedicated camera) can.

The P1000 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 2000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1000's fully articulating LCD, is not touch-enabled. Connectivity to smartphones works well. "When it comes to zoom power, there's no camera that comes close to Nikon's Coolpix P1000" The P1000's image quality depends greatly on the focal length. Photos are generally on par with other small-sensored cameras, with pleasant colors and a bit too much noise reduction. It offers Raw, though, so you can choose your noise/detail balance and modestly brighten shadows. Heat haze, coupled with the lens's slow maximum aperture limit image quality at the longest focal lengths. The P1000 has very good video quality for a camera with point-and-shoot roots. It can capture 4K video at 30p (with no crop) as well as 1080/60p and time-lapse/super-lapse clips. There's a manual exposure mode, a zoom microphone and a socket for addition an external mic. Electronic Vibration Reduction is available at 1080p and below. When it comes to zoom power, nothing comes close to Nikon's Coolpix P1000. Whether it's taking a portrait from 2 blocks away or getting up close and personal with a bird in the distance, this lens can do it. That said, while other cameras can't match that lens, many will offer better image and video quality for the same money, especially those with larger sensors.

Read our Nikon Coolpix P1000 review

See the Nikon Coolpix P1000 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"3036062247","isMobile":false}) }) Compact superzooms

Another class of camera that offers the kind of zoom range that a smartphone doesn't is the compact superzoom, also known as travel zoom cameras. These feature 10x or more zoom ranges (much more in some cases) in relatively small, convenient bodies. The downside is they typically use very small sensors that, without the sophisticated image combination that smartphones regularly do in the background, only offer their best image quality in good light. Canon and Panasonic (which invented this type of camera) still make compact superzooms, so if what you need is a bit more reach from something pocketable, this is what you're looking for.

We haven't had a chance to try Canon's SX740 HS, with its 40x zoom, but it's a continuation of a series that has always produced attractive color from cameras with simple, user-friendly interfaces. The small sensor and very slow aperture at the long end of the zoom mean it's going to be a camera for outdoors and good light only, really. Similar things can be said of Panasonic's 30x zoom ZS80, though this no longer appears to be available in Europe.

Best compact-superzoom: Panasonic Lumix DC-ZS200

20MP Type 1 BSI-CMOS sensor | 24-360mm equiv. F3.3-6.4 lens | 4K video capture

Photo: Dan Bracaglia

Buy now:

$648 at B&H $648 at Adorama What we like:

• Good balance of zoom and size
• Built-in EVF
• 4K video capture

What we don't:

• Soft lens
• 1.5x crop when recording 4K video
• Some may be bothered by 'color tearing' on EVF

The more expensive Panasonic ZS200 (TZ200 in Europe) is based around a larger Type 1 (13.2 x 8.8mm), which is four times larger than the one on the cameras mentioned above. The zoom is a more modest 15x, but that's more than enough for most photography, and it shouldn't be as readily embarrassed by your phone, when it comes to image quality.

The ZS200's metal body is well constructed and easy to grip thanks to rubber-like material on the front and back. The touch interface is responsive and the camera offers twin control dials: one top plate and one around the lens. Some users might find the field sequential EVF bothersome. But overall, the camera is easy to operate and customize. "Ultimately, the ZS200/TZ200 is is the furthest-reaching Type 1 pocket camera on the market" The ZS200 captures 4K UHD at up to 30p, but a 1.5x crop means it's noisier than many of its competitors and prevents any wide-angle shooting. Dropping down to 1080p results in better quality with just a slight crop when using the 5-axis 'hybrid' IS system. Autofocus has to hunt in low light situations and some rolling shutter is visible if there's any vibration present. There's no option for external audio, which is a drawback. Ultimately, the ZS200/TZ200 is the furthest-reaching Type 1 pocket camera on the market, and its combination of (so-so) 4K capture, touch-based interface, EVF, and twin control dials make it both versatile and easy to use. The cost of having all of that zoom power is a lens that isn't always sharp across the frame. If you're willing to trade some image quality for zoom reach, then the ZS200 is worth considering.

Read our Panasonic Lumix DC-ZS200 review

See the Panasonic Lumix DC-ZS200 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1484710012","isMobile":false}) }) Waterproof cameras

Waterproof cameras are another specialty that smartphones can't necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn't try to submerge them to any appreciable depth. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but necessarily careful children.

Best waterproof camera: OM System Tough TG-7

25-100mm equiv. F2.0-4.9 lens | 12MP Type 1/2.3 sensor | Waterproof to 15m (50ft)

Buy now:

$550 at B&H $550 at Adorama $532 at Amazon What we like:

• Bright, wideangle lens
• Built-in GPS, compass and manometer
• Raw image capture allowing creating edits
• Range of accessories

What we don't:

• 12MP is fairly low
• Lens isn't very bright at long end
• Limited battery life
• Relatively expensive

The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).

The OM System isn't the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.

"The TG-7 is relatively expensive but packs in a host of useful features that help it stand out"

Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that's worth the added expense, we feel.

Read our hands-on with the OM System TG-7 article

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"2897065950","isMobile":false}) }) Vlogging cameras

Smartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.

Best vlogging camera: Sony ZV-1 Mark II

20MP Stacked CMOS sensor | 24fps burst shooting | 4K/30p, 1080/120p video

Photo: Shaminder Dulai

Buy now:

$898 at B&H $898 at Adorama $898 at Amazon What we like:

• Low rolling shutter
• 3-way mic array
• Touchscreen interface for vlogging

What we don't:

• Limited body buttons/dials
• No stabilization for stills
• 8-bit color not ideal for grading

The Sony ZV-1 Mark II is one of three ZV-1 models and is by far the best. Its wide-angle 18-50mm equivalent F2.8-4.0 lens is ideally suited to self-shot video. Its excellent autofocus includes options such as 'Product Showcase' that focuses on the presenter, unless an object is held up to the camera.

A vlogging beast for smartphone users wanting to upgrade to a dedicated device for more control over exposures, file workflow, sound and optical zoom without a large learning curve. The ZV-1 Mark II is primarily touchscreen-controlled to allow control while vlogging or shooting selfies. It's lightweight and easy to hold but has limited control points if you want to take more manual control. The ZV-1 Mark II is a big improvement on the original thanks to a more selfie-video-friendly zoom range. Video footage and autofocus are both very good. It is a camera that thrives in auto modes, making it best suited for users seeking a simple-to-use camera.

See the Sony ZV-1 Mark II studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1506965461","isMobile":false}) }) Enthusiast compacts

The final niche in which it's difficult for a smarphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it's difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.

We've picked three cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Both Sony models have built-in electronic viewfinders, for shooting when it's bright outside, again giving a more pleasant experience than trying to use a smartphone.

Best enthusiast compact: Canon PowerShot G7X III

20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture

Photo: Dan Bracaglia

Buy now:

$749 kit at B&H Photo $749 at Adorama $749 at Amazon What we like:

• Nice grip and well-placed controls
• 4K/30p recording with live streaming to YouTube
• Fast burst shooting

What we don't:

• Lens is soft at wide-angle
• Limited battery life
• Contrast-detect only autofocus

The Canon PowerShot G7X III is an enthusiast compact built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor with a bright 24-100mm equivalent F1.8-2.8 zoom.

The large sensor, and zoom that covers a really useful range help set it apart from a smartphone but it's really the clicking control dial around the lens and the dedicated exposure compensation dial that help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.

"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look" Though it's jacket-pocketable, the G7 X Mark III has a decent-sized grip and feels secure in the hand. The 'clicky' control rings around the lens and on the rear of the camera give good control over aperture, shutter speed and ISO, and the exposure compensation dial on the top plate is a nice touch. The touchscreen interface on its tilting 3" LCD is polished and responsive. Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.

Read our Canon Powershot G7X III review

See the Canon Powershot G7X III studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1816870055","isMobile":false}) }) Also worth considering

The Sony Cyber-shot DSC-RX100 VA is also worth a look, offering a short, bright 24-70mm equivalent zoom. This is a little shorter than the one on the Canon but we've found it to be more consistently sharp, on the units we've tested. It has a pop-up viewfinder, adding to the appeal but also to the price. The Sony's autofocus is faster and more dependable than the Canon's but we prefer the handling of the Canon, thanks to its exposure compensation dial and clicking front control wheel.

Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII

20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system

Photo: Dan Bracaglia

Buy now:

$1298 at B&H $1298 at Adorama $1298 at Amazon What we like:

• Industry-leading autofocus
• Excellent image quality
• Oversampled 4K video

What we don't:

• User interface can be overwhelming
• Low light performance limited by slow lens
• Slippery grip
• Expensive

The Sony Cyber-shot DSC-RX100 VII is built around a 20MP Stacked CMOS and a long, flexible 24-200mm equivalent lens. It's not as bright at the long end as the zooms on the Mark VA or the Canon G7X III but it provides a lot more reach, still in a compact package.

The RX100 VII is the most capable pocketable camera ever made The RX100 VII has a limited number of direct controls, but offers extensive customization for making the most of them. A touchscreen can be used for choosing a focus point or initiating AF tracking in video. The camera also includes the single-press pop-up viewfinder we liked so much on its predecessor. The RX100 VII is easily the most-capable compact camera on the market thanks to its great image and video quality, fast shooting, versatile lens and a highly-capable, easy-to-use AF system, though all of that comes with a high price tag.

Read our Sony RX100 VII review

See the Sony DSC-RX100 VII studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"5874815271","isMobile":false}) }) Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so that you can capture whatever you encounter on your travels. We've also tried to select relatively small cameras so they don't interfere with your trip.

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Our selections include relatively compact cameras with fixed lenses, perfect for just documenting what you saw on your trip; they also include Micro Four Thirds and APS-C models that allow smaller camera/lens combinations, if you're looking to travel light. Full-frame cameras open up the potential for even better image quality but the lenses can get pretty big, so it's worth checking how big the total package is, before committing to a large-sensor model.

Our recommendations

• Best pocketable travel camera: Ricoh GR III
• The classic choice: Fujifilm X100V
• Truly compact mirrorless: OM System OM-5
  
• All-round compact capability: Sony a6700
• The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS
• The stylish travel companion: Nikon Zf
• Portable full-frame: Sony a7CR

Best pocketable travel camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

The Ricoh is a pocketable compact with a large APS-C sensor.

Photo: Barney Britton

Buy now:

$997 at B&H Photo $997 at Adorama $1016 at Amazon What we like:

• Excellent image quality
• Good controls and ergonomics
• Truly pocketable

What we don't:

• Short battery life
• No built-in flash
• Sluggish AF in low light

The Ricoh GR III is the latest in a series of classic compact cameras with a large APS-C sensor and an 28mm equivalent lens. It's not the most flexible camera but it's one of the most pocketable and has built up a dedicated following of photographers who find it a joy to shoot with.

The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The GR III focuses swiftly and accurately in good light, but it slows significantly as light levels drop. There's also a Snap Focus option, where the user can preset a focus distance the camera 'snaps' to with a full press of the shutter button. The GR III's battery life is disappointing, at a rated 200 shots per charge. "Offers direct control and excellent image quality in a pocketable camera"

Our only concern, in terms of using the GR III for travel are that some users have found dust can get into the lens. So it's worth trying to find some sort of protective bag to keep it in.

