Bridge cameras are a versatile and affordable alternative to DSLRs. They offer many of the same manual controls (as well as a host of easy-to-use auto modes) plus a huge built-in zoom lens that covers everything from wide-angle to super-telephoto photography.
In essence, bridge cameras are a versatile and often more affordable alternative to DSLRs or CSCs. They feature the same kind of manual controls (typically as well as a host of easy-to-use auto modes), alongside a large built-in zoom lens that will cover everything from wide-angle to super-telephoto photography. It's like having a bag full of lenses in one neat package.
If you want to travel relatively light, you'll have one camera that's great for shooting expansive landscapes as well as tightly framed subjects like wildlife.
There are two important differences to be aware of, though. The first is that while some models now sport one-inch sensors, bridge cameras still have much smaller sensors than DSLRs or mirrorless cameras. Basically, that means they're not likely to match those models for picture quality. If that's your key concern, stick with one of these options.
The second is that the lens is non-removable on a bridge camera, so although it can handle a wide range of subjects you can't swap to a macro lens for close-ups, for example, or a super-wide-angle lens, or a fast prime lens for low-light photography.
If you're not quite sure what kind of camera you need, read our essential guide: What camera should I buy?
Bridge cameras were traditionally so-called because they bridged the gap between basic point-and-shoot models and more advanced DSLRs. These days, some bridge cameras are extremely advanced, expensive and probably deserve to be a category in their own right. With larger sensors than we traditionally saw gracing bridge cameras, they come closer than ever to matching DSLR/CSC quality, too.
That said, there are still plenty of models out there that give you a lot of camera for your money and are great for learning with if you're still relatively new to photography.
This is our pick of the best bridge cameras you can buy right now…
Before we get into our ten picks for bridge cameras, here's a quick look at a great value option from Panasonic. It was launched back in 2015, so it's a fair old age now, but that just makes the FZ300 (known as the Lumix FZ330) outside the US an even better bargain. With a 25-600mm zoom lens, what's really impressive is an f/2.8 constant aperture throughout the range, which is particularly useful at the longer end of the zoom range. Top that off with a splash-resistant body, a vari-angle touchscreen and a decent electronic viewfinder and you've got all the makings of a great all-rounder. Impressively for an older model, it even shoots 4K, too.
For those looking for a powerful all-in-one solution, you won't find better than the RX10 IV. Featuring a hugely flexible 24-600mm f/2.4-4 zoom lens, the RX10 IV builds on the RX10 III with an overhauled AF system that now does justice to the rest of the camera, while the 1-inch, 20.1MP sensor is capable of achieving excellent levels of detail. It's quite bulky for a bridge camera, and there's no getting away from the hefty price, but the RX10 IV is virtually in a league of its own and is perhaps even deserving of a better name than "bridge".
If your budget doesn't quite stretch to RX10 IV levels but you still want something top-quality, flexible and with great image quality, the Panasonic Lumix FZ2000 (known as the FZ2500 in the US) is an excellent choice. It uses a 1-inch sensor, and while the zoom tops out at 480mm equivalent, which is relatively short for a bridge camera, that's still plenty for all but the most extreme everyday use. We'd certainly sacrifice a little zoom range for better and faster optics, and we love the FZ2000 because it delivers both image quality and zoom range. If you're looking for something a bit cheaper, the older FZ1000 is also worth a look, as is its successor, the FZ1000 II.
The Lumix FZ1000's 16x optical zoom is less than that of typical bridge cameras, but that's due to its sizeable 1-inch sensor, which delivers a big boost in image quality. This isn't just any old lens, either, but rather a Leica optic with a large f/2.8 maximum aperture at the wide-angle end, which narrows to a still-respectable f/4 at full zoom. This helps you capture shots in low light without resorting to high ISO sensitivities, while the Hybrid 5-axis Optical Image Stabilisation minimises camera shake. 4K (Ultra HD, strictly) 3840 x 2160 video recording, advanced autofocusing, a superb 2,359,000-dot electronic viewfinder and raw shooting all help to make the FZ1000 one of our top picks. Note that Panasonic replaced the FZ1000 with the FZ1000 II this year - but as more of a gentle refresh than complete rebrand, making the older model the best value right now.
As is often the case with Sony, you can make decent savings if you look towards its extensive back-catalogue. In this case, if you can live without the advanced AF system and other performance advantages offered by the RX10 IV, the RX10 III is still worth a look. The design is pretty much identical to the RX10 IV, and you've got the same 24-600mm f/2.4-4 lens. What's the compromise? Well, the AF is a bit pedestrian compared to the latest model, while there's no touchscreen control or the ability to shoot at an impressive 24fps.
Canon's PowerShot SX70 HS is what we'd consider a more conventional bridge camera than those found in the top four. That's because it uses a smaller 1/2.3-inch sensor which gives you the advantage of a ginormous 65x optical zoom range. You still get full manual control, along with other great features such as an fully articulated screen (it lacks touch sensitivity though), a decent electronic viewfinder and the ability to shoot in raw format. In-built Wi-Fi and NFC is another bonus. This is a classic all-rounder which would suit those looking for something relatively small and light for trips such as safaris, where that big zoom comes into its own. A bugbear is having to activate the viewfinder manually since there's no sensor, but otherwise it's a solid performer. Image quality is very good, with the image stabilization system doing a good job of keeping captures even at the extreme end of the telephoto lens sharp. Shooting at the wide-angle and low-light are not this camera's forte, but there's good autofocus performance and speedy operation to compensate.
The Lumix FZ80 (known as the Lumix FZ82 outside the US) might be one of the most affordable bridge cameras here, but it still packs quite a punch. The zoom range is very impressive, going from an ultra-wide 20mm through to a staggering 1200mm, and benefits from an effective image stabilization system. There's also 4K recording with Panasonic's 4K Photo, which can shoot 8MP images at 30fps, meaning you should never miss that split-second moment. It's also very easy to use, with an intuitive touchscreen. The viewfinder could be better (and there's no eye sensor to automatically switch between the viewfinder and rear screen), while high-ISO performance can't match that of larger-sensor (and more expensive) rivals. That said, this is one of the best budget bridge cameras around.
If you were thinking that the Canon PowerShot SX70 HS's 65x zoom was pretty remarkable, then the P900 should impress you even more. Nikon pretty much rewrote the rulebook with its 83x optical zoom lens P900, which at the time was the world's longest zoom bridge camera. It's since been beaten, but only by the P900's successor, the P1000 (see below). If you don't think you'll need the newer model's frankly insane 125x range (and let's face it, who does), you'll do well to stick with the better value P900. There's no getting around the fact that this is a hefty model, so if travelling light is your main concern, it won't be the one for you. It also can't match the one-inch models for image quality, either - but if you simply want to get close to the action, it's worth looking at.
The Coolpix P1000 is the follow-up to the P900 and stretches what we’ve come to expect from superzoom cameras that bit further. The reason is the lens, with the P1000 packing in a massive 125x optical zoom range equivalent to 24-3000mm in 35mm terms, it has the potential to home in on the most distant subjects you’d realistically want to capture, be it wildlife or the Moon. If you absolutely need a camera with a 3000mm-equivalent lens, the fact that the P1000 is alone in offering this makes your decision easy. With a huge body, less-than-reliable autofocus, a sub-standard LCD and operational strifes, however, its appeal for anything else is more limited.
Sony's superzoom bridge camera is closely matched with the Panasonic FZ82, and is available at a great price owing to its age. The downsides when compared to the FZ82 include JPEG-only image capture and a lesser zoom range, but if you can live with both it's a great budget option. The HX400V claws back some ground by offering Wi-Fi, while it's also pleasure to use thanks to its ergonomic design, and the tilting screen is nice touch, although it isn't fully articulating. More disappointing is the relatively low-resolution electronic viewfinder. Although there's no raw support, JPEG images have great colors and plenty of detail. Some image smoothing is visible when images are viewed at 100%, but that's a common trait amongst small-sensor bridge cameras.
Yes, yet another Sony, but for good reason. This is where the RX10 line began its life six years ago, and Sony has kept it alive for those don't need the fancy tricks or mammoth zoom lens of its other offerings, but just want a decent travel camera that won't cost a fortune. The 1in sensor and 24-200mm-equivalent f/2.8 lens will still cover many eventualities, while the weather-resistant magnesium alloy body should help to keep it protected in all manner of conditions. There's no 4K video, but Wi-Fi with NFC, together with a built-in ND filter, 10fps burst shooting and a titling LCD show it to still be competitively specced, even today.
If you're in the market for the best bridge camera, you've come to the right place. With huge zoom lenses and chunky, DSLR-style handling, they're a popular choice for many – particularly for travel if you don't want to have a weighty kit bag.
Bridge cameras are a versatile and affordable alternative to DSLRs. They offer many of the same manual controls (as well as a host of easy-to-use auto modes) plus a huge built-in zoom lens that covers everything from wide-angle to super-telephoto photography.
In essence, bridge cameras are a versatile and often more affordable alternative to DSLRs or mirrorless cameras. They feature the same kind of manual controls (typically as well as a host of easy-to-use auto modes), alongside a large built-in zoom lens that will cover everything from wide-angle to super-telephoto photography. It's like having a bag full of lenses in one neat package.
If you want to travel relatively light, you'll have one camera that's great for shooting expansive landscapes as well as tightly framed subjects like wildlife.
There are two important differences to be aware of, though. The first is that while some models now sport one-inch sensors, bridge cameras still have much smaller sensors than DSLRs or mirrorless cameras. Basically, that means they're not likely to match those models for picture quality. If that's your key concern, stick with one of those options.
The second is that the lens is non-removable on a bridge camera, so although it can handle a wide range of subjects you can't swap to a macro lens for close-ups, for example, or a super-wide-angle lens, or a fast prime lens for low-light photography.
If you're not quite sure what kind of camera you need, read our essential guide: What camera should I buy?
Bridge cameras were traditionally so-called because they bridged the gap between basic point-and-shoot models and more advanced DSLRs. These days, some bridge cameras are extremely advanced, expensive and probably deserve to be a category in their own right. With larger sensors than we traditionally saw gracing bridge cameras, they come closer than ever to matching DSLR/CSC quality, too.
That said, there are still plenty of models out there that give you a lot of camera for your money and are great for learning with if you're still relatively new to photography.
This is our pick of the best bridge cameras you can buy right now…
Before we get into our ten picks for bridge cameras, here's a quick look at a great value option from Panasonic. It was launched back in 2015, so it's a fair old age now, but that just makes the FZ300 (known as the Lumix FZ330) outside the US an even better bargain. With a 25-600mm zoom lens, what's really impressive is an f/2.8 constant aperture throughout the range, which is particularly useful at the longer end of the zoom range. Top that off with a splash-resistant body, a vari-angle touchscreen and a decent electronic viewfinder and you've got all the makings of a great all-rounder. Impressively for an older model, it even shoots 4K, too.
For those looking for a powerful all-in-one solution, you won't find better than the RX10 IV. Featuring a hugely flexible 24-600mm f/2.4-4 zoom lens, the RX10 IV builds on the RX10 III with an overhauled AF system that now does justice to the rest of the camera, while the 1-inch, 20.1MP sensor is capable of achieving excellent levels of detail. It's quite bulky for a bridge camera, and there's no getting away from the hefty price, but the RX10 IV is virtually in a league of its own and is perhaps even deserving of a better name than "bridge".
If your budget doesn't quite stretch to RX10 IV levels but you still want something top-quality, flexible and with great image quality, the Panasonic Lumix FZ2000 (known as the FZ2500 in the US) is an excellent choice. It uses a 1-inch sensor, and while the zoom tops out at 480mm equivalent, which is relatively short for a bridge camera, that's still plenty for all but the most extreme everyday use. We'd certainly sacrifice a little zoom range for better and faster optics, and we love the FZ2000 because it delivers both image quality and zoom range. If you're looking for something a bit cheaper, the older FZ1000 (below) is also worth a look, as is its successor, the FZ1000 II.
The Lumix FZ1000's 16x optical zoom is less than that of typical bridge cameras, but that's due to its sizeable 1-inch sensor, which delivers a big boost in image quality. This isn't just any old lens, either, but rather a Leica optic with a large f/2.8 maximum aperture at the wide-angle end, which narrows to a still-respectable f/4 at full zoom. This helps you capture shots in low light without resorting to high ISO sensitivities, while the Hybrid 5-axis Optical Image Stabilisation minimises camera shake. 4K (Ultra HD, strictly) 3840 x 2160 video recording, advanced autofocusing, a superb 2,359,000-dot electronic viewfinder and raw shooting all help to make the FZ1000 one of our top picks. Note that Panasonic replaced the FZ1000 with the FZ1000 II this year - but as more of a gentle refresh than complete rebrand, making the older model the best value right now.
As is often the case with Sony, you can make decent savings if you look towards its extensive back-catalogue. In this case, if you can live without the advanced AF system and other performance advantages offered by the RX10 IV, the RX10 III is still worth a look. The design is pretty much identical to the RX10 IV, and you've got the same 24-600mm f/2.4-4 lens. What's the compromise? Well, the AF is a bit pedestrian compared to the latest model, while there's no touchscreen control or the ability to shoot at an impressive 24fps.
Canon's PowerShot SX70 HS is what we'd consider a more conventional bridge camera than those found in the top four. That's because it uses a smaller 1/2.3-inch sensor which gives you the advantage of a ginormous 65x optical zoom range. You still get full manual control, along with other great features such as an fully articulated screen (it lacks touch sensitivity though), a decent electronic viewfinder and the ability to shoot in raw format. In-built Wi-Fi and NFC is another bonus. This is a classic all-rounder which would suit those looking for something relatively small and light for trips such as safaris, where that big zoom comes into its own. A bugbear is having to activate the viewfinder manually since there's no sensor, but otherwise it's a solid performer. Image quality is very good, with the image stabilization system doing a good job of keeping captures even at the extreme end of the telephoto lens sharp. Shooting at the wide-angle and low-light are not this camera's forte, but there's good autofocus performance and speedy operation to compensate.
The Lumix FZ80 (known as the Lumix FZ82 outside the US) might be one of the most affordable bridge cameras here, but it still packs quite a punch. The zoom range is very impressive, going from an ultra-wide 20mm through to a staggering 1200mm, and benefits from an effective image stabilization system. There's also 4K recording with Panasonic's 4K Photo, which can shoot 8MP images at 30fps, meaning you should never miss that split-second moment. It's also very easy to use, with an intuitive touchscreen. The viewfinder could be better (and there's no eye sensor to automatically switch between the viewfinder and rear screen), while high-ISO performance can't match that of larger-sensor (and more expensive) rivals. That said, this is one of the best budget bridge cameras around.
