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The 7 Best compact zoom cameras in 2025
Updated February 21, 2025
It's sad to say, but the golden age of compact cameras is pretty much over, thanks to the rise of smartphone cameras that are, in many cases, good enough for most people. Manufacturers seem to realize this, too; we last updated this list in 2023, and since then, there haven't really been any new additions to it. The ones that remain can also be difficult to find in stock, even when the companies that make them say they're still a part of their lineups.
However, that doesn't mean the category is completely dead. Even today, there are several types of compact cameras, and some have capabilities that pretty much no phone can match. This list calls out the few that are still available and looks at what they're good for – because there are still cases where a compact camera is a great option.
Our recommendations: Enthusiast compactsThe final niche in which it's difficult for a smartphone 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 cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Several have built-in electronic viewfinders for shooting when it's bright outside, again giving a more pleasant experience than a smartphone.
Best enthusiast compact: Canon PowerShot G7 X III20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture
Photo: Dan BracagliaBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Nice grip and well-placed controls
- 4K/30p recording with live streaming to YouTube
- Fast burst shooting
- Lens is soft at wide-angle
- Limited battery life
- Contrast-detect only autofocus
The Canon PowerShot G7 X III is an enthusiast compact built around a 20MP Type 1 (116mm²) 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 clicking control dial around the lens and the dedicated exposure compensation dial that really help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.
This camera is frequently out of stock, but in February, Canon told investors it was ramping up production of its compacts, citing the popularity of the G7 X III.
"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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also worth consideringThe Sony Cyber-shot DSC-RX100 VA is also worth a look as it offers a short, bright 24-70mm equivalent zoom. That's less range than 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. It's also worth noting that it charges via micro USB instead of using the near-ubiquitous USB-C connector found on the G7 X III.
Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system
Photo: Dan BracagliaBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Industry-leading autofocus
- Excellent image quality
- Oversampled 4K video
- 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 sensor 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 G7 X 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best interface: Leica D-Lux 817MP crop of Four Thirds sensor | 24-75mm equiv F1.7-2.8 | 4K video
Photo: Richard ButlerBuy now:
Buy at AdoramaBuy at B&H PhotoBuy at Leica What we like:- Photo-focused interface
- Large sensor
- Bright lens
- Zoom is laggy and slow
- Lens not always sharpest
The D-Lux 8 combines an enjoyable shooting experience with a large sensor and bright lens. It's expensive, for sure, but is one of the few enthusiast compacts to receive a refresh in recent years, so we felt we should include it.
"The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package" The D-Lux 8 has an elegant and photo-focused interface, with dedicated dials for shutter speed and aperture, and a couple of buttons that are easy to customize. It's engaging and enjoyable to shoot with. The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package. But, for us, its image quality doesn't live up to its promise, or its price tag.See the Leica D-Lux 8 studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Waterproof camerasWaterproof 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 not necessarily careful children.
Best waterproof camera: OM System Tough TG-725-100mm 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
- 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Long zoom camerasPerhaps the greatest weakness of smartphones is their lack of zoom capabilities. 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: Panasonic FZ1000 II20MP Type 1 BSI-CMOS sensor | 25-400mm equiv. F2.8-4 lens | 4K/30p video capture
Photo: Dan BracagliaBuy now:
Buy at B&H Photo What we like:- Relatively fast lens with versatile focal range
- Fully articulating touchscreen
- Responsive AF performance
- "Flutter" when focusing is distracting
- Substantial crop in 4K
- Body feels too "plasticky" for its price
The FZ1000 II predates Panasonic's switch to phase-detect autofocus, so it tends to hunt for focus. However, it can shoot at burst rates up to 7fps, and its 25-400mm equiv F2.8-4 lens gives you plenty of reach while still offering a fair amount of light-gathering ability.
The FZ1000 II has a comfortable grip and twin control dials, but its all-plastic construction doesn't live up to its price. It's extensively customizable, with an array of physical and on-screen buttons. The OLED EVF is very good. "Its versatile lens, snappy autofocus speeds, large EVF and 4K video capabilities should make it one of the better cameras in its class" The FZ1000's image quality is good for its class. The camera doesn't capture as much detail as we'd like and, if you're up to it, shooting Raw and post-processing will get the most out of the camera. The FZ1000 II captures 4K UHD video at 30p and 24p, though there is a substantial crop which narrows your field of view (this is not an issue at 1080). The autofocus system tends to 'hunt' for focus on occasion. The camera has a good set of video controls and a mic input socket. The FZ1000 was a solid camera and the improvements on its successor make it even better. While not best-in-class, its versatile lens, good image and video quality and reasonable price make the FZ1000 II well worth considering.Read our Panasonic FZ1000 II review
See the Panasonic FZ1000 II studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The retired champIn its day, the Sony Cyber-shot DSC-RX10 IV offered better performance and autofocus than the Panasonic, though at a substantially higher cost. In 2024, however, it's no longer available at retail, and the FZ1000 II is. If you manage to find an RX10 IV somewhere and are interested in a long-zoom compact, it's still worth snapping up – it's possible it'll be the best of its kind that was ever made.
Best ultra-zoom camera: Nikon Coolpix P110016MP 1/2.3" BSI-CMOS sensor | 24-3000mm equiv. F2.8-8 lens | 4K video capture
Photo: Barney BrittonBuy now:
$1097 at Adorama$1097 at B&H Photo 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
- Large and unbalanced when zoom is extended
- Lens is slow at long end, reducing sharpness
- No touchscreen
- Poor battery life
The Nikon Coolpix P1100 is a very slightly refreshed version of the P1000, with the biggest difference being the adoption of a USB connector. Its 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 24-3000mm 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 P1100 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 3000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1100'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 P1100" The P1100'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 P1100 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 P1100. 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 review of the existing P1000 model
See the Nikon Coolpix P1000 studio scene
Vlogging camerasSmartphones 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 II20MP Stacked CMOS sensor | 24fps burst shooting | 4K/30p, 1080/120p video
Photo: Shaminder DulaiBuy 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
- 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why you should trust usThis 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.
Panasonic Lumix DC-GH7 review
Product Photos by Dale Baskin
89%Overall scoreJump to conclusionThe Panasonic Lumix DC-GH7 is the latest in Panasonic's line of high-end cameras historically aimed at video shooters. We say 'historically' because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, optional 32-bit float audio and 4K/120p capture, along with all the photography features found on Panasonic's more recent G9 II model.
Key specifications- 25.2MP BSI CMOS sensor with parallel gain readouts
- Phase-detection autofocus
- ProRes RAW / HQ internal recording
- 32-bit Float audio capture via optional accessory
- Arri LogC3 gamma profile (optional paid upgrade - see below)
- UHD or DCI 4K in 10-bit 4:2:2 up to 60p
- Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
- 5.7K full-width capture at up to 60p
- 5.8K full-sensor 'open gate'/anamorphic capture at up to 30p
- 60 fps burst shooting with AF and pre-capture
- External SSD recording
- LUT support for photos and video
- 1 x CFexpress Type B, 1 x UHS-II SD slot
- Tilting/fully-articulating rear screen
- Built-in fan for unlimited recording
The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022.
Additionally, Panasonic has partnered with Arri, a leading manufacturer of digital cinema cameras, to bring Arri's LogC3 profile to the GH7. LogC3 matches Arri's color and tone response and allows the use of LUTs designed for Arri cameras. Since enabling this feature requires paying a license to Arri, LogC3 is an optional $200 upgrade, and can be installed by purchasing Panasonic's DMW-SFU3A software upgrade key.
Index:- What's new?
- How it compares
- Body and controls
- Video
- Image quality
- Autofocus
- Video performance
- Conclusion
- Sample gallery
- Specifications
- Press release
Buy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What's new: SensorThe GH7 is built around a revised version of the sensor from the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.
The most notable is support for Panasonic's 'Phase Hybrid' phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to maintain focus on a relatively static subject.
The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don't expect the rolling shutter to be a problem in most situations.
29.97, 25, 24, 23.98p 59.94, 50p 119,88, 100p 5.8K (Full sensor height) 20.5 ms — — 5.7K (1.9:1) 13.1 ms 13.1 ms — DCI 4K (1.9:1) 13.2 ms 13.2 ms 7.0 ms UHD 4K (16:9) 14.1 ms 14.1 ms 7.4 msThe other benefit of the new sensor is the improved version of the camera's dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.
On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.
Find out more about dual conversion gain, dual output gain and how they work
However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is applying one stop more gain than the low path in its base state (rather than the 3-stop difference required in the GH6). This doesn't explain how Panasonic can offer a mode with a high-gain component while maintaining the same ISO 100 rating for standard gamma. Interestingly, when you exceed 60fps (where the dual output mode can't operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.
32-bit Float audio The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input and three dials to control the gain of each input. It can power mics that accept 48V phantom power.While it's become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.
32-bit Float audio doesn't encode its data directly as numerical values. Instead, it captures them as scientific notation, with most bits encoding the value and the last few describing the magnitude (i.e., how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.
To make use of this extra capacity, you'll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It's still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that's fed into it.
This means you don't need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback during the edit.
When recording 4-channel audio, this display allows you to view all four channels' input levels simultaneously, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.With the DMW-XLR2, you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera's mic input, everything drops down to conventional 24-bit capture.
There's a display for setting all four channels' input levels, but only two can be monitored live during recording. If you're in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.
VideoThe GH7's headline video feature is support for internal ProRes RAW recording, with ProRes RAW and RAW HQ options, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.
ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.
Raw Codec Resolution Frame Rate Crop DestinationProRes RAW
or
ProRes RAW HQ
5.7K (5728 x 3024)- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
*Supports SSDs up to 2TB capacity
The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they're recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.
The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7's video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.
In an improvement we've been requesting for years, it's now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera's gyro will also detect when a video is shot in vertical format.
Subject recognition AFIn addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.
Yes, the GH7 has a true 'trains, planes and automobiles' subject recognition system.
Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider's helmet if it can identify one.
Subject recognition works in both still and video modes.
Photography featuresWhile initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.
Other features that carry over from the G9 II include Panasonic's handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.
The GH7 also gets Panasonic's Real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it's captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.
This image, captured on the Lumix S9, illustrates how Panasonic's real-time LUT system allows you to generate your own custom looks straight out of camera.
Photo by Dale Baskin
We explored real-time LUTs and the Lumix Lab app in detail as part of our Panasonic S9 initial review, so we recommend giving those sections a read if you want to learn more.
Other improvementsImage stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting.
Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud function, which automatically uploads video proxy files or images to Adobe's Frame.io service.
How it comparesThe GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it's highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented models of their own.
Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30 and Fujifilm X-H2S. We'll also include the Nikon Z6III, a full-frame camera with a strong video feature set, in the comparison.
Panasonic GH7 Panasonic GH6 Sony FX30 Fujifilm X-H2S Nikon Z6III MSRP at launch $2200 $2200 $1800 $2500 $2500 Sensor size/type Four ThirdsBSI CMOS Four Thirds
BSI CMOS APS-C
BSI CMOS APS-C
Stacked CMOS "Semi-stacked" BSI CMOS Cooling Built-in fan Built-in fan Built-in fan Optional screw-on fan No fan High res modes 5.8K (4:3)
5.7K (1.9:1) 5.8K (4:3)
5.7K (1.9:1) None 6.2K (3:2)
6K (1.78:1)
5.4K (1.78:1)
FHD/300p 4K/120p (full width)
FHD/300p 4K/60p (1.04x crop)
4K/120p (1.56x crop)
FHD/240p
4K/60p (full width)
4K/120p (1.29x crop)
FHD/240p
ProRes RAW HQ
ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) X-AVC HS (H.265 Long GOP)
X-AVC I (H.264 All-I)
X-AVC S (H.264 Long GOP) ProRes 422 HQ
ProRes 422
ProRes LT
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP)
N-Raw
ProRes RAW HQ
ProRes 422 HQ
H.265 (Long GOP)
H.264 (Long GOP)
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Focus map
Custom LUT preview Zebras
Peaking
Fixed LUT preview
Zebras
Peaking
Fixed LUT preview
Waveforms
V-Log
Arri LogC3*
HLG
CinelikeD2
HLG
CinelikeD2 S-Log3
HLG
S-Cinetone
F-Log
F-Log2
HLG
Eterna N-Log
HLG Media type 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD 2x CFexpress A /UHS-II SD 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD Viewfinder 3.86M dot OLED
0.8x mag 3.86M dot OLED
0.76x mag None 5.76M dot OLED
0.8x mag 5.76M dot OLED
0.8x mag HDMI Full-sized Full-sized Full-sized Full-sized Full-sized Audio Up to 4ch with optional XLR2 unit, 32-bit float audio Up to 4ch with optional XLR1 unit Up to 4ch with optional XLR handle Up to 4ch with optional Tascam XLR unit Stereo audio Battery life (CIPA) LCD 380 360 570 580 390 Weight 805g (28.4 oz) 823g (29.0 oz) 646g (22.8oz) 660g (23.3oz) 760g
(26.8oz)
From a specs standpoint, the GH7's main advantages are ProRes RAW, which can also be found on the Z6 III, 32-bit Float audio, and the ability to add Arri's LogC3 gamma profile (as a paid upgrade).
Other than those callouts, the cameras are reasonably well-matched on paper, but we don't use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect. It is designed with multiple 1/4"-20 mounting points so you can build the exact rig you want. On the flip side, it's the one camera in the cohort exclusively focused on video and might not be a good choice as a hybrid camera.
The Nikon may seem like the odd duck here, given that it has a full-frame sensor. However, it has an impressively strong video feature set, and with a retail price within spitting distance of the GH7, it merits serious consideration as an alternative. One thing the table doesn't capture? The Nikon will surely surpass the other models in still image quality.
Body and controlsThe GH7's body is essentially unchanged from the GH6. It's built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn't visible when looking at the camera. We'll get to that in a moment.
There's a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.
EVF and rear screenRemember that one minor change we mentioned? This is where you'll find it. The GH7's electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder's magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn't impact the size or shape of the body, but it makes the EVF just a bit nicer to use.
The GH7 features the same 1.84M-dot (960 x 640px), 3" rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera's ports so that it doesn't interfere with any cables.
Audio button and 32-bit Float audioThe GH7 includes a dedicated button that provides direct access to the camera's audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.
As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit Float recording.
All four audio channels are output over HDMI.
Built-in fanThe GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera's sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.
Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, opening the Thermal Management menu and changing the setting from standard to 'High' may be necessary in some of the more demanding modes.
"The GH7 can provide unlimited recording at all resolutions and frame rates."The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.
BatteryThe GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.
The battery does have one notable limitation: When recording files to an external SSD, it's only possible to record at frame rates up to 60p, no matter what codec or resolution you're using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera's USB-C port, connecting the camera directly to an external power source simultaneously isn't an option.
To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.
Video capabilitiesThe GH7 supports a dizzying array of resolutions, frame rates, and codecs to choose from, along with comprehensive tools to support a video workflow. This grows to an even greater number, thanks to the inclusion of both ProRes and ProRes RAW capture.
"The GH7 supports a dizzying array of resolutions, frame rates, and codecs."Frankly, it would be impractical for us to list every possible combination here – something that takes 11 full pages out of the camera's 977-page user manual, not including special modes like VFR – so we're going to focus primarily on the 5.7K and 4K modes that will interest most users.
Before we dive into the details, it's worth noting that the GH7 can use autofocus and record sound at almost every resolution and frame rate, up to 240fps in FHD mode. If you need to go faster than that, there's a 300fps VFR mode without AF or audio capture. Also, with the exception of basic MP4 files, all video modes on the GH7 can capture 10-bit video.
Our video and social media Director, Mykim Dang, used the GH7 to shoot a short video profile of Flowfold, a Maine-based manufacturer of outdoor bags committed to using sustainable materials. 5.7KThe GH7 isn't the first GH camera to capture 5.7K video, but it is the first to support 5.7K ProRes RAW capture, which can be recorded either internally to the camera's CFexpress card or to an attached SSD. (The GH6, could capture 5.7K video using the standard ProRes or H.265 codecs.)
ProRes RAW provides additional flexibility when editing. It's possible to adjust settings like white balance or exposure offsets that are baked into gamma-encoded file types. A Raw workflow introduces other challenges, though: the data rates are enormous, and, while providing flexibility, the files might require more downstream processing than other formats, including sharpening and noise reduction. In many cases, it's a lot more efficient to use a non-Raw format unless you really require the benefits of a Raw workflow.
