When I'm not writing 10,000 words a week, I can usually be found playing video games, at a concert, planning my next tattoo... or out on a walk with a camera in hand. I've loved photography for as long as I can remember, and I'm very lucky that I get to bring my love of photography to my job.

As a reviews writer at Tom's Guide, I test the best mirrorless cameras, and last year alone, I reviewed nearly 30 cameras! And I'm showing no signs of stopping this year. For the last two weeks, I've been putting the Canon EOS R6 Mark III through its paces, and now that I've finished testing it, I can confirm that it's a phenomenal mid-range shooter.

Once I'd finished testing the EOS R6 Mark III, I took a look at how many photos I'd taken on it — and there were 6,569 stills for me to sift through. Many of them were throwaways or part of burst sequences (of which I only edited and finalized a few). I've been thoroughly impressed and delighted with the photos I've taken, so I thought I'd share my favorites with you. So please, enjoy!

Wildlife

Some of my favorite subjects to photograph are animals and birds, and the Canon EOS R6 Mark III is adept at wildlife photography. What I love about the EOS R6 Mark III is its rapid autofocus system featuring no fewer than a whopping 6,097 selectable points. In my testing, I found the EOS R6 Mark III was quick to lock onto the subjects I was photographing. It didn't falter even once.

All the images in the gallery above were captured with the AF set to Auto, and the camera was quick to recognize the subjects as birds, so it switched to Animal Detection.

When I wanted to capture birds in flight or in action, I took full advantage of the camera's 40fps sequential shooting or high-speed drive. The EOS R6 Mark III is capable of capturing 330 JPEGs and 150 RAW images with its electronic shutter. 40fps drive ensures you never miss a moment of action, and 0.5 seconds of pre-burst capture records 20 frames when you half-press the shutter button.

As soon as I spotted the two pairs of moorhens fighting with each other, I pointed the camera in their direction, and it locked onto them. I then fired off a burst (while 'Kung Fu Fighting' by Carl Douglas played in my head) and captured hundreds of images of the birds attacking one another with their feet and beaks. You can see a few of the sequential images in the gallery above.

Portraits

Alongside being a fast camera, the Canon EOS R6 Mark III is great for portraits, whether those are taken indoors or outdoors. The 32.5MP CMOS sensor captures plenty of detail, and there's enough room for making tight crops in post-production. Human subject detection and tracking is fantastic, and if the camera can't detect any eyes, it automatically and seamlessly switches to face and body detection, so the EOS R6 Mark III is very reliable.

There are a few in-camera filters to play with too, such as Vivid, Warm, Cool, and Monochrome, to name a few. The black and white color profile is adept at capturing dramatic portraits. I took a couple of photos of my colleagues in the Monochrome filter, as you can see above. Also, thanks to up to 8.5-stops of in-body image stabilization (IBIS), you can confidently shoot at slow shutter speeds when lighting isn't adequate.

The portraits I captured outdoors turned out just as lovely, even when the lighting was unpredictable and uncontrollable (unlike in a controlled studio environment). I adore the photos of my partner in the gallery above. The colors have come out beautifully, and I love the different shades of gray in the first slide.

Landscapes

The Canon EOS R6 Mark III is truly a jack of all trades, and if you pair it with a wide-angle lens, like the Canon RF 14mm f/1.4 L VCM, you've got a winning combination for landscape photography. You can capture a lot of the scene, as I did in the photos above.

Another feature that makes the EOS R6 Mark III an outstanding landscape snapper is its excellent dynamic range. The camera excels at retaining both shadow and highlight detail. This gives you more wiggle room in post-production as you can lift the shadows to reveal detail, and recover highlights by pulling them down. The result is a balanced image where highlights don't appear blown out, and dark areas remain noise-free.

The EOS R6 Mark III is fully weather-sealed too, and it's protected against dust and moisture, so you can shoot confidently in changing environmental conditions. As someone who lives in the U.K., where it can start raining out of nowhere, you have no idea what a boon this is.

Details

I'll be the first to admit that I'm not a massive fan of macro photography, but I've enjoyed capturing close-ups with the Canon EOS R6 Mark III. Well, the photos in the gallery above aren't exactly macros or close close-ups, but they're shots I've used to test the camera's ability to capture the finer details.

Thanks to the camera's 32.5MP CMOS full-frame sensor, the images are packed with detail, intricate textures, crisp edges, and fine gradations. As I mentioned earlier, you can crop a fair amount too to really highlight your subject — as I did with the photos of the bees on the flowers. The soft pastel shades of the flowers look gorgeous, too.

To sum up...

There's a lot more I can say about the camera, which is what my full, in-depth Canon EOS R6 Mark III review is there for, of course. For $2,799 at Adorama / £2,799 at London Camera Exchange, you're getting a camera that pulls out all the stops. 7K Open Gate video, CFExpress Type-B support, a 32.5MP sensor for beautiful photos, advanced autofocus, 8.5-stops of IBIS, and Canon's vaunted color science — all of these come together to deliver a powerful mid-range package.