It doesn't quite have the Nikon P1000's ludicrous 125x optical zoom range, but the P950's 83x zoom is more than enough for most people in most situations. If you like to mainly shoot landscapes or wildlife on your travels, it remains a good contender, particularly if you're coming from another Nikon camera. The three big improvements over the P900 are support for Raw shooting (for greater flexibility when editing images), 4K video resolution, and a much-improved electronic viewfinder. Collectively, these make it more user-friendly and versatile than its predecessor, though it is also worth looking out for deals on the Nikon P900. We'd like to have seen a touchscreen added too, but the P950 remains a good option if zoom is your main priority.
The Coolpix P1000 is the follow-up to the P900 and stretches what we’ve come to expect from superzoom cameras that bit further. The reason is the lens, with the P1000 packing in a massive 125x optical zoom range equivalent to 24-3000mm in 35mm terms, it has the potential to home in on the most distant subjects you’d realistically want to capture, be it wildlife or the Moon. If you absolutely need a camera with a 3000mm-equivalent lens, the fact that the P1000 is alone in offering this makes your decision easy. With a huge body, less-than-reliable autofocus, a sub-standard LCD and operational strifes, however, its appeal for anything else is more limited.
Sony's superzoom bridge camera is closely matched with the Panasonic FZ82, and is available at a great price owing to its age. The downsides when compared to the FZ82 include JPEG-only image capture and a lesser zoom range, but if you can live with both it's a great budget option. The HX400V claws back some ground by offering Wi-Fi, while it's also pleasure to use thanks to its ergonomic design, and the tilting screen is nice touch, although it isn't fully articulating. More disappointing is the relatively low-resolution electronic viewfinder. Although there's no raw support, JPEG images have great colors and plenty of detail. Some image smoothing is visible when images are viewed at 100%, but that's a common trait amongst small-sensor bridge cameras.
Yes, yet another Sony, but for good reason. This is where the RX10 line began its life six years ago, and Sony has kept it alive for those don't need the fancy tricks or mammoth zoom lens of its other offerings, but just want a decent travel camera that won't cost a fortune. The 1in sensor and 24-200mm-equivalent f/2.8 lens will still cover many eventualities, while the weather-resistant magnesium alloy body should help to keep it protected in all manner of conditions. There's no 4K video, but Wi-Fi with NFC, together with a built-in ND filter, 10fps burst shooting and a titling LCD show it to still be competitively specced, even today.
The question of whether you should get a mirrorless camera or a DSLR used to be a simple one. If you were a pro – or thinking of becoming one, or wanted a camera that produce the absolute best possible quality images you could imagine – you got a DSLR. If you were a consumer more concerned with weight over image quality, a mirrorless camera was for you.
Like we say, simpler times. These days, you’ve got a harder choice to make. There are bargain-basement DSLRs out there and there are monumentally expensive mirrorless cameras at the high end. How are you supposed to choose?
The difference between the two types of camera is in the name. DSLR stands for Digital Single Lens Reflex, and means that once light has passed through the lens, it hits a mirror angled at 45 degrees. The light shoots straight up and into a viewfinder that, when you hold your eye to it, shows you precisely what the lens is seeing at that moment.
It’s a true optical path, with no digital processing in between. When you take a photograph, the angled mirror swings out of the way, revealing an image sensor behind it – it’s why DSLRs make that oh-so-satisfying 'ker-chunk' noise.
A mirrorless camera, unsurprisingly, doesn’t have a mirror. Instead, light goes through the lens, straight onto the sensor, where it is processed and, almost simultaneously, displayed either on the monitor on the back of the camera or on a very small monitor – an Electronic Viewfinder (EVF) on the top. When you push the shutter button, the camera records what’s on the sensor at that moment.
DSLRs are an established technology that some companies have decades of experience with, and high-end DSLRs in particular are robust, capable of stunning image quality and offer oodles of battery life.
The ditching of the traditional mirror on mirrorless cameras, though, leads to several advantages. Mirrorless cameras don’t need a complicated optical viewfinder or a big mirror to reflect light, which means they can be a lot smaller and lighter. Some jobs, such as autofocus, can be done on the sensor itself, leading to very fast read times that mean some mirrorless cameras are capable of otherworldly performance.
We’re seeing more and more mirrorless cameras with full-frame sensors, too, so at the high end there is no discernible difference between the output of a mirrorless camera and that of a traditional DSLR.
There are other advantages and disadvantages besides, though – read on to find out which you should choose.
With no mirror, there's no optical viewfinder. That means that mirrorless cameras rely on either the rear LCD screen or electronic viewfinders for image composition.
DSLR:Can be big and bulky, though this can help when shooting with big telephoto lenses (and big hands)
Mirrorless:These are generally smaller and lighter, but the lenses in some cases can be just as big as those for DSLRs. Some mirrorless cameras are as big as equivalent-level DSLRs
One of the big selling points for mirrorless cameras has been their small size, but it doesn't always work out that way. The reason? You have to take into account the size of the camera body and lens combination.
This is a problem for mirrorless cameras with either full-frame or APS-C-sized sensors because you might be able to get a small body but the compatible lenses might be large and heavy. Some models now come with retractable, or power-zoom, 'kit' lenses, but that doesn't help when you have to swap to a different type of lens.
Panasonic and Olympus cameras have an advantage here; the Four Thirds sensor format inside its Micro Four Thirds models is smaller than APS-C and full-frame types. Many photographers don't like this, but it means that lenses are often smaller and lighter too, which helps to deliver a much more compact system all round.
Interestingly, some higher-end mirrorless cameras like the Sony Alpha A7R IV, Olympus OM-D E-M1X and Canon EOS R, are now growing in size as they take on more features, and as manufacturers respond to feedback from photographers who want larger grips.
At the end of the scale, entry-level DSLRs are shrinking to compete with the smaller footprint of similarly priced mirrorless cameras. Nikon's D3500 and Canon's EOS Rebel T7 / 2000D are painfully small and light, making them less of a burden to carry around.
DSLR: Both Canon and Nikon have a massive lens range for every job. Pentax also has many bases covered, and contributions from many third parties only adds more options to each system
Mirrorless:Lens ranges for even more established lines are still developing, but many options are now covered. The most recent is on newer systems from the likes of Canon, Nikon, Panasonic and Fujifilm's medium format line, which are still getting off the ground
If you want the widest possible choice of lenses, a Canon or Nikon DSLR is possibly your best bet. Each has an extensive range of lenses to suit a range of price points, as well as excellent third-party support from the likes of Sigma and Tamron.
While Canon and Nikon have both had decades to build-up and refine their lens line-up – Nikon's lens mount is unchanged from 1959, for example – the first mirrorless camera only appeared 11 years ago. Mirrorless cameras are, however, certainly gaining ground.
Because Olympus and Panasonic use the same Micro Four Thirds lens mount and have been established the longest, the range of Micro Four Third lenses is the most comprehensive, offering a broad range of optics, from ultra wide-angle zooms to fast prime telephoto lenses.
Fujifilm's lens system is growing all the time, with some lovely prime lenses and excellent fast zoom lenses. Even the 18-55mm 'kit' lens that comes with many of its cameras as standard is very good. There are still a few gaps in the range, but Fujifilm is definitely working hard to deliver a comprehensive, high-quality range of lenses.
Sony offers some really nice high-end optics that are designed for its full-frame line of cameras like the Alpha A7 III, while its just recently launched a mighty FE 600mm f/4 GM OSS telephoto prime lens too. It now offers a relatively healthy selection for both its APS-C and full-frame cameras.
Both Canon and Nikon have recently launched full-frame mirrorless cameras to run alongside each company's DSLR range. At the moment, the dedicated optics for each are limited to a handful of lenses, but many more are promised. Not only that but both Canon and Nikon offer affordable adapters that allow you to use lenses designed for DSLRs (though in some cases, with restrictions).
The most recent change here is the introduction of the L-mount alliance, a venture that unites Panasonic, Sigma and Leica. The three companies have pledged to develop products that can be used in conjunction with those from the other manufacturers, which should help the line to develop quickly.
DSLR:Many photographers still prefer an 'optical' view for its clarity, natural look and lag-free viewing. These are standard on DSLRs
Mirrorless: Others prefer to see a digital rendition of the scene as the camera will capture, and electronic viewfinders on many mirrorless cameras allow this. Some of the most recent examples are very high in quality
All DSLRs, even the cheapest, come with an optical viewfinder because it's an integral part of the DSLR design. Many entry-level mirrorless cameras, on the other hand, don't have viewfinders at all, so you have to use the rear LCD to compose photos, which doesn't always work so well in bright light.
Mirrorless cameras with viewfinders cost more, and these are electronic rather than optical viewfinders. That means they display the image directly from the sensor readout and not via an optical mirror/pentaprism system.
Electronic viewfinders are advancing at a fast pace, and the latest rarely show any graininess that was an issue in earlier generations, though there can often be a slight but visible lag if you move the camera really quickly.
The advantage of electronic viewfinders is that they can display a lot more information than an optical viewfinder, including live image histograms, for example. They can also simulate the digital image the camera will capture, so you don't get any horrible surprises when you review your image as it's exactly what you're seeing.
This simulation is not always perfect, however, and many photographers prefer to see the world with their own eyes as they compose the image and check the digital version on the LCD once it's been captured. They're also easier to use in low light.
This will come down to personal preference; get one of the latest high-end mirrorless cameras with a large magnification, large resolution electronic viewfinder, and you'll be hard pressed to find fault with it.
DSLR:Used to have a clear advantage, but not quite as clear-cut now. On the whole they're better for tracking fast subjects, but can be weak in live view
Mirrorless: While entry-level models may struggle, many mirrorless cameras now have hybrid contrast- and phase-detect AF systems, which fare much better. Some systems are as reliable as those on DSLRs, if not more so
DSLRs use fast and efficient 'phase-detection' autofocus modules mounted below the mirror in the body. This system can be incredibly fast at focusing and tracking subjects, with cameras like the Nikon D850 and Canon EOS-1D X Mark II offering an incredibly sophisticated system.
The trouble is that these systems only work while the mirror is down. If you're using a DSLR in live view mode, composing a picture or video on the LCD display, the mirror has to be flipped up and the regular AF module is no longer in the light path. Instead, DSLRs have to switch to a slower contrast-detect AF system using the image being captured by the sensor.
Many of the latest Canon DSLRs (such as the EOS Rebel SL3 / EOS 250D and EOS 6D Mark II), however, include the company's brilliant Dual Pixel CMOS AF that uses phase-detection pixels built into the sensor. This is designed to give faster autofocus in live view mode to close the gap on mirrorless cameras – and it works very well indeed.
Mirrorless cameras have to use sensor-based autofocus all the time. Most are contrast-detect AF based, but these tend to be much faster than equivalent contrast AF modes on DSLRs.
More advanced mirrorless cameras have advanced hybrid AF systems that combine contrast-detect with phase-detect AF from the sensor. The likes of the Fujifilm X-T30, Panasonic Lumix G9, Sony Alpha A7 III and Olympus OM-D E-M1X impress not only with their speed, but also the accuracy with which they can lock on and follow a moving subject. This is one area where DSLRs have traditionally had a clear advantage.
DSLR:The best DSLRs can no longer match the speeds of the best mirrorless cameras
Mirrorless:The mirrorless design makes it easier to add high-speed shooting and even cheaper models have relatively fast burst speeds
You need a fast continuous shooting mode to capture action shots, and mirrorless cameras are streaking ahead here, partly because the mirrorless system means there are fewer moving parts and partly because many models are now pushing ahead into 4K video – this demands serious processing power, which helps with continuous shooting too.
To put this in perspective, Canon's top professional DSLR, the EOS-1D X Mark II, can shoot at 14 frames per second, but the mirrorless Panasonic Lumix G9 and Sony Alpha A9 can both shoot at a staggering 20fps.
You have to be a little careful though when looking at the spec. Some mirrorless cameras will boast even higher frame rates than this (in some cases, up to 60fps), but will have to use an electronic shutter to achieve this and focus will be fixed from the first shot. Not great if you're planning on tracking a moving subject, or under some types of artificial light where banding can occur without the use of a mechanical shutter.
You've also got to be realistic about what kind of burst shooting speeds you are going to need; shooting at 60fps means you'll fill up a memory card pretty quickly, and you'll have to spend a lot of time trudging through a multitude of images to find that 'one' shot. That said, with even entry-level mirrorless cameras offering faster burst shooting speeds than most DSLRs, mirrorless cameras certainly have the edge if this is your priority.
DSLR:Once massively popular with pros but getting overtaken by mirrorless rivals
Mirrorless: 4K video is now standard on all but the cheapest mirrorless cameras
DSLRs were the first to offer professional HD and Full HD video capture, which together with a vast range of lenses and other accessories, was instantly a hit with pros and video makers.
But the shift has certainly been in mirrorless cameras favor in recent years, offering a wealth of video features that most DSLRs can't match.
4K capture is a more common feature for starters on mirrorless cameras, while DSLRs have been slow to offer this functionality. 4K video capture is almost unheard of in entry-level DSLRs, and only a handful of models further up the chain offer this.
There's also the efficient live view autofocus and processing power offered by mirrorless cameras, while the growing range of adapters and accessories out there offer users a more complete system.
Panasonic has carved out a niche for itself with the Lumix GH5 and Lumix GH5S, offering a hybrid stills/video camera that's loved by enthusiast photographers and professional cinematographers, while Sony has opted for a similar approach with the Alpha A7S II.
DSLR:Even entry-level models have full manual controls, and DSLRs are powerful cameras
Mirrorless:They match DSLRs feature for feature, often going a step or two further
In terms of photographic features and controls, DSLRs and mirrorless cameras are hard to split here.
They all offer full manual control over exposure and focusing and can shoot raw files as well as JPEGs, allowing you to get the best image quality possible. In any one sector, such as entry-level cameras, enthusiast or pro models, the control layouts and capabilities are pretty similar. Entry-level DSLRs tend to hide away the manual controls under a layer of automation, but it's the same for mirrorless cameras.
Keep in mind the point about viewfinders, though – all DSLRs have viewfinders, but often cheaper mirrorless cameras don't.