When shooting in 5.7K, the camera captures video in the DCI (17:9) aspect ratio.
Resolution Frame rate Chroma Comp. Codec Bitrate (Mbps) Card type 5.7K (5760 x 4320)- 29.97
- 25
- 24
- 23.98
- 29.97
- 25
- 24
- 23.98
- 29.97
- 25
- 24
- 23.98
- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 48
- 47.95
- 29.97
- 25
- 24
- 23.98
Although 5.7K video is impressively detailed, we expect many video shooters will choose to use the camera's 4K modes unless they require flexibility to zoom or pan at the editing stage.
The GH7 can capture 4K video using either the 16:9 UHD or 17:9 DCI aspect ratio. However, ProRes and ProRes RAW are limited to the 17:9 DCI format.
Additionally, 4K ProRes RAW video comes with a 1.41x crop. By virtue of being a Raw format, it captures a native 4K region from the middle of the sensor rather than using oversampled (i.e. processed) data from the full width of the sensor.
Resolution Frame Rate Chroma Comp. Codec Bitrate (Mbps) VFR Card typeDCI (4096 x 2160)
1.41x crop
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
DCI (4096 x 2160)
or
UHD (3840 x 2160)
- 120
- 119.88
- 100
- 59.94
- 50
- 47.95
- 29.97
- 25
- 24
- 23.98
With such a mind-boggling number of combinations, just finding the settings you want in the camera's menus can be a challenge. Fortunately, the GH7 continues the ability to filter video modes, including by frame rate, resolution, codec, VFR mode, HLG and proxy recording capabilities, and favorites can be saved to a designated "My List" for quick access.
5.8K / 4.4K AnamorphicLike its predecessor, the GH6, the GH7 can capture 'open gate' 4:3 footage from its entire sensor. Open gate recording provides additional flexibility to zoom, pan or add stabilization in post-processing. It can also be used in combination with anamorphic lenses to leverage the full area of the camera's sensor when de-squeezed to a widescreen format.
1080 (Full HD)While not a headline feature, the GH7 retains the ability to capture the full range of full HD video modes, which are directly comparable to the camera's 4K options. This includes the choice of All-I or LongGOP codecs as well as the choice of 4:2:2 or 4:2:0 color modes.
Full HD video can be captured at frame rates up to 240fps with support for autofocus and audio recording, or up to 300fps in VFR mode without AF or audio. It can be captured in ProRes 422 and ProRes 422 HQ at up to 60p
Image quality Studio SceneOur 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 to see the effect of different lighting conditions.
If you'd like to see a comparison to more photography-oriented peers, you can view the studio scene for the G9 II, which has the same photography specs and uses the same sensor.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The GH7 is capable of capturing impressive levels of detail, thanks to its 25MP sensor. At base ISO, the results are broadly comparable to its APS-C peers, though it's not quite up to the level of the full-frame Z6III.
The sensor handles noise well, outperforming its predecessor, the GH6, by a hair. It falls a short of the APS-C sensor in the X-H2S, while managing to keep a bit closer to the a6700, though it can't beat physics and match it. Predictably, the full-frame sensor in the Z6III outpaces the other models here. At very high ISOs, we observe much the same pattern.
JPEG images deliver good detail, visible in the fine stitched texture of The Beatles' clothing. It also handles natural textures, like hair, gracefully, without looking oversharpened.
At higher ISOs, the JPEG engine does a good job of controlling noise, however, this comes at the expense of fine detail, with the GH7 falling a behind the other cameras in this cohort.
The GH7 produces very good colors using its standard JPEG settings. A look at the color patches reveals slightly vibrant pinks, with subtly pale yellows and blues. In real-world photos, we found colors very natural and pleasing, similar to other recent Panasonic models we've used.
Olympus ED 40-150mm F2.8 Pro @120mm | F2.8 | 1/400 sec | ISO 1000Photo: Dale Baskin Dynamic range
A sensor with a wide dynamic range provides more latitude to boost shadows with a minimal increase in noise, and our tests show that the GH7 has ample room for pulling up shadows at base ISO. Its performance isn't quite as good as the larger APS-C sensors in this regard, falling about 2/3 EV behind the other sensors across the image, but it will mostly be in the deepest shadows where you notice the difference.
I exposed this photo for the highlights in the sky, which left the foreground very dark. I raised the shadows approximately 3.5 stops in Adobe Camera Raw to recover details in and around the road.
Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F4 | 1/20 sec | ISO 400
Photo: Dale Baskin
Dynamic range is one of the GH7's most notable improvements relative to its predecessor, the GH6. That camera exhibited significant shadow noise at base ISO, only improving from ISO 800 upwards when its DR Boost mode engaged. By implementing dual parallel gain at ISO 100, Panasonic has enabled the GH7 to be much more competitive in this regard.
Exposure Latitude | ISO Invariance
AutofocusThe most notable – and possibly most anticipated – upgrade to the GH7 is the addition of phase-detect autofocus, in the form of Panasonic's Phase Hybrid AF system.
PerformanceNot surprisingly, we found the GH7's autofocus system performed better than its predecessor, which relied on Panasonic's Depth-from-Defocus (DFD) system, delivering a more reliable, more confident experience.
The camera had no trouble identifying the bird in this photo when subject detection was set to 'Animal', even against this busy background.
Olympus ED 40-150mm F2.8 Pro @150mm | F2.8 | 1/2000 sec | ISO 1250
Photo: Dale Baskin
The camera's subject detection modes are very quick to identify subjects and work across both photo and video modes. However, subject tracking still lags behind the best-in-class AF systems we've used. Specifically, while the system is quick to identify subjects, it's not quite as tenacious at sticking to subjects as they move, particularly if they move quickly.
Video autofocusVideo is where phase-detect autofocus makes the greatest impact on the GH7's performance. DFD was notorious for not being decisive enough for video use; this frequently resulted in undesirable artifacts, most notably a slight fluttering of the image when the AF system attempted to confirm focus on a subject or predict focus when a subject started to move.
"Video is where phase-detect autofocus makes the greatest impact on the GH7's performance."We haven't encountered this with the GH7, making it much more suitable for run-and-gun use or any other application that requires autofocus, for that matter.
Subject identification and tracking work impressively well in video mode, particularly human and animal identification. Combined with phase-detect autofocus, it delivers reliable and predictable results in most situations. It's a level of confidence we haven't previously experienced when using a GH camera.
Photography autofocusSince the photography features of the GH7 are identical to the G9 II, we would broadly expect it to perform similarly, or the same, as that camera, and this has been consistent with our experience. In a nutshell, it performs very well but isn't quite as dependable as the best of its peers. One continued frustration: if the camera doesn't detect a subject right away, it will sometimes flash a red box and leave you waiting for up to a second before starting to focus.
To read our in-depth analysis of the G9 II's AF system for photography, which matches our experience with the GH7, you can read the autofocus section of our Panasonic G9 II review.
Video performance Video quality Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Panasonic's GH cameras set high expectations for video, and the GH7 continues this trend. It delivers essentially the same results as its predecessor, the GH6, though with improved dynamic range at lower ISOs (more on that below).
Straight out-of-camera, it doesn't look quite as crisp as rivals like the Fujifilm X-H2S or the Nikon Z6III. Historically, Panasonic hasn't baked quite as much sharpening into its files, resulting in a less crunchy out-of-camera look. However, those files typically sharpen up nicely in post-processing if desired, leaving a lot of flexibility for an editor.
The GH7 delivers very similar results even when shooting 4K/120p high frame rate video. In this mode, it continues to use the full area of its sensor to render oversampled 4K footage, and it solidly outperforms other video-oriented models here.
At its highest 5.7K resolution settings, the GH7 is capable of capturing quite a bit of additional detail. However, it still falls noticeably short of the level of detail generated by Panasonic's own S5II when shooting in 6K mode. For maximum flexibility, you can capture 5.7K using ProRes RAW, but you'll need to do some downstream processing to make the most of it.
DR BoostThe GH7 provides more flexibility than the GH6 to capture a wider dynamic range using an expanded range of ISO settings. For the comparison below, we shot our DR test wedge using both cameras so that the very brightest patch just reached the clipping point, as shown by the video waveforms from DaVinci Resolve Studio.
GH7 V-Log (24p)
ISO 2000
1/640 sec
F10
DR Boost
GH6 V-Log (24p)
ISO 2000
1/640 sec
F10
DR Boost
GH7 V-Log (24p)
ISO 500
1/160 sec
F10
DR Boost
GH6 V-Log (24p)
ISO 500
1/320 sec
F10
The first two buttons illustrate the impact of Panasonic's DR Boost mode. Both cameras were shot in V-Log at ISO 2000, the lowest ISO at which the GH6 supports DR Boost mode (ISO 800 when shooting in standard color modes). Since both cameras benefit from DR Boost mode at this ISO, the waveforms look very similar, as do the resulting video images.
However, the GH7 gains the ability to use DR Boost mode all the way down to its nominal base ISO of 500 in V-Log (ISO 100 in standard color modes). The next two buttons illustrate the advantage this gives it over the GH6 when shooting at ISOs below 2000: we've had to give the GH6 a whole stop less light to prevent the brightest tones in our test chart from clipping.
Note that the sensor's dual output gain system, which makes DR Boost possible, can't operate at frame rates exceeding 60p, so if you're planning to shoot at higher frame rates, you can expect the dynamic range to match that of the GH6 without DR Boost enabled.
Image stabilizationThe GH7 gains Panasonic's Active I.S. technology, first introduced on the S5II series. Active I.S. is designed to more effectively dampen dramatic movements when walking while filming or using longer lenses and takes advantage of a new, higher precision gyroscope, which it shares with the G9 II. It's not an option you can switch on and off, but something the camera does automatically.
"Active I.S. is designed to more effectively dampen dramatic movements when walking."Recent GH cameras have delivered impressive image stabilization, particularly in Boost I.S. mode, which is designed to correct all camera movement to simulate the effect of using a tripod for a stationary shot. Active I.S. is intended to play a somewhat analogous role, but when the camera is moving to deliver a smooth, if not quite gimbal-like performance when walking with the camera. In our experience, it's quite effective.
When this improved stabilization is combined with the camera's electronic stabilization modes, it turns in a very impressive performance that could be mistaken for a gimbal. It's not magic, though. As with a gimbal, it still requires good technique to get the best results, but if you can manage that, it's another useful tool in the camera's bag of tricks.
Conclusion What we like What we don't- Excellent video quality
- Phase-detect autofocus
- Internal ProRes and ProRes Raw recording
- Expanded DR Boost mode captures wider dynamic range at lower ISOs
- Impressive image stabilization in both stills and video
- Strong video workflow support
- Magnified live view during video capture
- 32-bit float audio (with XLR2 adapter)
- Real-time LUTs
- USB-C SSD support
- Autofocus can hesitate to engage if the camera doesn't immediately find something to track
- Subject tracking still lags behind peers
- DR Boost is not available at frame rates greater than 60p
At a high level, the GH7 delivers exactly what we expect from a GH camera: excellent video quality with an extensive set of tools for video shooters. It even adds some new tricks to its bag in the form of internal ProRes RAW recording and the ability to capture 32-bit float audio when used with Panasonic's XLR2 adapter.
Whereas previous GH-series cameras were primarily aimed at video shooters, Panasonic included all the photography features from its sibling, the G9 II, on the GH7. If you want Panasonic's best Micro Four Thirds camera for either photography or video, this is it – you can get it all in one package.
The inclusion of phase-detect autofocus is a hugely beneficial addition, particularly for video, and it effectively eliminates our biggest pain point with previous GH models: the tendency of the AF system to pulse or flutter during video capture as it tried to confirm or predict a subject's movement. Still, autofocus continues to be an area where the GH7 still lags behind the best of its peers, most notably in photography. It's generally quite good at identifying subjects, but it's not always as effective at tracking them.
Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F2.8 | 1/40 sec | ISO 3200Photo: Dale Baskin
It used to be that you could count on every new GH camera to be first across the line with the latest video features, and there was a time when a GH camera was the obvious go-to choice for serious video users, but the landscape has evolved. It's still one obvious choice for video aficionados, but can it still stand out in a market where almost every new model purports to be a "hybrid" camera?
In short, yes.
The GH7 sets itself apart not just with specs, but with an implementation that reflects the needs of a serious video shooter: shutter angle, a built-in fan, pro audio capture, a proven and flexible Log curve, and incredible image stabilization that's designed around videography use cases. It sports a vast, but sensible array of codecs and frame rates, and offers little touches like the ability to filter them and save your favorites to a custom list. Yes, other cameras include some of these features, but they don't all work in concert like they do on the GH7.
In essence, the GH7 is the result of continuous improvement that started with the original GH1 16 years ago, and at this point, it's pretty dialed in. If you just want a hybrid camera that excels at photos and can also capture good video, there are other options. But if you want a production tool that's been refined over generations and polished to a shine – while also being able to shoot stills when needed – the GH7 is a great choice, in a way that raw specs simply can't convey, and for that, it wins our Silver Award.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Panasonic Lumix DC-GH7Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Panasonic GH7 is a Micro Four Thirds camera with a strong focus on shooting video, and is an evolutionary upgrade from its predecessor, the GH6. The addition of phase-detect autofocus makes it more usable for run-and-gun video, and it gains 32-bit float audio recording and improved dynamic range as well. Although it's a hybrid camera with deep feature sets for both stills and video, it's really video where it excels.Good forSerious videographers who need support for a video-centric workflow.Not so good forUsers who primarily want to shoot still photos rather than video.89%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcgh7","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 with its peersLike the GH7, the Fujifilm X-H2S has a long list of advanced video features, though it doesn't have the same attention to detail around those features; the GH7's more polished video toolset makes it a more dependable camera for shooting video. However, photo image quality is better, and it's worth choosing for stills even if the AF doesn't live up to its fast shooting promise. It's also the only system to rival Micro Four Thirds' range of compact lenses.
If you would prefer a purpose-built camera for video, the Sony FX30 is worthy of consideration. Its boxy body is built from the ground up for video use and includes half a dozen threaded attachment points so you can build your rig, your way. It also has more dependable autofocus and better battery life, though you'll need an external recorder to capture Raw video. Whatever you do, don't get it for photography; it's not made for it and doesn't include a mechanical shutter.
If you have a significant interest in shooting stills and don't mind its larger lenses, the Nikon Z6III is a very strong choice, with much better image quality and a more sophisticated AF system. While its video specs are competitive on paper and it's capable of producing high-quality video, the GH7's dependability and refined video implementation make it a superior choice for video work.
Finally, it's worth considering Panasonic's own G9 II, particularly if video is more of a 'sometimes' activity rather than your primary focus. It includes the exact same photography features, and all but the most advanced video options, from the GH7, but in a body that's almost 20% lighter and less expensive. Also like the GH7, it benefits from a large catalog of size-appropriate lenses that can keep your kit small if desired.
Buy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Sample galleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The best cameras around $2000 in 2025
Updated: February 14, 2025
These days, $2000 gets you a lot of camera. The picks on our list are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.
Choosing a camera means committing to the ecosystem of lenses that are available for it, so we advise looking into the price and availability of the types of lenses you'd like to shoot with. It's also worth noting that some camera manufacturers are more restrictive of what options third-party lens makers can provide, so be sure to look at that during your lens research.
Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, you may want to think about whether they're worth keeping around and adapting to a new system, or whether you'd be better off selling them and using the proceeds to buy modern equivalents of your most-used lenses. This option also gives you a path to switching brands, if you feel there's a compelling reason to do so.
Our Recommendations- Best camera around $2,000: Nikon Z6III
- A close second: Canon EOS R6 II
- Best camera under $2,000: Nikon Zf
- The compact option: Sony a7C II
- The do-anything traveler: OM System OM-3
- Best for vlogging: Sony ZV-E1
- A fixed lens option: Fujifilm X100VI
25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF
Photo: Richard ButlerBuy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H PhotoBuy at MPB What we like:- Very good image quality
- Good autofocus tracking with auto subject recognition mode
- Extensive choice of video resolutions and codecs
- Peak dynamic range lower than peers
- N-Raw video format has limited support
- Nikon controls 3rd-party lens options
Read our full review of the Nikon Z6III
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A close second: Canon EOS R6 II24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture
Photo: Dale BaskinBuy now:
$2399 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:- Simple, powerful AF for stills
- Fast 40fps shooting with continuous AF
- Excellent battery life
- AF less reliable in video mode
- SD cards limit burst duration
- E-shutter can distort fast-moving subject
It's hard to overstate how evenly matched the EOS R6 II and our overall winner, the Z6III, are. Nikon's latest beat the Canon by a hair on the strengths of its video specs – including its better autofocus performance when shooting video – and its slightly nicer viewfinder. If you don't shoot video, your choice between the two should purely be dictated by the two companies' lens lineups and how they match your preferences... with the knowledge that they both tightly control which lenses third parties like Sigma and Tamron can produce for their systems.
