As the old adage goes: the best camera is the one in your hands. It's something I've been told since I was a child, playing with my dad's bulky DSLR, not really knowing what I was doing with it. Now, as an adult and a tech journalist, I review the best mirrorless cameras day in and out, and it's wonderful the leaps and bounds these nifty gadgets have come.

After reviewing the Fujifilm X-T50 all the way back in June 2024, I'm now the proud owner of one, and I've taken many amazing photos on it. But like they say: you never forget your first, and my first "proper" camera was the Nikon D5100 that my parents bought me when I was 16.

The D5100's specs aren't much to write home about by today's standards. A 16.2MP CMOS sensor, no stabilization, an 11-point autofocus system, 1080P/30fps video, an optical viewfinder, and a 921,000-dot non-touch LCD monitor. Not the greatest specs, but frankly, I don't care. The D5100 is the camera that made me fall in love with photography, and to this day, 13 years later, I still find use in it.

Let me take you back to 2013

2013. It feels like such a long time ago and yet, I vividly remember when I first held the Nikon D5100 in my hands. I was in an all-girls' boarding school, and we were about to go on our annual school trip to the Andaman and Nicobar Islands in India. I remember my classmates showing off their Canon EOS 5D Mark IIIs, and I won't lie, I felt a pang of jealousy. I wanted a "proper" camera too, so I floated the idea to my parents.

My parents rarely said no to things I desperately wanted, within reason, and the kind people they still are, they agreed to take me to a camera shop to pick up my first camera. The salesman tried selling us on the most expensive cameras, but we (and by that I mean my parents) naturally had a budget in mind, and we settled on the D5100, which back in the day must have cost around $800 for the body only — and in Indian Rupees, it was a lot. My parents still bought it for me, along with an 18-55mm lens.

I must admit, my photography knowledge back in the day was nowhere near as polished as it is today, so "18-55mm" meant nothing to me. All I knew was that I now had a camera that could take good photos of my friends, and the beautiful Andaman Sea and Bay of Bengal. I thought I was a magician capturing what I considered were award-winning images — they were not, but in that moment, it didn't matter, because I was having fun. Photography is meant to be fun, and that's the most important lesson the D5100 has taught me.

Back to the present

Years went by and the Nikon D5100 remained a constant in my life. I took it with me to my undergraduate university in India, and brought it with me when I first moved to the U.K. for postgrad in 2018. The D5100 has been tossed around in luggage, thrown around on beaches, and it has been heavily used in all kinds of weather — including the rain.

And it has survived. Battered, bruised, beaten, my 13-year-old D5100 still works, and up until I bought the Fujifilm X-T50, I used it on vacations, at work for product photography, and my partner used it as her primary camera for her art and video work. I remember pulling out my D5100 at my first-ever press event in 2024 (for a Fujifilm instant camera), and one of the other journalists there remarked, "Oh, you're proper old school." Every time I saw him at press events after, he'd go, "Still rocking the DSLR, eh?" with a smile on his face.

I think there's a lot to love about DSLRs, which is why I'm here, talking about my love for the D5100. When we think of DSLRs, we think they're bulky, slow, and a pain to use, especially when compared to fast mirrorless cameras that, like the Fujifilm X-T50, enable you to burst-shoot at 30fps. I'd argue that a DSLR can make you a better, more considerate photographer, and it's not always about having the latest tech in your hand.

Why I still use (and love) my D5100

Would you like to know why I still use and love my Nikon D5100? The photos in the gallery above were taken by my partner in Iceland. That's why. The D5100 is a capable and competent camera that takes beautiful photos — yes, even though it packs a 16.2MP CMOS sensor only. When my partner and I decided to take a trip to Iceland, I packed the Fujifilm X-T50 and she packed the D5100 — and the photos she took on the D5100 are nothing short of gorgeous (it, of course, helps that we were in a country best described as heaven on earth).

When I asked my partner why she enjoys using the D5100, her answer was simple: "It's a camera that takes good photos, and I like taking my time with it." I smiled when she said that, because it further proves that the best camera is the one in your hands, and that it's important to take your time with framing your shots. Sure, she had her 50MP Google Pixel 9 on the trip too, but she still opted for the D5100. Though the D5100 can't compete with the stupidly good autofocus systems on today's mirrorless cameras, it still proved quick enough on our Iceland trip.

What I love most about the D5100 is the colors it captures. Though I prefer Canon's and Fujifilm's color science now, the D5100 hasn't given me much to complain about. In the gallery earlier, I love that the bright highlights, seen in the waves crashing in the first slide, don't appear blown out, and the dark areas, such as the black sand on Reynisfjara beach, aren't grainy or noisy.

Similarly, in the gallery above, the colors have come out lovely and true to life. The deep blues in the sky, the vivid greens, the popping shades of pink and purple — they all look refined and pleasing. The photos are fairly sharp too, with each individual feather on the duck and pigeon (mostly) discernible.

The photographer that I am today

Fast forward to today. I'm a senior reviews writer testing the best tech day in and out. I've tested super speedy Canons, Sonys, Fujis, and even Leicas. But a Nikon started it all. I don't think I'm an extraordinary photographer — but I take photos of things that look pleasing to me, to immortalize memories, and I learn as I go.

They say clothes maketh the man, and by that logic, the camera maketh the photographer. I don't believe that's true. Your desire to take good photos, and your ability to learn and adapt are what make you a good photographer. I think it's great that mirrorless cameras are accessible, and it makes me happy that people younger than me are taking up photography. But I'd recommend everyone to try shooting on a DSLR at least once.

With the Nikon D5100 and other DSLRs which feature optical viewfinders (OVFs) instead of electronic ones (EVFs) on modern cameras, I've learned that relying on your gut instinct is very important. The only information you get in your viewfinder is basic shooting settings, like shutter speed and ISO in the margins.

There are no live histograms, digital levelling gauges, zebra lines for overexposure, or focus peaking. It's just you and your subject. When you adjust shutter speed or ISO, the change isn't reflected in the viewfinder; the OVF shows a real-life reflection rather than a digital preview, so I've had to learn how to read light and manually calculate exposure.

And therein lies the magic. I love shooting with my Fujifilm X-T50 and it's one of the best things I've ever bought, but I also enjoy the simplicity of my D5100. With the latter, it's just me and the camera, and I feel like if my parents hadn't bought the D5100 for me, I wouldn't be where or who I am today. It changed the trajectory of my life.

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There are cameras I use professionally. Then, there are ones I use for fun. The Panasonic Lumix S5II and the GH5 are of the former variety, while the Olympus E-PM2 falls in the latter category. That's because bringing a professional camera to a soccer match or event can be too much. I need a smaller, older, less expensive camera to bring on the weekend because I'm not scared to drop or lose it. If either happens, it doesn't affect my bottom line.

I'm constantly looking for a new, fun camera, of which there are too many. It seems like every time I get on YouTube shorts there's a creator telling me about a digital camera from the 2000s that I've never heard of. That's how I heard of the Lumix L1 (shout out to snappiness), a beautiful rangefinder-style Panasonic DSLR from 2006.

The Lumix L1's aesthetics alone are reason enough to get this camera. It looks like a Leica on steroids, sporting a magnesium body that makes the camera super durable and lightweight, considering its size. Being a DSLR, the L1 is bulky. Built like a tank is how I'd put it, and it behaves like one too: tactile, slow, and durable. Two hours after I saw it, it was on its way to me. It's been a refreshing, albeit humbling, experience that's made me appreciate the joy of shooting photography.

A slower-paced, analog-like shooting experience

Shooting with the L1 feels like going back to basics. It feels analog. There's a button for almost everything, and that tactility makes me feel more familiar with the camera. The grip is comfortable, and most functions can be done with the right hand.

The area around the shutter dial alone has a combination of six dials, switches, and buttons, and I can reach an additional 14 functions with my right thumb. There's so much happening on the body, there's not much need to visit the menu often — a good thing, as the menu is shockingly minimal compared to modern Lumix cameras.

Coming from a modern system, it’s surprising not to see a mode dial, especially since there are so many functions available. The shutter dial lets you set the shutter to ‘auto’, but there are no shutter priority or aperture modes. While you can shoot in a fully automatic way by setting all aspects of the exposure triangle to ‘auto’, it's not an intuitive or quick process. The lack of a mode dial snatches away the training wheels. With few aids to fall back on, I have to be more comfortable with the exposure triangle and slow down to double-check the exposure meter, even when shooting with an automatic shutter or aperture. This level of constraint, while slow, is also freeing.

Why freeing? Because I feel at the peak of my creativity when there are constraints. Give me too many options, too many settings, and I feel overwhelmed. But take something away, and now I have to adapt and get creative to get a shot I'm happy with. For example, instead of switching to aperture priority when shooting indoors, which isn't possible on the L1, I have to really slow down to tweak the ISO, shutter, or aperture to find the right exposure. Yes, it takes time, and it can lead to missing a shot altogether, but slowing down gives me time to compose the image to my liking in the moment rather than spraying and praying.