The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

There's also the GR IIIx, a variant with a longer, 40mm equivalent lens on it. This may be a little tight for documenting your travels, but it's historically a popular focal length.

Read our Ricoh GR III review

See the Ricoh GR III studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7380089310","isMobile":false}) }) The classic choice: Fujifilm X100V

26MP APS-C X-Trans sensor | 35mm equiv. F2 lens | Hybrid viewfinder

The Fujifilm X100V makes an excellent travel companion, if you can find one.

Photo: Dan Bracaglia

Buy now:

$1399 at B&H Photo $1399 at Adorama $1399 at Amazon What we like:

• Fujifilm's latest sensor is excellent
• Tilting, touch-enabled screen
• Remarkably strong video features
• Excellent build quality

What we don't:

• Lens's AF speed on the slow side
• No stabilization of any kind
• Arguably too many dials

The Fujifilm X100V is a classically styled fixed lens camera with a 26MP APS-C camera sited behind a 35mm equivalent F2 lens.

The X100V isn't the smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

It's worth noting that, despite being one of our picks, supplies have been limited for a while: we wouldn't recommend paying significantly over the $1399 list price.

Controls and handling are excellent. The addition of a tilting touchscreen is welcome, and it doesn't add much in the way of bulk. The combination of dedicated and customizable control dials gives users a number of options for how they want to control the camera, but some may find it overwhelming. Adding a filter adapter lets you completely weather-proof the body. "The X100V continues the series' tradition of providing excellent image quality in a compact package." Overall performance is good for this type of camera, though the redesigned lens isn't much faster to focus than the older models. It can shoot 20 fps with autofocus, there's no appreciable operation lag and battery life is above average. Autofocus subject tracking is reasonable, low light autofocus is dependable, and face/eye AF is improved as well (though unavailable in optical viewfinder mode). The X100V brings a level of polish you would expect from a fifth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet, and is the best prime-lens compact camera currently on the market.

Read our Fujifilm X100V review

See the Fujifilm X100V studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"4841377113","isMobile":false}) }) Truly compact mirrorless: OM System OM-5

20MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)

Photo: Brendan Nystedt

Buy now:

$999 at B&H Photo $999 at Adorama $999 at Amazon What we like:

• Attractive JPEG output
• Selection of clever photo features
• Excellent image stabilization
• IP53 rating supports claims of weather sealing

What we don't:

• AF tracking is disappointing
• Image quality is behind larger sensor cameras

The OM System OM-5 is a compact interchangeable lens camera with a 20MP Four Thirds sensor in a compact body with plenty of external control.

That relatively small sensor means it can remain fairly small, even with a lens attached, and the Micro Four Thirds lens system provides extensive options in that regard, from compact zooms to small prime lenses.

The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price. It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick. "Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different" The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects. The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.

Read our OM System OM-5 review

See the OM System OM-5 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0126081229","isMobile":false}) }) All-round compact capability: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

Buy now:

$1398 at B&H Photo $1398 at Adorama $1398 at Amazon What we like:

• Front and rear command dials
• Excellent AF in stills and video
• 4K/120p capture (with crop)

What we don't:

• No AF joystick
• JPEG sharpening can be aggressive

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.

The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers. Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.

Read our full Sony a6700 review

See the Sony a6700 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7692340468","isMobile":false}) }) The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS

26MP X-Trans APS-C sensor | Up to 6.2K/30P 10-bit video | In-body image stablization

Photo: Shaminder Dulai

Buy now:

$1699 w/ 18-55mm at B&H Photo $1699 w/ 18-55mm at Adorama $1699 w/ 18-55mm at Amazon What we like:

• Excellent still and video quality
• Long battery life
• Comfortable, simple ergonomics

What we don't:

• AF tracking still lags behind peers
• Small electronic viewfinder
• Micro HDMI instead of full-size

Fujifilm's X-S20 is also worth considering. Like the a6700, it's built around a 26MP BSI CMOS sensor and is strong at both stills and video. Its autofocus isn't as simple and powerful as the Sony's, but its JPEG color modes produce really attractive results, and there's a wide choice of lenses including compact prime and the well-priced, supremely useful 18-55mm F2.8-4.0 OIS, which is a great travel option.

The camera has an approachable layout with two customizable dials set into a large hand grip. The camera is well-built and feels robust thanks to its partial metal construction. The EVF is a little small, though. "The X-S20 delivers a long list of options to still shooters and vloggers alike, all while offering solid battery life." Overall image quality is very good. JPEGs have pleasing color, and Film Simulation modes make it easy to change the style of your photos. Some cameras capture more detail at low sensitivities, but the X-S20 is more competitive at high ISOs. The camera's sensor gives you plenty of latitude when processing Raw images. The X-S20's video specs are impressive, with 10-bit 4K capture at up to 60p. Videographers will appreciate its F-Log capture, while the Eterna color profile is attractive if you want a simpler workflow. An optional fan extends record times but autofocus isn't especially dependable. The X-S20 takes Fujifilm's higher-end still and video features and puts them into a simple, cleanly designed body with built-in image stabilization. Image quality is great, autofocus is good in most situations, and the breadth of video features is impressive.

Read our Fujifilm X-S20 initial review

See the Fujifilm X-S20 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7569171898","isMobile":false}) }) The stylish travel companion: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion.

At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention, when you're out and about in an unfamiliar setting.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our initial review of the Nikon Zf

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) Portable full-frame: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.

You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus. The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Mirrorless cameras now dominate the interchangeable lens camera market, fifteen years after Panasonic introduced the first example. They include cameras designed for a wide range of photo and video pursuits, and models at everything from budget to professional price points.

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We've used and tested just about every current mirrorless camera on the market and picked out what we think are the stand-out models. We'll start with the most affordable models, then work our way up from there. In general terms, the more expensive ones are better, offering better image quality through the use of larger sensors, or higher resolution, faster burst rates or superior video capture. We'll call out why we've made each pick and try to explain the advantages and disadvantages of each choice.

Our picks:

• Best value: Sony a6100
• Best APS-C mirrorless camera: Sony a6700
• Best bargain full-frame: Canon EOS R8
• Best mirrorless camera under $2000: Nikon Zf
• Best mid-priced mirrorless camera: Canon EOS R6 II
  
• Best high-end mirrorless camera: Nikon Z8
• Compact high-resolution: Sony a7CR

Best value: Sony a6100

24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture

Photo: Richard Butler

Buy now:

$848 w/ 16-50mm B&H Photo $848 w/ 16-50mm at Adorama $748 body only at Amazon What we like:

• Excellent autofocus system
• 4K/30p video recording
• Tilting touchscreen LCD

What we don't:

• Less robust build quality
• Rolling shutter 'jello effect' present in 4K video
• Crop when recording 4K/30p video

The Sony a6100 is an entry-level APS-C mirrorless camera. It's equipped with a 24MP sensor, a touchscreen for easy focus placement and Sony's excellent autofocus tracking which makes it especially easy to focus on people and pets.

The a6100 is happiest if you prefer to point-and-shoot in an auto mode, supported by its very good autofocus. The wide range of lenses available for it give you somewhere to grow if you find yourself catching the photography bug.

The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and twin control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging. Sony's autofocus system has been trained to recognize people and pets as subjects, and will follow them flawlessly throughout the frame. Coupled with the ability to touch the screen to place a focus point, it's a system that will serve beginner users very well, whatever they're shooting. "The a6100's autofocus can effortlessly track whatever you point it at" The a6100 makes it easy to record 4K footage or slow-motion 1080 video. There's a socket to connect an external mic but no way to connect headphones for monitoring. It can be set up for tap-to-track autofocus in video, too. There's significant 'jello-effect' distortion in the 4K footage though, especially in 24p mode. The a6100 is a good entry-level camera with a very powerful, easy-to-use autofocus system. We're not huge fans of the kit zoom and the interface isn't especially welcoming, but with a few settings changes, it can help you get excellent shots, easily.

Read our Sony a6100 review

See the Sony a6100 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7727683859","isMobile":false}) }) Best APS-C mirrorless camera: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

Buy now:

$1398 at B&H Photo $1398 at Adorama $1398 at Amazon What we like:

• Front and rear command dials
• Excellent AF in stills and video
• 4K/120p capture (with crop)

What we don't:

• No AF joystick
• JPEG sharpening can be aggressive

The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters.

The a6700 might look a lot like the a6100 but it's a much more advanced model with better build, greater capabilities in both stills and video, and more hands-on control points.

The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class. Autofocus on the a6700 offers class-leading subject detection and tracking capabilities. Combined with a dedicated ‘AI’ processor, it effectively tracks subjects around the frame even when shooting at the maximum 11 fps burst shooting rate. "Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers. Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.

Read our full Sony a6700 review

See the Sony a6700 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7692340468","isMobile":false}) }) What are my other APS-C options?

Although the Sony a6700 is the most capable APS-C camera, if you consider autofocus performance, image quality and video capabilities, there are several other worthy contenders to the title. We like the combination of affordability and likeability of Nikon's Z fc, now that there are a handful of prime lenses to use with it, and we respect the Sony-rivaling capabilities of several of Canon's APS-C RF models.

Fujifilm's X-S20 is also worth considering if you're looking at APS-C cameras

Photo: Richard Butler

But it's the Fujifilm X-S20 we think deserves most consideration, if you conclude the a6700 isn't for you. We think it's a pretty good-looking camera, and one that shoots great video, as well as attractive stills. Touches such as the AF joystick make it that bit more engaging and enjoyable to shoot with, than the Sony.

Its autofocus tracking isn't anything like as reliable as Sony or Canon's latest cameras, but where it really shines is in the selection of lenses available for it. Fujifilm makes a broad selection of prime lenses and the excellent 18-55mm F2.8-4.0 OIS zoom, that's significantly better than the lenses bundled with most of these cameras. Third party support is strong, too, meaning the camera can grow with you as your photography develops.

Full-frame mirrorless

Full-frame cameras (those with image sensors the same size as traditional "35mm" film) offer the opportunity for better image quality than smaller formats, simply because they have a larger area on which to capture light. However, you don't get something for nothing: even if you can find an affordable full-frame camera at a good price, the lenses needed to make the most of it will be larger and will typically cost more than the lenses for APS-C or Four Thirds sensors. Broadly speaking there's a balance to be struck between image quality, size and price, which is worth contemplating before you make the assumption that full-frame is the best (or even 'better') format.

Best budget full-frame mirrorless: Canon EOS R8

24 MP full-frame CMOS sensor | 4K/60p 10-bit video recording | 8 fps burst shooting

Photo: Richard Butler

Buy now:

$1399 at B&H Photo $1399 at Adorama $1399 at Amazon What we like:

• Great image quality
• Very good AF subject detection and tracking
• Good starting price

What we don't:

• No in-body image stabilization
• Short battery life
• No AF joystick

The Canon EOS R8 is a surprisingly capable compact full-frame mirrorless camera that has the features and image quality of Canon's EOS R6 II at a much lower price.