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 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. 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. 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera under $2,000: Nikon Zf24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV
Photo: Richard ButlerBuy now:
Buy at Amazon.com$1997 at B&H PhotoBuy at MPB What we like:- Distinctive design with direct controls
- Effective subject recognition
- Strong stills and video features
- Weight and minimal grip can become uncomfortable
- Slow MicroSD second slot
- Few custom buttons
Read our full review of the Nikon Zf
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Sony a7C II33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system
Photo: Richard ButlerBuy now:
$2198 at Amazon.com$2198 at Adorama$2198 at B&H Photo What we like:- Big camera features in a small body
- Outstanding AF performance
- Auto Framing video mode
- 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I buy the Sony a7 IV, a7 III or a7C?The Sony a7 IV is tough to recommend in 2025. Its viewfinder, ergonomics, and full mechanical shutter, are improvements over the a7C II, but it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If you're sure you don't care about compactness, it might be worth paying 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 priced around $2000 that are 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 to full-frame models, but also let you have much smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.
The Fujifilm X-T5 gives you access to a wide range of lenses, including some value options and a healthy selection of fun prime lenses. It also has a retro style with a refined shooting experience, which is helped by Fujifilm's habit of including aperture rings on many of its lenses. Its autofocus and video aren't up with the best cameras in this guide, but it's a camera we really like if you want a compact kit.
The do-anything traveler: OM System OM-320MP Four Thirds Stacked CMOS sensor | 2.36M dot EVF 0.69x magnification | IP53-rated weather sealing
Photo: Mitchell ClarkBuy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:- Very fast shooting with low rolling shutter
- Controls put best features front-and-center
- Excellent battery life
{RoundupContent:omsystem_om3 section=cons}
The OM System OM-3 is a 20MP Micro Four Thirds camera with a Stacked sensor capable of shooting up to 50fps with continuous autofocus.The OM-3 is well-suited to traveling, as the Micro Four Thirds system lets you use especially compact lenses, and its Stacked sensor gives it fast autofocus, incredible burst rates for shooting even the fastest subjects, and the ability to use computational modes to adapt to a wide variety of situations. It also sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.
It has plenty of customizable buttons, though no AF joystick or grip. Its color dial and computational photography button put key features front-and-center. The OM-3 is a great little camera that packs a lot of technology and features into a classic-looking body. The subject recognition and tracking autofocus modes work well, though it can struggle to predict a subject's movement. It supports pre-capture, has very little rolling shutter, and can shoot up to 50fps with continuous autofocus when paired with specific lenses. Image quality is good, and can be improved with easily accessible computational multi-shot modes. The JPEG colors are good and can be customized extensively, and the Raws are relatively flexible. The OM-3 is a stylish camera that can go anywhere, and is fast enough to shoot almost any subject. Its autofocus is reliable, though not class-leading, and its viewfinder is on the small side, but its compact design and lenses make it appealing for travel.Read our full review of the OM System OM-3
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Other Four Thirds camerasThe OM-3 shares most of its DNA with the OM System OM-1 II, though the latter is a little larger thanks to its inclusion of a better viewfinder and handgrip. Both are similar to the Panasonic G9II, though it's substantially larger, sharing its body with the full-frame S5II. All are Micro Four Thirds, which could be a tough sell given the sensor sizes people usually expect at this price. However, they may be worth considering if you're excited by computational photography features like handheld high-resolution multishot, are looking to get the most reach out of the smallest lenses, or are going on adventures that require the most compact kit available.
Best for vlogging: Sony ZV-E1Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF
Photo: Richard ButlerBuy now:
$2199 at Amazon.com$2198 at Adorama$2198 at B&H Photo What we like:- 4K footage up to 120p
- Auto-cropped modes aid one-person operation
- Effective autofocus
- 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
What if I want to shoot videos, not vlogs?Realistically, all of our picks above have very capable video modes that should give you the flexibility to work on the occasional video project. If you're mainly buying a camera for video work, though, it's worth considering something like the Sony FX30, which is designed to be flown on gimbals and to produce 4K/60p video without having to crop in. Sony's more video-focused camera also has excellent rolling shutter rates, helping avoid a jello-like effect in fast-moving footage, as well as best-in-class autofocus.
The FX30 does have the downside of having an APS-C sensor, meaning it can't take in as much light as full-frame options. Its full-frame counterpart, the FX3, is priced way above $2,000. If you really value full-frame and video performance, the Panasonic S5 IIX has some serious video chops, including features like waveform displays and shutter angle settings. However, its autofocus is decidedly a tier below Sony's, as is its rolling shutter performance.
A fixed-lens option: Fujifilm X100VI40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder
The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.
Photo: Richard Butler
Buy now:
$1987 at Amazon.com$1599 at Adorama$1599 at B&H Photo What we like:- Excellent build quality
- Subject-detection autofocus
- Now with in-body image stabilization
- Lens not especially fast to focus
- Hard to find in stock
While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a (new, higher-than-its-predecessor) price of $1,600 and is worth considering.
A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it's also quite hard to find.
Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.
The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.
If you're looking to make an investment in a camera with a ton of versatility, the X100VI doesn't compete with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.
Read our Fujifilm X100VI review
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why you should trust usThis 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.
Leica D-Lux 8 review
The Leica D-Lux 8 is an updated 17MP enthusiast zoom compact camera that uses a series of crops of a Four Thirds sized sensor to give multiple aspect ratios. It's a gentle update of the D-Lux 7 with refreshed look, revised interface and a much-improved viewfinder.
Key Specifications- Up to 17MP images from a 22MP Four Thirds (17.3 x 13mm) CMOS sensor
- 24-75mm equiv. 10.9-34mm F1.7-2.8 stabilized lens
- 2fps shooting with AF, up to 11fps without
- Captures DNG Raw files
- Larger, 2.36M dot OLED viewfinder
- 1.84M dot rear touchscreen
- Updated user interface
- UHS-II card compatibility
- 5Gbps USB-C port
The D-Lux 8 is one of the only enthusiast compacts on the market, but follows on from some of the best of their type. It combines a relatively large sensor, a bright F1.7-2.8 zoom and a high level of direct control for shutter speed, aperture value and ISO or exposure compensation. In many respects it's conceptually similar to Fujifilm's X100 series, but with a zoom.
The Leica D-Lux8 is available at a recommended price of $1595, a $400 premium over the previous model.
Buy now:
Buy at AdoramaBuy at B&H PhotoBuy at Leica Index:- What's new?
- How it compares
- Body and controls
- Image quality
- Autofocus
- Video
- In use
- Conclusion
- Sample gallery
- Specifications
- Press release
The D-Lux8 is a relatively subtle update of the 2018 D-Lux 7, with much of the underlying hardware unchanged. The body has been redesigned and there are some changes to the controls and interface but the sensor and lens are the same as those used in the D-Lux7 and the Panasonic LX100 II.
4:3
3:2
16:9
1:1
This sees it use the same arrangement by which the entire sensor region is never used but instead a choice of three aspect ratios that have the same diagonal angle-of-view is offered. So you can switch between 4:3, 3:2 or 16:9 and maintain the same 24mm equiv. widest angle from the lens. The 1:1 setting is handled more like the majority of cameras and simply crops in from the default sensor region.
OLED viewfinderThe most significant change is the use of a standard OLED viewfinder. Previous models used field-sequential displays that would display their red, green and blue components one after the other. For some users this can give distracting red/green/blue fringing artefacts when their eye moves around the frame or they engage the menus because they become aware that the three colors haven't updated to the same degree.
So although the viewfinder spec looks like a downgrade on paper, in practice its 2.36M dots (1024 x 768 px) can give a more pleasant experience than the 2.76M dot-equivalent finder in the D-Lux 7. Also, because the old panel was a widescreen 16:9 aspect ratio, the new finder is actually higher resolution when you shoot 4:3.
The D-Lux 8's finder is also larger, with a magnification equivalent to 0.74x, rather than 0.7x in the previous camera. Again it sounds like a small change but it results in a much nicer experience.
The rear screen also sees a resolution boost, moving to 1.84M dots (960 x 640 px), rather than the 1.24M (∼786 x 524px) of the older model.
DNG captureThe other significant specification change in the D-Lux8 is that it can now capture its Raw data in the standard DNG format, rather than Panasonic's RW2 files that the D-Lux 7 shot.
The D-Lux 8 also adopts a USB-C connector, rather than the Micro B type connection on the previous model. Likewise the camera's Bluetooth capabilities have been brought up to the newer 5.0 LE standard, rather than 4.2, but the Wi-Fi is still a relatively basic 2.4Mhz connection.
Beyond this, much of what sets the D-Lux 8 apart from its predecessor is its revised body and interface. Leica has made an effort to bring it into line with the Q3 full-sensor fixed lens camera, generally for the better.
How it comparesAs mentioned at the start of the article, the D-Lux 8 enters a much-reduced enthusiast compact space, compared with the one its predecessor competed in. But there are still small cameras offering good image quality and photographer-friendly levels of direct control, even as most of the market retreats to the higher profit margins of interchangeable lens cameras.
Sony's RX100 Va is still a current model, offering a similar short, bright zoom and, of course, there's perhaps the most visible small camera for photographers, the Fujifilm X100 VI.
Leica D-Lux 8 Sony DSC-RX100 VA Fujifilm X100 VI Ricoh GR III MSRP $1595 $999 $1599 $899 Sensor size(Crop factor) 183mm²
(2.21x) 116mm²
(2.72x) 369mm²
(1.53x) 367mm²
(1.53x) Resolution 17MP (4:3) 20MP 40MP 24MP Zoom range
(FF Equiv) 24-75mm 24-70mm 35mm 24mm Max aperture
(Equivalent range) F1.7-2.8
(F3.8-6.2) F1.8-2.8
(F4.9-7.7) F2
(F3.1) F2.8
(F4.3) Viewfinder OLED
2.36M dots
0.74x mag Pop-up OLED
2.36M dots
0.59x mag Hybrid Optical/Electronic
2.39M dots
0.66x mag None Rear screen 1.86M dot fixed 1.22M dot tilting 1.62M dot tilting 1.04M dot fixed File formats
- JPEG
- DNG
- JPEG
- ARW
- JPEG
- HEIF
- RAF
- JPEG
- DNG
- PEF
5 Gbps USB-B (Micro)
480 MBPS USB-C
10 Gbps USB-C
5 Gbps Mic / Headphone socket No / No Yes / No Yes / via adapter No / No Memory card type UHS-II UHS-I SD
Memory Stick UHS-I UHS-I Weight 397g 299g 521g 257g
The updates to the D-Lux 8 means it has one of the best viewfinders in the class, and becomes one of the only options to use the faster UHS-II SD cards (not that these stills-focused cameras especially need it). Its sensor size means it's a larger camera than the Sony but can offer a zoom, whereas you need to move to a prime lens if you want a larger sensor in a compact camera.
Body and HandlingThe D-Lux 8 has a significantly simplified body and interface compared with the D-Lux 7.
The top plate of the camera now has a power button, rather than the on-off switch of its predecessor. The dedicated exposure comp dial has been replaced by a command dial with a custom button at its center, which itself replaces the 'A' button that was present on the D-Lux 7.
This custom button and the two just below the shutter speed dial and the button at the center of the four-way controller can be configured to control any of 38 options, from Exposure Comp and ISO Shutter Speed Limit to switching between the video and stills modes. You can reconfigure the function of a button by simply holding the button down for two seconds.
The command dial on the corner of the camera has four possible settings: Exposure Comp, ISO, Off or Auto. The Auto setting sees the dial's function change depending on the position of the aperture ring and shutter speed dial.
Shutter speed dial Aperture ring setting Exposure mode Command dial function (Auto) A F-no Aperture priority Exposure Comp. Time value A Shutter priority 1/3EV shutter adj A A Flexible Program F-no Time value F-no Manual Exposure 1/3EV shutter adj InterfaceThere have been big changes to the D-Lux's interface, too, giving it a close resemblance to that of the Q3 (it hasn't gained the red/yellow indication for stills/video shooting that we saw on the SL3).
Pressing the menu button takes you to a settings panel screen, from which you can adjust any exposure value that isn't being set by the specific position of one of the dials (you can't over-rule the aperture or shutter speed controls). Below this are a series of icons that can be tapped or navigated to, to change various camera settings.
To get to the main menu you need to press the menu button a second time or tap the icon with three lines at the lower right of the settings panel. This takes you into a five page, 29-option menu.
Within the menu, scrolling up and down also scrolls between its five pages. Pressing right changes the current option or takes you into a sub-menu, where required. Pressing left takes you back out of the sub-menus and back up to the main menu level.
There is one minor oddity, though: pressing left from the top level of the menu jumps you one page to the left. But you press the Menu button to jump a page to the right. This is slightly unusual behavior as it's more common for left/right or up/down button combinations to deliver opposing actions. The left/Menu combination requires a little more conscious thought.
Most of key options are in the settings screen, and the ability to quickly reconfigure the camera's four customizable buttons means you can gain quick or semi-quick access to all the photographic parameters you're likely to need. Like the Q3 and other recent Leica cameras, the D-Lux 8 ends up being an impressively photo-focused camera: you have direct access to shutter speed, aperture and either exposure comp or ISO, and then quick access to the other. Everything else is somewhat secondary to this, meaning you can focus on your photos, not the camera's other functions.
BatteryThe D-Lux 8 uses the same BP-DC15 battery as its predecessor. This is a benefit in terms of compatibility with wide availability. But it also means it's still dependent on a relatively small 7.4Wh battery. Leica doesn't specify a CIPA-standard battery figure but we'd guess at a number somewhere in the sub-300 shot-per-charge region. It's certainly small enough that you'll want to keep track of where your USB-C lead is.
Image qualityOur 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 to see the effect of different lighting conditions.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The D-Lux8's image quality isn't all you might hope for, for the price. By the standards of compact cameras it has a very large sensor: it uses up to 83% of the area of a Four Thirds sensor, which is still ∼60% larger than the Type 1 (13.2 x 8.8mm) chips used by the likes of Sony's RX100 series or Canon's G5X and G7 X models.
This still leaves it with about half the sensor area of the APS-C, prime-lens cameras such as the Ricoh GR III and Fujifilm X100 VI, though. This results in image quality about a stop noisier than those cameras. It's not as different from the Type 1 Sony as we'd expect at base ISO, but by high ISOs, the differences are as we'd expect (note the different settings used).
Despite multiple attempts, we couldn't get the lens on our copy of the D-Lux 8 to match the results we got out of the Panasonic LX100 II, but it's worth bearing in mind that a test chart, by its nature, is good at highlighting small differences. The sharpness we were able to achieve is pretty well maintained out toward the corners, which isn't always the case with zoom compacts.
Dynamic rangeThe D-Lux 8 uses a relatively old sensor: old enough that it underperforms modern expectations, when it comes to dynamic range. If you try to underexpose base ISO to protect highlights, with the intention of pulling up shadows, its results start to resemble those of the RX100 VII. For the first few stops of pulling it has the 2/3EV advantage that you'd expect, but then starts to drop to the Sony's level, before falling behind. This suggests it's adding more noise than the Sony and that noise appears to have a pattern to it, making it harder to remove. This rather limits the camera's Raw latitude.
If given the same exposure, the ISOs above 200 look very similar, suggesting there's little benefit to raising the ISO much above this. If you're trying to shoot bright lights such as neons in low light, you might be better off using the 'correct' exposure, then reducing ISO, giving you a stop of recoverable highlights for every stop you reduce the ISO.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. AutofocusThe D-Lux 8's autofocus system is pretty simple: you can select a series of different AF area sizes or select a Face Detection mode or a Tracking AF mode. To move the AF point you can either use the touchscreen or use the four-way controller, which is a little slow to operate.
Within the Face or Tracking options there's no control over the AF point size and the modes can't be combined, as is increasingly common in other brands. This means you'll need to switch in and out of Face Detection mode, rather than the camera using its Tracking mode and then engaging Face Detection when appropriate.
In terms of performance the AF does pretty well. Improvements in either the algoritms or processing power of the camera mean it's much more sticky than we remember the previous generation of camera being. If you point it at a subject it'll generally do a good job of keeping its attention on that subject.