Otherwise, splitting mirrorless and DSLR cameras in terms of features is harder and harder – neither has a monopoly on particular bells and whistles. One thing to watch is that no manufacturer offers lenses that are compatible with both its mirrorless and traditional DSLR cameras – because the back of the lens is so much closer to the sensor on a mirrorless camera, you’ll always need an adapter. That means that even if you have a bag full of decent lenses, you’ll need to spring for an adapter before you can use them on a mirrorless cameras.
One thing you might watch for on mirrorless cameras is improved autofocus zones. DSLRs focus using a separate autofocus module, while mirrorless cameras have their autofocus points on the sensor itself. That means you often get autofocus points that cover much or even all of a mirrorless camera’s sensor, where cheaper DSLRs offer fewer autofocus points. The more autofocus points you have, the more able you are to select the single AF point that best matches your preferred composition.
DSLR: DSLRs use APS-C or full-frame sensors.
Mirrorless:They typically use the same sensors, but there are also smaller formats for even smaller cameras.
There's nothing to choose here either. Currently, the highest resolution is in a mirrorless camera, the medium format Fujifilm GFX 100, which has a 102MP sensor. Admittedly, that's not a camera many people can afford, although the cheaper Sony A7R IV mirrorless camera manages 61MP - still a good 11MP more than the closest DSLR, the Canon EOS 5DS and 5DS R.
It's not just about megapixels, though, because the main factor in image quality is sensor size. With the exception of medium format sensors, full-frame sensors are the biggest and offer the best quality, while cameras with APS-C sensors are almost just as good and much cheaper – and you can get either of these size sensors in both DSLRs and mirrorless cameras.
But the compact system camera market offers smaller formats too. The Micro Four Thirds format used by Panasonic and Olympus is smaller than APS-C, but so are the cameras and lenses, so you need to weigh up what's most important to you - size or ultimate image quality.
Overall, then, there's no intrinsic image quality advantage in a DSLR, given that the same sensor sizes are available in mirrorless cameras too.
DSLR:600-800 shots is average, better models can shoot over 1,000 shots on a charge. Pro DSLRs may offer 2000+ shots per charge
Mirrorless:Much weaker, typically around 300-400 shots per charge. Some manage around 600 or 700, although those with a higher battery life will often have either very large batteries or require two
Battery life comparisons might not be exciting, but they are important when the differences are as great as this.
The very affordable Canon EOS Rebel SL3 / EOS 250D DSLR, for example, can take 1,070 shots on a single charge, while the Fujifilm X-T3 mirrorless camera, a much more advanced model, match on paper, can only shoot 390 photos before the battery expires. This pattern is repeated across the range of DSLRs and mirrorless cameras.
Why's this? DSLR batteries are sometimes larger, though not always, and you might have thought that driving the mirror up and down for each shot would consume more power, and that that LCD display would be used just as much. However, mirrorless cameras will have to power an EVF in most cases as well.
So, this is one area where DSLRs do often have a substantial practical advantage. You'll certainly need an extra battery or two with most mirrorless cameras.
DSLR:The cheapest DSLRs may miss out on some feature like touchscreens and 4K video
Mirrorless:Cheap mirrorless cameras often have these but don't have viewfinders; those that do cost more.
You might hope that the simpler design of a compact system camera would make them cheaper to buy, but that's not necessarily the case. If you want a fully-featured, 'proper' camera for the least money, then a DSLR is still the cheapest option – but it's getting a lot closer between the two.
For example, the 24MP Nikon D3500 DSLR has just about the best APS-C sensor currently on the market, an optical viewfinder (of course), decent manual controls and a staggering 1,550-shot battery life.
Its nearest rivals on price in the mirrorless camera market can't match its resolution or its battery life and they don't have viewfinders, but for only a little more the Sony Alpha A6000 packs in an almost identical 24MP APS-C sensor and features a built-in electronic viewfinder. You'll still need to get a second battery though. That said, it's only that cheap because it's been superseded.
Once you get into enthusiast and pro market, however, the differences largely disappear – for any given amount of money you get broadly the same features, performance and power.
DSLR:Sturdy, good value cameras offering old-school handling and top image quality
Mirrorless:Smaller, technically more advanced and arguably the way forward
While mirrorless cameras are undoubtedly the future, deciding between the two depends on your shooting preferences.
If you’re weight sensitive, a mirrorless camera is a great option – screw on a pancake lens and you’ll have a high-performance, larger-sensor camera that barely occupies more space than the compact camera it might be replacing.
If you’re spending under a thousand pounds, you are absolutely spoiled for choice. Modern mirrorless cameras have exceptionally good monitors and reasonably good EVFs, so if you’re an old school photographer who can get over that particular hurdle, you’ll find yourself with an incredibly capable camera that easily matches the image quality of its traditional looking brethren.
You will need to be watchful of battery life on mirrorless cameras – there is still a marked difference between mirrorless and DSLR cameras in this respect, and if you’re someone who regularly shoots from dawn to dusk you will want either a mirrorless camera with a battery grip and potentially several spares, or a DSLR.
At the high end, DSLRs always have better ergonomics than mirrorless cameras. They’re more bulky, sure, but that bulk is put into chunky handgrips that feel secure almost whatever you’re doing.
The writing isn’t quite on the wall for the DSLR – usability and battery life are still giant ticks in its favor. However, for photographers of nearly every stripe, mirrorless has never been so tempting.
While you can now purchase pretty much anything online, from groceries to home cinema systems, the car industry has lagged behind, with a limited number of options available.
But with consumers increasingly confident about buying online, and with some dealers seeing a huge increase in online users and out of hours enquires, Volvo feels the time is right to launch a complete, end-to-end, vehicle purchasing service.
It may not be the first company to offer the ability to buy a car completely online, with rival brands like Tesla offering this already, but Volvo believes its new premium service will be the most comprehensive, especially as it will offer a guaranteed part-exchange price and all finance options.
How does it work?
Rather than being in competition with Volvo's dealer network, the new online service works with its retailers. So, once you’ve created an account, you can find your nearest dealer, and this is who you’ll carry out the transaction with.
With the retailer selected, you then choose your preferred finance option; while you can pay cash, 91% of Volvos are purchased with some kind of finance.
Once this is selected, it’s on to the valuation of your part exchange (if you have one). Along with entering you license plate, there’s a range of other details to enter, including the car's condition and the amount of miles you do annually. This last bit is important, as should you order a car direct from the factory rather than retailer stock you could have to wait a few months, so the price is automatically adjusted depending on the lead time.
Volvo says you could be picking up your new car as soon as two days after completing the online ordering process. Image credit: Volvo
It’s then time to configure your car, from powertrain and color choices, to equipment options and even accessories. As changes are made and options selected, the price is updated (including the monthly amount if you’re financing the car).
Once you’re happy with the spec and price of your new Volvo, you can reserve the car and apply for finance. Volvo says the whole process can take as little as 20 minutes, but it expects most users to want to speak with their local dealer at some point; the system has been designed so that it can be started in the showroom and finished at home, or vice versa.
In fact, Volvo expects many potential buyers will still want to touch, sit in and test-drive the car, so a physical showroom presence is important.
The service is now live in the UK – it's initially only available for the Volvo XC40, with other models becoming available on May 3. If the service is a success – and we see no reason why it shouldn’t be – we'd expect Volvo to roll it out in other regions.
You’d have to have been living under a rock for the last 10 years to have missed the rise of the SUV and its dominance of the car market. Even Volvo has transformed itself, with its XC60 and XC40 among the most popular and best SUVs available.
But what if you like the idea of all-wheel drive car that can handle some rough stuff, but don’t want an SUV? Volvo has the answer in the shape of the V90 Cross Country. Taking its large V90 estate as a starting point, the V90 Cross Country is equipped with all-wheel drive and 65mm of added ground clearance.
Strong heritage
Volvo’s heritage in this line of jacked-up estates is strong, with the company having invented the genre with the V70 Cross Country back in 1997, since when the likes of Audi, Mercedes and Skoda have produced their own interpretations.
The V90 Cross Country distinguishes itself from the V90 estate with its raised ride height and a healthy dose of plastic trim round the body which Volvo calls ‘Charcoal’. This isn’t just for show either, with the dark trim there to protect the paintwork when you take the vehicle off-road.
It’s big as well, putting some SUVs to shame with a length of 4,936mm and a width of 1,879mm. This does mean the V90 Cross Country will swallow four adults with ease, and while the boot space isn’t class-leading there’s still a voluminous 560-liter capacity with the seats up, while fold the seats down and you get 1,526 liters, which should satisfy even the most committed IKEA junkie.
Spot-on interior
Volvo has got its interiors pretty much spot-on at the moment, and the V90 Cross Country is no exception. Drop into one of the incredibly comfy seats and you’re wrapped in a welcoming mix of light colors and premium materials, including matte woods. It’s a very nice place to be, especially if you’ve got a long drive ahead of you. Rear visibility could be better, but rear parking sensors are standard, and we’d recommend opting for Xenium Park from the options list - this comes with a handy 360-degree camera that’s a huge help when parking.
With a definite twist of Scandi design, the center console is both smart and modern, and as in other new Volvos is dominated by a large, portrait-orientated 9-inch touchscreen display.
Pretty much every facet of the car is controlled from this display, and the overall user experience is very good considering, with only a few minor niggles - some controls or settings require a couple of presses of the screen to access. The minimalist design also means there are no dedicated controls for climate control, and adjusting these settings requires a bit of a fiddly flicking of the touchscreen.
There are Apple CarPlay and Android Auto options, with both integrating very well into the Volvo’s Sensus infotainment system, along with two USB ports.
The V90 Cross Country sports a 14-speaker 600W sound system from Harman Kardon as standard, while for the serious music aficionado there’s a punchy 18-speaker Bowers & Wilkins system that delivers 1,400W.
Driver aids
Think Volvo and you think safety, and that’s certainly true with the V90 Cross Country, with a wide selection of safety aids on hand to anticipate and avoid potential accidents. This includes automatic emergency braking that uses an integrated radar, and a forward-facing camera to detect objects in front of you and warn of a potential collision; it’s even clever enough to apply the brakes to either avoid or, worst-case scenario, limit the impact of, a collision should you fail to react in time.
There’s also a Blind Spot Information System, so should you start to pull out of your lane on a highway as someone is creeping up on your blindside you’ll get a beep and a flashing light in the corresponding wing mirror to warn you to stay put.
A feature that has impressed in the past on other Volvos is the excellent semi-autonomous Pilot Assist drive technology, and it's great to find that it’s a standard feature on the V90 Cross Country. This automatically keeps you at a set speed or distance from the vehicle in front, braking and accelerating with the flow of traffic, and gives gentle steering inputs to keep the car within lane markings (you can’t take your hands off the wheel however) at motorway speeds up to 80mph. It's clever stuff that always leaves us feeling impressed - and not quite as tired on long journeys.
On- and off-road
The V90 Cross Country is available with four engines, two diesels (a D4 with 190hp and a D5 with 235hp), and two petrol units (a T5 with 250hp and T6 with 320hp). All are automatic, while the V90 Cross Country differs from the standard model in that it features an ‘Off Road’ Driving Mode; and should you get serious if and when you take the V90 Cross Country off-road, a hill descent control.
We test drove the T5 engine, and on the road, and thanks to the extra suspension travel, it happily wafts along, taking potholes in its stride on country roads. While it’s perhaps not the most dynamic driving experience, that’s not this car's brief. It’s an incredibly quiet and refined vehicle that delivers a relaxed, stress-free driving experience.
Verdict
You might be paying a premium for the V90 Cross Country over the standard V90, but it certainly makes a compelling case for itself. Delivering the best of both worlds, the V90 Cross Country is a large and comfy estate with off-road credentials to match many SUVs.
Leica has announced the Q2, an update to one of our favorite cameras of the last few years, the Q (or the Typ 116 if you're a Leica aficionado). While this high-end compact may look similar to its predecessor, sweeping changes have been made under the skin.
The most notable change is the new sensor, which is upgraded from 24MP to a staggering 47.3MP full-frame CMOS sensor, with a dynamic range of 13 stops promised. This also sees the ISO range extended: while the upper sensitivity limit remains the same at 50,000, the base ISO has dropped from 100 to 50.
The Leica Q2 uses the same Summilux 28mm f/1.7 ASPH. lens as the Q, but thanks to the increased resolution available on the Q2 there are now three additional digital zoom settings, enabling you to shoot at 35mm at 30MP, 50mm at 14.7MP and 75mm at 6.6MP should you find the fixed wide-angle lens not quite suited to the subject you're shooting. The cropped image is saved as a JEPG file, with an un-cropped image also automatically saved as a DNG file at full resolution.
The Q2 also has some pretty decent video credentials, with the ability to shoot 4K video at 24 and 30fps, as well as the option to shoot DCI 4K. For slow-motion video recording, the Q2 can shoot Full HD footage at both 60 and 120fps, a substantial improvement on the Q's limited Full HD capture at 30fps.
All-new viewfinder
The Leica Q2 features a new 0.5-inch OLED electronic viewfinder with an impressive resolution of 3.68 million dots, while the dioptre compensation setting dial on the back of the camera has been redesigned to prevent inadvertent shifting of the compensation value. The resolution and size of the rear display remain the same as on the Q at 3.0 inches, with a resolution of 1.04 million dots and touchscreen functionality.
Focusing speeds remain the same as the Q's, with the Leica Q2 boasting a focusing speed of 0.15 seconds. With a tweaked Maestro II image processor, the Q2 can shoot at a fast 10fps with a mechanical shutter, which is very impressive considering the resolution; swap to an electronic shutter and the burst shooting speed doubles to 20fps.
While the design appears virtually unchanged, Leica has tweaked the controls on the Q2. As on the M10, the shutter button of the Q2 now controls only the On/Off function, no longer offering the option to swap between single and continuous focusing modes, while the number of buttons on the rear of the camera has also been reduced, from five to three. Unlike the Q, the Leica Q2 is protected from the elements with seals to keep out dust and water spray.
The Leica Q2 is compatible with the new Leica FOTOS app, and thanks to the camera’s integrated Wi-Fi connectivity both JPEG and DNG raw files can be shared easily and edited on the move.
The Leica Q2 is available now, priced at £4,250 in the UK. US and Australian pricing to be confirmed.
Want to find the best camera for your needs but don't want to blow a small fortune getting one? You're in luck!
Thanks to intense competition, technological advancements and manufacturers clearing out order models to make way for new arrivals, you can grab a brilliant compact or mirrorless camera, or even a DSLR, for less than you might think.