The EOS R8 has a comfortable grip and twin dials, giving a good level of direct control. There aren't many buttons so more committed users may want to move up to the EOS R6 II, rather than rely on the quick menu for changing settings. Autofocus is the R8's strong suit: tracking and subject detection are simple to use and very effective. There's no AF joystick, so you'll have to use the touchscreen or select a subject and recompose. Battery life is very limited for an entry-level full-frame camera, though it can charge over USB, at least. "If you're partial to Canon and are new to full-frame mirrorless, the EOS R8 is a great place to start your photographic journey." The R8 shoots attractive video, including 4K footage at up to 60p. The lack of in-body stabilization means you'll need a stabilized lens or a tripod to get the best results. Photos are on par with more expensive full-frame cameras, with great high ISO performance, detail-preserving noise reduction, and Canon's pleasing JPEG colors. The 40 fps burst mode is prone to rolling shutter distortion, reducing its usefulness for capturing action. The EOS R8 offers the image quality and many of the features of Canon's more expensive models but battery life, viewfinder resolution and lack of sensor stabilization are part of the price you pay for that. The RF mount is still fairly new so it's worth researching your lens options before buying, but an adapter allows the use of EF DSLR lenses if you have them.

Read our full review of the Canon EOS R8

See the Canon EOS R8 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1916332853","isMobile":false}) }) What are the other entry-level full-frame options?

We also think the Nikon Z5 is worth considering, if you're looking for a comparatively affordable way into a full-frame system. It's older than the Canon and its autofocus tracking and video capabilities lag somewhat behind as a result. Like Canon's RF system, Nikon's Z-mount lens system is also somewhat short on affordable lenses to pair with an entry-level camera, though Nikon has allowed a couple of other brands to make selected lenses for the system.

What really makes us bring it up here is its usability. The Z5 has a larger, higher-resolution viewfinder, much longer battery life, in-body image stabilization and an AF joystick, all of which can make it a rather more enjoyable camera to shoot with. Definitely worth a look.

Best mirrorless camera under $2000: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

There are some exceptionally good cameras in the $2000-$2500 price category, but few of them are as eye-catching as the Nikon Zf. While the styling is distinctly 1981, the performance is much more contemporary, with very competitive autofocus and the strong balance of stills and video capabilities that we've come to expect from a camera at this price.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our initial review of the Nikon Zf

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) Best mid-priced full-frame mirrorless: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Richard Butler

Buy now:

$2499 at B&H Photo $2499 at Adorama $2499 at Amazon What we like:

• Simple, powerful AF for stills
• Fast 40fps shooting with continuous AF
• Excellent battery life

What we don't:

• AF less reliable in video mode
• SD cards limit burst duration
• E-shutter can distort fast-moving subject

The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

The Canon EOS R6 II stands out from strong competition by doing everything really well. Its autofocus is only a fraction behind the Sony a7 IV, but its video is better, with less rolling shutter and no need to crop to achieve 4K/60p. This gives it performance ahead of the Panasonic and Nikon offerings at this price, and its ergonomics are a match for the best of them. It's just a really all-round solid package.

The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses. The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature. Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects. Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming. Rolling shutter is surprisingly well controlled in 40fps electronic shutter mode, though like most of its peers, the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent. Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.

Read our full review of the Canon EOS R6 II

See the Canon EOS R6 II studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7953502801","isMobile":false}) }) The mid-priced rivals

There are plenty of other cameras worth considering, in the around $2000 price category. The Canon and Nikon are the real stand-outs, but you're unlikely to regret your decision, whichever you opt for. The Panasonic Lumix DC-S5 II would probably be our choice if you want to shoot both stills and video, despite it having to crop in to capture 4K/60, which the Canon doesn't. It's the level of supporting tools that makes it so videographer-friendly, with a wide variety of capture formats, waveform displays and the ability to set exposure as shutter angle making it stand out. The S5 IIX is even stronger in this regard, with the ability to record very high quality video straight to an external SSD.

Sony's a7 IV is also a solid enough choice, with excellent autofocus and slightly higher resolution capture than its peers. It's the smaller, less expensive a7C II that we prefer, though. Its autofocus is a generation newer and it's appreciably smaller than its rivals. The viewfinder is small and there's no AF joystick though, which are the main reasons it's not one of our main picks.

Best high-end mirrorless camera: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

Photo: Richard Butler

Buy now:

$3997 at B&H Photo $3997 at Adorama $3997 at Amazon What we like:

• Superb autofocus
• Fast shooting
• Excellent video

What we don't:

• Large, heavy body
• Relatively low-res (though fast) viewfinder
• Not all subject detection modes equally good

The Nikon Z8 offers essentially all the capabilities of Nikon's pro-focused sports camera, the Z9. It's somewhat larger than its immediate peers, but its combination of resolution, speed, autofocus capability and video features means it will support you in just about anything you ask of it.

The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. The Z8 can be set to track whatever's under the AF point and does so dependably. It can also prioritize recognized subjects near the AF point if you prefer. 20fps Raw shooting or 30fps full-res JPEG capture (with pre-burst option) make the Z8 very rapid. "The Nikon Z8 is one of the best cameras we've yet tested, combining fast shooting, great AF, strong video and top-notch IQ" Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and dependable AF make it easy to shoot with. Image quality is excellent, with high detail levels maintained into fairly low light. JPEG color is attractive and the there's no sign of degradation if you use the more compressed Raw options. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.

Read our Nikon Z8 review

See the Nikon Z8 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6045530466","isMobile":false}) }) Compact high-resolution: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR takes most of the features of the more expensive a7R V and provides them in a smaller package. The viewfinder is disappointing for such an expensive camera, but nothing gives you so much image quality in such a small, capable package.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus. The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) What are the other high-end options?

Just about all the cameras in the >$2500 price bracket are, unsurprisingly, rather good. We go into a little more detail about their relative merits in our 'High-end camera buying guide.' As at any price, the key things to consider are what types of photography you plan to do (and hence, which features and capabilities are most important to you), and whether the lenses you need are available at a price you're willing to pay.

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Photo: Tim Barribeau

These days, it’s not often I need a full camera bag – if I’m using my camera, I usually bring it along to something else, it's not the sole reason I leave the house. Which makes the PhotoSport Outdoor Backpack BP 24L AW III ($250) a smart compromise: it’s half hiking daypack, and half camera bag. And while it doesn’t truly excel at either, it does them well enough that it’s a bag I’d be happy to bring with me any time I head into the woods.

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Key Features:

• Hiking friendly features
• Good layout and useful pockets
• Removable (and useful) camera insert

Specs (from manufacturer):

• Size: 27x22x50cm (10.5x8.75x19.75 in)
• Weight with dividers: 1.5kg (3.3lbs)
• Hydration pocket size: 3L
• Capacity: 24L (backpack), 5L (removable camera pouch)
• Example loadout: single camera, 2-3 lenses, accessories

Buy Now:

$249 at B&H $249 at Adorama $249 at Amazon Hiker’s delight The PhotoSport looks like it was designed for the trail. Photo: Tim Barribeau

The PhotoSport Outdoor Backpack’s name tells you just about all you need to know: it’s a photo and outdoor backpack. It looks like just about any hiking day pack you could pick up at your favorite outdoor retailer but with the extra utility of carrying a camera and lenses while you're out for the day.

"Like most hiking backpacks, the PhotoSport's build focuses on weight support and distribution."

Like most hiking backpacks, the PhotoSport's build focuses on weight support and distribution, more so than most other packs I’ve tried. Unlike the Wotancraft New Pilot or Peak Design Everyday Backpack, the PhotoSport has a hip strap built-in rather than as an optional add-on, and it has enough padding to put the bag’s weight on your hips where it belongs.

The sternum strap has a whistle (which isn’t really important but is fairly common in outdoor gear), and the back panel does a decent job of providing comfort and airflow. However, I’m 6’2”, and the hip straps hit a bit too high for me to use them properly. In the larger sibling models to the 24L backpack, the smaller and larger sizes can account for height differences, but in this one, you have one choice for where the straps land.

The hydration pocket (which can double for laptops in a pinch)...

...and included rain cover are all hallmarks of a decent hiking backpack.

Photo: Tim Barribeau

There’s a hydration pocket that holds up to a 3-liter water reservoir, with a passthrough for the straw, which is absolutely necessary if you’re going to spend any appreciable amount of time hiking. It also has loops to store your hiking poles, a flexible external pocket for stowing a jacket or helmet, a water bottle pocket and even a rain cover. All practical, outdoor-focused features.

Plus, you have the usual medley of pockets, including one on the hip strap, a small top flap pocket for stashing things you need to get to easily, like your sunglasses, a water bottle pocket, and a large drawstring pocket at the top of the bag for storing all your non-camera gear.

Camera Storage

When the camera insert is stowed, it's easy to get to via the side entry...

Photo: Tim Barribeau

To stash your camera gear, the PhotoSport has a single side access pocket (on your left side) where the included LowePro camera insert lives. It’s large enough to hold a body with an attached zoom lens, and 1-2 extra lenses, as well as some assorted bits and pieces like SD cards. While that’s not a lot, if you’re going for a hike, more than that will weigh you down quickly.

...and the insert can also be pulled out to free up space or carry on its own.

Photo: Tim Barribeau

Because the bag uses an insert system, you can quickly pull the camera section out if you just want to carry that or set it aside (somewhere safe) if you want to use all of the bag’s internals for non-camera reasons. The insert can be attached to the bag's hip strap, carried on its own with an included neck strap, or even attached to the bag's shoulder straps to sit against your chest. And those same attachments can be used with your camera directly if you want your camera clipped into your bag rather than directly around your neck.

Jack of all trades, master of none

Unfortunately, while splitting the difference between a hiking pack and a camera pack, there have been losses on both sides of the equation. Some of them are small; for example, there’s no place to clip the hydration straw or the single water bottle pocket. And some are substantially more noticeable – a better hiking backpack these days will have better back padding and ventilation system than the PhotoSport provides. Even after just thirty minutes of carrying it on a warm day, and I was sweating against the cushioning.

On the camera side of things, while the insert is stowed, you only have access to the contents from one side of the insert, so any that are on the other side of a divider are out of reach until you pull the whole thing out.

Photo: Tim Barribeau

None of this is anything that's a deal breaker, as long as you go into using the bag knowing what it is and what it isn't. This isn’t a camera bag that works well as a commuter bag. There’s no specific dedicated laptop slot (though you can use the hydration pouch area), and it has a huge number of straps and flaps that look aggressively outdoorsy. It’s also not a camera bag. This should seem self-evident, but don’t go looking for a way to stash multiple bodies, lenses, and accessories into the PhotoSport – if you do, you’ll just be disappointed when it’s not that. And it's not a hiking backpack to take all of your gear for days of trekking through the wilderness.

But if you're trying to do a little bit of all of the above? Then it's great.