The D-Lux 8 doesn't have phase detection autofocus though, so can be prone to hunting, especially in low light. Overall the D-Lux 8's autofocus is not at all bad, but both the clunkiness of the interface and the reliability feel like they're a few years behind the times.
VideoIn video the autofocus tracking continues to do a good job of staying on the subject you've specified but the focus itself can take a while to catch up with any changes. There's no ability to adjust the focus speed, to choose whether you want a rapid response to keep things in focus or a slow 'pull' between subjects.
It's a strictly 8-bit affair, so there are no Log or HDR options for those more adventurous output ambitions.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The D-Lux 8's video isn't bad, by any means, with pretty good levels of detail capture. The downside is that the focus is prone to hunting and pulsing, due to its use of the depth-from-defocus system that needs to shift focus to attempt to build a depth map of the scene. Add into this the inability to use an external mic and the lack of means to monitor the audio and the risk is you'll end up with clips that look ok but sound bad: something that's more off-putting than a lower detail capture level.
Perfectly good for social media use, where you can overlay a clip of music or some uncanny generated speech, but not an option we'd consider if video is of real interest to you.
In useThe D-Lux 8 has a variation of the user interface from the company's third-gen SL models, putting core exposure parameters front-and-center.
The D-Lux has a dedicated aperture ring and shutter speed dial, with the command dial on the shoulder that defaults to exposure compensation. There are also four customizable buttons, including one placed in the center of that shoulder dial, that can be used to access settings such as ISO.
Holding any of the buttons down for more than a second pops-ups a list of the 38 functions that can be assigned to them. Unlike the SL cameras, you can't edit this down to just include the settings that you want quick access to, if you find yourself needing regular access to more than four options.
The main things that we found got in the way of our enjoyment of the D-Lux 8 came down to its distinctly slow zoom motorAlso setting the D-Lux apart from the SL cameras is that the video mode's settings aren't as well separated from the stills mode's. There's also none of the red/yellow color-coding to distinguish them. This is less of a problem, given the D-Lux isn't especially suited to video capture.
Because there's no Time or Bulb setting on the shutter speed dial, you can't set a separate shutter speed for video and stills modes: both have to follow the dial's setting. And again, the lack of mic input or headphone socket means the audio on your video won't be great, so unless you plan to overlay music on your footage, it may end up pretty unwatchable.
The main things that we found got in the way of our enjoyment of the D-Lux 8 came down to its distinctly slow zoom motor. The camera has a rocker switch around the shutter button, but not much happens when you press it: there's a distinct lag before the camera decides to communicate the message down to the engine room and set the zoom motor into action. This, more than anything else, makes the camera feel unresponsive, taking you out of the moment, distancing you from the action and significantly undermining the shooting experience.
There's a lot to like about the D-Lux 8 but waiting for the zoom lens to react and move where you want isn't necessarily one of them.Similarly the camera's on/off button adds to the frustration: the use of a button, rather than a switch, means you have to hold it down for a moment to prevent inadvertently turning the camera on, constantly. Then you have to wait for the zoom to painfully extend out into position. By which stage you may well have missed the moment.
And yet, despite adding an extra lag before the lens plays its part in slowing you down, the confirmation lag on the D-Lux 8 is brief enough that you are likely to find yourself accidentally turning the camera on. It's the worst of both possible worlds, essentially. There's a reason so many cameras use on/off switches, rather than buttons.
We still love what the D-Lux 8 is. Its bright 24-70mm equiv lens, with that clever aspect ratio switch prompting you to make the most of its multi-aspect lens/sensor design is great. But it doesn't deliver the responsive, 'pure photography' experience that other Leicas do.
Conclusion Pros Cons- Decent image quality with a choice of interesting color modes
- Useful lens range with bright maximum aperture
- Well-designed user interface
- Good size-to-image quality balance
- Switch to exploit multi-aspect sensor/lens arrangement
- Decent video spec
- Lens isn't especially sharp
- Zoom function is slow and laggy
- Sensor noisier than more modern examples
- Lack of mic or headphone socket make audio capture hit-or-miss
- Power button easy to engage inadvertently
The Leica D-Lux 8 is an infuriating combination of a great concept disappointingly executed. We love the idea of someone making a new enthusiast compact camera with a good degree of direct control. But while the D-Lux brings a particularly good user interface to the table, it's not enough to overcome the limitations of elderly hardware and a borderline ridiculous price tag.
As photographers, the enthusiast compact must offer two things: fitting as much image quality as possible in a pocket and ergonomics to let you take hands-on control of the photographic process, so your contribution amounts to more than just pointing your smartphone and tapping the screen.
However, while the D-Lux 8 gets some of the basics of this equation right, there are too many shortcomings for it to all add up.
The D-Lux 8 is small enough to boost the chances you'll have it with you when you encounter good light, engaging enough that you'll feel you played a part in the images it produces, and good enough to be worth using, instead of your phone.
Built-in lens @ 70mm equiv. | F2.8 | 1/400 sec | ISO 200
Photo: Richard Butler
The slow and laggy zoom of the lens can really distance you from the shooting experience: a critical failing in an photographer's compact. And while the autofocus performance is good enough to overcome our concerns about the rather awkward AF interface, the same accommodations can't be made for the image quality.
Quite simply the sensor performance doesn't look particularly great and the lens never seems especially sharp. And those are killer blows. The D-Lux 8 falls short on both experience and results by too much, and that's before you even start to think about how much the camera costs.
Conceptually, the Leica D-Lux 8 is exactly the kind of camera we desperately want someone to make. It's small enough to keep with you, and is engaging enough to make you feel like you're playing a part in the images is makes, but the drawbacks definitely add up. With heavy hearts, we feel it falls too far short of this promise to justify us giving it an award.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Leica D-Lux 8Category: Enthusiast Large Sensor Compact CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe D-Lux 8 puts a lot of image quality and flexibility in a small, attractive package. The slow-zooming lens undermines the shooting experience and the image quality doesn't quite live up to the price tag. We admire the D-Lux 8 more than we love it.Good forPhotographers wanting a flexible compact.Not so good forBudget-conscious shooters who need true pocketability.83%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"leica_dlux8","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 peersSony's RX100 Va is one of the few direct competitors to the D-Lux 8. Its image quality isn't too far behind, despite having a sensor around 60% of the size. Its autofocus is more dependable but its interface is nothing like as engaging as the Leica's, with chaotic menus and a clickless control wheel undermining experience of using the camera. The Sony is more capable, the D-Lux more enjoyable.
Canon recently said it's upping production of the PowerShot G7X III, suggesting we're not the only people interested in the concept of enthusiast compacts. The G7X III again offers a conceptually similar set of features, a pretty engaging shooting experience, and not too much of an IQ drop. This makes it the more rational choice: it's not quite as nicely built but it's significantly smaller and less expensive.
The Fujifilm X100VI is in some senses a logical rival to the D-Lux 8 in that they both aim to offer high image quality in a compact package with lots of direct control points (if anything, the VI's have become a bit over-cluttered). They're also utterly different: the fixed 35mm equiv lens on the Fujifilm makes for a delightfully limited / focused camera, and its image quality is in a different league to the Leica's. For the same money, assuming you're ok shooting with a prime lens, we'd go for the Fujifilm.
The Ricoh GR IIIs (both the 28mm and 43mm equiv versions) again offer better image quality in a smaller package, but with a fixed focal length lens. The interface is more intricate than the Leica's, and there's a similar need to pay attention to dust ingress. But the Ricohs are also significantly less expensive. There's a reason they have a cult following.
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Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.OM System OM-3 review
The OM System OM-3 is the company's latest Micro Four Thirds mirrorless camera. Its use of the same 20MP Four Thirds Stacked CMOS sensor found in the OM-1 Mk II makes it the least expensive interchangeable lens camera to feature a Stacked sensor we've seen to date, and it has most of the features and capabilities of the more expensive model.
OM System has packaged it all in a retro-styled body, which features a knob for quickly switching between color modes, as well as a button that, by default, gives you quick access to the many computational photography features that the company has become known for.
Key Specifications- 20MP Four Thirds Stacked CMOS sensor
- In-body image stabilization rated up to 6.5EV
- 2.36M dot EVF 0.61x magnification
- Up to 50fps continuous shooting with C-AF, 120fps with AF/AE locked
- Configurable pre-capture
- Up to 4K 60p video with 10-bit Log option
- Color and effects dial
- IP53-rated weather sealing
- 50MP handheld / 80MP tripod high-res composite mode
- Battery rated to 590 shots
The OM-3 will be available for sale starting February 27th, with a body-only MSRP of $1999. It will also be available as a kit with OM System's M.Zuiko ED 12-45mm F4.0 Pro lens for $2299. In the US, the company is running a pre-order bonus until Feburary 26th, where you can get $200 off if you purchase the camera with either the 17 or 25mm F1.8 primes that launched alongside it.
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- How it compares
- Body and controls
- Image Quality
- Autofocus
- Video
- In Use
- Conclusion
- Sample gallery
- Specifications
- Press release
Unlike the OM-1 and OM-5, the OM-3 isn't a direct continuation of an existing Olympus camera line, which results in a camera that looks quite distinct from other models bearing the OM badge. There's absolutely still a family resemblance – it looks a bit like a larger OM-5, despite mostly being an OM-1 II inside – but the OM-3 also very clearly draws influence from classic film SLRs.
This is most obvious when viewing it from the front. There's no raised grip to speak of, and a black leatherette wraps around the silver camera body. The texture and substantial thumb rest on the rear make the camera relatively easy to hold on to, at least for our testers, and the metal build feels reassuringly solid in the hand.
The camera is remarkably wide, though that evokes classic film bodies and provides plenty of room for its battery.Beyond its shape, the OM-3 differs from previous OM System cameras in several ways. Instead of being integrated into a raised circular section with two buttons atop it, the power switch is now on its own. The buttons have been replaced by a dial, which lets you quickly switch between stills, video and 'slow and quick' video modes. Speaking of dials, there's one on the front that warrants an in-depth look.
The 'Creative Dial'The OM-3 features a front control knob called the "Creative Dial." It'll be familiar to fans of the PEN-F, whose similar dial set it apart from preceding PEN models.
Like the PEN-F's, the OM-3's dial has five positions; the middle lets you use the standard color modes for the camera. Switching to Color gives you access to four profiles, which are designed to replicate specific film looks. Another click to the left takes you to the Mono mode, with four more profiles, this time in black and white. The other side of the dial gives you access to the "Art" modes, which act as filters to add effects like pinhole camera or bleach bypass, and the color creator mode, which lets you add a tint to your photos.
You can use the customizable Color Profiles to create some relatively extreme looks.The real fun comes from customizing the color and mono profiles. OM System gives you the basic sliders – sharpness, contrast, vignetting – but also offers finer-grained control. In the mono modes, you can add a virtual color filter, a simulated grain effect in three strengths and choose a sepia, blue, purple, or green tint. In the color profiles, you get a color wheel giving you control over the saturation levels of 12 hues. You can also control shadows, mid-tones and highlights, boosting them or lowering them to get the look you want.
It's worth noting that most of these customizations aren't wholly new to OM System; the OM-1 II also gives you a lot of control over how your JPEGs turn out, including the shadow, midtone, and highlight control. However, the OM-3 puts those features front and center, making it much harder to miss them, and having four custom profiles instead of one makes it easier to create some dramatic looks without having to worry about using up your one custom slot.
Quick access computationLately, we've seen a trend of camera companies adding physical controls for their standout features – think the Fujifilm Film Simulation dial or the Panasonic S9's LUT button. OM System has done the same with the OM-3's "CP" button, which gives you easy access to the camera's vast array of computational photography features without requiring you to dive into the menus. For those unacquainted, these features are multi-shot modes, where the camera takes several exposures to achieve certain effects in-camera, without the need to stitch anything together using external software.
The modes available on the OM-3 via the CP button are:
- High resolution (tripod / handheld)
- Live ND (1-6EV)
- Live Graduated ND (1-3 EV)
- Focus Stacking*
- HDR
- Multiple exposure
* Only available with select lenses
These features are arguably part of what sets OM System apart from its competitors, so it makes sense to replace what was traditionally an AE / AF lock button with something that puts one of the camera's main selling points at your fingertips.
This straight-out-of-camera shot was taken using the Live Graduated ND mode to keep the sky from being overexposed. Its availability at the press of a button made using it a no-brainer.
OM System 12-40mm F2.8 PRO II | F4 | 1/250 sec | ISO 200
Photo: Mitchell Clark
A single press of the CP button activates the last computational mode you used, with a long press gaining you access to the other available options. You can limit this list in the menus so that even the long-press takes you to a list of only the modes you actually want to use. This approach does slightly reduce the button's ability to help new users discover all the features, but means experienced shooters can get straight to the function they want.
OM Cinema video color modes Standard Color Profile OM Cinema 1 OM Cinema 2
The OM-3 includes two new "OM Cinema" color modes for video, which the company says are meant to give you the same highlight capture capabilities as its OM-Log mode, while giving you a cinematic look straight out of camera. OM Cinema 1 is designed to highlight yellows in the bright parts of your image, and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.
Like the OM-Log400 mode, both modes have a base ISO of 400, pushing you to use exposures that can capture the additional highlight range.
How it comparesThe OM-3 is the least expensive ILC we've seen to use an expensive Stacked CMOS sensor. Internally, it's very similar to OM System's flagship OM-1 Mk II, featuring the same sensor, burst rates, autofocus subject recognition, computational photography modes and weather sealing. The more expensive model has a faster mechanical shutter, more buttons, a beefy grip, deeper buffer, a larger, higher-res viewfinder and dual card slots. However, we suspect looks and size, rather than capability, will be the deciding factor between the two for most people.
The use of an expensive, Stacked sensor puts the OM-3 in an interesting position. Multiple full-frame cameras are available for this much money or less, offering a substantial increase in light-gathering ability at the cost of larger, heavier lenses, much slower burst rates and generally fewer features. But if you want a larger sensor that's still Stacked, you'll have to pay for it – the Fujifilm X-H2S's MSRP is 25% more expensive.
At this price point, the OM-3 is playing in a few markets. You could consider high-performance models like the Panasonic G9 II, Canon EOS R7, or Fujifilm X-H2S as its peers, but it also competes with style-conscious options such as Fujifilm's X-T5 and the Nikon Zf. We've included a selection of both.
OM System OM-3 Canon EOS R7 Fujifilm X-T5 Panasonic G9 II Nikon Zf MSRP $1999 $1499 $1699 $1899 $1999 Pixel count 20MP 33MP 40MP 25MP 25MP Sensor size Four Thirds (225mm²)APS-C
(329 mm²)
(367mm²) Four Thirds (225mm²) Full-frame (864mm²) Sensor tech Stacked CMOS FSI-CMOS (Dual Pixel) BSI-CMOS CMOS BSI-CMOS Viewfinder res / mag 2.36M dot
0.69x* 2.36M dot
0.72x 3.69M dot
0.8x 3.68M dot
0.8x 3.69M dot
0.8x Stabilization IBIS, can coordinate with select lenses IBIS, can coordinate with select lenses IBIS
IBIS, can coordinate with select lenses
IBIS Max burst rate6fps (mech.)
50fps (C-AF, e-shutter)
120fps (S-AF, e-shutter)
15fps (mech.)
30fps (elec.)
15fps (mech.)
20fps (e-shutter, 1.29x crop)
14fps (mech.)
60fps (C-AF, e-shutter)
75fps (S-AF, e-shutter)
11 fps Raw
14 fps JPEG (15 e-shutter)
30fps in C30 JPEG mode
Pre-release capture Yes Yes Yes Yes Yes (JPEG only) Rear screen 3" 1.62M dot fully-articulated 3" 1.62M dot fully-articulated 3" 1.84M dot three-way tilt 3" 1.84M dot fully-articulated 3.2" 2.1M dot fully-articulated Battery life (LCD/EVF) 590 / - 660 / 380 580 / - 390 / 390 380 / 360 Card slot 1x UHS-II SD 2x UHS-II SD 2x UHS-II SD 2x UHS-II SD 1x UHS-II SD1x UHS-I Micro SD Dimensions 139 x 89 x 46mm 132 x 90 x 91mm 130 x 90 x 92mm 134 x 102 x 90mm 144 x 103 x 49mm Weight 496g 612g 557g 658g 710 g *Using the whole-panel 'Viewfinder style 3'
Every system listed here will have strengths and weaknesses compared to the OM-3. The EOS R7, for example, is technically an extremely capable camera with its larger sensor, reliable autofocus, and dual SD card slots, though the OM-3 shoots significantly faster and with less rolling shutter. Nowadays, the lens selection for Canon APS-C systems is a little more healthy, but still well short of the Micro Four Thirds system's. The EOS R7 also doesn't have the retro design that the OM-3 does; like the G9 II, its looks lean toward the industrial.