It's like Kodak Tri-X straight out of camera

Fuji may have the market cornered when it comes to film recipes, but the L1's film modes are low-key great. These modes are accessible through the camera menu or via one of the function buttons. The options are sparse, with just seven to choose from. Four are color, and three are black and white. The black and white modes leave the color ones in the dust, and are the main reason I got this camera in the first place.

There's just something about this LiveMOS sensor that makes black and white images look so good, especially when shooting in the contrast-heavy ‘Dynamic’ black and white mode. I'm no expert on the minutiae of sensor technology, but Olympus' LiveMOS sensors bridge the gap between the beloved CCD sensors and modern CMOS sensors, which dominate the industry today. You get the image quality of the CCD sensor with the low power consumption of a CMOS sensor. The result is a level of contrast and tonality in these images that I've only experienced when shooting Kodak Tri-X film stock.

After a day of shooting, I don't have to go into the editing bay to squeeze some juice out of the L1’s images, because they’re already the finished product. They look great to me straight out of the camera, aside from some cropping. It's why I leave the camera on the Dynamic black and white mode all the time. The best part is that if I want the image in color in addition to black and white, I still have the RAW file to mess around with, which is in color.

A surprisingly modern... 20-year-old camera

A camera old enough to drink won't have the modern trappings you're used to — the aforementioned mode dial being one. But things like stacked sensors, 100 FPS burst modes, and 5-axis IBIS are out of the question, too. That doesn't mean the camera is a dinosaur, though. The Lumix L1 included some features that were ahead of its time, which makes it feel at home in 2026.

One of those features is the Live View, something we take for granted these days. Yet, back in 2006, this was cutting-edge on a DSLR, making it possible to see what the sensor was seeing on the rear display. What was a game-changer then is par for the course now, and it's part of why the camera doesn't feel ancient. Using Live View is loud and slow, as the camera has to shift the mirror aside every time you half-press the shutter to focus, but it's very usable.

Autofocus is another modern feature. Although AF wasn't groundbreaking in the mid-aughts, it was far from perfect. The autofocus on this system was super reliable when I used it. I didn't feel the need to switch to manual focus often. The only times when it was necessary were in dimly lit conditions or when focusing on something far away. Other than that, autofocus worked well for me.

One thing I have to mention is the flash system on the L1. Hardly anyone in the history of camera reviews has been excited about an onboard flash, but this one is different. The pop-up flash works very similarly to the flash on the Lumix GX1 and GX85 (GX80 in the UK and Europe). You press the button, and it pops out to face the subject. But if you lightly press the button, the flash pops out to face upward. Pointing it upward lets you bounce the reflection off the ceiling, which is less harsh than a full flash to the face. It's incredibly clever and, I believe, a one-of-a-kind flash design that I'd like to see more of in modern cameras.

In addition to all these features, you also get a hotshoe compatible with the excellent Godox iT30 Pro flash, an SD card slot, and the ability to shoot in RAW. These last two features work naturally with modern workflows. There's no need for an SD card adapter or relying on JPEG files that give you little flexibility.

It's not for beginners

The Lumix L1 is a great weekend camera. I feel closer to the craft of photography while using it, but it's not the camera I'd hand a friend to shoot pictures with. It's just not intuitive, and the lack of modes, like shutter or aperture priority, can be frustrating for someone who just wants to point and shoot. This camera is clunky, heavy, and slow. Using Live View, which would appeal to someone with modern sensibilities, is sluggish and loud. The shutter is equally noisy, so it's not an ideal camera for stealthy street photography. The rear display is another setback. It has low resolution, lacks touch capability, and it's fixed to the camera — you can't tilt or rotate it at all.

Functionality aside, the L1 is not an easy camera to find or purchase. Looking on used camera sites like MPB or KEH will get you nowhere, so eBay is the best place to find it, where it sells for between $300-$400 for the body alone. The L1 body I bought cost $300 and came with a third-party battery and charger.

Lenses are even harder to find since every time you look for "Four Thirds lenses," you get served with Micro Four Thirds lenses instead, which are not backward compatible with this system. I got lucky and found a 14-54mm kit lens on KEH for $80. However, if you want the nice Panasonic lenses made in collaboration with Leica, you'll have a harder time finding those, and they're not cheap. The good news is that, with an adapter, you can use older Four Thirds glass on the Micro Four Thirds systems, so the investment is worth it if you own cameras from both systems, as I do.

The legacy of Four Thirds lives on

You don't need to buy a Lumix L1 to experience the joys of shooting on a 4/3"-size sensor. Cameras like the Lumix L1 and the Olympus E-330 walked so that the Micro Four Thirds system could run. You can purchase a new Micro Four Thirds camera right now, like the video-focused Panasonic Lumix GH7; the photography-focused Lumix G9 II; a retro film body like the OM System OM-3; or the compact entry-level OM System E-M10 Mark IV.

These cameras are more compact than full-frame ones, and have a huge selection of quality first-party glass that can be found for cheap on used sites. Even older, used M43 cameras like the GX1 are great ultracompact pocket rockets perfect for weekend photography, and they're way more affordable than the point-and-shoots popular on TikTok.

But, if you want a shooting experience that's tactile, feels analog, and has enough obstacles to slow you down, the Lumix L1 deserves a serious look.

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I've spent the last month testing the Pentax KF DSLR camera. While it could be a contender for one of the best cameras, one question kept coming back to me — are DSLR cameras actually relevant anymore?

New technology has meant the camera world can move away from pentaprisms and mirror boxes and rely on mirrorless systems, which use electronic viewfinders instead of the optical viewfinders on DSLRs. As such, mirrorless cameras don't need the mirror of DSLRs, and this comes with certain advantages.

However, both types of cameras come with their pros and cons, so it really depends on the type of photography you want to do. But I, for one, won’t be straying from my beloved Sony a6100 mirrorless camera anytime soon.

Here's why.

The good stuff: What the Pentax KF does well

Despite my mirrorless preference, I had a lot of fun with the Pentax KF. The controls are extremely easy to use, and with so many different shooting modes, I was always able to set myself up for the perfect shot.

The camera has brilliant real-world color replication capabilities, and my shots came out totally natural. In this image of the water on the lake, it feels like it’s moving thanks to the color saturation and the way the camera is able to capture the highlights.

I love taking cameras out with me on hikes in the nearby wilderness because the landscapes are so photogenic; it'd be a disservice not to. And this is really easy since the camera is weather sealed, so windy and rainy weather isn’t going to stop you.

The IBIS system in the camera also meant I was able to shoot down to shutter speeds of ¼ second while using it handheld — something I can't do with my Sony. This was really effective and meant I could shoot easily in pretty much any light condition.

The Pentax costs just $696, which makes it pretty much the cheapest way I can think of to get a new camera with IBIS.

The bad: Drawbacks of a DSLR camera

The world seems to have moved on from DSLR, with the KF being the only major release since 2020. Some of the technology used by DSLR cameras is clunky, like the internal mirror and prism system. This system uses the mirror to direct light to the optical viewfinder, showing a direct real-time view of what is happening through the lens.

It becomes cumbersome very quickly as it makes the camera heavy, and I could definitely feel the effects of the weight around my neck — especially when taking it out on longer walks. Since you are getting an optical view through the viewfinder, you can’t see the effects of the camera’s settings on the image in real time either.

Where the DSLR wins

There are still some advantages to using a DSLR. Although the mirror system makes the camera heavy, it also means that you don’t rely on battery life to see your shot through the viewfinder. Mirrorless cameras rely on battery power to display the image in the electronic viewfinder. By using the OVF, you conserve battery life and can shoot for longer.

As I mentioned, with the OVF, you aren’t able to see what the camera’s exposure, aperture, or ISO settings are doing to the image. But this is a good opportunity for beginners to practice theory and experiment with the camera’s settings.

The OVF is also lag-free as it gives you a real-time view of what the lens is seeing. You also only get the basic information of what is happening with the camera, and for me, it’s a case of the fewer distractions, the better.

Why mirrorless still has my heart

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After shooting with the Pentax KF DSLR camera for a few weeks, I have to admit, it’s not going to make me switch from my beloved mirrorless. But it does have a few things going for it.

If you’re looking for one of the best cameras for beginners, the Pentax KF is a decent option — and indeed if you want a new beginner DSLR, it’s the only option. It boasts a sturdy, weather-sealed design and a convenient vari-angle LCD screen. It largely retains the core features of its predecessor, the K-70, such as a 24MP sensor and even IBIS.

The autofocus can lag at times though, and the camera is very heavy for an entry-level DSLR — especially if, like me, you are used to mirrorless cameras. Otherwise, the KF is a compelling DSLR for beginners and perhaps even enthusiasts alike.

You can find out more about the camera and its performance in this full Pentax KF review.

Pentax KF review: Specs

Pentax KF review: Price & availability

The Pentax KF replaces the Pentax K-70, which has been discontinued, but the two cameras are pretty much the same apart from the higher-resolution vari-angle LCD screen and a USB-C battery charger.

The KF is available at Amazon U.S. for $596 body-only or for $696 as part of a kit that includes an 18-55mm WR lens. The camera is also available from Amazon U.K. for £849 body-only or for $949 with the lens.