Conclusion

If you’re going for a hike, and want to bring your camera so you can capture some interesting images along the way, the PhotoSport Outdoor Backpack BP 24L AW III is all but perfect, with space for just enough gear, both camera and otherwise, to support you through the day. But don’t go expecting it to be as good for hiking as a dedicated hiking backpack, nor as good for carrying camera gear as a dedicated camera backpack.

What we liked What we didn't like

• Good shoulder and waist straps
• Hydration pocket
• Rain cover
• Handy removable camera insert

• Not as good as either a hiking bag or camera bag on their own
• Straps, straps, and more straps
• Fixed sizing won’t work for everyone
• Single side access pocket

Buy Now:

$249 at B&H $249 at Adorama $249 at Amazon

Updated: Nov 15, 2023

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It's not so long ago that $2000 would buy you the lowliest, entry-level full-frame camera. Now, for around the same money, you get a choice of high spec cameras that shoot excellent stills and video, and include autofocus systems approaching the performance of professional sports cameras.

Choosing a camera also means committing to a lens mount, and the wider system that goes with it, so we advise checking whether the lenses you want to use are available at a price you're willing to pay. Not all camera makers allow other lens makers to produce lenses for thier mount, for instance, which can limit choice.

It's worth noting that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, it's worth considering whether they're good enough that you need to stick with a camera to which they can be adapted. You might get better results by selling-up and buying modern equivalents of your most-used lenses.

Several cameras have arrived in this price bracket fairly recently, and we've not yet completed our full reviews. We've only recommended cameras we've used extensively enough to be confident you'll be happy with them.

Our recommendations:

• Best camera around $2000: Canon EOS R6 II
• Best camera under $2000: Nikon Zf
• The compact, versatile option: Sony a7C II
• Best for stills and video: Panasonic Lumix DC-S5 II
• Best for vlogging: Sony ZV-E1

Best camera around $2000: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Dale Baskin

Buy now:

$2499 at B&H Photo $2499 at Adorama $2499 at Amazon What we like:

• Simple, powerful AF for stills
• Fast 40fps shooting with continuous AF
• Excellent battery life

What we don't:

• AF less reliable in video mode
• SD cards limit burst duration
• E-shutter can distort fast-moving subject

The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses. Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects. The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature. Rolling shutter is surprisingly well controlled in electronic shutter mode, though like most of its peers the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent. Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. 1080p/180 slow motion represents a 50% increase. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming. Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full frame cameras in its price range.

Read our full review of the Canon EOS R6 II

See the Canon EOS R6 II studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7953502801","isMobile":false}) }) Best camera under $2000: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

The Nikon Zf is a retro-styled camera built around an image-stabilized 24MP full-frame BSI CMOS sensor.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Zf has a solid but not flashy video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor. But the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our initial review of the Nikon Zf

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2198 at B&H Photo $2198 at Adorama $2198 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• No joystick control
• No fully mechanical shutter

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control. Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate. “The a7C II is a surprisingly capable camera for its size.” The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks. The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.

Read our full review of the Sony a7C II

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0861943200","isMobile":false}) }) Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is, in several ways, a better camera than the a7C II. It has a much nicer viewfinder and slightly better ergonomics. It also has a full mechanical shutter, which means there's no risk of the slight image glitches that can occur if you shoot images at very high shutter speeds with wide apertures. But it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If compactness doesn't matter to you then it might be worth your while to pay a little extra for the a7 IV's larger, higher resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd be inclined to save up for one of the newer models.

What about APS-C?

There are a couple of high-end APS-C cameras that fall in the realms of our 'around $2000' guide, and they're certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage, compared with the full-frame models in this guide, but also means they can give smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

In the case of the Fujifilm X-T5, you gain access to a wide range of lenses that includes some well-priced options and a healthy selection of prime lenses, that can be fun to shoot with. Fujifilm's X-T series significantly pre-dates Nikon's Zf and Z fc throwback models and arguably has a more refined shooting experience. Its autofocus isn't up with the best cameras in this guide, nor is its video output, but it's a camera we really like, if a compact kit and prime lenses appeal to you.

Best for video and stills: Panasonic Lumix DC-S5 II

24MP BSI CMOS sensor | 6K/30p 10-bit video | 96MP high-resolution mode

Photo: Richard Butler

Buy now:

$1998 at B&H Photo $1998 at Adorama $1998 at Amazon What we like:

• Great ergonomics
• Effective subject recognition
• Fan gives long video record periods

What we don't:

• Subject tracking could be stickier
• E-shutter not as fast as rivals
• Middling battery life

The Panasonic Lumix DC-S5 II is an enthusiast-level camera with impressive feature sets for both stills and video, It's built around a 24MP CMOS sensor and uses the L-mount shared with Leica and Sigma.

The S5 II can't quite keep up with the latest Sony and Canon bodies for AF reliability, but it's pretty close, and its video feature list is particularly strong. Features such as waveforms and a built-in fan for recording dependability make it the strongest option in its class if you plan to shoot both stills and video.

The mid-sized, weather-sealed body has good ergonomics. It includes a lot of external control points, including a dedicated AF mode switch, which isn’t common at this level, and an articulating rear screen. The menu system and touchscreen interface are among the best at any level. Phase detect autofocus provides more predictable AF than previous Panasonic models. Human subject recognition is effective, prioritizing the eyes, followed by faces, heads, and bodies. An 8-way joystick makes manual AF point selection easy. 30fps bursts use e-shutter, with moderate risk of rolling shutter distortion. “The Panasonic S5 II is one of the most well-rounded cameras in its class... For an enthusiast-level camera, there’s a lot to like.” The S5 II captures detailed video in a variety of resolutions and aspect ratios, all in 10-bit color. There are also advanced video tools that are rare or unique in this class of camera, including waveform and vectorscopes, shutter angle, and advanced audio options like dual input gain.

There's also an S5 IIX model which can record video directly to an external SSD, allowing higher quality capture in All-I and ProRes codecs. It's a better choice if you're serious about video.

The Panasonic S5 II is one of the most well-rounded cameras in its class. Its excellent ergonomics make for great handling, and its AF system is adept at identifying subjects, though subject tracking could be stickier and more decisive. It produces great photos and video and includes one of the deepest video feature sets for its price range.

Read our initial review of the Panasonic DC-S5 II

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1023117505","isMobile":false}) }) What's best for video?

If you're only interested in video, Sony's FX30 might be a better choice than the S5 II or S5 IIX. The Panasonics offer full-frame 4K up to 30p, which give a potential image quality benefit over the APS-C FX30, but the Sony will exhibit less rolling shutter distortion. The FX30 also has the benefit that its 60p footage isn't cropped-in, compared with its 24 and 30p capture, meaning you won't have to zoom or swap lenses if you change frame rates. It applies a heavy crop for its 4K/120p mode, but that's something the Panasonics can't offer at all.

The S5 II also offers a waveform display and control in terms of shutter angle, which the Sony lacks, but the Sony's gimbal or rig-friendly design and superior autofocus make it the better choice if video is your primary focus.

Best for vlogging

Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF

Photo: Richard Butler

Buy now:

$2198 at B&H Photo $2198 at Adorama $2198 at Amazon What we like:

• 4K footage up to 120p
• Auto-cropped modes aid one-person operation
• Effective autofocus

What we don't:

• Recording times can be short in warm conditions
• 12MP resolution not optimal for stills
• Cropped footage is upscaled to 4K

The Sony ZV-E1 is a full-frame E-mount mirrorless camera aimed at vloggers and ambitious content creators.

The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.

The ZV-E1 has two command dials, both on the back of the camera, which makes manual video control a little fiddly, there's a touchscreen-led interface to encourage more automated presenter/operator working, though. The ZV-E1's subject recognition system is highly reliable. The lack of a fan means it's much more susceptible to overheating than the otherwise similar FX3. It adds automated modes that crop and follow a recognized subject around the frame, adding dynamism to single-operator footage. "The ZV-E1 has some clever automated modes but can be a bit fiddly to operate. It's hard to match the power for the price, though" The camera's 4K footage (up to 120p) is detailed with relatively little rolling shutter, but you'll want to use the strongest level of image stabilization (with crop) for hand-held shooting as it's a little juddery in less intensive modes. The camera's 12MP sensor takes perfectly attractive images with plenty of dynamic range and pleasant JPEG color but the low resolution means it wouldn't be our choice if stills shooting is important to your work. The ZV-E1 tries to marry the capability of the FX3 cinema camera with automated ease-of-use, but can end up being quite confusing in the auto modes and quite fiddly if you try to take a more hands-on approach. It's hard to match the power for the price, though.

Read our initial review of the Sony ZV-E1

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Product photos by Richard Butler $(document).ready(function() { SampleGalleryStripV2({"galleryId":"0495878846","isMobile":false}) }) 87%Overall scoreJump to conclusion

The Sony a7C II is the brand's second-generation compact rangefinder-style full-frame camera. Similar in design to Its predecessor, the a7C II uses the same fantastic 33MP BSI sensor from the larger Sony a7 IV and boasts impressive still, video and autofocus capabilities that should appeal to a wide range of users.

Key Specifications

• 33MP BSI CMOS full-frame sensor
• Bionz XR processor and dedicated 'AI Processing Engine'
• AF tracking with subject recognition, 759 AF points with 94% coverage
• Up to 10 fps shooting with AF
• In-body stabilization rated up to 7EV
• 2.36M dot OLED viewfinder with 0.7x magnification
• Full-width oversampled UHD 4K/30p from 7K
• 4K/60p (from 4.6K capture) in Super35 / APS-C mode
• 10-bit video or HEIF stills capture
• S-Cinetone color mode
• No mechanical first curtain shutter

The Sony a7C II is priced at $2199 for the body only. A kit with the FE 28-60mm F4-5.6 lens will set you back $2499. The GP-X2 grip extension has an MSRP of $159.

Buy now:

$2198 at B&H Photo $2198 at Adorama $2198 at Amazon Index:

• What is it, what's new?
• How it compares
• Body and controls
• Autofocus
• Image quality
• Video
• Conclusion
• Sample gallery
• Specifications

What is it, what's new? The a7C II crams a lot of impressive specs into a reasonably compact full-frame body.

The Sony a7C II receives quite a few upgrades over its predecessor, including a new, higher-resolution sensor, updated processors, a higher magnification viewfinder, AI-enhanced autofocus, front and rear control dials, and oversampled 4K/60p video. This does come with a higher sticker price, though.

New sensor & processors

Sporting the same 33MP BSI CMOS sensor and Bionz XR processor as 2021's Sony a7 IV, the a7C II also benefits from an additional 'AI' processing unit to assist with subject recognition and features such as Auto Framing. This secondary processor, dedicated to handling machine-learning-derived algorithms, first appeared in the a7R V (the a7 IV doesn't have one).

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The additional processing power should give the a7C II an autofocus advantage over both its predecessor and the a7 IV, especially when it comes to face and eye detection and subject-specific tracking modes. The newer processor setup also brings the other features Sony has recently added, such as focus bracketing, in-camera timelapse creation, and a host of video improvements.