New cameras aren't always that different from previous models, so if you do a little research you may be able to get the same kind of image quality, performance or functionality in a slightly older but cheaper offering. Better yet, you can simply leave the research to us and see what we reckon, having tested all the options below and many more.
We've compiled a selection of the best budget cameras going, so whether you want something to simply slot in your pocket for the odd snap that will be better pictures than your smartphone ever can, or a camera you can get a bit more creative with, you'll find it here.
Best budget cameras 2019 at a glance
Nikon D3500
Sony Cyber-shot RX100 IV
Canon EOS 200D Mark II / EOS 250D
Sony Alpha A6000
GoPro Hero7 White
Panasonic Lumix ZS200 / TZ200 / TZ220
Fujifilm X-A5
Nikon D5600
Olympus OM-D E-M10 Mark II
Panasonic Lumix FZ1000
Best cheap cameras in 2019
Nikon's D3400 was a hugely successful and popular DSLR, and it retained plenty of appeal once the D3500 was introduced, as it managed to offer much the same thing for less money. Now, the D3500 has dropped enough in price to make it the clear best buy. Key changes over the older D3400 include a newly developed APS-C sensor (though still with 24MP) and an even better battery life of 1,550 frames per charge, next to the D3400's very capable 1,200 shots per charge. You also get a better grip and a slightly redesigned body that's a bit lighter too. The D3400 is still around and remains an excellent first-time buy, but this newer model just has a slight edge.
Still one of our favorite compact cameras, the RX100 Mark IV manages to be technologically up to date without the lofty price of the (admittedly excellent) Mark V and VI models that came after it. In fact, it's this series has gone up to the seventh generation, giving credence to the popularity of this excellent line-up of compacts. And it's these successors that have seen the price of the Mark IV model drop significantly since launch. Now the RX 100 IV offers great bang for your buck, with 4K video on board and excellent image quality. Performance in both low light and in bright conditions is superb and, while the focal length is slightly limited, it's enough for most situations.
When the original EOS 200D / Rebel SL2 launched, it became an instant hit with anyone looking to enter the world of photography. Its easy-to-use menu system and on-screen user guide was a great help and the EOS 250D (confusingly also called the Rebel SL3 and EOS 200D Mark II) carries on that tradition. It offers beginners room to grow into more confident shooters. Canon's superb Dual Pixel CMOS AF system is available for smooth focusing during Live View, although 4K video is subject to limitations. Still, it's quite easy to find a dual lens kit for the EOS 250D for well under the $1,000 mark.
Don’t let the price fool you. The A6000 costs the same as other entry-level DSLR and mirrorless cameras, but it’s an advanced and powerful camera that has only dropped to this price through being on the market since 2014. So it may be old, but most of the specification still looks pretty fresh today. This includes a 24MP sensor, a fast hybrid 179-point autofocus system and continuous shooting at 11 frames per second (fps). Its age shows in other areas, though; it only shoots 1080p Full HD video and not 4K, and the screen isn’t touch sensitive. And while it’s cheap enough, the A6000’s high-end features make it a little advanced for beginners.
For adrenaline junkies who don't have the spare change to, well, spare for the full-featured GoPro Hero7 Black or the Hero8 Black, this is an excellent option. While you won't be shooting in 4K (it doesn't even have a 4K screen) and it lacks GoPro's Linear Mode, it offers the pretty much the same image quality as its more expensive counterparts. It's remarkably easy to use, with all the mounting accessories from action camera maker available at your disposal. It might also lack GoPro's signature image stabilization but it's still not too bad when mounted on a bike, for example. The body is waterproof down to 10m (33ft) without any housing, so you can recording your adventures – or misadventures as the case may be – pretty much anywhere.
At launch, the Panasonic Lumix ZS200 / TZ200 / TZ220 (sorry, we just had to give you all the names) was one of the most expensive compact cameras, albeit one that was far more advanced than the competition at the time. However, the price had dropped, giving you the option to grab a full-featured compact camera the next time you want a pocketable traveling companion. The large 1-inch sensor delivers excellent image quality with lots of details, although do be wary of image smoothing in JPEGs when shooting at high ISO values. The camera does this to reduce noise, although you'll have more pleasing results when shooting in RAW. The 15x zoom range means you should be able to shoot anything from landscapes and architecture to tight portraits, making it a versatile option.
Fujifilm has made its reputation with its high-end X-mount mirrorless cameras, but it also makes a series of simpler X-A cameras for novices. While we've seen the recent launch of the X-A7, we're still fans of the X-A5 with its retro good looks and 15-45mm retracting kit lens. While there’s no viewfinder, the touch-screen display works very well and flips through 180 degrees for selfies. The image quality is terrific, even though its regular CMOS sensor rather than Fujifilm’s special X-Trans sensor, though the 4K video mode only works at 15fps, which is a let-down.
The D5600 is a step up from the D3000-series models, with a stronger set of specs to rival the likes of the Canon EOS Rebel T7i / EOS 800D. Key advantages over the D3500 (listed in position one here) include a larger LCD screen, which not only flips out and swivels all the way around to face the front, but also responds to touch, together with a more advanced autofocus system, Wi-Fi and a healthy range of additional control on the inside. Sure, you pay a little extra for the privilege, but if you need a little more growing space it makes sense to go for the D5600 so that it stays with you for years to come.
The OM-D E-M10 Mark II is another example of a camera that's now been updated – in this case, by the excellent OM-D E-M10 Mark III – but that still makes a lot of sense for the budget-conscious user. Inside a sturdy body that's far more dashing than the average mirrorless camera lies an excellent electronic viewfinder, a highly effective image stabilisation system and burst shooting to a very respectable 8.5fps. True, it may not have the latest sensor, not 4K video recording, but neither is necessary if you're simply focused on taking great images.
The Lumix FZ1000's 16x optical zoom is less than that of typical bridge cameras, but that's due to its sizeable 1-inch sensor, which delivers a big boost in image quality. This isn't just any old lens, either, but rather a Leica optic with a large f/2.8 maximum aperture at the wide-angle end, which narrows to a still-respectable f/4 at full zoom. This helps you capture shots in low light without resorting to high ISO sensitivities, while the Hybrid 5-axis Optical Image Stabilisation minimises camera shake. 4K (Ultra HD, strictly) 3840 x 2160 video recording, advanced autofocusing, a superb 2,359,000-dot electronic viewfinder and raw shooting all help to make the FZ1000 one of our top picks.
Finding the best DSLR for you can be a tricky business. Not only do you need to consider factors like performance, usability and price, there's the added complication of whether or not you have existing lenses. Luckily, our guide is here to help you decide, whether you need a beginner-friendly DSLR or a professional workhorse.
Because we've been testing DSLRs for many years, we have an in-depth knowledge of all the best options for every type of photographer – and also which models offer the best value. In this guide, we've reduced all of those testing hours down to one simple list for every type of photographer.
So how you know which is the best DSLR for you? Our current all-round favorite is the Nikon D850, which is one of the most complete cameras we've ever tested, even with the arrival of the Canon 1DX Mark III. But it's certainly not the right choice for everyone.
For beginners, one of the best choices right now is the Nikon D3500, which combines everything that's great about DSLRs – great handling, an incredible battery life and excellent image quality – in an affordable, user-friendly package.
With so many great mirrorless cameras around, though, you may be wondering if a DSLR is the right choice at all. The basic difference between the two is that the former lack the mirror common to DSLRs, replacing the optical viewfinder with an electronic equivalent called an EVF. This brings benefits like reduced size and weight, albeit at the expense of value for money and battery life.
While mirrorless is where most camera manufacturers are headed, there are still many good reasons to go for a DSLR, whether you're a beginner or pro. They remain the cheapest way to get a camera with a viewfinder, while for pros the best DSLRs offer native lens choices and autofocus talents at longer focal lengths that mirrorless cameras still can't match.
If you want to know more about how they compare, read our Mirrorless vs DSLR: 10 key differences feature. But if you’re already happy that the superior handling and battery life of a DSLR is for you, then here’s how to refine your choice down to the right model.
It's hard to think of another DSLR that wows like the D850 does. It's on the pricey side for sure, but this is justified by excellent image quality, bags of features and a rugged, weather-resistant magnesium alloy body. The 45MP sensor is one of the highest in terms of resolution in any DSLR, while the 7fps burst mode is unusually high for a camera with such a sensor. Add to that a cracking AF system, wonderful handling and great 4K video, and it's versatility should be easy to appreciate. Like the sound of the D850, but want to go mirrorless? Well, while not strictly a mirrorless version of the D850, Nikon's newer Z7 mirrorless camera shares the same 45MP resolution as the D850, but features some clever tech of its own, including an all-new lens mount.
At the opposite end of the spectrum to some of the full-frame DSLRs here, the D3500 is super affordable, has one of the sharpest APS-C sensors out there, and a neat retracting kit lens. A word of warning: there are two versions of this lens, and it's worth spending the extra $20/£20 and getting it with VR, Nikon's image stabilization system. It's proof that you don't have to pay a fortune to get a great camera, and we say its value for money makes it just as impressive as much more advanced (and much more expensive) alternatives. The controls are designed to be simple for novices, and in the right hands it's a match for cameras costing far more. If you're looking to get more creative with your photography, and looking for your first DSLR, the Nikon D3500 is hard to beat.
The EOS 90D is quite the step forward for the EOS DSLR line, being the first model of its kind to sport a 32.5MP sensor. Also helping to split it from the previous EOS 80D is 4K video recording, which is thankfully uncropped, while a fresh processing engine and faster burst shooting also feature. The 1300-shot battery provides far more juice than what you can get from the average mirrorless camera, while protection against dust and water is also welcome to see. While modern mirrorless cameras, such as Canon's own EOS M6 II that shares the same sensor, rub some of the appeal away from cameras like the EOS 90D, by focusing on improving everything from resolution and burst rate to video and more, the company has at least made this a strong and versatile camera for anyone that prefers the DSLR shooting experience.
Fancy the D500 but don't fancy the price tag? Well, if you're prepared to make a few compromises here and there, the D7500 is probably what you should be looking at. It's packed with the same 20.9MP sensor as its more senior stablemate, and also matches it in offering 4K video recording. Nikon has also furnished it with the same 180k-pixel RGB metering sensor and the tilting screen on the back is just as large at 3.2 inches in size, although not quite as detailed, and it's all wrapped up inside a weather-sealed body. On an even tighter budget? There's also the slightly older 24.2MP D7200 (above), which may have been surpassed by the D7500, but it's still one of the best enthusiast DSLRs out there.
Canon's best budget EOS DSLR, the Rebel SL3 – also known as the EOS 250D – mixes a strong feature set with great handling, despite its small size. The Nikon D3500 (see above) is even smaller still, but lacks this camera's flip-out LCD screen, which is particularly handy if you want to shoot video. The Rebel SL3 also adds 4K shooting to its now discontinued predecessor, although this is cropped and rolling shutter is often noticeable. Still, it does offer pleasing JPEGs, a superb 1,070-shot battery life and compatibility with a huge range of EF lenses and other accessories that most mirrorless cameras lack. If those features are top of your camera wishlist, then this beginner-friendly DSLR remains a solid choice.
The D780 is effectively a hybrid of a full-frame DSLR and mirrorless camera like the Nikon Z6. This makes it a fine (if expensive) option for anyone who wants to combine the benefits of both. Building on the solid foundation of the D750, which will remain on sale (see below), the D780 has the same 273-point on-chip phase-detection autofocus system as the Z6, but also brings an impressive 2,260-shot battery life, if you prefer to shoot through its optical viewfinder. Image quality is among the best around, while its 4K video skills are boosted by the inclusion of modern features like Face and Eye detection. As a new DSLR, it's currently a little pricey, but if that isn't an issue for you, then it's one of the best full-frame all-rounders you can buy.
For an entry-level DSLR, the EOS 6D Mark II is pretty impressive and intuitively set up to make it user-friendly as well. Although the chassis can feel rather plasticky, the 26MP sensor housed within is stellar, and offers Canon's trusty Dual Pixel CMOS AF system when using live view mode. With 45 AF points to choose from and a burst speed of 6.5fps, there's plenty you can capture – including some decent wildlife shots as well. It's not quite fast enough for speedy trackside racing shots but it does surprisingly well for most anything else. The rear touchscreen also offers tap-to-focus and tap-to-shoot for anyone missing a joystick, but despite that the 6D Mark II is reliable, produces great results and is still a favorite amongst enthusiast photographers.
With the recent launch of the Nikon D780 (above), should full-frame fans still consider the D750? The answer is yes, because the D780 isn't a replacement for this camera, more a pricier alternative for those who want the latest mirrorless tricks in DSLR form. If you're looking for a good value full-frame DSLR that's almost half the price, then this 24MP model remains a great option. That sensor still produces top-quality results, particularly at high ISO settings, and you also get a very decent 6.5fps continuous shooting speed, together with a handy tilting screen. As it's an older model, there's no 4K video or a touchscreen, but if you don't need these, then the D750 offers very good value that lets you put extra money towards a lens or two.
Canon's EOS 5D series of cameras has a rich heritage – the original EOS 5D brought full-frame photography to the masses, the Mark II unleashed Full HD video capture for the first time on a DSLR, while the Mark III became a firm favorite among photographers for doing everything it did so well. The EOS 5D Mark IV pretty much tweaks and improves on everything before it, with a 30.4MP sensor and advanced 61-point AF system along with 4K video recording. There are now rumors that a 5D Mark V could arrive in 2020, bringing a 42MP full-frame sensor and the ability to shoot 4K video at up to 60p. It's unlikely to arrive before late 2020 at the earliest, though, so in the meantime we're happy to recommend the Mark IV, particularly with prices down at temptingly low levels.
Still one of the best options for sports and action photographers, the EOS 7D Mark II has performance and speed as its primary focus. To that end, it combines a 20.7MP APS-C sensor with Canon's excellent Dual Pixel CMOS AF system for smooth autofocus in live view and during video recording, together with a 10fps burst shooting mode and a 65-point AF system. It also boasts excellent ergonomics and a rugged, weather-resistant body, which makes it a fine choice for anyone who tends to shoot outside in variable conditions, whether it's for sports, wildlife, nature or landscapes. It's an older model, and a more modern alternative would be the EOS 90D (position 5) but it's still worth thinking about if you don't need things like 4K video or super high-resolution images.