The U.S. list price is a good price for a new entry-level camera, but the price point in the U.K. is not so appetizing. The Canon EOS R50 is a mirrorless camera, but it’s what we recommend as our best option for beginners, priced at $679. It features a 24MP sensor, has a vari-angle screen, and a superior autofocus system. However, it doesn’t have IBIS, so the Pentax is more reliable for getting stable handheld images, and more flexible in low light.

Pentax KF review: Design & controls

The Pentax KF is a very sturdy camera that looks a lot like its predecessor, the Pentax K-70. The all black speckled design looks really slick, and it has a chunky grip to make handling a breeze. The neck strap that comes with the Pentax KF is very secure and also looks really sleek with the Pentax logo down the length of the strap. The Canon EOS R50 is another option for a small step up from beginner as an entry-level full-frame camera. It looks just as sleek as the Pentax and has similarly tactile controls.

The build of the Pentax is incredibly sturdy, and although it’s generally a lot heavier than the mirrorless camera models I’m used to, I have no issues handling it. At 24.12 ounces without a lens, it’s 0.14 ounces lighter than the discontinued Pentax K-70, but that’s not going to make any sort of difference. It’s heavier than my usual Sony a6100 ($848) mirrorless camera, though, which weighs in at 13.97 ounces, and I did miss having a lightweight mirrorless around my neck instead. Generally speaking, DSLR cameras like the KF have bulkier bodies to accommodate the internal mirror and prism for the optical viewfinder.

The camera measures 125.5 x 93.0 x 74.0 mm, and I actually like how bulky the camera felt in my hands. I felt like it gave me a lot more control when using the camera at odd angles.

However, the bulkiness affects portability, so if that’s important to you then consider one of the best mirrorless cameras instead. Mirrorless cameras like the Fujifilm X-E5 are often a lot smaller in size. This doesn’t seem like much of a difference, but I found the X-E5 to be far easier to use and a lot more portable when shooting with it in Valencia last summer.

Display & viewfinder

The Pentax KF has a three-inch TFT color LCD vari-angle 1037K-dot display screen and an optical viewfinder with 100% field view and 0.95x magnification. The three-inch vari-angle LCD screen is similar to the EOS R50, as the screen can flip out and rotate 180º. It is very useful for getting shots at lower angles when using live view.

When not being used for live view, the screen of the Pentax KF displays camera information, including the current primary settings and the focus zones. This came in super handy when I was manually altering my settings.

The optical viewfinder meant I could see my field of view in real time without any lag. And I wasn’t dealing with camera information displayed over the image. This is a major advantage to DSLRs that mirrorless cameras like the EOS R50 can’t match, as they have electronic viewfinders which essentially show a real time video of your frame.

Key information is still displayed along the bottom of the KF’s OVF to show your exposure and what settings are in play. At the same time, all the settings being used are displayed in more detail on the LCD screen.

As someone used to a mirrorless camera, the OVF took a second to get used to after being reliant on EVFs for so long. There is a slight learning curve as the OVF meant I wasn’t able to see and judge the exposure of the image before taking it. Seeing your exposure in an EVF, as you’ll be able to do on the EOS R50, can be more useful for beginners, although there’s an argument that using an OVF takes more skill and could be better in the long run.

Either way, if the viewfinder isn’t your first choice, the KF also features a Live View mode for seeing your frame and exposure in real time on the rear display.

Connectivity

The camera has an HDMI and USB connection on the right side, which can be used for shooting tethered and transferring pictures from the camera to your computer. The camera also has Wi-Fi, so the pictures can be transferred straight to your phone with the Image Sync app.

These ports are just below the SD card slot. There is only room for one SD card, so no second card for back-ups, meaning you’re stuck if your card corrupts. A single card also affects shooting speeds and buffer times, although it’s par for the course in this price range. The EOS R50 and Nikon Z50 II also have a single card slot. You’ll need to step up in price to a Fujifilm X-S20, Nikon Z5II, or Canon EOS R7 for dual slots.

There is also a port on the left side for microphone connectivity when shooting video.

Weather sealing

The camera is weather-resistant and dustproof, so you don’t have to worry if you encounter some light rain in your outing. When I took the camera on a walk around the reservoir, it started raining, but I had no issues using the camera in these conditions, and it still works just fine.

Pentax KF review: Controls

Although the camera is pretty small, it still manages to fit on a whole bunch of dials and settings. There is a dial at the top right that changes the camera shooting settings, and the dials on the front and back of the camera control ISO, exposure, shutter speed, and aperture. There is also a button on the left side of the camera to quickly switch between RAW and JPEG files.

The controls were very easy to get the hang of, once I knew which dials were in play based on which setting was being used. Everything is within a finger tip’s reach when you are holding the grip of the camera, making it very easy and comfortable to operate.

Menu

The menu for the camera is very user-friendly, and I was able to navigate it and change settings pretty quickly. I felt like I had plenty of control over the camera with all of the settings available to me.

Pentax KF review: Autofocus

I appreciated the autofocus capabilities of the Pentax KF, although I wish it were quicker at times. The camera hosts an 11-point AF system that can track moving subjects and face recognition that can detect up to 15 faces in frame. Comparatively, the Canon EOS R50 has 651 points of focus and has subject detection for human eyes and faces, which is great for such an affordable camera. In fact, we were seriously impressed with the EOS R50’s AF in our review — it’s the best AF in an entry-level camera.

The autofocus of the Pentax KF works effectively most of the time; however, at times it was a bit temperamental. I would half-press the shutter button to activate the autofocus, and the camera would lag or not focus at all. I could only solve this by switching the camera off and on and trying again.

The camera can, according to Pentax, focus down to EV-3. This is only a stop brighter than the EOS R50 which can focus down to EV-4. However, when real world testing in lower light conditions, I found the autofocus struggled. The KF found it very hard to lock onto subjects, so I needed a little patience. Despite this, it (eventually) managed to focus on the buds of the flowers above, which was shot in dim conditions, and I’m pretty happy with the results.

The AF did a good job at tracking moving objects in bright conditions, such as my dog walking towards me in the photo above. This is something that my Sony a6100 struggles with, so I was impressed with the Pentax KF’s tracking ability.

The KF also features human face detection, which works well. I took the picture above of my mom and dad using the face detection mode, and as you can see, the camera has locked onto their faces. The camera is able to detect up to 15 faces at once. The Canon EOS R50 has Dual Pixel CMOS AF II, which offers a wider range of subject detection, including animals. And since the R50 can lock in on eyes and not just faces, it is better for more precise focus when shooting portraits.

Pentax KF review: Stabilization

The Pentax KF has the same in-body image stabilization (IBIS) system as the Pentax K-70: the Pentax shake reduction system. This also uses a pixel shift resolution system, which captures multiple images before combining them to create a composite image, so there’s a fair bit at work here to reduce the effects of any shake.

For these images, I was able to shoot down to 1/5 second handheld and still achieve a sharp image. When this was reduced down to 1/4 second, the sharp lines were lost, and I could see the blur from the handheld camera shake.

The camera can shoot at such slow shutter speeds, even though I was shooting handheld, because the IBIS system is working hard. The EOS R50 doesn’t have an IBIS system and won’t be able to shoot at such slow shutter speeds without an optically stabilized lens, so the Pentax KF takes a win here.

Pentax KF review: Image performance

The Pentax KF features a 24MP CMOS APS-C sensor, which is the same as its predecessor. Rival cameras like the Canon EOS R50 and the R100 have 24MP sensors, so for an entry-level camera, this is exactly what to expect. The images on the Pentax KF came out sharp and clear with great real-world color representation.

The 24MP resolution is a great starting point for beginners, casual photography, and online sharing.

However, if you want to do large-format printing or more towards crop-heavy genres like wildlife photography, which requires more intense cropping on distant subjects, you’ll need a higher resolution sensor. For crisp distant crops, you’ll want to look at something like the Fujifilm X-T50, which has a 40MP sensor.

The colors produced by the Pentax KF are very impressive and true to life. In this picture of the lake, the blue of the water is incredibly vibrant, and I have not experienced such bold colors with real-world replication with a camera before.

And in the picture of the berries, the glossiness of the fruit is captured extremely well without losing any of the effect from the bright red colors. The images feel completely natural.

I was very happy with the images I captured with the camera. There are no extra color profiles with the camera. But I made some edits in post, as you can see in the black and white portrait of my dog.

ISO performance

The camera has an ISO range of 100 - 102,400. To test the ISO performance, I cycled through a few settings to see where the camera starts to struggle.

These two images were captured as RAW files on the camera and exported as JPEG files in Photoshop. At ISO 12,800 in the first image, the image is still definitely usable, which is a great result, as this is a high ISO value.

There is naturally some noise, especially visible in the darker parts of the image, but on the whole, the image still looks really good for such a high sensitivity. In the second image at ISO 16,000, the darker areas of the image begin to struggle, and the whole image looks grainy, even in the lighter areas, rendering it unusable. I would stop at ISO 12,800. But this is impressive performance for an APS-C sensor and ISO16,000 isn't totally ruined.