The Nikon Zf and Fujifilm X-T5 have similar aesthetics, but while the Nikon is relatively small for a full-frame camera, the same can't be said for the lenses you'll have to attach to it. Fujifilm's lens ecosystem is the only one that's as comprehensive as Micro Four Thirds, though its autofocus system isn't as good as OM's in many situations and is well off the pace from the state of the art.
Only Panasonic's G9 II comes close to offering the range of in-camera multi-shot computational modes, and even then, the OM-3's faster readout gives it an advantage.
Body and controlsThe OM-3's retro design is one of its biggest selling points over the OM-1 Mk II. It trades rubberized, inset dials for top-mounted ones with chunky knurling and silver accents placed on the top plate. Despite the prominent hump, the viewfinder is actually relatively small, though it usually gets the job done.
It's clearly a throwback to old-school SLRs. That may disappoint those who saw the Creative Dial and hoped for a rangefinder-style PEN-F revival, but given that SLR-shaped cameras have long outsold rangefinder-styled ones, its inclusion here hints that this may be the closest we'll get to a direct successor.
The OM-3 isn't as compact as the OM-5 but takes up less space than the OM-1 II.The OM-3 isn't as much smaller than the OM-1 as we initially expected; several DPReview staff remarked on how wide it was upon picking it up for the first time. That does, however, add to the film camera aesthetic and gives it room for a large battery, and the lack of a grip does make it easier to fit in a bag, especially without a lens attached. However, you still likely won't be able to stow it in a pocket or purse like you could with the smallest Micro Four Thirds bodies.
During our testing, we found that the camera's controls were well laid out, with all the essential buttons being easy to reach. It has several customizable buttons that you can map to your preferred functions and OM System's traditional function lever, which lets you quickly change an unfortunately very limited selection of your dial functions or autofocus settings. The locking mode dial also gives you access to five custom shooting modes, which can recall a much broader range of settings, providing a generous number of setups that most photographers would likely struggle to fill.
It's generally easy to use one-handed, though the lack of a grip can make things a bit harder when you have to hold a button and operate the dials simultaneously. Depending on how you have the camera set up, its UI will require that relatively frequently. The lack of a joystick for controlling your focus point also means that you'll likely have to use two hands when moving your focus point around, whether using the directional pad or the touchscreen.
The OM-3 has OM System's latest menu system, which is very similar to Canon's. The sections are color-coded, which can help remind you of where everything is, and you can use the customizable My Menu to create a section filled with your most-accessed settings.
You can navigate through the sections using the front dial and switch pages using the rear one, making it easy to zip around once you get a feel for where everything is. However, you'll have to use the four-way controller to actually change your settings; the camera lets you use the touchscreen to switch tabs and pages but not to navigate through or adjust the settings themselves.
The OM-3's menus are logically laid out, though it would be nice if the top categories were always color-coded rather than just showing the color when you select them.You may not actually have to spend that much time in the menus, though. The OM-3 features the company's "Super Control Panel," which is, by default, mapped to the "OK" button. Bringing it up gives you easy access to most of your important shooting settings: drive mode, AF mode, AF subject section settings, exposure and ISO control, etc. All of which can then be adjusted with a spin of the dial or tapped to display their options. Combined with all the physical controls, it can make a trip to the menus a rarity if you spend some time setting everything up.
BatteryThe OM-3 uses OM System's large, 17Wh BLX-1 battery, the same found in the OM-1 Mk II. It's rated to provide around 590 shots on a charge when using the LCD. That's an impressive capacity for a camera this size, and it bore out in our testing; we didn't often find ourselves reaching for a charger, even over long weekends of shooting with frequent use of the computational modes. That's good news for those hoping to use it as a travel camera.
As always with CIPA ratings, the exact number isn't a literal indicator of how many pictures you can expect to get out of a charge, and we find you can generally expect to get at least double the rating. It does, however, act as a common point of comparison among cameras, and 590 is a very healthy rating.
Image qualityOur 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.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.At base ISO, the OM-3's Raws provide good levels of detail, even compared to its 25MP peers. Canon and Fujifilm's use of higher-resolution sensors give them a leg up in detail, though the differences are subtle when viewed at comparative sizes. Differences between noise levels are also subtle at base ISO, though the advantages of a larger sensor become more noticeable at mid and higher ISOs. It's difficult to directly compare the OM-3 and the G9 II, as the latter appears to be applying noise reduction, even in Raw.
Straight out of camera using handheld multi-shot mode.
Lumix G Vario 35-100 F2.8 II | F2.8 | 1/400 sec | ISO 200
Photo: Mitchell Clark
Like the G9 II, the OM-3 has a multi-shot high-res mode that promises to bump its resolution while also improving noise performance thanks to the multiple exposures. As we've pointed out before, the performance of such modes – especially the handheld ones – will be limited by how steady you can keep the camera and how still your subject is. However, the OM-3 makes it easy to give it a try, as it combines the shots in-camera; you won't spend precious time combining shots on your desktop only to discover motion artifacts. We found that, in the right situations, the modes provided a decent bump in detail.
The OM-3's JPEG engine does a good job of retaining fine detail without giving it an over-processed look and strikes a good balance of smoothing out noise without giving up too much detail at higher ISOs. There isn't much to distinguish it from its peers when it comes to its standard color mode; it competently reproduces pleasing skin tones and has pleasant, but not overbearing, yellows, reds and greens.
Dynamic RangeExposed for highlights, +2EV in ACR, edited to taste.
OM System 25mm F1.8 | F1.8 | 1/80 sec | ISO 200
Photo: Mitchell Clark
Given that the OM-3 shares a sensor with the OM-1, it's no surprise to see that its dynamic range performance is just as good. The sensor doesn't add much read noise, and the shadow noise performance is good, giving you room to shoot to preserve highlights, and lift the shadows in post.
Exposure Latitude | ISO Invariance
AutofocusTo select an autofocus point, you can use the touchscreen or the four-way controller. There are a variety of target mode settings, including the option to select a single point, small, medium, and large areas, a cross-pattern area, and a wide area that allows the camera to analyze the frame and choose what to focus on. You can also create four custom-sized zones.
The OM-3 has several autofocus modes, including the ability to recognize and track several types of subjects: Humans / eyes, cars and motorcycles, airplanes / helicopters, trains, birds and dogs / cats. It also has a specialized star autofocus mode for astrophotography.
The OM-3 lets you engage subject recognition mode, and use it with your chosen AF target type. The camera will focus on whatever's under your AF point and will track it if it's a recognized subject, but it won't jump off to recognized subjects elsewhere in the scene. However, unlike many contemporary cameras, you can't combine AF Tracking mode with subject recognition: if you want your camera to track something it's not been trained to recognize, you'll have to switch to the dedicated Tracking mode. This means you can't just leave it in a single mode and expect it to use the selected recognition mode only when appropriate; instead, you have to constantly turn subject detection on and off.
As for the autofocus system's performance, the camera performed well – though not exceptionally – in our standard tests and in our general use. For a subject moving straight toward the camera at a consistent speed, the OM-3 was generally able to keep them in focus, though it occasionally misstepped, resulting in a small number of slightly soft images.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Even in subject recognition mode, shown here, the OM-3 occasionally misjudged the distance it needed to drive the lens when tracking a subject moving at a variable speed toward the camera.Its standard autofocus tracking system was quite sticky and reliably stayed on the subject moving towards the camera and across the frame at varying speeds. While many of the resulting photos were in focus, the camera still sometimes struggled to judge and drive the lens to the correct place, leading to a handful of soft shots. Human subject recognition faired better and was tenacious at sticking to the subject, though there were still a handful of shots with the same issue, implying that the fault lies with the distance assessment/prediction algorithms, not the camera's inability to figure out what to focus on. The camera has C-AF speed and sensitivity adjustments that you can try to use to improve its performance for the specific subject you're shooting.
During our usage, the autofocus was generally reliable but occasionally faltered in situations that it felt like it should handle easily. We ran into a few situations where the tracking point would wander off the selected target or where the subject recognition AF would get confused by objects partially covering a subject's eye, such as glasses frames or fence wire.
VideoThe OM-3 has capable video specs, with a standout being its ability to shoot 4K UHD at full-width at up to 60 fps. It can also shoot at up to 240fps in FHD for slow motion, though the higher frame rates are the rare video modes that come with a crop – the only other time you won't get full-width video is if you enable electronic stabilization, which adds a 1.18x crop in 4K. That electronic image stabilization is quite good, especially paired with the stabilized sensor; it handles camera movement well, and generally doesn't have a noticeable grab-and-release effect if you pan the camera.
The video autofocus system can recognize the same subjects available in stills, though it's not as competent at tracking a subject that it hasn't been trained on. Unlike the notably sticky performance in stills, it was relatively easy to get the camera to lose track of the subject. In common with stills mode, the camera provides options to tune continuous autofocus performance, so you can choose whether you want slow, cinematic focus pulls between subjects or quick, snappy ones trying to maintain focus on a moving subject.
Most of the OM-3's ports are made for video and are along the left side. That does mean you may occasionally struggle with the flip-out screen hitting the microphone cable.The camera also has a variety of features that make recording video a bit easier. It has headphone and microphone jacks, which are vital if you want to get good audio, and a micro HDMI port – it's better than nothing, but anyone who makes a habit of outputting video through HDMI will almost certainly wish for the more robust full-size port. It can display two levels of zebra patterns, making it easy to spot when your highlights are clipping or are about to clip, a red frame recording indicator and the ability to use the front lamp as a tally light, and a view assist mode that gives you some idea of what your Log footage will look like when it's graded.
The OM-3 has several features that make recording video easierThe OM-3 supports 10-bit H.265 recording for Log and Hybrid Log-gamma HDR recording, which is where the extra bit-depth will be most useful. If you want to shoot footage using its standard color mode, you'll have to do it using 8-bit H.264 which comes with a penalty in detail – more on that in a moment...
Switching between photo and video modes using the dial is relatively easy, and both retain their own settings, so you won't have to constantly change your exposure parameters when shooting a mix of stills and video. You can also use the Creative Dial for video as well if you have the color mode set to "Same as Picture Mode," giving you access to the same color mode presets you've created for stills. However, if you've set the camera to use one of the video color modes, such as Flat, OM Cinema, or OM-Log, it will ignore the dial.
Video Performance Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The OM-3 has the same video system as the OM-1 and OM-1 II, which means that its 8-bit 4K H.264 modes deliver video with relatively good detail and that you won't pay any apparent penalty for going from 24p to 60p. However, like the OM-1, the OM-3's 10-bit H.265 video mode appears to offer a noticeable increase in detail in its 24p mode.
This doesn't carry over to 60p, though the bigger limitation is that you can only shoot in 10-bit mode when using the OM-Log400 or HLG color mode for HDR. That means that if you want the extra detail, you'll have to do some post-processing work.
For most use cases, the difference in detail will be very hard to discern when you're taking video of moving subjects, but it's something to be aware of if you intend to use the camera for serious video work.
Rolling ShutterGiven the OM-3's Stacked sensor, it's no surprise that its rolling shutter performance is strong across its modes.
Shooting Mode Crop Rolling Shutter Rate 4K 30p Full-width 5.8ms 4K 60p Full-width 5.8ms FHD 24p Full-width 5.8ms FHD 120p 1.27x 3.5msIts consistent rolling shutter rate of 5.8ms across its main video modes means that you'll essentially never have to worry about jello-like artifacting when shooting fast-moving subjects or panning the camera.
In useIt's clear a lot of thought has gone into the user experience – with some notable exceptions that we'll address shortly. The interface is sprinkled with small icons that let you know what you're doing, like the hearts and diamonds that let you know when you're shooting in electronic shutter or anti-shock mode. The menu also lends a helping hand, giving you explanations when settings are greyed out; for example, if a specific computational mode isn't available because of your shooting mode, the camera will just tell you that instead of leaving you to wonder.
The camera also has a great degree of customizability. You can change the function lever into a power switch, swap the dial directions depending on what you're used to, narrow down the CP menu options, and much (much) more. Perhaps that's not a surprise, given that second-system shooters are one of the main target audiences for this camera; being able to set it up to work like your main camera goes a long way to reducing the friction that often comes with switching between cameras.
OM System has built new features after adding the function lever and not gone back to update its behaviorThis has long been one of the brand's calling cards, though it's not unlimited – OM System has continued to build new features after adding the function lever and not gone back to update its behavior. If you set it to change autofocus modes it only controls certain parameters, meaning newer AF functions can get ignored or overridden. For example, if you have switch position 1 set to continuous autofocus with tracking and position 2 set to be single autofocus, if then you activate subject recognition while in position 2 and switch to position 1, the choice of subject recognition over-rides the C-AF+Tracking mode.
The FN lever options are still extremely limited.It feels like a missed opportunity. If the lever supported a wider array of settings, as the custom modes do, you could use it to switch between very different shooting styles. Instead, it's only useful in very specific situations, and you'll have to use the custom mode slots if you want to be able to quickly change between more sophisticated setups like subject recognition settings, your auto ISO minimum shutter speed, or focus limiters.
While we're discussing downsides, the lack of a joystick to control autofocus points was a disappointment, as we suspect it will be to anyone used to using one. However, OM System has made it so that each button on the four-way controller will start moving the autofocus point by default. You don't have to press a button to activate autofocus select mode before starting to move it. You can change this behavior if you want, using each direction as its own shortcut for other functions.
Using the camera's 25fps continuous shooting mode let us capture moments that would've been difficult to photograph with slower cameras.
OM System 100-400 F5-6.3 II | F6.3 | 1/250 sec | ISO 200
Photo: Mitchell Clark
Putting those complaints aside, though, it's just plain fun shooting at 50 or 120fps using a camera this compact, though it is worth noting that you can only do 50fps in the continuous autofocus mode with certain lenses. Many lenses, including the 100-400mm F5-6.3 IS II that launched alongside the OM-3, will be limited to 25fps in the continuous autofocus mode. For our birding outings, that was still a sufficient display of the power of a Stacked sensor, and while some competitors may be able to shoot faster than 25fps, their sensor readout rates will also be higher, likely leading to distortion from rolling shutter.
Speaking of shooting fast-moving subjects, the OM-3 also has a generous pre-capture buffer, so you can capture the moments – or even seconds – that happened before you fully pressed the shutter when in one of the "Pro Capture" modes.
While the Creative Dial will likely delight those who love developing and playing around with 'recipes' for their JPEGs, the pre-programmed Color Profiles available through the dial weren't compelling enough that we found ourselves reaching for it all that often.
Color Profile 1 Color Profile 2 Color Profile 3 Color Profile 4 The camera comes pre-loaded with four color modes available via the Color setting on the Creative Dial. You can customize them however you want, but these are the defaults.That's not true of the CP button, though. We used it almost every time we went out to shoot with the camera, and it became second nature to use the hand-held 50MP multi-shot mode since it was often only a button press away, helping you quickly access some of the modes that set the OM-3 apart from its peers.
One small detail that delighted us, to balance out some of the criticism: if the display is flipped out, the camera won't switch to the EVF if its sensors are blocked, preventing your jacket or shirt from making the monitor go blank while you're trying to compose your shot. Fans of waist-level shooting rejoice.
Conclusion Pros Cons- Good image quality that can be improved with in-camera multi-shot
- Controls put best features front-and-center
- Super Control Panel quick to use
- Custom color / monochrome modes leave room for creativity
- Sensor allows for fast shooting with low rolling shutter
- Wide variety of computational photography modes
- Good degree of customization
- IP water resistance certification
- Excellent battery life
- Expensive compared to its slower peers
- Small, low-res EVF
- No autofocus joystick
- 50fps mode limited to certain lenses
- AF tracking isn't as accurate as best of its peers
- Some features and functions can't be assigned to custom buttons and switches
At times, it's been difficult to think about and write about the OM-3 on its own terms instead of analyzing what it means for OM System as a whole. The brand has been in an odd spot since it spun out from Olympus, with most of its releases being minor updates to Olympus models. While the OM-3 has a lot of that same DNA, it is arguably the first real new model we've seen from OM System, and the temptation is to talk about what that means for the company going forward.