The updated 33MP sensor, on the other hand, isn't going to provide any sort of significant image quality advantage over the 24MP chip found in the original a7C. You may see a little more detail in low ISO shots, but it comes at the cost of some dynamic range and detail in high ISO ones. In return, it means slightly more rolling shutter in video. Still, our impressions of image quality performance are very positive.

Out of camera JPEG.

Sony 16-35mm f/2.8 GM II | ISO 100 | 1/1250 sec | f/2.8 | 35mm
Photo: Dan Bracaglia

Front control dial & EVF improvements

Our number one design gripe with the original a7C was the lack of a front control dial. Our feeling was that for $1800, you should be able to adjust exposure settings with your thumb and index finger at the same time. And we still feel this way, which is why we are pleased to see that Sony took our feedback (and yours) to heart. Sometimes, it's the smallest things that make the biggest impact.

As a result of this new dial, the camera handles considerably better.

Another upgrade that improves usability is Sony's move from a 0.59x magnification electronic viewfinder to one that is 0.7x. The a7C II still uses a 2.36M dot panel, though, which is a bit underwhelming. With such thin margins differentiating various models in today's market, a 3.69M dot panel would've made this camera stand out more from the pack.

Oversampled 4K/60p & other video improvements

On the internal video front, the a7C II is a match with the a7 IV in terms of output and capability. You get oversampled 4K/30p video from a 7K crop, 4K/60p video in Super 35 mode (APS-C crop), and Full HD capture at up to 120 fps. Notably, 4K/30p video is now 10-bit with 4:2:2 color sampling, a major step forward from the previous a7C, allowing more flexible Log and proper HLG HDR video capture.

For those confident in post-production, you also get S-Log3 and Sony's S-Cinetone, plus user-assignable LUTs. These LUTs can either be used to give a corrected preview, embedded alongside the footage for use when editing or burned into the footage directly as you shoot.

Other notable video features and upgrades include focus breathing compensation, improved video AF subject recognition/tracking, and Auto Framing mode. This feature uses AI-trained algorithms to mimic the way a camera operator might punch in on a subject while keeping them both framed and in focus, and is a handy way to get pro-looking shots of yourself without a camera operator behind the lens.

On the external video front, the a7C II can now stream 4K/30p via USB-C using the UVC/UAC protocols (meaning it just acts as a USB webcam: no need for drivers or specialist software).

Updated menus The main menu in stills mode The shooting tab in the menu. Note the two separate file format options at right.

The A7C II offers the new and improved version of Sony's menu system. While it's still a very long list of options, not all of them are well-named, the hierarchy is improved, and you can race through items quickly. There are different options for stills and video modes, and both the main and function (shortcut) menus are designed specifically for photo or movie shooting, and everything is customizable. That goes for the camera controls on the whole, as well.

How it compares The a7C II has a lot going for it. But competition in the enthusiast full-frame mirrorless market is stiff.

In a lot of ways, the a7C II overshadows both its predecessor, which should come as no surprise and the Sony a7 IV. In fact, the only notable advantages the a7 IV offers over its smaller, lower-priced cousin are a better EVF and dual card slots.

The Panasonic S5 II is another similarly priced body that gives the a7C II a real run for the money in almost every regard, except size, weight, and battery life.

Sony a7C II Sony a7C Sony a7 IV Canon R8 Panasonic S5 II Launch MSRP $2200 $1800 $2500 $1500 $2000 Pixel count 33MP 24MP 33MP 24MP 24MP Sensor size & type

BSI CMOS
Full-frame

BSI CMOS
Full-frame BSI CMOS
Full-frame CMOS Full-frame BSI CMOS
Full-frame Max burst w/ AF 10 fps 10 fps 10 fps 6 fps / 40 fps (e-shutter) 7 fps / 30 fps (e-shutter) IBIS rating 7.0EV 5.0EV 5.5EV Lens only 5.0EV EVF resolution & mag 2.36M dots 0.70x 2.36M dots 0.59x 3.69M dots 0.78x 2.36M dots 0.7x 3.68M dot 0.78x Video 4K/60p (1.5x crop)
10-bit 4K/30p
8-bit 4K/60p (1.5x crop)
10-bit 4K/60p
(full width)
10-bit 6K/30p
4K/60p (1.5x crop)
10-bit Rear screen 1.03M fully-articulated touchscreen 0.92M fully- articulated touchscreen 1.04M fully-articulated touchscreen 1.62M fully- articulated touchscreen 1.84M fully- articulated touchscreen Card slots 1x UHS-II SD 1x UHS-II SD

1x CFe Type A / UHS-II SD 1x UHS-II SD

1x UHS-II SD 2x UHS-II SD

Battery life
(CIPA)
LCD & EVF

540 / 510 740 / 680 580 / 520 290 / 150 370 /370 Weight 514 g 509 g 659 g 461 g 740 g Dimensions 124 x 71 x 63 mm 124 x 71 x 59 mm 131 x 96 x 80 mm 133 x 86 x 70mm 134 x 102 x 90mm

Another camera worth comparing the a7C II to – though pricier (and not in the table above) – is the Canon EOS R6 II, which has a faster burst rate (12 fps mechanical), higher-rated IBIS (8.0EV), full-width 4K/60p, a nicer viewfinder and dual card slots. That said, we expect the a7C II to outperform the Canon in the autofocus and subject tracking department by a decent margin, particularly in video mode.

Body & handling The new front dial is located just below the shutter release for easy access.

The Sony a7C II looks a lot like an a7C with some minor modifications, the most notable being the inclusion of a front control dial. Size-wise, the a7C II is the same height and width as its predecessor, though it is 4mm (0.16") thicker and 5g (0.2oz) heavier (in other words, almost zero). And while it's certainly not the most inventive or exciting camera in terms of design, it does handle well. Then again, we've always felt that Sony is a little more focused on function than form.

The chassis is built of magnesium alloy, and Sony says the body is constructed in a manner that makes it resistant to both dust and moisture. In hand, the camera sits comfortably with a solid, reassuring feel to it. Also, the new front dial feels well-placed, just below the shutter release.

A fully articulated touchscreen allows for selfies and vlogging.

The rear of the a7C II is also mostly unchanged from its predecessor, though you do get one additional custom function button between the lower rear control dial and the menu button. The rear display, at 1.04M dots, sounds like it's a slightly higher resolution than its predecessor (0.92M), but the difference is that it's a slightly wider screen with 720 x 480 pixel resolution, rather than 640 x 480. In use, the touch interface is very responsive.

The top of the camera also looks pretty similar to the a7C, but there are some small changes. What was once a dedicated exposure compensation dial is now a blank custom dial. Sony also added a three-way selector, similar to the one found on the a7 IV, that allows users to easily jump from stills to video to 'S&Q' (Slow & Quick) mode. You'll find it tucked just below the mode dial around the back.

The a7C II can be charged via USB-C. The port also allows for image and video transfer as well as live streaming.

The EVF sees its magnification increased to 0.70x, but the panel remains a 2.36M dot affair, which some folks may find disappointing, with the individual pixels being visible. There's still no AF joystick, which may dissuade other users (though you can use the rear screen to gain touchpad AF, when the camera is held up to your eye). But those are our two most practical criticisms of the design, alongside what we see as a lack of charm.

Along the non-grip side of the a7C II, you'll find the lone UHS-II SD slot (the closed door in the image above). The hatch above it (opened) hides the microphone and USB-C port, while a lower hatch keeps the micro-HDMI and headphone ports safe. Note that both the headphone and microphone sockets are standard 3.5mm.

The camera uses Sony's highest-capacity Z-battery; battery life is satisfactory.

The a7C II uses the Sony's "Z-battery," the NP-FZ100. However, battery life is rated noticeably lower than the a7C – 25% lower when using the viewfinder. This can likely be chalked up to the new secondary AI processor and higher resolution sensor.

According to CIPA standards, you can expect 510 shots per charge when using the rear display and 540 when using the EVF. Of course, those numbers are conservative, and achieving double the rated number is not uncommon depending on how you shoot and how often you review images. A rating north of 500 shots per charge is unlikely to present an inconvenience for multiple days of fairly frequent shooting (though video and Wi-Fi use will chip into this more aggressively).

Autofocus

Anyone who has followed digital photography over the last decade knows that Sony has been at the forefront of autofocus tracking. The a7C II continues that tradition, and it feels like the company has made it a bit easier to get tracking up and running. Just throw the camera into AF-C mode (accessible via the Fn menu), point it at your subject, halfway-press the shutter release, and the camera will ensure that your subject stays in focus however it (or the camera) moves. If you want to choose your own target, switch to the aptly named 'Tracking: Spot' focus area, where you can select your target by point the AF point at your target, tapping on the screen or using the four-way controller.

The A7C II latched onto our subject's eye almost immediately and stuck to it as he crawled around the tunnel.

FE 20-70mm F4 G @ 70mm | ISO 6400 | 1/320 sec | F4
Photo: Jeff Keller

One feature that really impressed us is the a7C II's subject recognition. Choose from humans, animals, birds, animals and birds, insects, cars/trains, and aircraft. A detected person can look away, turn around, walk, or disappear for a moment; the camera rarely loses them (there's a tracking sensitivity setting in the menu if you want the camera to re-focus on other, nearer faces, rather than sticking to your original subject). If the camera has detected multiple faces, it'll focus on the one nearest your AF point, alternatively you can switch between them with the touchscreen or pressing a custom button and scrolling the control dial, if you have the time to spare.

The a7C II continuously tracked Nala as she ran around the room without missing a beat. Even while continuing to chase her tail, Nala's face is still sharp.

FE 28-60mm F4-5.6 @ 60mm | ISO 800 | 1/60 sec | F5.6
Photo: Jeff Keller

We found that animal detection works just as well. One of our reviewer's cats decided to start running around, chasing her tail, as cats do. The a7C II had already locked onto her eye and stayed glued to her as she ran around like an uncontrolled missile, laid on her back trying to catch her tail, did a few rolls and then took a break for a bath.

You can drill down to this level of customization for each type of subject (animals and birds, in this case). Pressing the trash can button on the back of the camera gives a (very) brief explanation of what each option does.

An entire section of this review could be written about the AF options for stills and video (many of which are kept separate from one another), but suffice to say that there are many. They include AF tracking sensitivity (persistence, basically), AF area registration, what eye the camera targets, and much more. You can even select what parts of a subject are recognized, as shown in the screenshot above.

Image quality Studio scene

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

Note that the Sony a7 IV is serving as a proxy for the a7C II in this test. The two cameras share the same sensor and image processor, and we expect image quality to be nearly identical.

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The A7C II captures plenty of detail$(document).ready(function() { $("#icl-5816-944758712").click(function() { ImageComparisonWidgetLink(5816); }); }), though it has a noticeable amount of moiré$(document).ready(function() { $("#icl-5815--1483316096").click(function() { ImageComparisonWidgetLink(5815); }); }), so one could infer that it has an anti-aliasing filter, it isn't terribly strong. When compared at the same image height, the a7C II's noise is comparable$(document).ready(function() { $("#icl-5817-707712268").click(function() { ImageComparisonWidgetLink(5817); }); }) to its peers (and the a7C) at mid-ISOs. At higher sensitivities$(document).ready(function() { $("#icl-5818--381885278").click(function() { ImageComparisonWidgetLink(5818); }); }) the a7C II is just a bit noisier than other cameras in its class, but not significantly so.