The above images are out-of-camera JPEGs, with in-camera noise processing applied. The camera worked to correct some of the noise in the darker areas of the image, and there is a little bit of definition lost due to the noise suppression. That being said, the image is still usable. Even at ISO 16,000, you get more of the same, and you can still come away with decent shots. This is very impressive for an entry-level camera.

High speed performance

The camera shoots at 6fps for up to 40 frames JPEG, and up to 10 frames RAW. I was able to capture images of my dog moving across the garden with ease.

I noticed the camera began to lag toward the end of the burst of images while the camera was writing to the SD card, but the shots were still usable. Again, a single SD card slot is all you can expect in this price range, so buffers filling in continuous drive is an occupational hazard.

Dynamic range

To test the dynamic range of the camera, I set up my subjects, a Lego F1 car and Knuckles, in front of the Neewer RP19H ring light, which you can see in the first image. The camera has an ISO range of 100 to 102,400, but for these pictures, the ISO is set to 100, the lowest sensitivity.

In the second image, I have increased the shadows and exposure to bring out the detail in the subjects. As you can see, the camera does a good job at retaining detail even in very challenging lighting conditions. The highlights in the image also remained fairly under control.

I repeated this test in more natural conditions with a bunch of flowers in front of a window and revealed plenty of shadow detail in the petals of the flowers. The shadows are also very clean and noise-free.

Video

To test out the video capabilities of the camera, I recorded a video of my dog. I took the video with the camera handheld and was able to get pretty steady footage thanks to the IBIS. The mic does pick up wind buffeting though, and the 18-55mm WR lens is very noisy when focusing, as you can hear on the video.

The camera exports the files in .MOV or MP4. It shoots in 1080p at 30fps, which is a shame as 4K would’ve made this camera a viable tool for content creators, especially given the IBIS. If you want high quality video, check out the Canon EOS R50 V, or something with IBIS like the Fujifilm X-S20 or Sony a6700.

Pentax KF review: Battery life

The Pentax KF has a CIPA-rated battery life of approximately 460 images when the flash is not in use. However, I took 354 images with the camera and still had about 50% remaining.

As someone who mostly uses their camera for fun when I am out walking, this was more than enough for me for the day. However, suppose you are using this camera more intensively. In that case, you may want to consider packing an extra battery, especially if using the onboard flash, which drops the shot count to 400 images.

One of the only benefits of DSLRs over mirrorless cameras is typically their battery life, with many mirrorless cameras offering sub-400 shots per charge (mirrorless EVFs and more advanced AF systems are more power hungry). That said, the EOS R50 offers 440 shots per charge, so the KF’s 460-shot rating isn’t that impressive for a DSLR.

The KF’s lithium-ion battery is rechargeable by USB-C or the mains charging adapter that comes with the camera — the latter being a rarity these days.

I had a few issues where the camera would freeze from time to time, and the only solution was to remove the battery and restart the camera. This was annoying, but it seems to be isolated to the unit I was testing, as I can’t find any other instances of this in online discourse.

Pentax KF review: Verdict

The Pentax KF is a decent DSLR camera, especially for beginners (in the U.S., as the U.K. price is very high). The camera takes great photos and packs some useful features such as fac detection and IBIS. It’s also weather sealed, making it great for getting action shots out in the wild, and the vari-angle LCD screen makes it easy to use in a variety of situations.

That said, if you’re looking to upgrade from the K-70 the KF definitely doesn’t pack enough extra features to justify it. The autofocus is also behind the curve given today’s modern mirrorless powerhouses — it’s laggy at times and not very good in low light. The camera is also very heavy if you’re working with it for a long time. For me, mirrorless will always be the winner, but if you absolutely want a DSLR, the KF is a great entry point for new photographers.

The Pentax K-3 III is an excellent DSLR born into a world that no longer cares much about DSLRs. In fact, with most people happy to snap away with one of the best camera phones and even enthusiasts having now switched to the best mirrorless cameras, it’s a surprise it even exists.

But here it is nonetheless, an APS-C DSLR that proves Pentax is standing by its assertion that it “believes in the future of SLR photography,” despite the fact that neither Canon nor Nikon has released one in two years.

None of that should count against the K-3 III of course, which taken on its own merits is a very good example of a dying breed. But equally, it’s impossible not to consider whether there’s actually a market for it outside of Pentax enthusiasts.

Let’s put all that aside for a moment, though, and talk about what it offers. That’s actually quite a long list, including a new 25.7-megapixel sensor, new processor, new 101-point autofocus system, 5-axis image stabilization, 12fps burst shooting, 4K video and USB charging.

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I spent several weeks with it, and enjoyed shooting with it despite its drawbacks. In fact, I'd say it's one of the best DSLRs. Find out what it gets right, and wrong, in our full Pentax K-3 III review.

Pentax K-3 III review: Price and availability

The Pentax K-3 III costs $1,995 in body-only form and is also available with a variety of kit lenses. Among them are the 11-18mm f/2.8 lens I tested it with ($3,399), the 55-300mm f/4.5-6.3 ($2,349) and the 16-85mm f/3.5-5.6 ($2,449). There’s also a battery grip, which costs $295. The Pentax K-3 III is available now. 

We don’t expect any discounts on it so soon after its release, but you never know, so bookmark our Black Friday camera deals page to be sure.

Pentax K-3 III review: Design

There are no design surprises with the Pentax K-3 III: it’s a DSLR, it’s proud of it, and it sure as hell isn’t going to take any risks. But while there’s nothing particularly wrong with its looks, as far as DSLRs go, it suffers from the format’s familiar drawbacks.

To that end, it’s a fairly big and bulky camera, although it is smaller than the K-3 II. You certainly won’t be fitting it in your pocket unless you’re dressed as a clown for the day. It’s also quite heavy, particularly when teamed with the chunky 11-16mm lens I used for my testing; strap it round your neck for more than an hour or two and you’ll notice it.  

The biggest flaw here, though, is that the 3.2-inch LCD touchscreen doesn’t flip out as most now do. Come on, Pentax — I know making a DSLR in 2021 is something of a throwback, but that doesn’t mean you can’t move with the times.

On the plus side, it’s extremely well built. It’s crafted from magnesium alloy and is fully dust- and weatherproof; it’s certainly tougher and better able to handle the British weather than I am.

It also feels great, with a nicely rounded grip that offers plenty of purchase, and the multitude of manual controls are mostly accessible with the thumb or forefinger through feel alone. Dual SD card slots are another bonus, as is the top status panel.

And then there’s the optical viewfinder, which is big and bright with a 100% field of view and 1.05x magnification. Electronic viewfinders, as found in most mirrorless cameras, have improved a lot in recent years and have some advantages — but there’s still no beating an optical one for clarity.

Overall, there’s plenty here to like, and while it may lack the retro stylings of some mirrorless rivals, it’s a nice camera to shoot with.

Pentax K-3 III review: Controls

The Pentax K-3 III gets a lot right with its controls. For starters, there are plenty of them — I counted a staggering 29 buttons or dials spread across the top, back and sides of the camera. This could be overwhelming for some, but then again the majority of people buying the K-3 III will probably have used a DSLR before. Many of the controls are also customizable, so you’ll be able to set it up exactly as you want.

The main mode dial is on the top left and has a lock below it to prevent accidental changes. As well as the usual modes you also get Pentax’s TAV option, which lets you control aperture and shutter speed via the two control dials.

Round the back, there’s a nice little joystick for choosing focus points, while an AF button on the left-hand-side lets you flip between the various autofocus modes. But my favorite control (yes, I have one) is the green button; this resets settings to default and is a great little touch.

Pentax K-3 III review: Performance

Autofocus is handled by a new 101-point SAFOX 13 AF system, but though it does a good job in some situations, it’s one area where the K-3 III lags behind its mirrorless rivals; it certainly doesn’t compare to the likes of the Fujifilm X-T4 or Sony a6600.  

That’s partly due to coverage: 101 points might sound like a lot, but the X-T4 has 425 and the a6600 has 850. What’s more, only 25 of those are faster cross-type points and they all sit in the center. Plus, the autofocus points don’t extend across the full width or height of the frame, meaning there are some areas where they simply won’t work. Though it does have continuous AF and subject tracking, it struggles to keep up if the subject moves out of the frame. The situation is worse still if you’re using Live View, which only has outdated contrast-detection AF.  

What all this means in practice is that the K-3 III handles still subjects excellently, snapping on quickly and accurately, but it isn’t the best when it comes to fast-moving action such as sports. I certainly had mixed results when taking photos of my energetic labrador puppy. The above image (which has been cropped in) illustrates this — it's caught him mid-bound, but the focus is soft.

On the other hand, the K-3 III’s 5-axis image stabilization is excellent. Pentax claims it’s good for an extra 5.5 stops and that sounds about right from my experience; I was able to shoot as low as 1/8sec with some good results.

The K-3 III is also relatively fast, shooting at up to 12fps in burst mode, although the relatively small buffer (37 JPEGs, 32 RAW files) is a bit of a drawback.