Doing so, however, would feel unfair to the OM-3. Because on its own, it's a great little camera which manages to pack a lot of technology and features into a classic-looking body. What's more, it makes those features easily accessible; the color mode dial on the front invites you to tailor your images to your preferences and makes it easy to shoot in black and white on a whim. The Super Control Panel makes it easy to access your most important settings without diving into the menus, and the CP button gives you access to the entire bag of multi-shot tricks that have become OM System's calling card.
The OM-3 is a testament to the age we're in, where many photographers want a camera that looks great and where usability has replaced image quality as the main factor setting cameras apart. With that said, at this price, it's hard to completely ignore image quality; it doesn't help that there are several great competitors. If you're looking to spend $2,000 on what will be your only camera, there's a compelling argument that you should pick up an APS-C camera and a decent standard zoom for around the same price. They won't shoot as fast as the OM-3, but they can still manage speeds that will be sufficient for most situations.
That does mean that the OM-3 is a bit of a niche camera; you'll have to want the flagship-tier performance that comes with a Stacked sensor while being okay with giving up some light-gathering ability. It's that limited appeal, along with its autofocus system that doesn't quite match the state of the art, and the small papercuts of some features being restricted to certain lenses and customization limitations, that keep it from getting Gold.
I usually wouldn't consider bringing a camera with a 200-800mm equiv. lens on a walk, but with the OM-3 and the 100-400mm F5.0-6.3 II announced alongside it, it wasn't really a burden.
OM System 100-400mm F5.0-6.3 II | F5.8 | 1/60 sec | ISO 250
Photo: Mitchell Clark
However, it earns its silver by being really, really good for its niche. If you're willing to give up some light-gathering ability, you'll get a camera that you can take almost anywhere to do almost anything, all while staying stylish in the process.
It seems especially well-suited for travelers since its blistering shooting speeds and relatively reliable autofocus mean you'll be able to capture subjects no matter how fast they are, and you won't have to dedicate an entire carry-on to lenses, even if you want to bring a few. And when the pace slows down, you can use the multi-shot modes to get some of that image quality you gave up back, or to capture a beautiful sunset, even if you didn't remember to pack a physical graduated ND filter.
Buy now:
Buy at AdoramaBuy at B&H Photo ScoringScoring is relative only to the other cameras in the same category. Click here to learn about the changes to our scoring system and what these numbers mean.
OM System OM-3Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe OM-3 is a camera that's small enough to go anywhere, with enough speed and computational tricks to capture almost any subject you'll come across.Good forTravelers who may encounter anythingNot so good forShooters that need maximum image quality86%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"omsystem_om3","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 peersThe Canon EOS R7 has a decidedly different form factor than the OM-3, with its deep grip, AF joystick, and dual card slots. It also doesn't allow for the same level of customization, and while the lineup of APS-C lenses for RF mount is improving, telephoto options are still a bit of a weak point, which is definitely not the case for Micro Four Thirds. The EOS R7 has some of the most simple and dependable stills autofocus in its class, and would likely nab you a few more tack-sharp shots than the OM-3 in most situations.
The Fujifilm X-T5 has similar SLR-throwback styling, as well as a very competitive selection of lenses. However, it can't shoot nearly as fast, and its X-Trans color filter means that its 40MP images won't quite offer the improvement in detail that you'd expect, given the pixel count delta between it and the OM-3. Fujifilm's tracking autofocus performance also isn't quite as good as OM System's, though its performance in subject recognition mode works well, and it lets you use tracking without turning off subject recognition. The X-T5 also has a substantially nicer viewfinder.
The Panasonic Lumix DC-G9 II is a close competitor to the OM-3, offering a similar number of computational modes. It's noticeably larger and heavier – it uses a body borrowed from Panasonic's full-frame S5 II – and has notably worse battery life, making it a less compelling travel companion. However, if you shoot a lot of video, the G9 II is almost certainly the better buy, with its open-gate support, full-size HDMI, a broader range of codecs, and tools like waveforms, vectorscopes, shutter angle settings and more.
The main advantage of the Nikon Zf over the OM-3 is the pure image quality improvements of a full-frame sensor, at the cost of substantially slower shooting and significantly larger body/lens combinations that also hurt its packability. Its autofocus system is easier to use, as you won't have to choose between tracking and subject recognition. Despite its retro aesthetics, the Zf is quite capable for video, but can't manage full-width at 4K/60p like the OM-3 can, and will have substantially worse rolling shutter. While Nikon's full-frame lens lineup is becoming pretty robust, your options will also be bigger, heavier, and more expensive than their Micro Four Thirds equivalents, again making it less appealing for travelers.
Sample galleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The Best cameras under $1000 in 2025
$1000 might sound like a lot of money for a camera, but it's probably the least we'd recommend spending if you want to go beyond phone photography. The picks on this list will give you more control than a phone and offer a more satisfying photographic experience.
At this price point, your main options will be entry-level interchangeable lens cameras or enthusiast-tier compact cameras with a built-in lens. Compact cameras offer more control than a phone and a greater zoom range, but – despite having sensors that are around 60% larger – likely won't offer a huge jump in image quality compared to the latest flagship phones.
Meanwhile, an interchangeable lens camera won't be as easy to carry around and comes with the added expense of lenses. However, they can make you feel even more involved in the photographic process, and the flexibility of swappable lenses will let you learn and grow into different types of photography as you develop your passion. They also feature much larger sensors than phones and the majority of compacts.
It's worth noting that camera makers sometimes assume that beginners will stick with the basic 'kit' zoom that comes with the camera, so it's worth checking whether a good selection of lenses is available (at a price you're willing to spend) before deciding which brand's system to buy into.
Our recommendations:- Best camera under $1000: Canon EOS R10
- The better performer: Nikon Z50II
- The affordable kit: Sony a6100
- Best compact camera under $1000: Sony Cyber-shot DSC-RX100 VA
- Best camera for content creators under $1000: Fujifilm X-M5
24MP Dual Pixel APS-C CMOS sensor | 4K/30p video (60p with crop) | 15fps shooting (23fps with e-shutter)
Photo: Shaminder DulaiBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Capable stills and video camera
- Simple, effective AF in stills
- Relatively easy-to-use
- Video autofocus is less effective than stills
- Mediocre battery life
- Few sensible RF lens choices
There are a few things that earn it the top place of this list. The first is its stand-out usability, with dual top-plate dials for controlling exposure settings and a joystick to control its very capable autofocus system. It also has a decent selection of lenses; third parties like Sigma have stepped in to round-out the selection of primes and higher-end zoom lenses available for it, meaning you've got a lot of good options if you want to move beyond the kit lens that came with it.
The R10 has a powerful AF tracking system with subject recognition that makes it especially good at focusing on people, animals and vehicles. We found it both easy to use and effective. 15fps shooting with the mechanical shutter is good, though the buffer is limited. "The EOS R10 is an approachable, capable option for stills and video" The R10 has a relatively small body but finds room for two command dials. Most key settings can be accessed through the Q menu, making it easy to access the camera's core functions. The R10 can shoot 4K video at up to 60p with a crop, or 30p using its full sensor width. The footage isn't the most detailed but, as in stills mode, there's the option to shoot footage for HDR TVs. Autofocus isn't as dependable as it is in stills mode.With the EOS R10 Canon has re-created the capability and usability of its popular Rebel series DSLRs in its RF mirrorless lens mount. Now that there's a wider variety of lenses available – namely, the Sigma F2.8 zooms and F1.4 primes for it as well as Tamron's ultrawide zoom – it's an excellent pick for those looking to get into photography, and gives it a leg up over systems that don't have those lenses available, such as Nikon's.
See Canon EOS R10 studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The other optionsWhile we much prefer the higher level of control that the EOS R10 provides, the less expensive Canon EOS R50 may also be worth a look if you're extremely budget-conscious but still want to stay in the Canon ecosystem. It has fewer control points – most notably, it misses out on the EOS R10's joystick – and it loses out on features such as 4K/60p video capture and an articulating display, but it's still pretty capable.
We don't recommend the cheaper still EOS R100. It's based on a previous generation of technology, so it's slower and has less sophisticated autofocus.
The better performer: Nikon Z50II20.9MP APS-C sensor | Subject recognition AF | Full-width 4K video up to 30p
Photo courtesy NikonBuy now:
$1049 w/ 16-50mm at Amazon.com$906 at Adorama$906 at B&H Photo What we like:- Twin top-plate control dials
- Simple tracking AF w/ subject recognition
- Strong video specs
- Weak battery life
- Limited zoom lens selection
- No sensor stabilization
The Z50II makes a case for being the best pick for beginners, thanks to a simple and mostly reliable AF system with automatic subject detection. However, while plenty of prime lenses are available, Nikon appears to be blocking bright zooms from third-party makers, limiting your upgrade options compared with its rivals.
It has a solid grip, twin top-plate control dials, and a wide variety of customizable buttons, including one that, by default, controls color mode. Focusing is handled using the touchscreen or four-way controller. The Z50II delivers on the basics without breaking the bank. Autofocus is very good with subject detection being especially good. However, human detection doesn't seem as sticky and 3D Tracking isn't as dependable as on Nikon's higher-end models. Otherwise, the camera is snappy and can even do 30fps pre-capture, though it's JPEG only. The Z50II can shoot Log or HLG video and has a waveform monitor to help set correct exposure. The inclusion of a headphone socket helps maintain audio quality but the lack of in-body stabilization is a particular disappointment given that its other video chops are what really set it apart. The Z50II is a solid hybrid camera, with several features from Nikon's higher-end cameras. The lack of a stabilized sensor is the one mark against what are otherwise very good video specs, and you may find the lens selection limited if you want a camera to grow with you. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. What about the Z fc?Nikon's Z fc is a stylish camera based on the original Z50, which means it has the same sensor as the Z50II. We like it a lot, but the autofocus on the Z50II is such a marked improvement that it's hard to recommend picking up a Z fc at this point – you can read our full comparison between the two cameras here. If you have a strong attachment to the Z fc's aesthetics, your best option is probably holding-off for a bit to see if Nikon updates the Z fc. If that's not an option, see if you can get it on sale or used.
The affordable kit: Sony a610024MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture
The Sony a6100 offers a lot of power in a compact, well-priced body. The 16-50mm power zoom isn't the best, though.
Photo: Richard Butler
Buy now:
Buy at Amazon.com$598 at B&H PhotoBuy at MPB What we like:- Excellent autofocus system
- 4K/30p video recording
- Tilting touchscreen LCD
- Less robust build quality
- Rolling shutter 'jello effect' present in 4K video
- Crop when recording 4K/30p video
It was a very capable and affordable camera when it was launched several years ago, offering some of the best autofocus around and a wide selection of lenses. The latter part is still an advantage, but many competitors' autofocus systems are now on par with, or even more capable than, the a6100's. However, it's still worth considering if you want to get both a camera body and a decent lens for under $1,000.
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. It also uses Sony's old menu system, which can be a chore to work with.
"The a6100's autofocus can effortlessly track whatever you point it at" 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 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.See the Sony a6100 studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best compact camera under $1000: Sony Cyber-shot DSC RX100 VA20MP 1" Stacked CMOS sensor | 24-70mm equiv. F1.8-2.8 lens | 4K video capture
The RX100 VA can deliver excellent image quality, backed up by good autofocusBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Excellent photo quality
- Very good AF for a compact
- 24 fps burst shooting with deep buffer
- Interface and controls can be overwhelming
- No touchscreen
- Limited battery life
The Sony Cybershot DSC-RX100 VA is an updated RX100 V with the same 20MP Stacked CMOS sensor, fast 24-70mm equiv. lens, hybrid AF system, clever pop-up viewfinder and excellent 4K video quality. The 'VA' adds a larger buffer, new metering, white balance and AF modes, an improved EVF refresh rate and more.
Sony essentially created this class of cameras with the original RX100 model. A large sensor gives image quality that's still a match for a good smartphone but with the benefit of an actual zoom lens. The Stacked CMOS sensor and a built-in viewfinder add to the cost but also create a very powerful camera.
"Offers the best combination of photo and video quality, autofocus and speed of any compact camera" Handling and ergonomics are the RX100 series' weak point, and they're most enjoyable when used as point-and-shoots in auto modes. But nothing else offers this combination of photo and video quality, speed and compactness, and the viewfinder makes it useable in a wide range of circumstances.The RX100 VII is also worth a look. It's more expensive, and its lens is slower, taking away some of the low light performance, but it offers a much longer zoom, giving still more benefit over a smartphone.
Read our Sony Cyber-shot RX100 V review
See the Sony Cyber-shot DSC RX100 V studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera for content creation: Fujifilm X-M526MP APS-C BSI CMOS sensor | Fully articulated 3" LCD | 6.2K 3:2 video up to 30p
What we like:- Great JPEG colors with dedicated dial
- Solid selection of vlogging features and UI
- Good level of direct control
- No viewfinder
- AF tracking performance isn't the strongest
- Unstabilized sensor
It's aimed at creators taking pictures and video for the web, with a suite of vlogging features meant to let you shoot video that's ready to upload as soon as you transfer it to your phone and a dial that lets you easily switch between 'Film Simulations,' Fujifilm's much-loved color modes. It also has the full suite of stills features from larger, more expensive models – minus a viewfinder – and its X-mount lens mount also gives you access to the most complete range of APS-C lenses, no matter where your photography or content creation journey takes you.
Fujifilm's autofocus can recognize and accurately track several subject types, but overall its autofocus isn't as swift or reliable as its rivals and its general subject tracking isn't as dependable. The X-M5's stills mode is among the most competent in vlogging-focused cameras It has two top-plate control dials and a focus control joystick, but no four-way controller. It also features the company's film simulation dial for controlling the color profile. The X-M5 can shoot up to 6.2K open-gate footage, which can be cropped for sharing on multiple platforms. Many of its video modes, such as 4K 60p, lighter-weight 4K LP mode, and electronic stabilization modes, come with a substantial crop. Our initial impressions of the X-M5 are that it's a capable camera for its size and price but that its non-stabilized sensor and last-gen autofocus tracking may be an issue for its target audience.Read our Fujifilm X-M5 initial review
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. What if I only vlog?If you plan to shoot more videos than photos, you may want to consider the Sony ZV-E10 II. Its lack of a mechanical shutter makes it worse for photography, but its autofocus tracking performance in video sets it apart from the X-M5. It also has video-centric features like a front tally light and included wind sock, and it can shoot 4K 60fps without having to crop in too tightly on the frame.
Buy now:
$1098 w/ 16-50 at Amazon.com$1098 w/ 16-50 at B&H PhotoBuy at MPBClick here to read the ZV-E10 II review
Sony also makes a compact vlogging camera called the ZV-1 II. It gives up a lot compared to the ZV-E10 II: it has a much smaller Type-1 sensor, no 10-bit video, no 4K 60fps, and, obviously, no ability to switch out lenses. In return, you get built-in ND filters, which will help if you're shooting in direct sunlight, and a built-in lens, which means that you're getting a complete package for under $1,000. Still, it's hard to recommend when cameras like the DJI Osmo Pocket 3 exist and when many phones rival it in vlogging capabilities.
Click here to read our Best Cameras for Vlogging buying guide
Why you should trust usThis 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.
The 7 Best cameras for travel in 2025
Updated January 30, 2025
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 you'll be prepared to capture whatever you run into.
We've also tried to select relatively small cameras so they don't interfere with your trip, though it's worth touching briefly on lens size. If you choose a system with a Four Thirds or APS-C sensor, you'll be able to use lenses that are lighter and more compact than their full-frame counterparts. Full-frame sensors, however, offer the potential for even better image quality, so it's worth considering whether portability or image quality matters more to you and doing some research on what types of lenses you'd like to use and how big the full-frame versions are.