JPEG color$(document).ready(function() { $("#icl-5819-620068565").click(function() { ImageComparisonWidgetLink(5819); }); }) is appealing. The a7C II's colors are saturated but not too saturated, as is the case with the Canon EOS R8. The camera's sharpening algorithm does a nice job$(document).ready(function() { $("#icl-5820--1721649214").click(function() { ImageComparisonWidgetLink(5820); }); }), and moiré is mostly – but not completely – eliminated. At middle sensitivities$(document).ready(function() { $("#icl-5821-519944308").click(function() { ImageComparisonWidgetLink(5821); }); }) noise reduction is kept fairly low, leaving plenty of detail intact. The same is true when you cross into five-figure ISOs$(document).ready(function() { $("#icl-5822-510364809").click(function() { ImageComparisonWidgetLink(5822); }); }): there's plenty of detail to work with, and noise$(document).ready(function() { $("#icl-5823-82773412").click(function() { ImageComparisonWidgetLink(5823); }); }) is well-controlled.

Electronic shutter

One issue you'll run into in silent mode, or if you manually select to use fully electronic shutter is rolling shutter, the result of the camera ending its exposure by (relatively) slowly reading out its sensor. This causes some nasty distortion when panning the camera or if a fast-moving subject goes by, because the different parts of the photo were taken at slightly different times. Here's an example of panning in a high-speed burst:

A panning shot taken with electronic shutter shows rolling shutter in action.

Sony FE 28-60mm F4-5.6 | F5.6 | 1/125 sec | ISO 3200
Photo: Jeff Keller

You will also encounter this when capturing 4K video, so it's something to consider if you're moving the camera or capturing subjects that move rapidly across the frame. It's much more visible in stills mode, where the sensor is reading out its full 14-bit precision, which takes 67.6ms (around 1/15th of a second). Video is captured from a narrower region of the sensor and in 12-bit readout, so the effect is much less pronounced, but it's more likely that you'll be moving the camera as you shoot.

Electronic first curtain shutter

As with the a7C and Canon's EOS R8, the A7C II lacks a mechanical first curtain shutter, relying instead of an electronic first curtain (EFCS). This means the exposure is started electronically but finished with a mechanical shutter.

In almost all situations, the results are indistinguishable from using mechanical blades to start and end the exposure. The only downside is that if you use a very bright aperture lens and shoot at very high shutter speeds, the blurred 'bokeh' in the background will be less smooth than it should be. Point light sources that should be rendered as attractive circles will have their lower edge cut off. But this only happens in very specific circumstances.

Video

We covered the a7C II's video specs earlier in the review and are going to focus on features and usability here. One thing's for sure: possible rolling shutter aside, 4K quality is excellent.

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The a7 IV images were shot with a zoom, so doesn't appear as sharp as the other images within the test scene, but it's clear that there's plenty of detail to be had from the Sony. The same is true for the a7C II, which uses the same sensor and main processor. The 4K/30p and 4K/24p footage is take from the full-width of the sensor and uses all 7008 pixels to deliver its UHD (3840 x 2160) 4K footage. This delivers lots of detail but comes at a cost of rolling shutter: it takes around 27.4ms to read out each frame. This is enough to make sudden camera movements or fast movement across the scene distort in an off-putting way. This isn't a terrible result but it's over 20% worse than the camera's immediate peers and more than 60% slower readout than the best of its rivals.

Video autofocus

The a7C II focuses just as confidently in video as it does for stills. The subject recognition again shines, with both cats and aircraft reliably tracking subjects (even with planes in the background in the second situation). There are numerous AF-related settings, including transition speed, subject shift sensitivity, and many of the same subject recognition options that are available for stills.

Video tools

Video is accessed using a shooting mode switch that sits under the exposure mode dial on the top of the camera. An option in the settings menu lets you decide which settings carry over from stills to video shooting and which don't. This way you can ensure that you don't accidentally shoot jerky video with very high shutter speeds or blurry photos with very low ones, as you jump between modes. It also lets you shoot different color profiles for each mode, as you deem appropriate.

The Focus Map shows the front (reds) and back (blues) focused areas around the watch at the center of the frame.

There are a lot more settings on the a7C II besides video file format, bit depth, frame rate, and Log profile for capturing more dynamic range to preserve flexibility when editing the color and tone of the final footage. Like the a7 IV, the a7C II can capture Log footage in 10-bit color depth, which encodes more tonal information about the scene, providing much more malleable footage that's less likely so show banding if you make big color or brightness/contrast adjustments.

The camera displays audio recording levels, which are adjustable, and a software wind filter can be turned on manually or automatically. In addition to focus peaking and zebra pattern options, there's a handy 'focus map' that shows the areas around the focus point that are either front or back-focused.

Video stabilization

The a7C II offers regular and "Active" SteadyShot stabilization in video mode, the latter of which adds digital stabilization. While standard mode is just okay, Active mode is very good. It's not quite gimbal quality, but it's a huge improvement. There is a 1.15x crop added when using active mode, so keep that in mind, especially if you're already dealing with the 1.5x crop when shooting 4K/60p footage.

Conclusion

By Jeff Keller

What we like What we don't

• Excellent image quality
• Top-notch subject recognition and autofocus tracking
• In-body image stabilization
• Refined grip and second control dial are big improvements over original model
• High-quality oversampled 4K/60p video (cropped)
• Captures 10-bit 4:2:2 footage
• S-Log3 and S-Cinetone video profiles
• Very good battery life compared to peers

• Prone to rolling shutter when panning camera in video or with e-shutter
• No AF joystick
• 1.5x crop when capturing 4K/60p footage
• EVF and LCD resolution on the low side
• More expensive than peers
• Big drop in battery life compared to original model

Sony has taken the entry-level, full-frame a7C to new heights with the a7C II. Adding a second control dial, a larger EVF, and a higher resolution sensor places it amongst the best cameras in its class. It's expensive for its compared with its peers, but it has a lot to offer.

Converted to taste from Raw

FE 28-60mm F4-5.6 @ 40mm | ISO 100 | 1/200 sec | F8
Photo: Jeff Keller

Some of the biggest beefs we had with the original a7C was its tiny viewfinder, single control dial, and lack of an AF joystick. The Mark II addresses two out of the three, with no joystick in sight, though it's hard to image where it would go. While the EVF is larger, the resolution feels too low for a camera this expensive.

The a7C II now sports the same 33 Megapixel full-frame BSI CMOS sensor found in the a7 IV. Image quality is excellent, though there's some impossible-to-miss rolling shutter that shows up when you rapidly pan in the camera in bursts or 4K shooting.

Converted to taste from Raw

FE 28-60mm F4-5.6 @ 48mm | ISO 250 | 1/100 sec | F5.6
Photo: Jeff Keller

Sony has long been the leader in autofocus acquisition and tracking, and the a7C II is ridiculously good. Whether it's people, sprinting cats, or airplanes, the focus points stick to the subject like superglue. After tweaking a few settings to get everything set up, that excellent subject tracking becomes point-and-shoot.

FE 16-35mm F2.8 GM2 @ 29mm | ISO 160 | 1/1250 sec | F2.8
Photo: Dan Bracaglia

The a7C II is a capable moviemaker, as well. It captures 4K footage using the full width of the sensor (there's no crop at 30p and below), or 4K/60p with a 1.5x crop. Videophiles will appreciate the ability to capture 10-bit 4:2:2 footage using S-Log3 or S-Cinetone. Aside from the risk of rolling shutter, video quality is very impressive.

FE 16-35mm F2.8 GM2 @ 16mm | ISO 100 | 1/2000 sec | F2.8

Photo: Dan Bracaglia

At $2199 for the body only, the a7C II isn't a huge bargain compared to the likes Canon EOS R8, Nikon Z6 II, and Panasonic S5 II but part of what you're paying for is its compactness. And for that money, you are getting a camera that will remain competitive for years to come. Whether you're already in the Sony ecosystem or just looking for a compact, well-built full-frame camera, the a7C II is well worth your consideration.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Sony a7C IICategory: Mid Range Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe full-frame Sony a7C II may be small in size, but it offers a full suite of features for both still and video shooting. Image and video quality are excellent, and its autofocus system is one of the best on the market. The viewfinder resolution is low for a camera in this price range, and rolling shutter can be a real issue when capturing video.Good forTravelers who want high-end capabilities in a small package. Those shooting erratically moving subjects with point-and-shoot ease-of-use.Not so good forPhotographers shooting 4K video or high-speed bursts that involve panning the camera.87%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"sony_a7cii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The EOS R8 is one of two Canons that compete with the a7C II. If you look at the specs, they're pretty similar; their EVFs have the same magnification and resolution, neither have AF joysticks, and each can record oversampled 4K/60p footage (uncropped in the case of the R8). Significantly, the R8 lacks image stabilization and its battery life is worst-in-class, whereas the Sony's is rather good. The Canon falls behind in build quality (it is significantly cheaper, though), and while autofocus tracking is very good, the a7C II's is better. The Canon's ergonomics are rather more comfortable but the Sony wins on lens choice.

The other Canon model is the EOS R6 Mark II, a larger camera with much better build quality. Like the R8, it has a 24MP full-frame sensor and Canon's Dual Pixel AF system, but it also has in-body image stabilization. With a claimed 8 stops of shake reduction, it's a little better than Sony's 7 stops. The R6 II offers uncropped 4K/60p video, super-fast burst shooting, dual card slots, and a larger and higher resolution EVF. Battery life is competitive when shooting with the viewfinder (but not the EVF) but the big difference is that we prefer the Canon's ergonomics.

The Nikon Z6 II is another less expensive option. This 24MP camera offers faster burst speeds and dual card slots, and the viewfinder is considerably larger and more detailed. It has in-body image stabilization, but it's only rated at 5 stops. Like the a7C II, it can capture 4K/60p with a 1.5x crop, with support for Nikon's N-Log format. The Z6 II's autofocus tracking lags significantly behind Sony's, and battery life is about 20% lower than the a7C II. Again, it has the ergonomic edge over the Sony, and not just because of the provision of an AF joystick.

Last but not least is the Panasonic Lumix DC-S5 II, a much larger camera with in-body image stabilization (rated to 6.5 stops) and a 24MP sensor. The S5 II is a little stronger at video; it can capture 4K/60p footage with no overheat limit, which is accomplished with the help of a built-in cooling fan, it also exhibits less rolling shutter. It has a large, high res EVF, dual SD card slots, a handheld high-res shooting mode, and Panasonic's first hybrid AF system, bringing it closer in performance to the Sony.

Buy now:

$2198 at B&H Photo $2198 at Adorama $2198 at Amazon Sample gallery

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Updated Nov 13, 2023

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Once you venture above $2500, you gain access to some extremely capable cameras. These are the models that deliver the highest levels of detail, some of the most sophisticated video features, high burst rates or a combination of all three.

For most applications, the cameras around $2000 are excellent, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.