Battery life is excellent — Pentax says it’s good for 800 images and I only needed to charge it a couple of times in my several weeks with it. Plus, you can charge it via USB-C, which is a bonus if you’re away from a plug as you can just use one of the best portable chargers and power banks.

Pentax K-3 III review: Image quality

The K-3 III teams a new back-illuminated 25.7MP APS-C CMOS sensor with a new PRIME V processor, and the combination makes for superb images in almost every situation. I used it extensively over sunny days and gloomy afternoons outside, and indoors under harsh lighting and it rarely made a wrong step.

Stills have masses of detail and are incredibly clean; you can shoot up to ISO 6400 without any concerns and even 25,600 is usable. That said, I wouldn’t recommend trying ISO 1,600,000, which makes it look like you’re using a filter called ‘colorful sand’.

Dynamic range is also impressive, with the Pentax K-3 III rendering blue skies without blowing out the highlights on a bright sunny day, and also picking up details in the shadows in more overcast conditions. Colors tend towards a more natural look, which can make them look muted compared to some, but you can easily ramp them up in the settings.

I shot the same scene with K-3 III and my beloved Fujifilm X-T3 and the results are quite stark. The X-T3 may be three years old, but it's still an excellent camera — but the K-3 III leaves it for dead in this comparison, doing a much better job at exposing the scene and serving up far more realistic colors.

Pentax K-3 III review: Video

Though the K-3 III can shoot 4K video, it’s definitely aimed more at stills shooters. The first problem is that video is only via live view, and that mode is hamstrung with slower contrast-detection AF. Plus, although there is a continuous autofocus option, it’s only available with certain lenses (of which mine wasn’t one). 

What’s more, 4K footage (at 30/24fps) is only available via a cropped mode, too, so you’re probably better off with 1080p (at up to 60fps). And because the screen can’t flip out, you end up having to hold the heavy body up in front of you in order to see what’s going on. 

But while it’s hardly going to trouble the best vlogging cameras, it’s perfectly serviceable for family videos. Footage is clear and colorful and the image stabilization really helps to keep things steady. In short, it’ll do the job for stills shooters who occasionally take videos, but not much more.       

Pentax K-3 III review: Features

Pentax has long had fans in the star-gazing community, thanks to its dedicated Astrotracer feature, which shifts the sensor as you shoot the heavens so that stars remain static even as the Earth rotates. Having used it on the K-3 II, I expected it to be in the new model, but while it is, there’s no built-in GPS as there was in its predecessor. The upshot of that is that amateur astronomers will need to buy the separate O-GPS-1 attachment ($195) to take advantage of it.  

The K-3 III does have built-in Wi-Fi and Bluetooth for easy connection to a phone, but unfortunately the Android version of its Image Sync app has been removed from the Play Store at the time of writing, so I was unable to try it.

Pentax K-3 III review: Verdict

If the Pentax K-3 III had come out five years ago, it would have been one of the best cameras available at its price point. As it is, it will have to settle for being one of the last great DSLRs. 

If you’re a long-time Pentax user, it comes highly recommended. Image quality is superb and it’s well built, with plenty of nice little touches that make it a pleasure to shoot with — though the absence of GPS for the Astrotracer function is annoying, and the price is on the steep side. 

That $1,995 price also counts against it when compared to several older DSLRs. The excellent Canon EOS 90D is available for less than half that, and shoots uncropped 4K video; Nikon’s D780 is slightly cheaper and has a full-frame sensor (and full-width 4K to boot).  

However, most people will instead be better off with a similarly priced mirrorless camera such as the Fujifilm X-T4 or Nikon Z6 II, both of which are smaller, lighter, faster and offer better autofocus.

Ultimately, while the K-3 III takes beautiful photos, it doesn’t do quite enough to justify that high price — or to explain why Pentax is sticking with DSLRs as the rest of the world moves on.

Sitting at the top of Nikon’s DX (APS-C) DSLR line, the Nikon 500 is a solid option for enthusiasts and semi-pros alike. It’s also a great back-up for professionals shooting full-frame who want a smaller and lighter but highly capable second camera. Sports and wildlife photographers, regardless of expertise, will benefit from its 1.5x crop and speedy autofocus.

Read the full review of the Nikon D500 to see why we’re excited about this camera (and a couple of things we’re not so thrilled about).

I tested the Nikon D500 under a variety of conditions using several different lenses including the kit AF-S DX NIKKOR 16-80mm f/2.8, 70-200mm f/2.8 and f/4 models), 200-500mm f/5.6 and, one of my all-time favorites, the lightweight 300mm f/4E PF ED VR. Check out our sample photos and videos below to see how well the Nikon D500 and these lenses performed, and why it’s one of the best DSLR cameras.

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Nikon D500: Price and availability

The Nikon D500 was introduced in 2016, and is still the company’s premier DX-series DSLR. The Nikon D500 is available starting around $1,500. A kit with the NIKKOR 16-80mm VR lens will set you back around $2,100. Both DX and FX format lenses can be used with the Nikon D500, so if you already have Nikon lenses, you’re ahead of the game.

Nikon D500 review: Design

At 5.8 x 4.6 x 3.2 inches and 26.9 ounces, the Nikon D500 isn’t the smallest or lightest DSLR on the market (that honor goes to the Lilliputian Canon EOS Rebel SL3) but compact enough for one-handed shooting with a short lens like the NIKKOR 50mm f/1.8. The solidly built camera body is also well-balanced even with telephoto lenses thanks, in part, to its deep grip and comfortable handhold.

A large, bright optical viewfinder features 100% coverage, and the ability to display grid lines on the viewfinder helps with composition and level horizons. With a -2.0 to +1.0m diopter adjustment, I was able to easily adjust the viewfinder to accommodate my eyesight with and without glasses.

The Nikon D500’s 3.2-inch touchscreen LCD is bright and clear. Unfortunately, the monitor’s touch capabilities are limited. It has touch focus and touch shutter, and can be used to scroll and zoom images in playback. To navigate menus, though, you’ll need to use the four-way controller. Not a huge deal but somewhat disappointing. And, rather than having a fully-articulated LCD, the D500’s monitor only angles up and down, which is also a bit disappointing. A top control panel provides an at-a-glance view of exposure settings, number of shots remaining, battery life, etc.

What’s not disappointing, though, is the D500’s dual card slots that accommodate SD and XQD cards. The secondary card slot can be configured to store overflow (when the primary card is full), backup (a shot-by-shot duplicate of the primary card) or to save RAW files to the primary card and JPEGs to the secondary card.

Nikon recently released a firmware update so the D500 — as well as other Nikon DSLRs — are compatible with the faster and higher capacity) CFExpress Type B cards (up to 2TB). Since CFExpress is the same form factor as the XQD, no changes to the camera body are required.

Typical for this class of camera, there’s no built-in flash. As expected, it has a hotshoe to attach an accessory flash when needed.

Nikon D500 review: Controls

Buttons and dials are plentiful and ergonomically positioned for quick access. Current Nikon users will feel comfortable with the external controls and menus. And once you set up the camera to your liking, you’ll rarely have to call up the easy-to-navigate menu system.

In addition to front and rear dials, the Nikon D500’s dedicated buttons include movie record, ISO and exposure compensation located just off the shutter release/power switch. The top left panel includes access to white balance, exposure mode, metering and quality along with a release mode dial (single, continuous low speed, continuous high speed and two quiet shutter release modes).

The rear panel is home to a long list of other buttons/controls including playback, menu, zoom, AF-ON, 4-way controller, a joystick for choosing AF points, Live View, function and info buttons. There’s also a depth-of-field preview button and another function button on the front of the camera. Better yet, many of the Nikon D500 controls—above and beyond the two function buttons—can be customized.

One of this camera’s cool features is its backlit buttons. Rotate the power switch to the little light bulb icon and you’ll be able to see the buttons and their identifying marks in the dark. This is a real bonus when shooting in low/no light, like in the press pit during fashion week.

The D500’s menu is long but well organized and easy to navigate, particularly if you’re a Nikon user. Press the question mark button to the left of the LCD for detailed and helpful explanations of many of the menu settings.

Nikon D500: Image quality

In a word, the Nikon D500’s image quality is excellent. In fact, I was as comfortable submitting this camera’s images to a wire service news agency as I was images from the higher end Nikon D4s and D850.

Colors were accurate and looked natural with just the right amount of saturation and sharpness, as shown in this image of a kitesurfer.

Even under mixed lighting that is usually found at fashion shows, auto white balance worked well. When the lighting temperature was known, I switched from auto white balance to the appropriate Kelvin temperature.

Auto white balance easily managed to keep these bridal gowns white even in this shot, which mixed natural light through the large windows and artificial light.

White balance can, of course, be adjusted in post processing when shooting Raw. In fact, the D500’s Retouch Menu offers in-camera Raw processing capabilities—including white balance adjustments.

Exposures were generally spot on both when shooting in program auto, semi-manual and manual modes. For the latter, the exposure meter was, for the most part, accurate. As always, the manual exposure mode allowed me to tweak the exposure when shooting in challenging conditions. Overall, dynamic range was quite good, as shown in this photo of a hawk with its dark and light markings.