It's easy to forget that Canon and Nikon aren't the only DSLR manufacturers out there. Pentax has some of the most underrated shooters and the K-1 Mark II is one of them. The K-1 line was Pentax's first full-frame DSLR, with the headline feature of the second generation model being its 36MP sensor. It even boasts a maximum ISO sensitivity of an impressive 819,000, although we wouldn't recommend going that high if you want to avoid noise. Pioneers of in-body stabilization (IBIS), Pentax has installed a Shake Reduction II (SR II) system on board that goes well beyond handling camera shake. It may not have too many AF points or a great burst speed to match the competition, but the K-1 Mark II is a unique DSLR that's worth considering.
Also consider...
It's been on the market for some time but we still have a soft spot for the D5300 – and the fact that it can still be bought brand new is testament to just how relevant it continues to be. It provides first-time DSLR users with a stronger set of specs than the average entry-level DSLR, with a 3.2in LCD that flips all the way out to face the front, together with a 39-point AF system, Full HD video recording to 60p and 5fps burst shooting. Of course, none of that would matter if the image quality wasn't up to scratch, but fortunately it is; the 24.1MP APS-C sensor has been designed without the optical low-pass filter to help as much detail to get into images as possible, and results at high ISO settings remain strong.
What should you look for when buying a new DSLR?
A DSLR remains the cheapest way to get a camera with interchangeable lenses and a viewfinder (you’ll find most entry-level mirrorless cameras don’t have viewfinders). But what else should you consider when choosing one?
The main differences between an entry-level DSLR and a more advanced one are usually in the camera’s design, sensor and shooting features. Beginner DSLRs like the Nikon D3500 are often smaller than their more premium equivalents, which might be important to you, though this usually means a lack of weather-proofing and fewer manual controls.
The size difference is often also related to sensor size. More affordable DSLRs tend to have APS-C size sensors, while pro-friendly ones like the Nikon D850 are full-frame cameras. There is no outright ‘better’ sensor size, with each having their own advantages and drawbacks. To find out more about these, check out our Full-frame cameras: do you really need one? feature.
Not sure how to decide between a beginner DSLR and a mid-range model? Paying a bit more for the latter will usually get you increased shooting flexibility. The extra features you tend to get are improved continuous shooting speeds (handy for shooting sport or wildlife), superior high ISO performance (useful in lower light), and sometimes an extra memory card slot.
If you’re just looking to step up from your smartphone or point-and-shoot camera, though, then an entry-level DSLR will give you the image quality boost and manual controls you need to grow into your new hobby. Finally, a quick word of advice if you don’t have any lenses – buy your new DSLR with a kit lens, as it’s cheaper to do this than buy them separately.
Full-frame cameras are aimed at photographers who want the best image quality possible without having to resort to medium format models. So what's the best full-frame camera right now?
It used to be a fairly easy decision to make as full-frame DSLRs were only made by two manufacturers – and you were lucky if you could afford them. Slowly, other brands joined in, and full-frame cameras got cheaper and cheaper, before full-frame mirrorless cameras arrived and changed everything.
Today, Sony rules the full-frame mirrorless roost with the most models, but it's been joined by the likes of Canon, Nikon and Panasonic in the past year, all racing to get their systems populated with tempting camera bodies and high-performing lens options to match. There's no doubt that full-frame photography is not only more exciting than ever, but more accessible too.
So what makes a full-frame camera so special? Most entry-level and mid-price DSLRs and mirrorless cameras sport an APS-C sized sensor, with the physical dimensions of these measuring around 23.6 x 15.7mm. A full-frame sensor, on the other hand, has larger dimensions of around 36 x 24mm. That's the same size as a frame of 35mm film, hence the name 'full-frame', and is around 2.5x larger than an APS-C sized sensor.
This allows for larger photosites on the sensor, which deliver better light-gathering capabilities, which in turn means better image quality – especially at higher sensitivities.
Full-frame DSLRs used to be the preserve of professional photographers, but as the costs have dropped and lower-cost models have started to appear, many serious amateurs and enthusiasts can now enjoy the benefits of full-frame photography, whether it's in DSLR or mirrorless form. You can even get full-frame compact cameras, although these are both niche and pricey.
We reckon the best full-frame camera right now is the Nikon Z6, thanks to its blend of excellent performance, light body, masses of features and a relatively low price. It's just as great for video as it is for stills and we love the way to handles.
To get an idea of what kind of DSLR or mirrorless camera you can get at different price points, try our Best DSLR and Best mirrorless camera buying guides. Otherwise, here's our pick of the best full-frame cameras, both DSLR and mirrorless, you can buy right now.
When the original EOS 6D launched, it offered the best bang for your buck and that trend continues with the second generation DSLR – the EOS 6D Mark II still offers an an excellent entry into the full-frame market. Released in 2017, it has a significant bump in features over it's predecessor, including a higher sensor resolution at 26.2MP, a better autofocus system with 45 cross-type AF points, 6.5fps burst speed and introduces touchscreen functionality to the 6D line. Performance in the real world is smooth and you won't find much to complain about in terms of image quality. And you get all that for around $1,500 / £1,349 / AU$1,999, which is excellent value for money.
Nikon's Z6 was the first of two cameras in Nikon's Z system, and while it's no longer the newest model around, it retains its spot at the top of our best full-frame camera list. It's our pick thanks to a brilliant blend of features, performance, handling and price: the 24.5MP sensor delivers beautiful results with great color reproduction and fine detail, while the 273-point AF system works very well and has excellent frame coverage. There's also an impressive 12fps burst shooting mode, sensibly laid-out controls, and a large, bright electronic viewfinder. Existing Nikon user? The FTZ adapter means you'll be able to use your existing F mount lenses too (though check compatibility for older lenses). All this makes the Z6 a brilliant choice for the enthusiast photographer or pro photographer looking for a second body. We can't wait to see where this system goes from here.
The A7 III has become a firm favourite among enthusiasts and pros these last couple of years, and for good reason. In contrast to the more niche A7R IV and A7S II, the A7 III is a camera for everyone, whether they shoot stills or videos, action or static subjects, indoors or out. The sensor has a modest 24MP but its backlit design makes for better light gathering, while the advantage of sensor-based stabilization means you don't need to worry about this being in your lenses, which is something many other mirrorless cameras don't have as standard. Add to that a 710-shot battery life – impressive for a mirrorless camera – a slew of video-specific features and the EyeAF feature for tack-sharp portraits and you have yourself quite some camera.
Nikon's first full-frame mirrorless camera along with the Z6, the Z7 is triumph. As a first-generation camera we should expect the odd hiccup, but the Z7 has been crafted with consideration and it behaves far better than we would expect. A solid sensor, combined with effective image stabilization, together with a beautiful EVF, excellent handling, competent AF performance and great response throughout form the bones of what make this camera such a pleasure to use. The fact that Nikon allows you to use F-mount lenses through the FTZ adapter also makes the journey from DSLR to mirrorless relatively painless if you've already built up a collection of lenses. Like what you see but cash is tight? The 24MP Nikon Z6 (position 1) deserves your attention.
Like the look of the A7 III but want more pixels? Then the 42.2MP Alpha A7R III is the answer. Not only do you get twice the number of pixels, but Sony has managed to keep the burst rate at 10fps. And while the 399-point AF system isn't quite as advanced at the 693-point system used in the Alpha A9 and A7 III, it's still performs brilliantly – especially with the camera's Eye AF mode that locks onto your subject's eye. Like the Nikon D850 (position 5), the Alpha A7R III means you no longer have to sacrifice performance for resolution or vice versa, while it's versatility means it's just at home perched on a mountain as it is in a studio or out shooting action.
The D850 may have had some of its thunder stolen by the similar Z7 (position 3) but it retains a lot of appeal. It's one of the most advanced DSLRs we've ever tested, with the winning combination of a 45MP full-frame sensor and 7fps burst shooting at its heart, and a wonderful 153-point AF system that makes light work of keeping up with moving subjects. Videos are recorded in 4K quality and are top notch, while build and design are as close to perfect as it gets right now. Its weight and size make the Z7 a little more desirable for most users, but if you're shooting sports or other moving subjects and plan on getting the most out of that focusing system, it's a cracking option.
The EOS 5D Mark IV pretty much tweaks and improves everything the Mark III offered. This includes a brilliant 30.4MP sensor that delivers pin-sharp results, together with an advanced and sophisticated 61-point AF system, a pro-spec performance, 4K video and some very polished handling. We have a few reservations, such as the crop factor and inefficient Motion JPEG option when shooting 4K videos, while the 30MP sensor resolution and 7fps burst rate aren't as competitive at this price point as they used to be when the camera was first launched. Still, if you're a Canon user looking for the very best DSLR for a wide range of purposes, this is still very much it.
Canon's first full-frame mirrorless camera, the EOS R, delighted in some ways and frustrated in others, but the EOS RP made a much more positive impression. While technically a more junior model and not as fully featured, its much smaller and lighter body, together with a far nicer price, means that it's far more accessible for those who were hoping to make the jump to mirrorless but didn't want to stretch all the way to the EOS R. Without only around 4MP difference between the two you're not really sacrificing much in terms of sensor resolution, while the responsive touchscreen, fast autofocus and deep buffer makes it a pleasure to use in all kinds of situations. Let's hope Canon fills out the lens range with some smaller and more affordable options, as most current options aren't quite the most suitable partners.
Things have moved on since the D750 burst on the DSLR scene back in 2014, but for DSLR users on a budget, it still makes plenty of sense. It's superior to the D610 and far cheaper than the D850 (position 5), and a perfect upgrade for those shooting with Nikon's DX-format cameras. For its super-low asking price you get a superb 24MP full-frame sensor that captures images with low noise and great dynamic range, together with a tilting LCD screen whose 3.2-inch size makes it larger than those on many cameras released even today. The 51-point AF system is very competent and 6.5fps drive mode more than speedy enough for most people's needs, while built-in Wi-Fi makes getting images out to the wider world a cinch. The lack of a touchscreen is a shame, but let's face it: it's no deal-breaker.
The S1R offers some very impressive tech in a supremely rugged body. The 5.7million-dot viewfinder is, without question, the most impressive on the market right now, while stellar video quality, great image stabilisation and a huge buffer all put a big smile on our face too. At the time of its release, the 47.3MP sensor had the highest number of pixels on any full-frame mirrorless camera too, although it's now been beaten by the Sony A7R IV. Its main party trick, however, is the ability to output 187MP images; quite how often you'll need to print your images to the size of a small country is another matter, but this clearly gives you massive scope for extreme cropping, enlargements to all sizes and homing in on the smaller details in the scene. We have some reservations with the autofocus system, and it's a little on the beefy side too, but for its combination of build, features and overall execution, the S1R scores many points.
We're just finishing up our full review of the A7R IV, but from what we've seen already we know it absolutely deserves a place on this list. The 61MP full-frame sensor is the star of the show, and it delivers excellent detail, although the Pixel Shift Multi Shooting ramps things up considerably, producing files that can be assembled into a stunning 240MP composite through software. Handling is positive overall and the autofocusing system is streets ahead of what we see on some rivals, while video quality is also excellent. Noticeable rolling shutter and slightly noisier images that what we see from some other cameras, however, mean it's not a resounding win, but Sony has more appropriate options if low-light shooting or video is your thing.
Nothing from the above take your fancy? There are a couple of other options that you may want to look at.
The A9 may now be two years old, but for sports and action shooters it's still pretty much the best option around. Part of that is down to the core specs, which include a superb 693-point AF system, a huge buffer, oversampled 4K video recording and 20fps burst shooting with no viewfinder blackout. But another reason is because of how Sony has continued to support it throughout its lifetime, recently blessing it with firmware that radically improves the stickiness of the autofocus system. The camera is capable of not just keeping an excellent lock on subjects as they move around, but also maintaining this as obstacles present themselves, and that huge buffer lets you keep shooting for extended periods of time. It's not cheap, but if you're shooting action, you won't find a better mirrorless body right now.
Now over three years old, but the D5 is still Nikon's flagship DSLR and a formidable performer when it comes to capturing action. The 20.8MP sensor might seem a bit stingy, but it means the D5 can shoot at 12fps continuous shooting, while the extended ISO range of ISO 3,280,000 has never been seen before in a camera. That's even before we get to the autofocus system; with a coverage of 173 AF points (99 of which are cross-type), the sophistication and speed of the AF is staggering. The ability to shoot 4K video is restricted to three minutes, however, but that aside the D5 is a phenomenal camera that's used by professionals the world over.
What's the best camera you can buy right now? Okay, we admit it – it's an impossible question to answer, but we'll do our best to make sure you end up buying the right camera for you.
You see, the best camera for a pro photographer is a million miles away from the best camera for an adventure sports nut. Likewise, a novice shooter just making their first steps in photography doesn't need all the most up-to-date tech that a pro might, more an easy-to-use camera that will help them to grow in confidence.
But if you just want to know what we think are the top ten cameras that are available right now – regardless of user level or price point – keep on reading.
What we've done is pick out what we think are the standout cameras in their fields, so you'll find everything here from cheap and cheerful compact cameras to advanced full-frame DSLRs.
This means that while some have some mouthwatering features and performance, others make the grade because they're amazing value for what they offer or because they are just brilliant at the job they've been designed for.
Regardless of their target audience, we've put each one and their rivals to the test to be sure they're the best options right now – and you can read our full reviews on each model through the link after each description.
Along the way we'll explain some of the jargon and the differences between cameras, though if you need a bit more help deciding what kind of camera you need, you can get a lot more information from our special step-by-step guide: What camera should I buy?
On the other hand, you may already have a clear idea of the kind of camera you want, in which case you could go straight to one of our more specific camera buying guides at the bottom of the page. Otherwise, read on to find out our picks of the best cameras available right now.
Best cameras in 2019
Our top mirrorless camera until recently was the brilliant Alpha A7 III from Sony, but the arrival of Nikon's new Z6 means it now just misses out, though it's very close. Nikon has been late to the full-frame mirrorless party, but the wait's been worth it. Launching alongside the 45.7MP Z7, the Z6 is hard to beat for the price and offers a stunning blend of features and performance that makes its a brilliant choice for the enthusiast photographer or pro looking for a second body. The 24.5MP full-frame sensor is excellent, while the 273-point AF system (while not quite as sophisticated as the 693-point AF in the A7 III) and 12fps burst shooting should mean you'll never miss another shot. Handling is polished too, while the large and bright electronic viewfinder is a joy to use. Excellent.