Our recommendations- Portable full-frame: Sony a7CR
- All-round compact capability: Sony a6700
- The great travel kit: Fujifilm X-T50 with 16-50mm F2.8-4.8
- Truly compact mirrorless: OM System OM-5
- The stylish travel companion: Nikon Zf
- The classic choice: Fujifilm X100VI
- Best pocketable travel camera: Ricoh GR III
61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system
Photo: Richard ButlerBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Big camera features in a small body
- Outstanding AF performance
- Auto Framing video mode
- 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. All-round compact capability: Sony a670026MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen
Photo: Richard ButlerBuy now:
$1398 at Amazon.com$1398 at B&H PhotoBuy at MPB What we like:- Front and rear command dials
- Excellent AF in stills and video
- 4K/120p capture (with crop)
- 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The great travel kit: Fujifilm X-T50 w/ 16-50mm F2.8-4.840MP APS-C BSI CMOS sensor | In-body image stabilization rated to 7EV | 6.2K 10-bit video recording
Photo: Richard ButlerBuy now:
$1399 at Amazon.com$1399 at B&H PhotoBuy at MPB What we like:- Great JPEG colors with a profile control dial
- Full-featured auto mode
- Compact and light
- Autofocus tracking can struggle to keep up
- Tiny viewfinder
- Small battery
The X-T50 can be purchased with Fujifilm's excellent 16-50mm F2.8-4.8 kit lens, which provides a versatile focal length for travel and should be able to keep up in darker environments. Fujifilm also sells a wide variety of relatively fast, compact primes.
The X-T50 has dials for important exposure settings, and a small but useful grip. Its rear screen can tilt up or down. Its joystick and some buttons can be awkward to use, but the film simulation dial encourages the use of one of the camera's key features. Its autofocus can recognize and accurately track several subject types, but its general tracking isn't the most reliable. Its 8fps mode isn't particularly fast. The X-T50's controls and auto mode make it great for beginners, who can expect it to keep up with them as they grow. More experienced shooters will appreciate Fujifilm's robust lens selection.Read our full Fujifilm X-T50 review
See the Fujifilm X-T50 studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The other APS-C optionsIf you're looking for an APS-C camera that's even smaller than the X-T50, the Fujifilm X-M5 may be worth considering. It's substantially cheaper, though it's easy to see where the company has saved money: it uses a lower-resolution 26MP sensor, which isn't stabilized, and there's no EVF. It does have the same film simulation dial and autofocus subject recognition modes, though, so those tradeoffs may be worth it if size or price are your top priority.
The Nikon Z50II is also a strong all-around contender, but its lens selection isn't as strong as Sony or Fujifilm's, nor does it have a stabilized sensor. However, it does have solid autofocus performance, a viewfinder, and a sub-$1000 price point.
Buy now:
$899 w/ 15-45 at Amazon.com$799 at Adorama$799 at B&H Photo Truly compact mirrorless: OM System OM-520MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)
Photo: Brendan NystedtBuy now:
$1299 w/ 12-45mm F4.0 at Amazon.com$1299 w/ 12-45mm F4.0 at B&H PhotoBuy at MPB What we like:- Attractive JPEG output
- Selection of clever photo features
- Excellent image stabilization
- IP53 rating supports claims of weather sealing
- 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Another Micro Four Thirds optionThe Panasonic Lumix G9 II is more expensive and less compact than the OM-5, though it still uses the same size lenses. For the extra bulk and cost you'll get a modern USB-C charging port, dual card slots and improvements in image quality, autofocus tracking performance and video features. However, the weather sealing likely won't be as good as OM Systems, which has an official IP53 rating.
Buy now:
$1519 at Amazon.com$1898 at Adorama$1898 at B&H Photo The stylish travel companion: Nikon Zf24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV
Photo: Richard ButlerBuy now:
Buy at Amazon.com$1997 at B&H PhotoBuy at MPB What we like:- Distinctive design with direct controls
- Effective subject recognition
- Strong stills and video features
- 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 review of the Nikon Zf
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best pocketable travel camera: Ricoh GR III24MP 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:
$1,066 at B&H Photo $1,066 at Adorama $1016 at Amazon What we like:- Excellent image quality
- Good controls and ergonomics
- Truly pocketable
- Short battery life
- No built-in flash
- Sluggish AF in low light
The Ricoh GR III HDF is the latest entry in the company's series of classic compact cameras with large APS-C sensors and a 28mm equivalent lens. This version is almost identical to the regular GR III, but swaps the built-in ND filter for a highlight diffusion one, which can be activated to give photos a dreamy look.
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. Unfortunately, most GR III models are currently difficult to buy, as they're out of stock or unavailable almost everywhere.
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.
See the Ricoh GR III studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The classic choice: Fujifilm X100VI40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder
The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.
Photo: Richard Butler
Buy now:
$2199 at Amazon.com$1599 at Adorama$1599 at B&H Photo What we don't:- Lens not especially fast to focus
- Hard to find in stock
Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.
It's not 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.
The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.
The X100VI brings a level of polish you would expect from a sixth 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.
Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers.
Read our Fujifilm X100VI review
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why you should trust usThis 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.
Best cameras for vlogging in 2025
Updated: January 30th, 2025
Whether you’re just sharing clips with friends or you’re launching an online on-camera career, vlogging matters. And there’s a point at which your smartphone may not give you the look, control, or flexibility you’re after. With 180-degree selfie screens, wide-angle lenses, microphone inputs and great video quality, more and more dedicated cameras are catering to people who want to take video of themselves and post it online.
The meaning of vlogging has changed over the years, so our picks cover a variety of styles – we'll explain what makes each camera good for vlogging, and what key features each has that make taking video of yourself easier. We've also included videos shot on the cameras in question when we have them to give you an idea of what kind of performance to expect.
Best camera for vlogging on the move: DJI Osmo Pocket 3 Photo: Richard Butler $519 at B&H $519 at Amazon $519 at AdoramaDJI’s Osmo Pocket 3 is a stabilized handheld vlogging camera, designed for on-the-move vlogging. It’s built around a type 1 (13.2 x 8.8mm) sensor mounted on a tiny gimbal, meaning it can deliver stabilized footage with smoother motion than any conventional camera or phone.
The small sensor means the Pocket 3 works better in well-lit situations, though a reasonably bright F2.0 lens means it’s usable indoors, too.
It can shoot 4K 16:9 video or, by rotating the screen into the upright position, 3K vertical 9:16 footage. A small joystick lets you control the camera’s movement, and tapping the joystick button flips between the camera pointing toward you or away from you.
Its reliance on contrast-detection autofocus means its focus can be prone to hunting, though its face-detection mode works well enough that this is rarely a problem when talking to the camera.
In addition to the smooth stability of its gimbal and its genuine pocketability, one of the Osmo’s main benefits is that it’s compatible with a series of Bluetooth microphones, meaning you can capture good-quality audio without the need for additional transmitters or receivers.
The video quality isn’t always the highest, and the autofocus can occasionally lead to frustration, but overall the quality and convenience of the Pocket 3 as a package is really hard to beat.
Read our hands-on impressions of the Osmo Pocket 3
We also considered Sony's range of entry-level vlogging cameras with Type 1 sensors, the ZV-1, ZV-1F, and ZV-1 II. The latter is the best pick of the bunch, given its zoom lens and built-in ND, but it's hard to recommend. Its quality will be slightly better than that of a flagship phone, but if you're going to be carrying an extra gadget around anyway, it's probably best to spend a bit more for a more flexible interchangeable lens camera with an APS-C sensor for a big boost in image quality.
Best camera for filming indoors: Sony ZV-E10 II26MP APS-C sensor | Full-width 4K/24p, 1.1x crop 4K/60p video | Fully articulating screen
Buy now:
$1098 w/ 16-50 at Amazon.com$1098 w/ 16-50 at B&H PhotoBuy at MPB What we like:- Reliable, accurate autofocus
- Good rolling shutter performance
- Plenty of video options, including 10-bit
- No in-body stabilization
- Doesn't includes Sony's latest and greatest AF
- Not fun for photography
Read our full review of the Sony ZV-E10 II
A potential alternativeWe've recently reviewed the X-M5, an APS-C camera with a lot of the vlogging features found in the ZV-E10 II. While it has a broad lens selection and a very competitive price point, its autofocus system is less reliable than Sony's when it comes to moving subjects.
We also considered Nikon's Z30 and Sony's similarly-specced ZV-E10, but the improved video performance of the Mark II and the lack of headphone socket on either of these older models mean it's the newer Sony we'd lean towards. The Nikon Z50II has strong video specs and some of the features the Z30 lacks, such as a headphone jack, but its form factor and heavy crop in its 4K 60p mode make it not particularly well-suited to vlogging.
Best camera if you do a mix of both: Panasonic S924MP BSI CMOS full-frame sensor | 6K/30p 10-bit video | Sensor stabilized to 5EV
Buy now:
$1799 w/ 18-40mm at Amazon.com$1498 at Adorama$1798 w/ 18-40mm at B&H Photo What we like:- Wide range of video features
- Quick camera-to-phone-to-social-media workflow
- Aggressive price point for a full-frame camera
- Mid-tier autofocus performance
- No headphone jack or front tally light
- Mediocre rolling shutter performance
- Full frame setup can be heavy for vlogging with
The S9's stabilized sensor earns it a place on this list – while it won't provide video as smooth as the Osmo Pocket 3, it does a good job of reducing the shakiness that typically comes with handheld footage. Its full-frame sensor provides good image quality for shooting indoors.
It can be difficult to adjust settings when you're holding the camera with one hand, and the rear control dial is extremely sensitive, making it easy to accidentally change settings. Lack of a grip makes the camera a little slippery. The S9's autofocus is generally reliable but can occasionally miss or hunt for focus. It can overheat in harsh conditions. It's Real Time LUT system lets you get already-graded images and videos straight out of camera. The S9 is a camera that goes all-in on posting to social media. Its open-gate 6K and UHD 4K modes have good quality, with plenty of detail. Its open-gate 4K 'MP4 Lite' codec produces files that are quick to transfer to your phone, crop, and upload to social media. 10-bit video is a plus if you plan on editing. The S9 has a well-thought-out workflow for posting media from it to the Internet. It's very capable at shooting video, but the photography experience isn't as strong.Read our review of the Panasonic S9
Best high-end vlogging cameraFull-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF
Buy now:
$2199 at Amazon.com$2198 at Adorama$2198 at B&H Photo What we like:- 4K footage up to 120p
- Auto-cropped modes aid one-person operation
- Effective autofocus
- Recording times can be short in warm conditions
- 12MP resolution not optimal for stills
- Cropped footage is upscaled to 4K
It has pretty much everything a vlogger would need: Sony's class-leading autofocus, a front tally light, a stabilized sensor, 4K60p with no crop and excellent rolling shutter performance. It also has features that make shooting alone easier, such as its auto framing mode that dynamically zooms in on the subject in a frame, much like a cameraperson would, and the product showcase mode that overrides the face detection AF when you're clearly trying to show the camera something.
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 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 usThis 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.
Nikon Z50II review
The Nikon Z50II is the company's latest entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. As with the original Z50, it's expressly aimed at stills and video creators looking for a small camera that makes it easy to upload.
It brings updated burst modes and AF functions to its predecessor, but most of the advancements are on the video side of the camera.
Key specifications- 20.9MP APS-C sensor
- Twin control dials
- Full-width 4K video up to 30p (60p with crop)
- 3D-tracking autofocus and subject recognition for nine subject types
- Up to 11fps mechanical, with up to 1 second pre-release capture
- Fully articulated 3.2" touchscreen
- Single UHS-II SD card slot in battery compartment
- 2.36M dot EVF with brightness up to 1000nits
The Z50II retails for a recommended price of $909 body-only and $1,049 as a kit with Nikon's DX 16-50 F3.5-6.3 lens.
Index:- What's new?
- How it compares
- Body and handling
- Image quality
- Video performance
- Autofocus
- In use
- Conclusion
- Sample Gallery
- Specifications
- Press release
Buy now:
$1049 w/ 16-50mm at Amazon.com$906 at Adorama$906 at B&H Photo What's newThe Z50II is, as the name suggests, an updated version of the company's original APS-C Z-mount camera. Much of what it gains comes from the use of a newer, more powerful Expeed 7 processor, but there are some subtle yet potentially significant additions beyond that.
Flexible Color Picture Control and Picture Control Button The new Picture Control button is right above the rear control dial.It's a change unrelated to processing power that helps signpost what the Z50II is and who it's intended for: the addition of a dedicated 'Picture Control' button to let you select the camera's color mode.
The changes go deeper than the labeling of a button, though. The Z50II becomes the first model to offer 'flexible' Picture Control profiles that let you adjust or download additional profiles. The camera comes with 31 but you can add more, and limit which ones appear when you hit the Picture Control button, so that it doesn't become overwhelming.
Nikon has, at least as far back as 2008, been one of the few brands to offer software to let you edit its in-camera profiles. The company's NX Studio software lets you adjust the existing Picture Controls, applying your own custom tone curve or changing the sharpening and saturation of the profile. However, you only get limited control over the color response, with a global hue adjustment, rather than the ability to re-map colors that a LUT would give.
It's the ability to download Creator Recipe profiles from Nikon's Imaging Cloud that we suspect most users will experiment with.
Brighter viewfinderThe Z50II also gains a brighter viewfinder, now capable of displaying up to 1000 nits, double the maximum brightness of the one in the existing model. The display isn't bright enough to fully preview HLG high dynamic range capture though, and is still the same 2.36M dot resolution.
Subject recognition / 3D TrackingOne of the most significant improvements that does come from the new processor is the Z50II's autofocus system. It gains the subject recognition modes from other recent Nikon cameras, boosting the number of recognized subjects from three to nine.
Nikon Z50II Nikon Z50 / Zfc Subjects recognized- Humans (Eye, Face, Upper Body)
- Birds
- Cats
- Dogs
- Cars
- Motorcycles
- Bicycles
- Trains
- Airplanes
- Humans (Eye, Face, Upper Body)
- Cats
- Dogs
It also adds the 3D Tracking AF mode, that makes it quicker to track subjects, regardless of whether the camera has been specifically trained to recognize them.
C30 and pre-burstAnother Expeed 7 feature to arrive on the Z50II is its ability to shoot at high speeds in e-shutter mode, with the option to start buffering images when the shutter is half-pressed and saving images captured up to one second before the shutter button is fully depressed.
The Z50II's C30 and C15 modes can shoot with autofocus at up to 30fps or 15fps, respectively, though they only record JPEGs.
Nikon Imaging CloudThe Z50II is also compatible with Nikon's Imaging Cloud service, which debuted with the Z6III. That means that, when connected to a Wi-Fi network, it can automatically upload your photos to Nikon's servers, which shuffle them off to your choice of third-party cloud storage services, such as Dropbox, Google Drive, or Lightroom. You can also have your camera automatically download firmware updates, and have it sync Picture Control presets that you've selected on your computer or phone. While many cameras have similar features, they have to be paired with a smartphone or camera to use them – the Z50II can do it on its own connected to your router.
What's new for video:Despite using the same sensor as the Z50, Nikon has managed to squeeze significantly better video out of it. The Z50II can now encode video in 10-bit precision, allowing internal N-Log capture to maximize color and tone grading potential, or HLG high dynamic range capture for playback on HDR displays and TVs.
The Z50II also gains the ability to capture 4K/60 footage from a cropped region of the sensor.
On top of this, Nikon says the electronic image stabilization (eVR) in video mode is improved. The Z50II also gets a "Product review" autofocus mode, that knows to override its face detection AF if an object is held up in front of the camera: a feature that can be useful for vloggers discussing a specific product they want to show.
How it comparesThe Z50II arrives into what was previously a competitive point in the market but one that fewer and fewer manufacturers seem to be catering to. Fujifilm offers the similarly beginner-friendly X-M5 for around $200 less, but with no viewfinder, or the high-resolution, image stabilized X-T50 for a whopping $400 more. Meanwhile, Sony offers the now rather elderly a6400 at a comparable price. It makes fewer accommodations to people new to ILCs and its age means its video spec lags way behind.
It's only really Canon, with its EOS R10 that offers an approximately like-for-like competitor to the Z50II. The other camera we feel it makes sense to compare it to is Nikon's own Zfc. It has near identical specs to the original Z50, other than its fully articulated rear screen. By including another Nikon entry-level camera, we can see what's changed over the past five years.