Native ISO ranges from 100-51,200 and is expandable to a low of 50 and a high of 1,650,000. Even at ISO 6400, the D500 kept image noise to a minimum, as shown in the image below. At the same time, the camera maintained details and sharpness even at higher ISOs.

Nikon D500: Video

One of the first DSLRs to offer 4K video, the Nikon D500’s video options range from 4K UHD (30/24 fps), Full HD (60/30/24fps) to HD at 60fps. Complementing its video capabilities are a built-in stereo microphone, an external microphone jack as well as a headphone connector. You can also add an external monitor or recorder.

Image quality is quite good, with accurate colors and exposures. Detail capture is better than expected. Keep in mind, though, that 4K recording uses only part of the sensor. Add that crop factor to the camera’s APS-C 1.5x native crop and you need to figure in a little more than a total of 2x crop when choosing a lens. For example, a 14mm lens will deliver the same field of view as a 28mm lens, which may or may not be wide enough for the shot you planned.

The Nikon D500 did a good job of balancing the exposure in this high contrast scene. But given the tendency of the Nikon D500’s autofocus to occasionally search for focus and the fact that seabirds might fly into and out of the scene, I thought manual focus would work better here.

The Nikon D500 makes time-lapse video incredibly easy. Set-up is simple: just choose the interval (time between shots) and the total shooting time and you’re good to go. One of the really nice features is the “smoothing” option, which compensates for extreme changes in exposure during the recording. Once all the images are captured, the camera combines them into the final video like the one you see below.

Nikon D500: Performance

Solid performance is one of the Nikon D500’s strong suits. While many photographers have started gravitating towards mirrorless cameras for sports, the D500 can shoot up to 10 frames per second with swift and accurate autofocus (when shooting with the viewfinder). The D500 was responsive and capable of capturing these horses and riders in motion during a polo scrimmage.

The Nikon D500 was also a great companion when shooting models on the runway at New York Fashion Week—regardless of lighting conditions.

And the camera was perfect for capturing fast moving kite surfers on a windy day.

Autofocus is less speedy when using Live View but it’s unlikely that you’ll be using Live View to shoot action.

Shutter speeds are available from 1/8000th second to 30 seconds. There’s a Bulb setting for extra long exposures. The camera has a sync speed of 1/250th second and several self-timer modes. The latter include 2, 5, 10, 20 second durations with 1 to 9 exposures at various intervals.

Battery life is great, too, which is super important when you’re making use of its 10fps continuous shooting speed. The D500 can capture up to 1250 shots per charge and I never had to change batteries when covering two or three back-to-back fashion shows.

Nikon D500: Wi-Fi, Bluetooth and NFC

Nikon’s free SnapBridge app is available for iOS and Android mobile devices and works with Wi-Fi, Bluetooth and NFC. Set-up is relatively easy and while I’ve occasionally had some problems getting the app to work effectively, it’s generally smooth going.

As expected, the app facilitates transfer of images from camera to mobile device. Users can add copyright or other information (up to two pieces) to the images.

The app and mobile device can also be used to shoot remotely with options to shoot in program auto, shutter priority, aperture priority or manual exposure modes. Exposure compensation, ISO and white balance adjustments can be made directly from the app. It’s pretty typical when it comes to functionality and can be a real bonus when you want or need to share images in the field.

Nikon D500 review: Verdict

The Nikon D500 is one of my all-time favorite Nikon DSLRs thanks to its excellent image quality and performance. Enthusiasts and even newcomers who want to step up to a higher end APS-C camera can do so thanks to its more affordable price.

Although it’s more expensive, the 20 megapixel Canon EOS 7D Mark II ($1800) might be a good fit, especially if you already have a set of Canon lenses. You’ll have to give up 4K video but you’ll still get 10fps continuous shooting and gain better video AF and as well as a built-in flash.

But if you have Nikon lenses and are looking for a step-up camera that's a solid performer with great image quality, you can’t go wrong with the Nikon D500.

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Time for an upgrade? The Canon EOS Rebel T8i is touted as an entry-level camera for beginners, hobbyists, and content creators, but it’s got a few features found in higher-end Canon cameras.

The most noteworthy is its ability to record video in 4K—including vertical video—which will appeal to the vlogging set. Combined with easy-to-use controls and guides, it’s one of the best DSLRs for novice photographers. 

Keep on reading the rest of our Canon EOS Rebel T8i review to see if it’s the right camera for you or someone you know.

Canon EOS Rebel T8i: Price and availability

The T8i is the most advanced camera in the EOS Rebel line. Released in February 2020, the Canon T8i is priced at $799 with an 18-55M STM kit lens. Take a look at our Canon promo codes for ways to lower the price. 

There aren't too many meaty differences between the T7i and the T8i other than a slight weight difference and the upgraded image processor. The most significant difference is that the T8i is powered by Canon's DIGIC 8 processor, which enables 4K video capture and 7fps continuous shooting, a feature the T7i (6fps) didn't have.

Canon EOS Rebel T8i: Design

The T8i was small enough to fit perfectly in my hands, and its buttons were placed so that I could make quick and easy changes without disrupting my flow. The 3-inch LCD touch screen gave greater visual control when setting my focus points, navigating menu settings and reviewing images. Its vari-angle design—it can flip out to the side and up and down— made capturing my go-to low angle shots much easier than with my Canon Mark 5D IV. 

Measuring  5.16 x 4 x 3 inches and 18.2 ounces (with battery pack and SD card), it’s light and compact enough that I could put it in my bookbag and forget it was even there. The downside is there are no illuminated buttons: Even for the most experienced photographers, illuminated buttons are a perk when shooting in low lighting conditions. Popping out the LCD screen might be a slight fix but not ideal when you need to be discreet. 

The T8i doesn't have environmental weather sealings to protect from water and dust, unlike pricier cameras such as the Sony Alpha a7 II.

Canon EOS Rebel T8i: Interface

If you're a visual learner or hate going through equipment manuals, the T8i’s 3-inch LCD screen will walk you through different camera functions and settings so you'll be ready to take sharp, crisp photos and videos in no time. These screens will prove especially helpful for novices as they learn the ins and outs of the T8i.

Creative filters will always be a win, especially for beginners who want creative shots without using photo editing software. The T8i filters include: Grainy B/W, Soft Focus, Fish-eye Effect (my favorite), Water painting, Toy camera, HDR Art Vivid, HDR Art Bold, and HDR Embossed. 

Canon EOS Rebel T8i: Image quality

The T8i is packed with a 24.1-megapixel sensor, 100 - 25600 ISO, 45-point all cross-type AF system and DIGIC 8 image processors. Capturing fine details and true-to-life rich colors with each shot won't be a problem. Portraits, sports, landscape, dorm life — this camera will tackle it all. 

I brought the camera on set with me to shoot behind-the-scenes footage during one of my photoshoots. We started shooting in the morning when the light settings were a bit extreme. The Scene Intelligent Auto Mode (A+) was able to quickly adjust between areas of shade and bright sun. I had no problem capturing rich colors and details created by our makeup artist. Makeup gurus, you won’t have to worry about losing fine details or discoloration in your beauty shots. 

Like many cameras, the T8i struggled with minimal lighting situations, especially when using the standard kit lens. I took a few images of my friends during a night skating session, but the T8i had trouble maintaining focus on the skaters that were zipping past my lens under the fluorescent park lights. I also came across the same problem at a dinner outing and photographing my friend’s new nail designs. Again, the T8i wasn’t able to produce rich colors and focus on subjects clearly. My iPhone was able to create better results. 

High grain, slight discoloration and blur will seep into your imagery when the ISO is pushed to the max, but that is nothing to fret over when you can easily pop open the flash or use a better lens suitable for low-light situations. 

You won't miss a shot with the T8i's 45-point All Cross-Type AutoFocus paired with Dual Pixel CMOS AF Systems. The 45-point phase-detection AF made it easy to shoot stills via the viewfinder. Even in average-to-mixed lighting conditions, it was swift and accurate when tracking of fast-moving subjects. Eye Detection AF is a feature that significantly helps maintain focus on a subject's eye if there is movement in the foreground and background or multiple people within your shot. 

When shooting Live view with the LCD screen or recording video, the Dual Pixel CMOS AF system was fast and smooth. The T8i makes it easy to record your socially distanced school and sports events, your crew’s #OOTD, or your quick getaway vacation. 

However, there’s no Auto ISO minimum speed; the T8i chooses the speed as you zoom and no there’s no image stabilization for still photography, only in video. 

Canon EOS Rebel T8i: Video quality

Not only does the T8i record video in crisp UHD 4K at up to 24fps, but a significant win is the support of 16:9 vertical video output, perfect for vloggers and content creators who use popular social media platforms like Instagram’s IGTV or Facebook’s Stories. The T8i’s vari-angle touchscreen LCD made it easy to compose shots from odd angles, and I especially liked the camera’s digital image stabilization, which minimizes camera shake for smoother footage.

The T8i captured smooth shots of my crew’s day time rollerblading adventure and gave even and fluid pans for a more cinematic image. 