Fujifilm has made a habit of squishing the best bits from its senior X-series models into cheaper offerings once some time has passed, and the X-T30 is the latest such model. With so much from the pricier X-T3 inside a more compact body – including the same sensor and processing engine, and largely the same AF system and video capabilities – you really can't argue with what you're getting for the money. No other mirrorless camera at this level can touch it right now, and while the more senior X-T3 holds a number of advantages, the X-T30's small size, feature set and price point makes it that little bit stronger overall.
It may be expensive, but if you're looking for the best DSLR money can buy right now, then Nikon's fabulous D850 DSLR pretty much ticks every box. Packing in a brilliant 45.4MP full-frame sensor, image quality is simply stunning. But that's just half the story. Thanks to a sophisticated 153-point AF system and 9fps burst shooting speed, the D850 is and incredibly versatile piece of kit, just a home shooting action and wildlife as it is landscapes and portraits. The arrival of the Z6 and Z7 might overshadow the D850, but this is still a brilliant camera.
While the main specification of the OM-D E-M10 Mark III doesn't offer a huge upgrade from the Mark II, Olympus has refined and tweaked one of our favorite mirrorless cameras to make it an even more tempting proposition for new users and enthusiasts alike. Some will criticise the smaller Micro Four Thirds sensor format (roughly half the area of APS-C) but the effect on image quality is minor and it means that the lenses are as compact and lightweight as the camera itself. Sporting a 5-axis image stabilization system, decent electronic viewfinder, an impressive 8.6fps burst shooting speed and 4K video, it's no toy – the E-M10 Mark III is a properly powerful camera. If you can wait a little be longer, then Fujifilm's X-T30 looks like it might be the camera to dislodge the E-M10 Mark III. However, we won't know until we've fully tested it.
Canon recently updated the EOS Rebel SL2, also known as the EOS 200D, with the EOS Rebel SL3 / EOS 250D, but we're sticking with the former for now. While the newer model does add a few extra niceties – 4K video recording and a new processor, for example – the bones are pretty much the same, so you may as well go for the older model and put the cash you save towards a nice lens. The EOS Rebel SL2 offers everything the first-time user needs to get started, such as a great 24.2MP sensor, a fluid AF system when shooting live view and videos, and an easy-to-understand interface. It also works with an endless assortment of lenses and accessories and that touchscreen is a joy to use too.
We love the A7 III. The original A7 and A7 II showed Sony was moving in the right direction and making all the right noises, but it's this third iteration that has particularly stood out in the mid-range mirrorless market. The core of the camera – namely a 24MP full-frame sensor, 4K video, sensor-based image stabilisation, 10fps burst shooting and a 693-point hybrid AF system – is strong enough, but with two card slots and a 710-shot battery life on top of that, you're getting excellent value for money as well as top performance. We have some reservations with the viewfinder and weather-sealing, but this is still one of the most versatile cameras around right now, mirrorless or otherwise.
The Panasonic Lumix ZS200 (known as the Lumix TZ200 outside the US) is the best travel zoom camera right now. This is thanks in part to the camera using a large 1.0-inch sized sensor that enables the pixels to be about 2.4x bigger than they are in models like the Lumix ZS70 / TZ90, and this helps the ZS200 produce much higher quality images. The zoom isn't quite as broad as some though, but the 15x zoom should be more than enough for most shooting situations, while there's a built-in electronic viewfinder that makes it easier to compose images in sunny conditions. Add 4K video recording, along with Panasonic's 4K Photo mode to help capture 8MP images of fleeting moments, and you've got a very capable travel companion. If you're looking for even more performance – and you have deeper pockets – check out Sony's brilliant Cyber-shot RX100 VI.
While it can shoot stills quite happily (although at a pretty limited 10.2MP resolution), the Lumix GH5S should be seen first and foremost as a video camera – if you want to do both you've got the Lumix GH5 to fill that brief, thanks to it's 20.3MP sensor and built-in image stabilization system. The GH5S's breadth of video features is incredibly impressive, including the ability to shoot cinematic 4K footage at up to 60fps. If you want to shoot professional-quality footage without remortgaging your house to buy a pro video camera, you won't find a better video-focused camera right now.
The Tough TG-5 from Olympus is built to survive pretty much anything you could throw at it, literally. Waterproof down to depths of 15m, don't mistake it for being merely an underwater camera; being waterproof is also useful for hikers, bikers, kayakers, and skiers. In fact, any outdoor pursuit is game for the TG-5, which is crushproof to 100kg and drop-proof from 2.1m. It can even be used in temperatures as low as -10°C. Add in raw file support and this makes image quality that bit better than its predecessor, while it can shoot 4K video at 30p or high speed footage at 120p in Full HD. The company has recently updated its line with a TG-6 successor, although the specs seem very similar and we've not had the chance to give it a full workout yet – so we're sticking with the TG-5 for now.
The RX10 III is the third bridge-style superzoom in the popular RX10 line, and while it's had some of its sheen rubbed off by the newer RX10 IV, we reckon the great spec sheet and lower price of the RX10 III makes more sense. Thanks to its large, high-quality 1-inch sensor and image-stabilized 24-600mm-equivalent zoom lens, it's one of the best DSLR alternatives for those that need a massive focal range, although excellent 4K video capabilities and 14fps burst shooting show it to be more than capable when faced with moving subjects too. Too expensive? The previous RX10 II is still available (although its lens has a more modest 24-200mm scope), and Panasonic's competitively priced FZ1000 is another stellar option.
Our main reservation with the Sony RX100 IV when it first launched was its high price, but now that some time has passed it's dropped down to a much more sensible level. And while it's still far from the cheapest compact around, you get bags for the money. No other manufacturer can match the camera for its combination of a 1in sensor, 4K video recording, excellent pop-up EVF and 16fps burst mode, while the further pleasures of a tilting LCD screen, wireless connectivity and the option to shoot at up 960fps for slow-motion output on top of all that to make it even more fun to shoot with. If you can live without the 4K video option and you're happy with 10fps burst shooting, you may also want to check out the slightly cheaper RX100 III.
The most common question people ask when buying their first DSLR is whether to side with Canon or Nikon. Indeed, even more experienced photographers tied to one system often think about what they would gain by switching sides.
The fact is that both companies make excellent DSLRs. Nevertheless, at any given point they each have slightly different offerings on the market, and so it follows that some models will be better suited to your specific needs than others.
To that end, we’ve rounded up the main DSLRs currently available from the two (bar the most senior models designed for professionals) and compared them with their rivals in the same price bracket.
With both Canon and Nikon now both offering a range of mirrorless cameras as well, we'll also take a look at both systems.
Whether you’re a photographic novice looking for your first camera, an enthusiast keen on exploring a range of options or a more advanced user looking for a full-frame powerhouse, read on to get the best idea of what your money gets you.
Canon vs Nikon: Entry-level DSLRs
If you’ve got up to £500/$500 or so to spend on your first DSLR, you’re very much spoilt for choice. Not only do you have a raft of brand new models to consider, but there are also many older ones that manufacturers typically subject to discounts and cashback offers to hook you into their system.
What's the difference then? At the bottom end of the scale is the EOS 1300D / EOS Rebel T6, which features a 18MP sensor and can shoot at only 3fps, while there's a 9-point AF system featured. Then there's the EOS 4000D - similar in spec to the EOS 1300D / EOS Rebel T6, but the newer camera isn't worth the extra cash as it features a plastic lens mount and pretty horrible 2.7-inch display and is best avoided.
The new EOS 2000D / EOS Rebel T7 is the next step up and is worth the extra money thanks to the jump in resolution, from 18MP to 24.1MP. The EOS 200D / EOS Rebel SL2 is the most advanced Canon of the bunch. It has the latest 24.2MP sensor and features Canon's brilliant Dual Pixel CMOS AF system for quick Live View focusing and shoots at a slightly faster 5fps. There's also a really useful vari-angle touchscreen. That said, it sticks with a similar 9-point AF system as the other two cameras.
Over at Nikon and both the D3400 and D3500 have 24.2MP sensors and can shoot at 5fps, and each is furnished with an 11-point AF system.
With very similar headline specs, Nikon’s D3500 actually features a newer design of sensor, even though they share same resolution. Handling has also been refined, with a larger handgrip for improved comfort. That's not forgetting the battery life, which has jumped from an already impressive 1,200 shots to 1,550 shots.
Overall then, there's not a huge difference between the offerings from Canon and Nikon, but our pick would have to be the D3500. It's not perfect, but what it does do, it does very well and is incredibly easy to use for the first time user.
From Nikon, there's not quite the same amount of models to pick from, but the Nikon D5300 and Nikon D5600 are still very strong contenders.
Starting with the EOS Rebel T5i / EOS 700D, and it's starting to show its age now, with the 18MP sensor not a match for the latest 24MP sensors. It's pretty cheap, but we reckon it's worth trying to save up a little more and go for a newer camera if you can.
The Nikon D5300 is starting to be harder to come by, but it has many advantages over the EOS Rebel T5i / EOS 700D. These include a 24.2MP sensor with no low-pass filter, a 39-point AF system, a larger 3.2in LCD screen (though there's no touchscreen functionality) and Wi-Fi built into the body.
Collectively, this adds up to a much better proposition over the Canon, although we weren’t so crazy about the D5300’s AF speeds in live view when we reviewed the camera either. Otherwise, we were left with positive impressions and the price means it should be a very tempting proposition for many.
For a little more cash the Canon EOS Rebel T6i / 750D is also well worth a look. Handling is great, and we love the way the touchscreen controls have been implemented and overall, it's a very solid option.
All three of these DSLRs now though have been superseded by newer models, with the EOS Rebel T7i / EOS 800D, EOS 77D and D5600 the latest offerings from Canon and Nikon.
The direct successor to the T6i / 750D, the EOS Rebel T7i / EOS 800D comes with a newer sensor (though the resolution remains the same at 24.2MP) that delivers better noise performance at higher ISOs and a greatly improved AF system. The EOS 77D is pretty much identical to the T7i / 800D as far as spec goes, but offers more body mounted controls - useful if you're a slightly more experienced user.
That leaves the Nikon D5600, which features a 24.2MP sensor that produces very detailed images, along with an articulating touchscreen, decent 39-point AF system and polished handling. These all combine to make the D5600 one of the most well-rounded entry-level DSLRs available, but it's probably just edged out by the EOS Rebel T7i / EOS 800D for overall performance.
If you’re after something more advanced than each manufacturer’s most basic offerings, you’ll be looking towards models such as the Canon EOS 80D, Nikon D7200 and the new Nikon D7500.
All three occupy a similar kind of price bracket but there are differences. The Canon EOS 80D is a brilliant enthusiast DSLR with an articulating LCD touchscreen, a Dual Pixel CMOS AF system that provides continuous focus in stills and movies and an all-cross-type 45-point AF system. It's a system that works brilliantly, although the comprehensive AF settings may overwhelm some. Nevertheless, with 7fps burst shooting also on board it’s very much recommended if you reckon you’ll be shooting both action and videos. It also has a high quality 24.2MP sensor that is able to capture a good level of detail while keeping noise under control. A great enthusiast DSLR that packs a decent performance.
The D7500 might have replaced the D7200, but don't discount it. Packed with features, a decent performance and a excellent 51-point AF system, the D7200 is topped off with a cracking 24.2MP sensor to make it an ideal camera for enthusiasts – especially if you already own some Nikon lenses. It might be getting on a bit, but this makes it an ever better buy.
That leaves the new D7500. This latest addition to Nikon’s DSLR line-up represents the biggest revamp we’ve seen in the D7xxx series since the D7000 replaced the D90. The combination of Nikon's 20.9MP sensor and EXPEED 5 image processing engine from the D500 (see below) in an even more compact and affordable body make it a very tempting proposition, especially if you shoot action.
Pro-spec APS-C DSLRs
Two further models are nestled between these and the full-frame offerings from each manufacturer.
The Canon EOS 7D Mark II and more recently launched Nikon D500 each provide action photographers with a compelling proposition. While their sensors are more or less evenly matched at 20.2MP and 20.9MP respectively, the D500’s sensor lacks an anti-aliasing filter, which should help it to capture slightly better detail.
Up until the D500 was released, the EOS 7D Mark II’s 65-point all-cross-type AF system sounded impressive, but Nikon’s D500 has trounced this with a 153-point AF module with 99 cross-type points (although only 55 of these can be manually addressed by the user).
Both cameras can shoot at 10fps, but the D500 promises up to 200 Raw frames versus the 31 Raw frames from the Canon, although both can capture JPEGs indefinitely at this rate. Together with 4K video recording, a broader ISO range and a larger, higher-resolution, touch-sensitive screen that can be tilted relative to the camera, the D500 outguns its rival in many areas.
The fact that it only offers 20MP may put some off, and all of its advantages very much come at a steep price. If price is no issue than the D500 is very much on top, with its strong spec sheet and excellent performance meaning that it should remain relatively future-proof, but there’s no question that the EOS 7D Mark II is currently the better value deal.
Most people looking at a DSLR at this level are after a one that’s furnished with a full-frame sensor, and both manufacturers provide a range of solutions.
The EOS 6D Mark II is the newest out of the three options and pips its two Nikon rivals in the resolution stacks, with a 26.2MP full-frame sensor, compared to 24.3MP resolutions found in both the D610 and D750. That's not the whole story though as we found that the dynamic range performance of the Nikon's was that bit better.
The EOS 6D Mark II's 45-point AF system is a little too weighted to the centre of the frame for our liking, but the vari-angle touchscreen with Canon's brilliant Dual Pixel CMOS AF system makes up for it.
The D610 by contrast is getting on a bit, but that does make it the cheapest full-frame camera here. It's still well-spec'd too, with a solid 39-point AF system with 11 cross-type points, which is great for all-round use.
So what about the D750? Like the D610, it might be showing it's age a little, but this is still a very well-rounded enthusiast full-frame DSLR. You get a tilting LCD screen with a decent resolution (no touchscreen control though), a refined 51-point AF system with 15 cross-type points, while image quality is also measurably better than the D610’s. In fact, we didn't have too many gripes with it when we came to review it. Particularly if low-light shooting or video is key, the D750 is our pick of the bunch.
High-end options
Canon and Nikon each have a number of options at the £2000/$2500+ end of the full-frame scale, but the main four are the Canon EOS 5D Mark IV, Canon EOS 5DS (and its EOS 5DS R sibling), Nikon D810 and Nikon D850.
Let's start with the 50MP EOS 5DS - this has held the crown for the high resolution DSLR for a while now, but all those pixels means it's not incredibly versatile - it's great for landscape photographers and those that work in a studio, but a little restrictive elsewhere.