It's notable that there's no such thing as a bad camera at this level, so if you have any investment at all in the lens system of one company (or plan to adapt DSLR-era lenses from them), this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.

Our recommendations:

• Best high-end camera: Nikon Z8
• The compact option: Sony a7CR
• A capable Canon: Canon EOS R5
• High-spec high res: Sony a7R V
• IQ above all else: Fujifilm GFX 50S II
• Best for video: Sony FX3

Best high-end camera: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.

Photo: Richard Butler

Buy now:

$3997 at B&H Photo $3997 at Adorama $3997 at Amazon What we like:

• Superb autofocus
• Fast shooting
• Excellent video

What we don't:

• Large, heavy body
• Relatively low-res (though fast) viewfinder
• Not all subject detection modes equally good

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor.

The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. The Z8 can be set to track whatever's under the AF point and does so dependably. It can also prioritize recognized subjects near the AF point if you prefer. 20fps Raw shooting or 30fps full-res JPEG capture (with pre-burst option) make the Z8 very rapid. "The Nikon Z8 is one of the best cameras we've yet tested, combining fast shooting, great AF, strong video and top-notch IQ" Image quality is excellent, with high detail levels maintained into fairly low light. JPEG color is attractive and the there's no sign of degradation if you use the more compressed Raw options. Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and solid AF make it easier to shoot with. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.

Read our Nikon Z8 review

See the Nikon Z8 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6045530466","isMobile":false}) }) The compact option: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a bit noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) A capable Canon: Canon EOS R5

45MP full-frame sensor | Dual Pixel AF | Up to 8K full-width Raw video

Canon's EOS R5 is a very capable all-rounder, despite being the oldest camera in this group

Photo: Dan Bracaglia

Buy now:

$3399 at B&H Photo $3399 at Adorama $3399 at Amazon What we like:

• Impressive image quality
• Excellent ergonomics, usability
• Impressive AF with 100% coverage
• Internal HDR or 10-bit 4:2:2 video capture
• Great in-body stabilization

What we don't:

• Overheating looks to be a problem in video
• So-so battery life with EVF at 120 fps
• HDR stills options a bit buried, internal displays not HDR capable

The Canon EOS R5 is a versatile and capable full-frame mirrorless camera that can shoot 45 megapixel stills at up to 20 frames per second and capture 8K video.

The Canon EOS R5 offers great image quality and very solid AF but the arrival of the Nikon Z8 starts to show the weaker points in its spec: its 20fps mode uses electronic shutter which isn't especially fast to read out, risking rolling shutter. Likewise the video looks great but the HQ 4K mode, taken from 8K capture, and 8K itself can prompt the camera to overheat fairly readily, and it can't shoot either at 60p as the Nikon can.

Its high degree of backward compatibility is a major factor in its appeal, even if it's a little behind its rivals in some respects. If you have any significant committment to high-end Canon EF DSLR lenses, the EOS R5 will offer the most consistent performance with them.

The EOS R5 could easily find a home with landscape, wedding, event and even sports photographers Although heat build-up limits how long you can shoot super high-quality video, the EOS R5 remains an excellent all-around option for photographers of all kinds. The EOS R5 could easily find a home among landscape, wedding, event and even sports photographers that are looking for a well-built, do-it-all mirrorless camera.

Read our Canon EOS R5 review

See the Canon EOS R5 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7757595702","isMobile":false}) }) High-spec high res: Sony a7R V

61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF

Photo: Richard Butler

Buy now:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon What we like:

• Very detailed Raw files with excellent dynamic range
• Tilt/articulating display suits both photo and video
• Very reliable autofocus, especially for human subjects

What we don't:

• Pixel shift high res and focus stacking require desktop s/w
• Severe rolling shutter for e-shutter and many video modes

The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 (and, to a lesser extent, the Canon EOS R5) offers. It can shoot 8K video but only with a major crop and significant rolling shutter.

The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.

As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.

Read our Sony a7RV review

See the Sony a7RV studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0641980724","isMobile":false}) }) Should I still buy a Sony a7R IV?

The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so is still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which makes the V's footage much more flexible in the edit.

For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.

The a7R IV's fiercest competition comes from the Sony a7C R, though. It too lacks the a7R V's more effective image stabilization but in most other respects more than matches the IV in a more convenient package.

IQ above all else: Fujifilm GFX 50S II

51MP BSI-CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p

Photo: Richard Butler

Buy now:

$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:

• The most affordable medium-format ILC yet
• Photographer-friendly ergonomics, with lots of customization
• Effective in-body stabilization

What we don't:

• Contrast-detect AF is slower than its peers
• Image quality not signficantly better than the best full-frame
• Eye-detection AF isn't as dependable as rival systems
• Unimpressive video specifications (HD only)

The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.

The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.

Read our Fujifilm GFX 50S II review

See the Fujifilm GFX 50S II studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1563449385","isMobile":false}) }) Best for video: Sony FX3

12MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture

Buy now:

$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:

• Excellent video quality
• XLR top-handle included
• Fan for extended recording

What we don't:

• No DCI video options
• No viewfinder for stills shooters
• No shutter angle option

The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.

The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.

It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.

It's worth being aware that Canon also makes a video-focused version of the EOS R5. The EOS R5C gains a fan but omits an image stabilization mechanism. Its price takes it beyond the scope of this guide but we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Updated Nov 13, 2023

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Once you venture above $2500, you gain access to some extremely capable cameras. These are the models that deliver the highest levels of detail, some of the most sophisticated video features, high burst rates or a combination of all three.

For most applications, the cameras around $2000 are excellent, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.

It's notable that there's no such thing as a bad camera at this level, so if you have any investment at all in the lens system of one company (or plan to adapt DSLR-era lenses from them), this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.

Our recommendations:

• Best high-end camera: Nikon Z8
• The compact option: Sony a7CR
• A capable Canon: Canon EOS R5
• High-spec high res: Sony a7R V
• IQ above all else: Fujifilm GFX 50S II
• Best for video: Sony FX3

Best high-end camera: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.

Photo: Richard Butler

Buy now:

$3997 at B&H Photo $3997 at Adorama $3997 at Amazon What we like:

• Superb autofocus
• Fast shooting
• Excellent video

What we don't:

• Large, heavy body
• Relatively low-res (though fast) viewfinder
• Not all subject detection modes equally good

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor.

The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. The Z8 can be set to track whatever's under the AF point and does so dependably. It can also prioritize recognized subjects near the AF point if you prefer. 20fps Raw shooting or 30fps full-res JPEG capture (with pre-burst option) make the Z8 very rapid. "The Nikon Z8 is one of the best cameras we've yet tested, combining fast shooting, great AF, strong video and top-notch IQ" Image quality is excellent, with high detail levels maintained into fairly low light. JPEG color is attractive and the there's no sign of degradation if you use the more compressed Raw options. Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and solid AF make it easier to shoot with. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.

Read our Nikon Z8 review

See the Nikon Z8 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6045530466","isMobile":false}) }) The compact option: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a bit noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) A capable Canon: Canon EOS R5

45MP full-frame sensor | Dual Pixel AF | Up to 8K full-width Raw video

Canon's EOS R5 is a very capable all-rounder, despite being the oldest camera in this group

Photo: Dan Bracaglia

Buy now:

$3399 at B&H Photo $3399 at Adorama $3399 at Amazon What we like:

• Impressive image quality
• Excellent ergonomics, usability
• Impressive AF with 100% coverage
• Internal HDR or 10-bit 4:2:2 video capture
• Great in-body stabilization

What we don't:

• Overheating looks to be a problem in video
• So-so battery life with EVF at 120 fps
• HDR stills options a bit buried, internal displays not HDR capable

The Canon EOS R5 is a versatile and capable full-frame mirrorless camera that can shoot 45 megapixel stills at up to 20 frames per second and capture 8K video.

The Canon EOS R5 offers great image quality and very solid AF but the arrival of the Nikon Z8 starts to show the weaker points in its spec: its 20fps mode uses electronic shutter which isn't especially fast to read out, risking rolling shutter. Likewise the video looks great but the HQ 4K mode, taken from 8K capture, and 8K itself can prompt the camera to overheat fairly readily, and it can't shoot either at 60p as the Nikon can.

Its high degree of backward compatibility is a major factor in its appeal, even if it's a little behind its rivals in some respects. If you have any significant committment to high-end Canon EF DSLR lenses, the EOS R5 will offer the most consistent performance with them.

The EOS R5 could easily find a home with landscape, wedding, event and even sports photographers Although heat build-up limits how long you can shoot super high-quality video, the EOS R5 remains an excellent all-around option for photographers of all kinds. The EOS R5 could easily find a home among landscape, wedding, event and even sports photographers that are looking for a well-built, do-it-all mirrorless camera.

Read our Canon EOS R5 review

See the Canon EOS R5 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7757595702","isMobile":false}) }) High-spec high res: Sony a7R V

61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF

Photo: Richard Butler

Buy now:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon What we like:

• Very detailed Raw files with excellent dynamic range
• Tilt/articulating display suits both photo and video
• Very reliable autofocus, especially for human subjects

What we don't:

• Pixel shift high res and focus stacking require desktop s/w
• Severe rolling shutter for e-shutter and many video modes

The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 (and, to a lesser extent, the Canon EOS R5) offers. It can shoot 8K video but only with a major crop and significant rolling shutter.

The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.

As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.

Read our Sony a7RV review

See the Sony a7RV studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0641980724","isMobile":false}) }) Should I still buy a Sony a7R IV?

The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so is still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which makes the V's footage much more flexible in the edit.

For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.

The a7R IV's fiercest competition comes from the Sony a7C R, though. It too lacks the a7R V's more effective image stabilization but in most other respects more than matches the IV in a more convenient package.

IQ above all else: Fujifilm GFX 50S II

51MP BSI-CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p

Photo: Richard Butler

Buy now:

$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:

• The most affordable medium-format ILC yet
• Photographer-friendly ergonomics, with lots of customization
• Effective in-body stabilization

What we don't:

• Contrast-detect AF is slower than its peers
• Image quality not signficantly better than the best full-frame
• Eye-detection AF isn't as dependable as rival systems
• Unimpressive video specifications (HD only)

The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.

The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.

Read our Fujifilm GFX 50S II review

See the Fujifilm GFX 50S II studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1563449385","isMobile":false}) }) Best for video: Sony FX3

12MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture

Buy now:

$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:

• Excellent video quality
• XLR top-handle included
• Fan for extended recording

What we don't:

• No DCI video options
• No viewfinder for stills shooters
• No shutter angle option

The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.

The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.

It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.

It's worth being aware that Canon also makes a video-focused version of the EOS R5. The EOS R5C gains a fan but omits an image stabilization mechanism. Its price takes it beyond the scope of this guide but we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Updated: Nov 6, 2023

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Spending $1500 – or the equivalent amount in your local currency – on a camera can seem like a daunting prospect, but this is the price bracket where the cameras start to get really good. The past few years have seen great advances in the power and simplicity of autofocus, and the cost of full-frame cameras has dropped, meaning there are some really capable options at this price.