Canon EOS Rebel T8i: Wireless

As a content creator, it is imperative to have consistent, timely, and relevant imagery to beat social algorithms and make sure your posts are seen. T8i’s has built-in Wi-Fi and Bluetooth sharing capabilities. After wrapping a shoot with an influencer, I was able to share the photos with her on the spot with the Canon Connect App. With this app, you are able to store and edit RAW and JPEG photos, making on-the-fly editing quick and easy. 

The time it usually takes to upload to my computer and send off images was drastically reduced. 

Canon EOS Rebel T8i: Battery life

When I’m shooting with my Canon cameras, I never have to worry about battery life. Unlike my Sony mirrorless cameras, one Canon battery will last me a whole day. The same is true for the T8i. According to Canon, its battery will last for up to 1240 shots when using the viewfinder alone. However, that figure drops to just 360 shots when using live view. 

One downside is there is no USB charging, so you’ll have to remove its battery to juice it back up.

Canon EOS Rebel T8i: Verdict

Overall, the T8i passes the test of being a newbie-friendly camera for novice photographers or content creators. Its ability to record 4K video with 16:9 support makes it a much-needed upgrade from the T7i, and places it in a class all its own. At the moment, the closest Nikon competitor is the Nikon D5600, which costs about $100-$200 less, but lacks 4K video. However, we expect its successor, the D5700, to arrive sometime in 2021.  

All in all, the Canon T8i delivers polished and crisp imagery in a camera that is easy to use and won’t break the bank. 

When it comes to choosing between the Nikon D3500 vs. the D5600, budding photographers have a hard choice, because both are two of the best DSLR cameras. Its D3500 model starts at under $500, with an 18-55mm zoom lens. The Nikon D3500 provides excellent image quality and a very user-friendly experience for beginners, including an onscreen guide to camera settings. 

But for $200 more, the Nikon D5600 offers a richer feature set, such as a rotating touchscreen LCD and external microphone jack. It also has a more-advanced autofocus system, which could be a decisive factor if you plan to do a lot of action photography. 

Let's look at how the two cameras compare to see which is better for you and your budget.

Nikon D3500 vs. D5600: Specs

Nikon D3500 vs. D5600: Design

The cameras have very similar physical design, with identical dimensions, in the traditional DSLR form factor. The right-hand grips offer solid purchase, even for one-handed operation. The D5600 is a tiny bit heavier, at 14.7 ounces, vs. 12.9 ounces for the D3500—hardly noticeable. The D3500 body is made of polycarbonate, while the D5600 has a carbon fiber composite body.

The clearest differentiator is in the rear LCD. The D3500 offers a basic, 3-inch screen, with a modest 640 x 480 resolution; and it doesn't tilt to help with framing shots in live view mode when holding the camera up high or down low. The D5600's screen provides a luxury upgrade, measuring 3.2 inches with 720 x 480 resolution. What's more, it's fully articulated. The screen swings outward to the left and rotates, offering great flexibility in how you can frame shots. The screen folds into the camera body to protect the display from scratches and smudges when you aren't using it.

The D5600 LCD is also a touchscreen, which comes in handy for reviewing and editing images. You can drag a finger across the interface's frame-advance bar to quickly scroll through images. Use pinch-zoom to zoom into an image and then touch to crop the photo.

These being DLSRs, you'll mostly be framing shots using the viewfinder. The two cameras offer same-sized pentamirror optical viewfinders which offer 95% coverage of the frame, with 0.85x magnification on the D3500 and .82x on the D5600.  

Nikon D3500 vs. D5600: Interface

Both cameras offer essentially the same handy control layout. Highlights include a video record button just behind the shutter release button and a big "LV" lever to the right of the mode dial that you can easily flip to engage live view. Just to the right of each camera's LCD, the "i" quick-menu button grants access to all the important settings, from image quality to ISO and beyond. Owing to its smaller LCD, the D3500 offers roomier placement for buttons on the back of the camera, including space for one extra button (which brings up the release mode options for continuous shooting or the self-timer).  

The D3500 stands out for its Guide Mode, which provides assistance for novice shooters on setup, shooting, playback and retouching images. Activated via the mode dial, the Guide's directions — available in basic or advanced operation options — are simple and easy to follow. Instructions range from setting image quality to softening the background in a portrait. 

The D3500 also offers extensive in-camera retouching options. These include a quick, automatic retouch, resizing, D-Lighting (to help bring out details in shadows), red-eye correction, distortion control and vignette correction. Creative effects such as monochrome, image overlay, color outline, photo illustration, selective color and miniature effect are also available. 

These effects can be applied after you've shot the photo and saved as a new copy. Or you can switch the mode dial to Effects and apply them in realtime as you are shooting pictures. A few of these effects can also be applied when shooting video.

Nikon D3500 vs. D5600: Image quality

The core elements of the cameras are identical. Each features a 24.2MP image sensor and Nikon's Expeed 4 image processor. Though no longer the latest tech, it's still a powerful imaging combination. The cameras deliver rich, accurate colors and excellent dynamic range (fidelity ranging from very dark to very light elements). 

Each camera's sensor dispenses with the anti-aliasing filter, which was used to blur fine details (like a finely repeating pattern) that could lead to distortions on lower-resolution image sensors. With the move to 24MP, Nikon realized the AA filter was no longer needed, and the cameras achieve much sharper image quality without it. In fact, each camera is capable of capturing higher detail than the budget-priced kit lens will allow through, especially at the edges of the image. 

The cameras perform excellently in low light, as well. Images are sharp, with accurate color and minimal pixel noise up to ISO 3200--good enough for an 8x10-inch print. Noise at ISO 6400 is not too noticeable if displayed at small sizes, say for a Facebook post. The higher ISO settings aren't worth using on either camera, unless you have no other choice to get the photo.

One difference by low light is in flash photography. The D5600's built-in flash is rated to illuminate a subject up to 12 meters (39 feet) away, which is quite far. The D3500's flash is rated for 7 meters (22 feet).

Nikon D3500 vs. D5600: Autofocus and speed

The cameras do differ in their autofocus systems. The D3500 provides just 11 autofocus points on its AF sensor, while the D5600 features 39. This won't make much of a difference in most still images, such as posed portraits or landscape shots. But with tricky lighting or fast-moving subjects, the D3500 could slip up. If you shoot a lot of action photos, say of sports or wildlife, you will notice the improvement with the D5600.

Speaking of action photography, each camera captures JPEG images at up to 5 frames per second. That's about standard for entry-level DSLRs. More-expensive DSLRs, like the Canon EOS Rebel T8i, offer 7fps. Mirrorless cameras, with fewer moving parts, can provide speeds around 10fps.

Nikon D3500 vs. D5600: Video quality

Video quality tracks that of photo quality for both cameras, with each capturing accurate colors and wide dynamic range. Resolution is limited to 1080p (at 60, 30, or a cinematic 24fps) for both, which is plenty for most online posting.

Lacking phase detection autofocus on the image sensor, however, neither camera is well suited to maintaining focus in action settings. Indeed most smartphones today have better autofocusing systems for video than either of these DSLRs do. Settings options are limited, as well. For instance, neither camera allows you to adjust the aperture to control depth of field in video.

If you do intend to shoot a lot of footage, the D5600 makes a much stronger case because of its audio capabilities. For starters, it has built-in stereo microphones, vs. the mono mic on the D3500. And the D5600 mics are adjustable so you can set the camera to record at the optimal audio level. Furthermore, the D5600 has a 3.5mm audio input, allowing you to attach an external microphone for recording much richer sound than any internal mic can capture. 

The D5600 can also record time-lapse video, which the D3500 cannot. Neither camera records at high frame rates for slow-motion playback. If high-grade video is a priority, neither of these cameras is a top choice, however. Consider instead the 4K-capable Canon EOS Rebel SL3 among DLSRs or the Sony a6000 or a6100 mirrorless cameras. 

Nikon D3500 vs. D5600: Battery life

Battery life has always been a strong point of DLSRs, and it certainly is for these two models. The Nikon D5600 is rated (based on the CIPA standard tests) for 970 shots per charge. Even after a full day of shooting, you'll come away with plenty of power remaining. If that sounds like a lot, consider the 1550-shot endurance of the D3500. You could go several days without recharging. That would allow you to bring the D3500 on a multi-day backpacking trip without having to pack a spare battery. 

Nikon D3500 vs. D5600: Wireless capabilities

Both cameras are equipped with Bluetooth, which allows them to transfer images to Android and iOS devices using Nikon's free Snap Bridge application. This works pretty smoothly when you use the option of transferring 2MP versions of images, which is plenty for social media posting (images transfer in about 10 seconds or less). But Bluetooth proves painfully slow if you are trying to move full resolution images, which can take a minute each. Fortunately, SnapBridge can run in the background.

The SnapBridge app also allows your smartphone to function as a basic remote control for the D3500. You can trigger the shutter, but you do not get a preview of the photo on the phone's screen.

The D5600 also includes Wi-Fi, which enables a slightly more capable remote control. You can preview an image, set the focus point, and activate the shutter. But that's about it: You cannot adjust settings such as shutter speed, aperture, or ISO. The D5600 also has NFC, which helps Android devices pair wirelessly by tapping the, against the camera.