The 30.4MP EOS 5D Mark IV still packs in a decent amount of pixels, and is a much more versatile proposition, with a great 61-point AF system, excellent handling and a decent 7fps burst shooting.
The EOS 5D Mark IV was until recently, our pick of the best DSLRs out there, but the arrival of Nikon's 45.4MP D850 has eclipsed it. In a nutshell, this is high resolution camera that packs in a high performance. The sensor delivers excellent results, while the 153-point AF system and 7fps burst shooting mean it's at home shooting pretty much any subject. The best DSLR you can buy right now.
That just leaves the 36.3MP D810 - it might have been replaced by the D850, but it's still a great DSLR and you should be able to hunt it down at a great price now as well.
Choosing between Canon and Nikon doesn’t restrict you to DSLRs as the two companies also have mirrorless options in their current lineups. Admittedly, both were a little late to the party, and Nikon recently retired its small 1 series of mirrorless cameras, so it’s Canon that currently has the widest selection here.
Most of these reside in its EOS M series, which at the the time of writing comprises four separate options: the EOS M100, EOS M6, EOS M5 and EOS M50.
The baby of the family is the EOS M100, a tiny, wirelessly connected camera that has a flip-up screen and Canon’s video-friendly Dual Pixel CMOS AF system to recommend it. This makes it particularly suitable for vloggers and anyone wanting a more serious camera that’s still suitable for capturing selfies, although it lacks a microphone port for more serious audio recording and also doesn’t have a viewfinder.
The next model along, the EOS M6, also lacks a viewfinder, although the the presence of a microphone port makes it more appealing to video users. Its slightly higher asking price is reflected in a more serious assortment of controls: a beefy grip that provides superior handling, together with a dedicated exposure compensation dial and a hot shoe that accepts an optional viewfinder) are just the tip of its highlights. The lack of a silent shooting option, however, is somewhat odd for a mirrorless camera, and its build quality could be better too.
The EOS M5 is much the same as the EOS M6 in its controls and intentions, although the fact that it’s fitted with a centrally positioned electronic viewfinder makes it more DSLR-like in style and operation. Its LCD still flips around to face the front, but does so at the bottom of the camera, which is decidedly less ideal for video use. Still, 7.4fps burst shooting and the same Dual Pixel CMOS AF option as its siblings shows it to be primed for capturing action as well as static subjects.
None of these models offer 4K video recording, although the fourth option, the EOS M50 / EOS Kiss M does. Sadly, Canon’s Dual Pixel AF system does not work when recording 4K videos, but the fact that that the camera offers a more advanced DIGIC 8 processing engine and a newer and more efficient Raw format gives it a few advantages over its cheaper siblings. It’s also very competitively priced right now, and boasts a 2.36million dot electronic viewfinder and a Vari-angle touchscreen, although its lacklustre build quality matches that of the EOS M6. Furthermore, like the other EOS M options here, it suffers from only being compatible with a few native lenses right now.
High-end options
Canon's EOS M-series models certainly have their charms, but the real excitement in Canon and Nikon’s mirrorless systems is at the enthusiast/professional end of the scale.
Both companies have announced fresh mirrorless systems in recent months, and all four cameras released so far – namely Canon's EOS RP, EOS R and Nikon'sZ6 and Z7 – have been blessed with full-frame sensors.
The latest model is Canon's EOS RP. Aimed at those looking to upgrade from an APS-C DSLR, it features a virtually identical 26.2MP sensor to the EOS 6D Mark II full-frame DSLR, but will a new 4779 point selectable AF system and vari-angle touchscreen.
It’s also compatible with a new line of lenses – four of which have been released so far and many promised to land shortly with a total of 10 planned to be available from the end of 2019 – but Canon has ensured that existing EOS users are catered for via a choice of three adapters, each allowing for EF lenses to be used on the newer system without hassle.
The EOS RP is blessed with a good build, great image quality, sound autofocus performance and many further pleasures. The sheen is only rubbed off a little by a lack of logical lens options and compromised video capabilities, but if you already own EF lenses and have no use for video it might be just what you were hoping Canon would end up releasing.
The EOS R is Canon’s first full-frame mirrorless camera, with a spec sheet that places it somewhere between the enthusiast-level EOS 6D Mark II and pro-grade EOS 5D Mark IV DSLRs. On top of a new 30.3MP full-frame sensor and 4K video capabilities, it benefits from a clear 3.69million-dot EVF and a responsive 3.2in touchscreen that flips out to face the front, together with a fast AF system that works brilliantly across stills and video.
We’re not sure about a couple of design decisions Canon has made for he model overall, but handling is great and build quality exemplary. Image quality also looks to be very promising from what we’ve seen so far.
Nikon kicked off its own Z series just ahead of Canon with two full-frame models, the Z6 and Z7. The two cameras have pretty much everything in common, save for a handful of key differences.
Thanks to its 24MP sensor, 12fps burst shooting option, a 273-point AF system and a significantly cheaper price tag, the Z6 is a camera with wide appeal. With a 45.7MP sensor at its heart, the Z7 is a better match for anyone involved in capturing more sedate, resolution-gobbling applications, but its more densely packed 493-point AF system and a very respectable 9fps burst mode mean you shouldn’t necessarily rule it out if you tend to shoot moving subjects with any regularity.
The two cameras sport a new lens mount and three native lenses have been released already, with many more planned over the next few years. And, as with the EOS R, you can mount decades’ worth of existing lenses on the body through the optional adaptor.
We love the way the Z7 handles and both image and video quality is very impressive. The use of XQD memory cards has proved to be controversial, however, and battery life isn’t quite as strong as that of certain competitors, notable Sony’s A7 series of full-frame cameras.
Looking for the best compact camera you can buy right now? You've come to the right place. We've tested and rounded up the best compacts around for taking smartphone-beating snaps, whatever your budget or shooting style.
Because smartphones have evolved into impressive point-and-shoot cameras, compacts have similarly had to change, with many moving to the more premium end with larger sensors and long zooms. While we've focused mainly on these models, we've also included some older models that offer great value for novices or bargain hunters.
The compact cameras in this list have all been chosen because they offer a great blend of performance, features and portability. Many also have bonus skills that help set them apart from rivals and smartphones – whether that's a waterproof shell, a long optical zoom range or a large sensor that produces results similar to DSLRs.
If you're not restricted by budget, our current money-no-object pick is the Sony RX100 VII. Sure, it’s a lot more expensive than the already pricey RX100 VI, but the combination of an outstanding autofocus system and superb video quality make it impossible to ignore. If you want a specialist street photography compact, though, then the Fujifilm X100V is our current pick of the bunch.
In the market for something less expensive, or searching for a specific feature? Read the full list below for a range of compact camera recommendations. We’ve accounted for various tastes, expectations and budgets in creating this buying guide, so you should be able to find the ideal compact camera for you.
The Fujifilm X100V takes what was already a special camera and fixes all of its weaknesses – it's the perfect compact for the smartphone age.
The concept is the same as before: a stylish, pocketable design, large APS-C sensor, unique hybrid viewfinder and a fixed 23mm f/2 lens. All of those areas, though, have now been improved on the X100V, which brings a new tilting screen and improved autofocus performance.
Image quality has been improved, partly thanks to a redesigned lens, and low-light performance is better. Then there’s the higher resolution hybrid viewfinder – both optical and electronic – as well as support for 4K/30p video capture.
Sure, you need to add a filter for full weather-proofing and the cost will be prohibitive for some, but the X100V puts an impressive range of features into a polished, premium body, with throwback style that sets it apart from the crowd – yet still fits perfectly in your pocket.
Panasonic invented the travel-zoom camera genre – compact cameras that you can fit in a pocket but that have long zoom lenses built-in. Despite strong competition, the ZS range (known as TZ outside the US) has dominated sales, and that form has continued with the brilliant Lumix ZS200 (called TZ200 outside the US). As we first saw with the Lumix ZS100 / TZ100, Panasonic has been able to keep the camera body about the same size as earlier ZS-series cameras but squeeze a much larger 1-inch sensor into the camera to deliver much better image quality. The zoom lens isn't quite so extensive as some, but the versatile 15x zoom should be more than enough for most people and still comfortably beats all smartphones. You get (an admittedly small) electronic viewfinder, but there's also 4K video and a great touchscreen interface. If you're looking for a neat all-in-one compact camera that delivers great images, this is it.
If you're looking for a powerful all-in-one bridge camera, then the RX10 IV from Sony remains the best one out there. You'll pay a premium for that performance, but when you look at what else is out there for the same price, the RX10 IV is virtually in a league of its own. Featuring a huge 24-600mm f/2.4-4 zoom lens, the RX10 IV builds on the RX10 III with an overhauled AF system that now does justice to the rest of the camera, while the 1-inch, 20.1MP sensor is capable of achieving excellent levels of detail. Handling is very polished, feeling like a DSLR in the hand and complemented by a large and bright electronic viewfinder. That's not forgetting the ability to capture video in 4K and shoot at up to 24fps. Impressive stuff.
The G7X Mark II proved to be a smash and we're confident that this will be just a great a hit with vloggers and enthusiast photographers. With the new advantages of 4K shooting, a mic port and live streaming to YouTube joining the previously seen built-in ND filter and flip up LCD screen, this is arguably the strongest compact right now for vlogging. But if you've no interest in video there's still plenty to keep you happy, from 30fps shooting at full resolution to a super-sensitive touchscreen, in-camera Raw processing and the added convenience of USB charging. It's a shame there's no viewfinder or hot shoe, but then not everyone needs these.
Compact cameras with sensors larger than 1-inch in size are typically limited to fixed-focal-length lenses, which is great for quality but less so for flexibility. But not the Panasonic LX100 II; it manages to marry a 17MP Four Thirds sensor – the same size as those found inside Panasonic's G-series mirrorless cameras – with a zoom lens equivalent to 24-75mm in 35mm terms, proving that sometimes you can get quality and flexibility at once. The original LX100 was something of a landmark camera for offering something similar, and this latest iteration takes the baton, with a nippy AF system, robust body, clear 4K videos and a useful electronic viewfinder among its highlights.
Sony's original RX100 was a landmark camera that fused a 1-inch sensor in a compact, metal body with the controls and image quality demanded by enthusiasts. The RX100 VI goes several steps further, though, with a 'stacked' sensor design for high-speed data capture. It's not Sony's latest model, but if you don't need the microphone jack and video autofocus skills of the Mark VII, then it does offer better value. That sensor means it shoot 4K video, amazing 40x slow motion and still images at 24fps in continuous burst mode. That's not forgetting the neat little built-in electronic viewfinder that its rivals lack, while this sixth generation model packs an impressive 24-200mm zoom lens. It's a pricey option and does have its quirks, but if you're looking for a versatile, pocket-sized compact with a quality zoom lens, you won't be disappointed.
The second coming of the G5 X is a serious step-change in styling and spec for the series. Gone is the DSLR-style shell in favor of a streamlined body that’s still a pleasure to grip but far easier to slip into a pocket. Inside, a new 20.1MP stacked CMOS sensor, driven by Canon’s DIGIC 8 engine, is able to capture uncropped 4K footage, while a fresh 24-100mm lens offers a generous focal range and a relatively wide maximum aperture. Well-rounded and wonderful to use, the G5 X Mark II delivers reliably good image quality, brisk focussing and a strong feature set. Battery life could be better and the lens can be a little soft at longer focal lengths, but the Mark II remains a very capable all-rounder that’s untroubled by almost all scenes. So why the lower ranking? It needs to come down in price.
Keen photographers usually go for a DSLR or mirrorless camera, but they also want something that will slip in a pocket for those days when the big camera needs to stay at home. Usually, that means putting up with a smaller sensor – but not this time. Somehow, Canon has shoehorned a DSLR-sized APS-C sensor into a compact camera body. There's also a built-in electronic viewfinder and refined touchscreen interface. The zoom range is a bit modest at 24-72mm, but there's nothing else quite like it.
It's tempting for list this model higher up just for the value for money it offers. It isn't the newest model and, as a result, doesn't have the topnotch performance of its newer siblings. The RX100 IV sits in the middle of the RX100 family, and while newer models beat it for burst shooting, autofocus and focal range, for most people this cheaper alternative would still serve them brilliantly. The 1-inch sensor at its heart captures lovely images and super-crisp 4K videos, and while the 24-70mm (35mm equivalent) lens range isn't quite as broad as on the RX100 VI and RX100 VII, the lens itself has a wider f/1.8-2.8 aperture. The 2.36 million-dot viewfinder cleverly hides away when not in use, while optical image stabilization inside the lens keeps everything steady. You might want to pair it with a separate grip for better handling, but if you need a powerful compact to slip into your pocket – and you don't want to spend a fortune getting it – you'll find the RX100 IV delivers plenty.
The ZS100 may have been refreshed by the ZS200 (see above) but don't let that put you off; this is still a fine camera, and its last-gen status means it's at a better price than ever. Part of its charm is that fact that it partners a large 1-inch sensor with a 10x optical zoom lens, which provides better image and video quality than other superzoom compacts, but with the flexibility of a broad zoom lens – not something many cameras can claim. Other niceties include a built-in EVF, very good quality 4K video and Wi-Fi, along with image capture in raw.
None of the above take your fancy? Got some cash to play with? Here are three further options.
In many ways, the RX100 VII is best compact around right now. Its autofocus system is comfortably ahead of any other pocket camera, tracking moving subjects with great reliability and making clever use of its Face and Eye AF, even in video mode. Video quality is superb, while image quality is also stellar. But all of this comes at a huge price, and for many people it's just a little too steep for the camera to be included in the main list. Still, we can't avoid mentioning it as it's one of the best options around. If your budget isn't limited at all, then you won't find a more powerful compact than the Mark VII. But if you're happy to sacrifice some of the latest autofocus features and a microphone jack, check out the RX100 VI (position 6), which offers most of its performance a little less cash.
The Q2 is a thing of beauty, and right now it's arguably the best compact camera around. It's not for everyone – not least because it costs a small fortune – but if you genuinely want the best compact you'll be hard pushed to find a finer one than the Q2. Leica hasn't compromised on the spec sheet, with the 47.3MP sensor producing masses of detail and keeping noise impressive low, while the 3.68 million dot electronic viewfinder is bright and sharp. Also bright and sharp is that 28mm f/1.7 lens, while 4K videos show plenty of detail. It's not the easiest to handle (although you can get an optional grip) and some may have preferred a tilting screen, but its build quality is near-faultless. If you're pining for such a camera in your life but can't quite find the funds, consider the previous Q1 model, which offers a slightly stripped-down feature set by comparison for a hell of a lot less.