The $1500 price bracket includes the more affordable full-frame cameras – so-called because their sensors are the same size as a piece of 35mm film – or some of the higher-end APS-C models.

With the right lenses full-frame can offer better image quality than an APS-C camera. But choosing a sensor size is a balance between size, price and image quality. An APS-C camera can be smaller, especially once you factor the lenses in, and one in the $1500 price range is likely to shoot faster and may have more sophisticated features than a full-frame model at the same price. After extensive use, the following cameras would be our picks, in this price range:

Our picks:

• Best camera for under $1500: Canon EOS R8
• Enjoyable to shoot with: Nikon Z5
• Most versatile option: Sony a6700
• The creative choice: Fujifilm X-S20
• The affordable kit: Fujifilm X-S10 with 18-55mm F2.8-4.0 OIS
• The compact option: OM System OM-5

Best camera for under $1500: Canon EOS R8

24 MP full-frame CMOS sensor | 4K/60p 10-bit video recording | 8 fps burst shooting

The EOS R8 is one of the most affordable way to gain the image quality benefits of a full-frame sensor. Lens availability is a concern, but it's a capable and enjoyable camera to use.

Photo: Richard Butler

Buy now:

$1399 at B&H Photo $1399 at Adorama $1399 at Amazon What we like:

• Great image quality
• Very good AF subject detection and tracking
• Good starting price

What we don't:

• No in-body image stabilization
• Short battery life
• No AF joystick

The Canon EOS R8 is a surprisingly capable compact full-frame mirrorless camera that has the features and image quality of Canon's EOS R6 II at a much lower price.

The EOS R8 has a comfortable grip and twin dials, giving a good level of direct control. There aren't many buttons so more committed users may want to move up to the EOS R6 II, rather than rely on the quick menu for changing settings. Autofocus is the R8's strong suit: tracking and subject detection are simple to use and very effective. There's no AF joystick, so you'll have to use the touchscreen or select a subject and recompose. Battery life is very limited for an entry-level full-frame camera, though it can charge over USB, at least. "If you're partial to Canon and are new to full-frame mirrorless, the EOS R8 is a great place to start your photographic journey." The R8 shoots attractive video, including 4K footage at up to 60p. The lack of in-body stabilization means you'll need a stabilized lens or a tripod to get the best results. Photos are on par with more expensive full-frame cameras, with great high ISO performance, detail-preserving noise reduction, and Canon's pleasing JPEG colors. The 40 fps burst mode is prone to rolling shutter distortion, reducing its usefulness for capturing action. The EOS R8 offers the image quality and many of the features of Canon's more expensive models but battery life and viewfinder resolution are part of the price you pay for that. The RF mount is still fairly new so it's worth researching your lens options before buying, but an adapter allows the use of EF DSLR lenses if you have them.

Read our full review of the Canon EOS R8

See the Canon EOS R8 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1916332853","isMobile":false}) }) Enjoyable to shoot with: Nikon Z5

24MP full-frame sensor | In-body image stabilization | 4K/30p video

The Nikon Z5's view and autofocus aren't as good as those of the Canon EOS R8 but it can be nicer to use in some regards, not least thanks to its larger battery and high-res viewfinder.

Photo: Dan Bracaglia

Buy now:

$1097 at B&H Photo $1097 at Adorama $1097 at Amazon What we like:

• Excellent image quality
• Superb build quality
• Effective image stabilization

What we don't:

• 4K video has heavy crop
• Heavy-handed high ISO noise reduction
• Noticeable rolling shutter

We also really liked the Nikon Z5, which sells for around the same price as the Canon.

The Nikon Z5 is among the most affordable entry-level full-framer cameras ever released. It sports a stabilized 24MP CMOS chip with on-sensor phase detect AF, packed inside a robust, best-in-class body. "The Z5 is good for anyone seeking a well-priced, stills-oriented full-frame mirrorless camera"

Its autofocus isn't quite as reliable as the R8's and its video is nowhere near as good, but if anything we find it a slightly more enjoyable camera to actually use and it offers in-body image stabilization, which the Canon lacks. It has a higher resolution viewfinder and a joystick for positioning its autofocus point, which makes a surprisingly big difference to usability. It also offers significantly better battery life than the Canon, which is another nice-to-have feature.

Read our full Nikon Z5 review

See our Nikon Z5 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"4324192573","isMobile":false}) }) Other full-frame cameras we considered

We also considered the Sony a7 II, which is still available at some very tempting looking prices. This isn't the bargain it might seem. The a7 II was launched in late 2014 and cameras have come a long way since then. Sony has updated the autofocus, menus and ergonomics of the a7 series significantly since the launch of the a7 II, and has adopted a much larger battery, all of which are worth spending more money to gain. Sony's E-mount has the widest selection of lenses of any mirrorless system, but we'd recommend saving for an a7 III instead of buying the a7 II at this point.

It's a similar story with the Sony a7C, at this point. The a7C includes many of the features of the a7 III in a smaller body, but its small, low resolution viewfinder and lack of a front command dial mean you pay a significant cost in terms of usability in that downsizing.

Most versatile option: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

The Sony a6700 combines all-round stills and video capabilities with class-leading autofocus. The standard 16-50mm kit zoom's not great, though.

Photo: Richard Butler

Buy now:

$1398 at B&H Photo $1398 at Adorama $1398 at Amazon What we like:

• Front and rear command dials
• Excellent AF in stills and video
• 4K/120p capture (with crop)

What we don't:

• No AF joystick
• JPEG sharpening can be aggressive

The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters.

The a6700 has a twin-dial interface missing from less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class. Autofocus on the a6700 offers class-leading subject detection and tracking capabilities. Combined with a dedicated ‘AI’ processor, it effectively tracks subjects around the frame even when shooting at the maximum 11 fps burst shooting rate. "Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." Image quality is very good in JPEG or Raw. JPEG colors are pleasing to the eye, though sharpening can be a bit aggressive. Base ISO noise levels are consistent with other modern APS-C models but in low light it exhibits a little more noise. The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers. Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.

Read our full Sony a6700 review

See the Sony a6700 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7692340468","isMobile":false}) }) The creative choice: Fujifilm X-S20

26MP X-Trans APS-C sensor | Up to 6.2K/30P 10-bit video | In-body image stablization

We found the X-S20 to be a capable stills and video all-rounder, though the autofocus tracking isn't quite as reliable as its rivals'.

Photo: Brendan Nystedt

Buy now:

$1399 w/ 15-45mm at B&H Photo $1399 w/ 15-45mm at Adorama $1699 w/ 18-55mm at Amazon What we like:

• Excellent still and video quality
• Long battery life
• Comfortable, simple ergonomics

What we don't:

• AF tracking still lags behind peers
• Small electronic viewfinder
• Micro HDMI instead of full-size

The Fujifilm X-S20 is a compact 26MP APS-C mirrorless camera with image stabilization that takes features of the company's higher-end models and puts them into a DSLR-styled body with a large grip.

In most respects the Sony a6700 has the edge over the X-S20, particularly in terms of autofocus performance. But what the Fujifilm offers is a wide selection of photographer-friendly prime lenses, both from Fujifilm itself and companies such as Sigma and Viltrox. This, and the attractive Film Simulation modes, make it worth considering.

"The X-S20 delivers a long list of options to still shooters and vloggers alike, all while offering solid battery life." The X-S20's video specs are impressive, with 10-bit 4K capture at up to 60p. Videographers will appreciate its F-Log capture, while the Eterna color profile is attractive if you want a simpler workflow. An optional fan extends record times but autofocus isn't especially dependable. The X-S20 takes Fujifilm's higher-end still and video features and puts them into a simple, cleanly designed body with built-in image stabilization. Image quality is great, autofocus is good in most situations, and the breadth of video features is impressive.

Read our Fujifilm X-S20 initial review

See the Fujifilm X-S20 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7569171898","isMobile":false}) }) The affordable kit: Fujifilm X-S10 with 18-55mm F2.8-4.0 OIS lens

26MP X-Trans CMOS sensor | In-body image stabilization | 4K/30p video capture

The X-S10 isn't as sophisticated as the X-S20, particularly in terms of video capture, but the 18-55mm F2.8-4.0 OIS lens (pictured) is a really good lens, whereas some of the lenses included with other cameras are not.

Buy now:

$1299 with 18-55mm at B&H Photo $1299 with 18-55mm at Adorama $999 body only at Amazon

The older Fujifilm X-S10 is also worth considering. It's a little less sophisticated than the X-S20, with less reliable autofocus, less effective image stabilization, lower video spec and a smaller battery all making the newer model a better choice. Our reason for including it comes down to what you can get with it if you have a strict $1500 budget: a good lens. The other cameras here are typically only fit within the price range when bought body-only or with a rather basic zoom.

For less than $1500 you can buy the X-S10 with the 18-55mm F2.8-4.0 OIS lens. This is one of the best 'kit' zooms on the market: covering a useful range, offering good optical performance and letting in more light than is typical, which helps you access more of the camera's image quality potential. An X-S20 with the 18-55mm is an even better choice, but it strays over this guide's headline target price.

Read our Fujifilm X-S10 review

See the Fujifilm X-S10 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"9392296020","isMobile":false}) }) Other APS-C cameras we considered

Also available in this price range is the Canon EOS R7. It's a very capable camera with impressive specs and the same highly effective autofocus system as the EOS R8. However, at present there are relatively few lenses available for it, and most of them are fairly slow aperture zooms or prime lenses with focal lengths that make more sense on full-frame cameras, effectively reducing the options further.

You can adapt Canon's EF-mount DSLR lenses, but the extra depth of the adapter makes this rather unweildy. If you're happy to stick with one of the rather pedestrian RF-S kit zooms, the EOS R7 is a lovely camera, but the Fujifilm and Sony currently offer so much more room to grow.

The compact option: OM System OM-5

20MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)

The OM-5 offers a smaller, more rugged alternative to APS-C or full-frame cameras.

Photo: Shaminder Dulai

Buy now:

$999 at B&H Photo $999 at Adorama $999 at Amazon

There's a third option when it comes to striking the size/price/image quality balance of sensor sizes: Four Thirds. The Micro Four Thirds system uses a sensor one quarter the size of that in 'full-frame,' which means there'll be an appreciable image quality hit in many situations and it'll be harder to achieve the blurry backgrounds that full-frame can give. The flipside, though is a significantly smaller system for which some of the lenses are much less expensive.

What we like:

• Attractive JPEG output
• Selection of clever photo features
• Excellent image stabilization
• IP53 rating supports claims of weather sealing

What we don't:

• AF tracking is disappointing
• Image quality is behind larger sensor cameras

The OM System OM-5 is a compact 20MP image-stabilized Micro Four Thirds mirrorless camera.

The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price. It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick. "Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different" Image quality is good for its sensor size, with attractive JPEGs and flexible Raw files. A 12-shot handheld high-res mode lets it punch above its weight if your scene has relatively little movement. Excellent image stabilization expands the camera's working range, and unique features like Live ND mean you rarely need a tripod. The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects. The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.

Read our OM System OM-5 review

See the OM System OM-5 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0126081229","isMobile":false}) }) Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.