Nikon Z50II Canon EOS R10 Sony a6400 Nikon Zfc MSRP (With kit zoom) $909 ($1049 w/ 16-50 F3.5-6.3) $979 $900 $960 Pixel count 20MP 24MP 24MP 20MP Image stabilization No No No No Max frame rate11fps (mech)
30fps (e-shutter, JPEG)
15fps (mech)
23fps (e-shutter)
11fps (mech)
8fps (e-shutter)
11 fps (12-bit Raw)
9 fps (14-bit)
Viewfinder res. / mag.2.36M dot 0.68x
2.36M dot0.59x
2.36M dot 0.71x
2.36M-dot 0.68xRear screen res. / type
3.2" / 1.04M dot fully-articulated 3.0" / 1.04M dot fully-articulated 3.0" / 921k dot tilting touchscreen 3.0" / 1.04M-dot fully-articulating AF selection Touchscreen / D-pad Touchscreen / joystick Touchscreen / D-pad Touchscreen / D-padVideo
UHD 30p full-width
UHD 60p with 1.5x crop
UHD 30p full-width
UHD 60p from 1.56x crop
UHD 24p full width
30p with 1.22x crop
UHD 30p/24p full-width 10-bit options N-Log, HLG HDR PQ No No Mic / headphone sockets? Yes / Yes Yes / No Yes / No Yes / No CIPA Battery rating (LCD/EVF) 230 / 220 350 / 210 410 / 360 360 / 310 Weight 520g (18.3 oz) 426g (15oz) 403 g (14.2oz) 445g (15.7oz) Dimensions 127 x 97 x 67mm (5.0 x 3.8 x 2.6") 126 x 88 x 83 mm (5.0 x 3.5 x 3.3") 120 x 67 x 60 mm (4.7 x 2.6 x 2.4")135 x 94 x 44 mm (5.3 x 3.7 x 1.7")
As well as advances in technology, another change since we reviewed the Z50 is that both Nikon and Canon have allowed some third-party lenses into their respective APS-C systems. In the case of Nikon, that includes three of Sigma's DC DN prime lenses, which add relatively affordable ways to boost the camera's capabilities. Canon, meanwhile, has allowed Sigma to offer its two DC DN zooms, with four prime lenses to follow.
This still leaves both systems well short of the variety of APS-C focused lenses offered for Fujifilm's X mount, or of the selection available for Sony, but means you're not solely dependent on the camera maker's development priorities for either camera anymore.
Body and handlingThe body of the Z50II is very much like that of its predecessor, which is to say it's like a slightly shrunk-down version of Nikon's original Z-series full-frame models. Despite the size reduction, the Z50II retains a fairly substantial hand grip.
The body is primarily made from fiber-reinforced plastic, which gives it a fairly solid feel without becoming overly heavy. There's a textured coating around the handgrip and the back corner of the camera that gives a comfortable and reassuring amount of grip on the camera. The front and rear command dials are well positioned for forefinger and thumb operation without any need to shift your hand position on the camera.
It gains four extra buttons along the back of the camera, compared with its predecessor, which means its controls much more closely mimic those of the full-frame Z models, with dedicated +/– zoom buttons, a drive mode button and a 'DISP' button being added. There's an additional button on the top of the camera, too: just behind the existing [REC], ISO and Exposure Comp buttons is a dedicated 'Picture Control' button.
It doesn't gain the joystick that the full-frame models have, though, and the Stills/Movie switch they feature around their DISP buttons is instead on the Z50II's top plate. The Play and Drive Mode buttons are transposed relative to the full-frame models, but we doubt enough people will be trying to shoot both side-by-side for this difference to matter).
The Z50II also moves from a tilt up/down screen to a fully articulated one, as featured on the Zfc and Z30. Nikon has described all four of its APS-C Z-mount models as being for 'creators,' so this change is no real surprise.
Viewfinder & screenThe Z50II's viewfinder can now go as bright as 1000 nits, twice as bright as the one in the older model, which should mean there's less need for your eye to adapt when you're using the camera in bright sunshine. It's not bright enough to fully preview HLG images, though.
It remains a relatively low-resolution 2.36M dot display, in keeping with the Z50II's lowly position in the lineup. It offers 0.68x magnification, in equivalent terms, which is pretty large for a camera at this price.
Ports & slotsThe Z50II's specs tell the story of how far we've come in the five years since the launch of the original model. Its SD card slot can now make full use of the faster UHS-II cards, while its USB socket has been upgraded to the Type C standard and 5Gbit/s transfer rates. It's also been made compatible with the UVC/UAC USB video and audio standards, so it can be used as a webcam without the need for any specialist drivers or software.
The camera also gains a headphone socket to allow audio monitoring, something that really boosts its usefulness as a video camera.
BatteryThe Z50II uses a new EN-EL25a battery, which sees the capacity increase from 8.5Wh to 9.4Wh. Despite this 10% increase, the CIPA battery ratings for the Z50II are 250 shots per charge using the rear screen and 230 using the viewfinder. These are around 20% lower than on its predecessor, presumably as a consequence of the more powerful processor.
CIPA figures tend to assume extensive use of flash and rather more looking at image review than most people actually do, so we wouldn't be at all surprised to get twice as many shots as this in our own usage, more if we were shooting bursts. You can also gain around 9 percent more shots if you engage power-saving mode, but these aren't great figures for a camera you might want to use a lot.
As you'd expect, the camera can be charged over its USB-C socket, so there are ways to top the battery up fairly easily. However, it does not come with a battery charger in the box.
Image qualityOur 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.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The Z50II's image quality it very similar to that of its predecessor and, for that matter, to its peers. Detail capture is very similar to its rivals and, other than it being a prone to moiré at very slightly lower frequencies, the images look essentially the same when compared at a common output size. Likewise, its noise levels are very similar to other modern APS-C cameras even at very high ISO settings.
The color response is pretty standard for Nikon, with very yellow yellows but rather pink pinks, which is perhaps the root of some people's preference for other brands' skin-tone response. We enjoyed the real-world photos we got, but it's inevitably a question of taste. The default sharpening prioritizes emphasis over trying to convey the very finest detail being captured, suggesting Nikon expects you to print or view the images at a sensible size, rather than analyzing at a pixel level.
Noise reduction errs on the side of smoothing, and doesn't maintain fine detail quite as well as the best of its rivals, but neither is it the most heavy-handed. In practice the JPEGs are very usable.
Some rolling shutter can become apparent in the e-shutter based C30 mode, but it's only likely to be an issue for subjects moving quickly across the frame.
ISO Invariance | Exposure latitude
Video performanceThe Z50II's core video specs are pretty standard for its class: 4K capture at up to 30p from the full-width of the sensor or 4K/60 from a native, 1.44x cropped region. Cropping has a number of disadvantages: using a smaller area of the sensor means noisier results (compounded by the shorter exposures typically used for faster frame rates), and can make it difficult to find a lens that gives a wide-angle view, once cropped.
However, as you dig deeper, there are details that help the Z50II stand out. It can capture 10-bit Hybrid Log Gamma (HLG) footage to give true HDR video when played back on high dynamic range displays. Alternatively, you can shoot Log footage: a means of preserving editing flexibility of tone and color for if you plan to significantly adjust the look of your footage when you edit (though shooting to capture extra highlights comes with a noise cost, so Log should only be used when necessary). You can also shoot standard color modes in 10-bit precision if you wish, but it's rarely worth doing.
Crop Rolling shutter rate 4K/30p 1.0 (full-width) 21ms 4K/30p with eVR 1.25x 17ms 4K/60p 1.44x 14.7msOn top of this, the Z50II is the least expensive camera to offer a waveform display: helping you judge exposure by showing how light or dark different areas of the frame are. Collectively, these are capabilities that only used to appear on more video-focused high-end cameras.
And, above all these, the Z50II is one of the only cameras in its class to offer a headphone socket to allow audio monitoring. This is a big distinction, as bad audio will undermine a video more than slight difference in detail capture or rolling shutter, and good audio is difficult to maintain without some way of checking your recording levels and monitoring for interference or distracting background noises.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Something that counts against all the cameras in this class is the lack of in-body stabilization. The Z50II's kit zoom is stabilized and there's an electronic stabilization option that constantly adjusts the position of a crop of the video to counteract any camera movement, but both these options tend to be less effective than being able to move the sensor.
In use, autofocus is one of the more dependable systems we've encountered, especially if you're shooting a subject type that it knows how to recognize. Limited battery life is a significant downside, though. Despite these shortcomings, it's one of the strongest video options amongst its immediate peers, with only the more vlogging-focused (and less stills adept) Sony ZV-E10 II offering serious competition.
AutofocusThe Z50II has the same AF user interface as the rest of Nikon's newest cameras: you can choose everything from a single small AF point up to the whole image area or use the '3D Tracking' option to specify an AF point that should then follow your subject.
Its subject recognition modes are well-integrated, with the camera recognizing and tracking your choice of subject if it's suitably near the selected AF area or zone. This means you can easily select between subjects to track if there's more than one in a scene. Human detection is positioned within the subject recognition modes (and is part of the 'Auto' subject recognition mode), which makes it quick and easy to enable and disable subject recognition of all types.
The Z50II has the same user and headline AF specifications as Nikon's pro-level Z8 and Z9 cameras, but that doesn't guarantee the same levels of performance. And, both our testing and general usage shows this isn't the case.
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In practice we primarily used the human/face recognition aspect of the camera's 'Auto' subject detection mode and found it worked pretty well. It doesn't seem quite as decisive at finding and maintaining a subject as Nikon's other models, with fewer shots using a focus point on subjects' eyes, as a result.
Similarly, the '3D' tracking system generally does a good job of sticking to subjects the camera hasn't been trained to recognize, but it's not quite as dependable as we've become used to. But, underpinning it all, the camera seems to be very good at judging and anticipating subject distance.
In our standard tests, 3D Tracking consistently lost track of the subject at the second turn. Human detection and Auto Subject detection did much better, with Auto only losing the subject on one of our three test runs and then re-finding it before the end of the run. Human detection (shown above), did a very good job of keeping the subject in focus even in the maximum, 30fps mode.
It's not a bad performance, by any means, and represents a significant step up from the results we got from the Z50 (with the improvement being even greater in video mode), but it means we'd probably expect Canon's latest models to be a bit more dependable in stills mode.
In use The Z50II's controls are all really well-placed, with the arguable exception of the Picture Control button, which we kept forgetting about. Given Nikon finds room for an AF joystick on its similiarly-sized Z5 model, it's a shame not to see one here.In general use the Z50II behaves much like any other Nikon, which is to say very well. Its dials and buttons are well placed and its 'Easy Exposure Compensation' option makes it easy to assign Exposure Comp to one of the camera's main dials to put all your key shooting parameters at your fingertips.
Most of the key day-to-day features you might need are in the 'i ' quick menu and this can be customized if the shooting you do requires access to something else. This is probably for the best, as Nikon's menus, while well arranged, have become quite long and complex. The Customs Settings section is split into color-coded sections with logical names, so is easy to navigate, but the Photo and Video sections are now continuous, undifferentiated lists running to more than five screens-worth of scrolling, each.
Nikon's Auto ISO implementation retains all its perverse quirks: it's weirdly easy to set a minimum ISO that the camera will use, yet oddly difficult to set a minimum shutter speed for it to maintain, which is typically what you actually want to do. The camera's handling would also benefit from the AF joystick that the company's similarly-sized Z5 model offers.
The retractable kit zoom isn't optically great but it increases the likelihood of you having the camera with you at times you might otherwise not.
Nikkor 16-50mm F3.5-6.3 @ 37mm | F5.3 | 1/250 sec | ISO 8000
Photo: Richard Butler
We didn't find ourselves using the Picture Control button on the top of the camera: it's probably the hardest button to reach while you're shooting and isn't visually prominent enough to remind you of its existence.
Overall, though, the Z50II sits nicely in the hand and with the unexciting but usefully small kit zoom, makes a handily compact traveling companion. Its seemingly robust SnapBridge app makes it pretty easy to pull pictures off the camera to a smartphone, including a useful ∼8MP option (3240 x 2160px) that's more than sufficient for social media. A relatively sophisticated in-camera Raw reprocessing option lets you optimize your shots before you do.
Generally, it's a well-featured camera compared with its ∼$1000 peers. But some omissions, such as the lack of % change and battery life indication, feel like unnecessary cut-backs. It's difficult to imagine that it significantly adds to the price of the battery.
Conclusion Pros Cons- Excellent image quality
- Well-designed ergonomics
- Good AF performance with easy-to-use interface
- Snapbridge app is one of the most reliable we've encountered
- Excellent video spec (incl. 10-bit capture, waveforms and headphone socket)
- Pre-capture mode helps you catch the action
- Decent choice of color modes with good in-camera Raw re-processing option
- Limited battery life
- No in-body stabilization for video shooters
- Autofocus performance good, rather than excellent
- Lens range remains somewhat limited
- Menu sections can have >5 pages of options in an unbroken list.
The Nikon Z50II is a really solid camera: delivering the spec, features and performance you might expect for a camera at this price and doing a wide range of things well. And, just as importantly, we found it to be engaging and enjoyable to use.
It's not the enthusiast-focused model with in-body stabilization and D500-like build or capabilities that some photographers are hoping for, but it does what it's supposed to do well.
What it doesn't do, though, is excel in any particular respect, at least for photography. Although its AF interface is a match for the Z6III, Z8 and Z9, its performance isn't. And while it's a very solid performer, it's not the best in its class. It's well-priced but competent, rather than compelling. The pre-capture mode could make it stand out for some types of photography, but there are few affordable lens options for activities such birding or sports that would benefit most from it.
Where it does stand out most is video. Its basic specs are pretty standard but the provision of 10-bit capture, a headphone socket and waveform display will help you get good results. This is backed up by an AF system that's dependable enough to use for anything that you could re-shoot if you needed to. Only the lack of in-body stabilization and the limited battery life hold it back.
Nikon's SnapBridge app has grown to be one of the more reliable and easy-to-use apps for transferring images to a smartphone.The Z50II's sensor has been around for a while, but it still delivers very good image quality and its relatively low pixel count helps it deliver very decent 4K video. Its JPEGs are attractive, its Raws contain plenty of dynamic range and its resolution isn't meaningfully behind its 24MP peers.
Two main things stand in the way of the Z50II gaining our Gold award. The first is that, while companies such as Sigma and Viltrox sell some interesting prime lenses for Z-mount, Nikon hasn't granted licenses for the likes of Sigma's F2.8 zooms, which means there's less room to grow than with most rival APS-C mirrorless systems. You may find the choice of primes to provide all the expansion you need, so the more pertinent issue is its failure to stand apart from its peers. It's a really good camera but there's no regard in which we can say "it's better for this," which is required for our top award.
Its kit zoom very much prioritizes size over image quality but it still helps make the Z50II a more satisfying travel camera than just using a smartphone.
Nikkor 16-50mm F3.5-6.3VR @ 16mm | F6.3 | 1/60sec | ISO 100
Photo: Richard Butler
Except, perhaps, video. If you're someone for whom video is as important as stills, and your budget won't stretch to a more expensive, stabilized camera, you should perhaps imagine the silver award glinting in the last rays of evening sunshine, or with a warming, golden LUT applied to its Log footage. Battery life concerns aside, it's as a hybrid that the Z50II looks strongest.
Overall, we liked the Z50II a lot and think it's very much worth considering if you're looking for a relatively compact all-rounder. Depending on your tastes, of course; things might get even more interesting if Nikon updates its retro-looking Zfc with similar capabilities.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Nikon Z50IICategory: Entry Level Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Nikon Z50II is a very competent all-rounder for both stills and video. Its limited battery life dents its otherwise strong performance for video but overall it's an enjoyable camera to shoot with.Good forA wide range of photo and video pursuitsNot so good forBeing the 'everything camera' you build a system around.88%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"nikon_z50ii","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 peersThere's not a lot to choose between the Nikon and Canon's EOS R10 in terms of performance: we found Canon's AF a little more reliable in stills but a little less so video mode. If video is your primary focus, the Nikon's waveforms and headphone socket make it easier to exploit to its full potential. Neither offers great battery life, so we'd really make the decision based on which sits more comfortably in your hand and, more critically, which has the lenses you want: the option to use Sigma's F2.8 APS-C zooms is a distinct benefit for the Canon.
The Sony a6400 is a significantly older camera, and while its stills AF is likely to be more reliable in many situations, its interface is rather more clunky and its subject detection is limited primarily to people. Its video now looks significantly off-the-pace, with appreciable rolling shutter and no 10-bit capability. The Sony E-mount has many more options than the Nikon, from Sony's own 16-55mm F2.8 to a host of third-party choices. For video the ZV-E10 II vlogging camera is a stronger competitor or the stabilized a6700 if your budget will stretch to it. In general, though, we'd go for the nicer-to-use Nikon over the a6400 at this point.
The OM System OM-5 again has a higher list price but offers significantly smaller lens/camera combinations with a much wider choice of lenses. You also gain both excellent image stabilization and weather sealing. However, image quality from that smaller sensor is generally lower, which becomes increasingly noticeable at higher ISOs. And, while single AF is fast, its AF tracking performance falls a long way short of the Nikon. The Z50II's lack of stabilization is a disadvantage but in every other regard it's a much stronger video camera.
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