We had mixed feelings when we came to review the GR III, but it still deserves a mention here. Why's that? Because, despite a few quirks, Ricoh managed to get a lot right, and it delivers something no other compact quite manages right now, namely the combination of an image-stabilized 24MP APS-C sensor inside a body that you can squeeze into your pocket. Other advantages include a high-performing lens, fast operation, a revamped menu system and understated styling to help keep you discreet when you're out shooting. The fixed 28mm-equivalent lens won't be to everyone's taste, and the battery life is also disappointing, but for those who need to travel light and take great images, this is a very capable alternative to an interchangeable-lens camera.
Sony has replaced its PlayMemories mobile camera app with all-new app called Imaging Edge Mobile.
Sony says the new app will offer the instant transfer of images from camera to a connected smart device while shooting thanks to the new ‘Auto background transfer to Smartphone’. The new app will also add support for 4K movie transfer, as well as offering remote control of cameras.
For professional photographers, Sony is also releasing a new mobile app called ‘Transfer & Tagging add-on’. This will allow users to transfer content to their mobile devices via the camera’s FTP background transfer, without having stop shooting. Available for the Alpha A9, Alpha A7R III and Alpha A7 III, the app enables voice input for captioning to help streamline communication and overall workflow between photographers and other team members - perfect for sport photographers working pitch-side.
Both Imaging Edge Mobile and Transfer and Tagging add-on will be available from March 2019.
Sony desktop apps enhanced
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The desktop version of Imaging Edge is also getting an update, with workflow support for timelapse movie creation, while other new features have also been added, including a comparison display and collection function. Sony has also taken the opportunity to refresh and improve the the user interface.
Looking for the best travel camera for you? Now that travel is slowly starting to become possible again, your thoughts might soon be turning to holidays and trips abroad – which is why we've put together this guide to the best travel cameras you can buy right now.
Naturally, there isn't one ideal travel camera for everyone – choosing the right one depends on the kind of traveling you're doing and your preferred shooting experience.
If you're going on a city break and will be mainly shooting at night, then a big sensor and fast lens are crucial. Heading out on safari? Then you'll need a long zoom instead.
Wherever you're going, the best travel cameras won't weigh you down – so we've picked a range of options that offer top specs without needing their own suitcase. Specs like large sensors, 4K video and generous zoom ranges that are well beyond your smartphone.
Today's smartphones are incredibly capable, but a good travel camera can give you superior image quality (particularly if you're looking to print your souvenir snaps), better manual control and far more comfortable handling. And, in many cases, all three of those.
The first thing you’ll likely want to think about is the type of camera you’re willing to take on your travels. For many, a bulky DSLR or mirrorless camera will be too much hassle, making a long zoom premium compact camera the obvious choice. On the other hand, if you really want your shots to stand out, packing something versatile – but still – makes a lot of sense.
In this guide, we’ll select a few different kinds of camera that are just perfect for your next vacation. Whether you want to travel as light as possible, or you don’t mind having a little more to carry around, we’ve got you covered here.
Before we take a look at our best travel camera list, we wanted to highlight an alternative that is a few generations old but still packs a punch. The RX100 III from Sony is a couple of years old now and was originally selling for near $1,000/£1,000, but with the arrival of newer models (including the RX100 VII below), it's dropped massively in price. Downsides? Well, the zoom is pretty short compared to other rivals here, but otherwise there's a lot to like. There's a decent 20.1MP 1-inch sensor, a pop-up electronic viewfinder and 4K video recording, while it's packaged in a premium, metal body. Definitely worth a look if the zoom range isn't your main concern.
With the rise of high-end compacts like the excellent Sony Cyber-shot RX100 V stealing the thunder from compact travel zooms, Panasonic's response has been to keep the camera body about the same size as its earlier ZS/TZ-series cameras but to squeeze in a much larger sensor. We saw this with the Lumix ZS100 (known as the Lumix TZ100 outside the US), and Panasonic has continued this with the newer Lumix ZS200 / TZ200. This physically larger 1in sensor enables much better image quality than would otherwise be the case, but the slight downside is that the zoom range from the lens isn't quite as extensive as some others with smaller sensors. That said, The ZS200 / TZ200 still sports a very versatile 15x zoom, while there's also a handy built-in electronic viewfinder, which makes it easier to compose images in bright light. It's a bit pricey, but this is still the best travel zoom compact camera available right now.
Compact, versatile, capable – pick any two and you’ve got a good travel camera. The Olympus OM-D E-M5 Mark III is all three, and then some. Its weatherproof polycarbonate shell is small and light, yet handles wonderfully. It offers on-the-go photographers a raft of modes and features that guarantee great holiday snaps. And the combination of a powerful image processor, on-chip phase detection autofocus and some of the best image stabilization skills around make it an incredibly capable piece of kit to shoot with as you move. Yes, its outright image quality can’t match larger formats in trickier conditions – low-light, for example – but you’ll struggle to find a travel camera that can tick so many other boxes. Add 4K video into the mix for those roaming vlogs and you’ve got a mirrorless camera that deserves a spot in your carry-on.
What the G5X Mark II loses in zoom, it makes up for in other areas. With a wide maximum aperture throughout the focal length, this is a camera which is well-suited to a wide range of lighting conditions. Besides which, having up to 120mm (in 35mm terms) available is still pretty flexible. Elsewhere, there's a high-performing 1-inch sensor, great 4K videos and a pop-up electronic viewfinder which pairs well with the tilting LCD screen. There are undoubtedly more advanced cameras on the market, but not many combine a good range of features like this in one competitively-priced package.
Sony revolutionized premium compact cameras with the original RX100 as it was the first pocket-sized camera to feature a large 1.0-inch sensor. They were always great for travel, but thanks to a relatively limited zoom lens, were perhaps sometimes overlooked in favour of other models. Things changed when we got to the RX100 VI, which paired a much longer lens than ever before - and now we've seen some refinement of the model for the latest, the RX100 VII. The sacrifice for making the lens longer is losing the super wide aperture of previous generations, but if you're mainly going to be shooting in sunny climes, it may not be such a big deal. There's also a heck of a lot of power under the hood of the RX100 VII. It houses features that you might not ever use, such as a ridiculous 90fps burst mode, as well as those that are more commonplace, such as 4K video. The big downside of this model is its super-high asking price, but if you want the best of the best for your travels - it could just be the one for you. If your budget doesn't quite stretch to the asking price of the RX100 VII, take a look at older models throughout the range for better prices.
If you don't mind carrying something slightly larger than a pocket camera on your travels, the Sony A6100 arguably offers the best balance of size, shooting power and value right now. It isn't without its flaws, but it does tick most boxes for globetrotting photographers. Despite its compact size, this entry-level mirrorless camera offers a fleet of useful features – from customizable buttons and a microphone input to the flip-up touchscreen that, though limited in functionality, is ideal for framing far-flung selfies. Paired with a good lens, the 24.2MP sensor serves up decent images with plenty of detail, while the AF system – shared with the flagship A6600 – ensures reliably sharp focus and excellent continuous tracking, even on the move. The A6100 can capture 4K footage at 30fps, too, though there’s no IBIS when shooting travel vlogs. Battery life is also pretty solid, as is the Wi-Fi, which works well with the partner app for rapid sharing of holiday snaps. Less impressive are the relatively low-res EVF & LCD and the Auto ISO, which can struggle with quick-moving subjects – so it’s best to go full manual for street action shots. It’s not perfect, then, but the A6100 comes close to travel perfection, offering good value, strong specs and a satchel-friendly form.
For those happy to tote a compact system camera, the Fujifilm X-T30 is one of our favourites, and one which makes a heck of a lot of sense as a travel camera. Distilling many of the best elements of its older, bigger and more expensive brother, the X-T3 into a pleasingly small form, the X-T30 will help you get gorgeous shots while also looking gorgeous itself. There's lots of great lenses available for the Fuji X system, so you'll be spoiled for choice there, while 4K video recording, a tilting touch-sensitive screen and a high-resolution EVF help to round out the spec sheet.
The Nikon Z50 is a great option if you like Nikon and are after your first 'proper' camera. It works well as a travel camera and has a very comfortable button layout. The 3.2-inch screen can also flip underneath the body to compose selfies of an altogether higher class, although it and the tripod mount compete for space. At this point, not many lenses have been made specifically for the Z50’s DX format, but the range will naturally grow larger over time, and you can use those made for the full-frame Nikons too. We prefer the Sony A6500 for high-speed action shooting, but this is a good-value camera and generally a joy to use.
A premium compact camera with a design inspired by 1950s analogue cameras and a fixed 23mm f/2 lens? Sounds like the very definition of niche. And yet, far from an anachronism, Fujifilm’s X100V is one of the best travel cameras you can buy.
For a start, it takes the small form factor that made the X100F before it so convenient to carry and adds a supremely useful tilting touchscreen. The advantages are gesture support and easier shooting at tight angles.
Inside, a new 26.1MP sensor and X-Processor 4 translate into improved autofocus, image quality and high ISO performance, building on what was already a fantastic shooting experience with the fixed aperture lens. Add in the option to shoot 4K/30p footage on the fly, as well as a higher resolution hybrid EVF, and you’ve got a properly capable pocket performer – provided you’re happy to pay a premium.
If you're looking to mainly shoot travel video rather than stills, then the Sony ZV-1 is the best pocketable option around. It combines the best video-focused features of Sony's RX100 series and adds its latest autofocus system, which is comfortably the best you can find in a compact camera. The lack of an electronic viewfinder means the ZV-1 is less convenient for stills shooters than the RX100 VII (see no.4), but it's still a capable smartphone backup thanks to its 20.1MP 1-inch sensor. It's video where the ZV-1 really shines, though, with its bright 24-70mm f/1.8-2.8 lens and Real-time Eye AF perfect for shooting professional, smartphone-beating vlogs. A 3.5mm microphone jack also means you can get audio quality to match the video too, while a built-in hotshoe is on hand to help you mount accessories.
The first LX100 camera arrived way back in 2014 and was notable for its use of a large Micro Four Thirds sensor in a compact camera frame. There’s still no worry about getting sucked into a wallet-draining well of lens-buying in this second-gen version, and the high-quality 24-75mm glass will do the job for most scenarios, bar a safari. Handy travel-friendly changes in the second generation LX100 include Bluetooth, USB charging and quickie monochrome filter modes. Its sensor is also higher resolution than the original, with a 21.77MP chip that ends up with 17 megapixels after applying the crop the camera uses for stills. It's no point-and-shoot camera, but if you need a big sensor in a small body, this is one of the best around.
In terms of offering something for everybody, the RX10 IV ticks a lot of boxes. It's like having a bag full of lenses, but with the benefit of never having to change them. There's a very long zoom, while the maximum aperture is pretty wide throughout the lens. The sensor might not be as a large as the ones you'll find on a DSLR/CSC, but Sony's 20.1MP one-inch device has proven itself to be very capable regardless. You also get 24fps shooting, cracking 4K video quality and handling to rival a DSLR. The major downside? The high price - if your budget is tighter, don't forget about this camera's predecessor, the RX10 III.
These cameras are slightly different to the more traditional models in our list – if your main priority is waterproofing or video quality, then the GoPro Hero 8 Black and Olympus TG-6 are well worth considering:
If video quality is your main priority in a travel camera, then it's well worth considering GoPro's latest flagship. The Hero 8 Black uses the same sensor and a similar lens arrangement to the previous Hero 7 Black, but there are some fairly significant changes here. The camera now has built-in mount fingers, so a shell is no longer needed. Video stabilization is also much improved and you can use the Hypersmooth judder-buster in all modes. If you're doing something really extreme, a new Boost stabilization feature crops further into the view for even more effective smoothing.
Not all holidays and stretches of travel are all about capturing wide-angle vistas and subjects in the distance. For some photographers, having a camera that can withstand being dropped, knocked, splashed or frozen would be more appropriate, and that's precisely what the Olympus TG-6 offers. In addition to its rugged credentials, the camera offers 4K video recording, built-in Wi-Fi and a ring of LED lights around its lens to throw plenty of light on close-up subjects. There's even the option to capture raw files.
Need a bit more guidance on how to decide the right type of travel camera? Have a think about the following options:
Travel Zoom Compact
These small pocket-friendly cameras give you great scope for shooting lots of different kinds of subject, with a zoom lens that gets you close to the action, as well as giving you the opportunity to shoot nice and wide. The trade off for having all of this in a neat compact size is generally a smaller sensor which is less useful for shooting in low light.
Premium Compact
If you want to stay pocket friendly, but you’re happy to lose the ultra long zoom, think about a premium compact. These generally pack a one-inch sensor for better image quality, but will normally have a shorter zoom. Some may give you both - but you’ll pay a very high price for it.
Bridge Camera
A bulkier option than a standard compact camera, but with better scope for zooming, a bridge camera is also ideal for those who like more intuitive and comfortable handling. They’ll usually have a solid grip, decent electronic viewfinder and a flexible screen. You get many of the benefits of having a bag full of lenses, but without the extra luggage.
Mirrorless / Compact System Camera
This is the option if you want the best possible image quality and you’re prepared for a little bit of hassle. With lots of different lenses to choose from, you can pack different optics depending on the type of trip you’re on, or pack a good all-round lens and not worry too much about swapping optics. You’ll have the best possible handling, too as well as plenty of advanced options.
Many of the current compact system cameras on the market have been specifically designed with travel in mind - and are as small as possible. We’ve included some of the best options here.
If you’re still unsure about which kind of camera you need, check our step-by-step guide: What camera should I buy? Alternatively, if you’re going to be by the pool or on the beach, you might want something a bit more rugged – in which case, take a look at our best waterproof camera and best action camera guides.
Ahead of the official launch of its new flagship Micro Four Thirds camera on January 24, Olympus has released a third teaser video.
The first two videos focused on the camera's potential action photography credentials, showing it being used to shoot a range of sport including football, waterpolo volleyball and motorsport. Both videos have given us brief glances at the camera, though these have often been tightly cropped shots or defocused.
The third video though changes tack, focusing on the new camera's build quality and durability. It sees the camera (which we understand will be known as OM-D E-M1X) being used in a rugged-looking outdoor environment, in some pretty wet and humid conditions.
We also get to see the OM-D E-M1X a little more clearly, though we still haven't seen a full reveal of the camera. As with the other two teaser videos, we get another silhouetted shot of the camera at the end of the clip, before Olympus reminds us of the date - January 24.