Nikon D3500 vs. D5600: Which is right for you?

You can't go wrong with either the D3500 or the D5600. Equipped with essentially the same core imaging technology, each camera offers excellent still-image quality. And the D3500 provides that quality at a most attractive price, which is why we have long named it the best entry-level DSLR camera. If you are new to DSLR photography, and looking for an economical entry point, this is the ideal camera for you. With some practice, you'll be able to capture handsome portraits, gorgeous landscapes, and beautiful still lifes. (The Guide Mode will help you through the learning process.) 

And the low price offers room to grow, as you can put the savings towards an extra lens or two. (One popular bundle includes the 18-55mm kit lens and a 70-300m telephoto zoom for about $600.)

Action photography is the most compelling reason to upgrade to the D5600. It's 39-point autofocus system is much better equipped for tracking moving subjects than the D3500's basic 9-point system. But you're getting more than just better AF system. In addition to that must-have feature, the D5600 also has several nice-to-haves, chief among them the variable-angle LCD touch screen, which makes framing and especially reviewing photos much more convenient and enjoyable. If you can swing the higher price of the D5600, you will get your money's worth. 

• The Best Nikon D3500/D5600 accessories
• How to use the Nikon D5600

It's been three years since Canon released the 24-megapixel EOS 80D DSLR, which was notable for its ease of use and a revamped Dual Pixel AF system. 

Its successor, the EOS 90D, includes a new, 32-megapixel APS-C sensor, 10fps continuous shooting, great ISO range (from 100-25600; expandable to 51200), 4K video and, thankfully, the return of an AF joystick. These features make the 90D one of the best DSLR cameras for advanced amateurs, especially those who want to shoot video.

Canon EOS 90D price and availability

The Canon EOS 90D is being offered for $1,199 (body only); $1,349 with an EF-S 18-55mm f/3.5-5.6 IS STM lens; and $1,599 with an EF-S 18-135mm f/3.5-5.6 IS USM lens.

Who is this camera for?

Advanced amateurs who are looking for a new DSLR and enthusiasts who want to step up to a more sophisticated camera — especially if they already have Canon lenses — will find a number of this camera's features appealing. And, current users of the 80D and earlier EOS D-series models may, rightfully so, be tempted by the 90D's higher resolution sensor, speedier continuous shooting and 4K video.

What I liked

Solid build and good ergonomics

Similar to its predecessor, the EOS 90D is solidly built and, at 24.73 ounces and 5.5 x 4.1 x 3 inches, is almost the same weight and size as the 80D. The 90D's body is weatherproof, although I wouldn't take it out in the pouring rain.

A slightly larger grip and a logical control layout provide good ergonomics and usability. Photographers with larger hands have plenty of wiggle room between the grip and the lens barrel. The camera's real estate is covered with buttons and dials that are within easy reach for all but those with petite hands. If you're a Canon DSLR user, you'll have an easy transition to this camera.

Fully articulated touch-screen LCD

A fully articulated LCD is one of the best camera inventions ever, in my opinion. The screen can be angled for low-level and over-the-head shots, to avoid wash out from bright sunshine. It can also be pushed to the side for easier viewing, flipped forward for self-portraits and folded into the back of the camera to prevent damage to the monitor.

With the 90D, you get all of this as well as a very responsive touch screen. You can touch to focus, trigger the shutter and quickly navigated on-screen menus.

Good image quality

Overall image quality from the EOS 90D was quite good. You'll get the best photos when shooting (and processing) RAW images, but straight-out-of-the-camera JPEGs were quite nice, with accurate and pleasing colors. For the most part, the 90D delivers good dynamic range by retaining details across a range of shadows and highlights. And with the higher resolution sensor, you have more flexibility to crop photos while retaining enough pixels for an enlargement.

A bright blue sky in the background of this goat portrait adds a nice bit of color to the subject's less colorful white, brown and black coat.

Check out the image below, shot in bright sunlight with a shadow to the right. Look closely and you can see that the 90D got the highlights and shadow exposure right but maintained details throughout. 

Practical and creative features

The 90D offers a solid feature set with practical functions that range from the expected (such as full manual and semi-manual exposure controls) to nice-to-have options such as in-camera RAW conversion. Although we recommend processing RAW files on the computer with imaging software, it's sometimes convenient to be able to make some quick adjustments to a RAW file and convert it to a JPEG while you're in the field.

On the creative side, the 90D comes with a set of creative filters that are applied after the shot. They include Grainy B&W, Toy Camera Effect, Soft Focus, Fish-eye Effect and more. And you can save the adjusted image as a new file so you don't overwrite the original.

• DSLR vs. Mirrorless Cameras: Which is better for you?

Fast and accurate eye- and face-detection tracking

With its iTR (Intelligent Tracking and Recognition) technology, the 90D quickly and easily tracks eyes and faces, whether you're shooting through the optical viewfinder or Live View. The face detection worked even when shooting a subject from the side, and it was easy  to keep up with the fast movement of a friend playing with my dog.

The 90D's 45-point phase-detect AF system, used when shooting through the optical viewfinder, is similar to that of the 80D and is relatively good. But the 90D's Dual Pixel AF system, available in Live View, is faster and more accurate.

Extended battery life

One of the great things about DSLRs versus mirrorless is battery life. The 90D's battery will last between 1,300 and 1,500 shots. Unless you're extremely prolific and/or are shooting a wedding or other event, you'll get at least a few straight days of shooting on a single charge (using Live View and shooting lots of 4K video will generally run down the battery sooner).

Easy Wi-Fi/Bluetooth connectivity

Canon's mobile app, Camera Connect, available for iOS and Android, is one of the easiest apps to set up with a camera. The directions are clear and there's an option to pair the camera and mobile device with a QR code. I opted to go through a manual pairing using a password, and it was a breeze — until I got a message that the 90D was not supported. (An update to the iOS on my iPad Pro fixed that.)

In addition to transferring files from camera to mobile device, Camera Connect also allows you to shoot remotely — great for photographing skittish wildlife or ensuring that you can get in a group photo.

4K video

The 90D offers a range of video options, including the new 4K video, which shoots footage uncropped. Image quality is decent but not award-winning. Still, it's certainly good enough for most users' needs. In addition to the fully articulated LCD, which comes in handy when shooting video, the 90D offers microphone and headphone jacks, as well as HDMI for output to external devices.

• YouTube Gets 4K Streaming: Here's How to Watch it

Recording for 4K is limited to 30fps; 1920 x 1080 can be captured at 60fps or 30fps; and 1080; 1280 x 720 at 30fps (unfortunately, there's no 24p for any resolution). There's a slow-motion option as well. And the responsive touch-screen LCD makes pulling focus a breeze. Just tap different AF points on the screen and the camera's AF moves where you want it.

What I didn’t like

No in-body stabilization

While in-body stabilization may be reserved for the best mirrorless cameras like those from Sony and Olympus, perhaps one day we'll see it in DSLRs like the 90D. But, for now, you have to rely on image-stabilized lenses for the 90D. And while the IS in the 18-135mm kit lens in the camera we tested was effective at eliminating blur from camera shake when hand-holding the camera, the lens' slow aperture (f/3.5-4.5) and less-than-stellar resolving power was disappointing.

Slow recharge for flash in low light

It's great to have a built-in flash on the 90D but when you need it the most — in very low light — it takes a little longer than we'd like to recycle. Although it's maybe a couple of seconds, when you're trying to capture several consecutive shots, you may miss a bit of the action. However, when used as fill flash outside, when it doesn't need as much power to fill in shadows, you can take 2 to 3 shots in quick succession, as I did in this image.

Image noise at high ISO

The 90D's broader ISO range (100-25600 and expandable to 51200 versus the 80D's 100-16000) is a welcome update but I was a little disappointed in how the 90D handled image noise. For the best results, keep the ISO as low as possible, of course. If you need to push the ISO, try not to exceed ISO 6400 and take care of the noise in post-processing software. The camera's noise reduction technology overdoes it and will result in softer than acceptable images.

Single card slot

A pet peeve of mine and other photographers is the single card slot. While you may never have experienced a card failure (and I hope you never do), a second card slot lets you have an immediate source of image backup. But, with 4K video and the large files from 90D's 32 MP sensor, you will fill up a single card more quickly and may well need a second card to capture the overflow.

Bottom line

These days, the question may be more about whether you want a DSLR or a mirrorless camera than which DSLR to buy. That's a valid concern but if you like the solid heft of a DSLR to balance long lenses, a never-blacks-out optical viewfinder (and the 90D has a good one), good battery life and a high level of responsiveness, then a DSLR may best meet your needs.

Although choices aren't quite as numerous as in days past, the 90D plays an important role in the midrange DSLR arena. It's more sophisticated than entry-level DSLRs like Canon's Rebel line, yet more affordable than, say, Canon's 5D series cameras or the Nikon D850. As such, the 90D is a good fit for photographers who want a sophisticated, high-performance camera that won't break the bank.

Take a look at our Canon promo codes for the latest offers from the retailer.

• More: Canon EOS M6 Mark II review