Testing the EOS R6 Mark III has been a lot of fun, and if you're on the hunt for a camera that doesn't compromise on image quality and doesn't break the bank, few are better than this. Have you tried the EOS R6 Mark III yet, or would you like to? Let me know what you think in the comments below!

More from Tom's Guide

• I’ve taken over 6,000 photos on the Canon EOS R6 Mark III — and this feature-packed camera is nothing short of a mid-range masterpiece
• I tested the Canon EOS R5 Mark II to photograph wildlife — and this one feature has changed how I take photos forever
• ‘Few wildlife cameras come close to this’: why the OM System OM-1 Mark II is perfect for photographing birds in flight and other animals

Canon is no stranger to making some of the best mirrorless cameras out there, and the EOS R6 Mark III is one of the finest mid-range shooters you can buy today. Sitting comfortably between enthusiast and pro-grade cameras, it improves on its predecessor by introducing a 32.5MP sensor, 7K Open Gate video, and CFExpress Type-B support. It retains 40fps burst shooting for wildlife and sports photographers, but brings with it more advanced tracking which powers its excellent autofocus system.

On paper, the EOS R6 Mark III sounds like a standout choice for practically any genre of photography. In practice, it’s even more impressive. It’s responsive, dependable, and it delivers sharp, vibrant images. And even though the price has crept up and the camera’s overheating limitations may be frustrating for some, these shortcomings do little to overshadow what is otherwise a well-rounded camera in its class.

To find out whether you should buy it, and how I got on during the two weeks I spent with it, read my full Canon EOS R6 Mark III review.

Canon EOS R6 Mark III review: Specs

Canon EOS R6 Mark III review: Price & availability

The Canon EOS R6 Mark III, as its name suggests, is the third iteration of the EOS R6 and the third model in the lineup — and there’s a fourth, if you count the Canon EOS R6 V. The EOS R6 Mark III succeeds the three-year-old EOS R6 Mark II and is a little pricier than its predecessor ($300 precisely).

Its body is available for $2,799 at Adorama / £2,799 at London Camera Exchange. There are two kits available too: one with the RF 24-105mm f/4-7.1 IS STM lens for $3,149 / £3,149, and another with the RF 24-105mm F4L IS USM lens for $4,049 / £3,899.

Given this price and the camera’s features, the EOS R6 Mark III finds itself competing against the likes of the Sony A7 V ($2,899) and the Fujifilm X-H2S ($2,499), with both cameras boasting fast high-speed drives: 30fps and 40fps respectively.

Canon EOS R6 Mark III review: Design

If you put the Canon EOS R6 Mark III next to its predecessor, you’d hardly be able to differentiate between the two. The EOS R6 Mark III features an almost identical physical body design, sculpted grip, and control layout. But if something ain’t broke, don’t fix it, and the EOS R6 Mark III is wonderful to handle.

Its protruding grip is spacious enough to wrap your fingers around and even use the camera one-handed comfortably — if you’ve got medium-sized hands like I do, at least. Dimensions remain fairly identical too, with the EOS R6 Mark III measuring 5.44 x 3.87 x 3.48 inches and weighs 1.54lbs with battery and memory cards. It doesn’t feel bulky or too heavy to carry around my neck or in my backpack.

The camera’s overall handling will naturally be affected by the lens you’re using. I tested the Canon RF 28-70mm F2L USM and the Canon RF 14mm F1.4L VCM lenses with it, and the former on its own weighs nearly 3.2lbs. The kit, then, weighs approximately 4.7lbs which sounds like a lot, but thanks to great weight distribution and the EOS R6 Mark III’s sculpted grip, I didn’t find it too unwieldy to handle.

Viewfinder

The EOS R6 Mark III’s 0.5-inch OLED electronic viewfinder (EVF) is spacious and comfortable to look through, and it’s plenty bright too. It has a resolution of approximately 3.69 million dots so you get a sharp, detailed and life-like representation of the scene you’re capturing, and this, in turn, helps you accurately frame and capture your subject.

This is the same resolution as the Sony A7 V and the Panasonic Lumix G9II ($1,899), but it’s a little lower than the similarly priced OM System OM-1 Mark II’s 5.76 million dots ($2,399). If you want a higher-res EVF, you’ll have to splurge on the likes of the Sony A1 II ($6,499) or the Sony A7R VI ($4,499), both of which pack 9.44 million dots each in their EVFs.

One thing I love about the EOS R6 Mark III’s viewfinder is its 120Hz refresh rate — which is the same as the OM System OM-1 Mark II and the pricier Canon EOS R5 Mark II ($4,299). The fast refresh rate ensures subjects you’re tracking remain free of motion blur, and the camera delivers smooth and realistic motion — great for fast-paced wildlife or sports photography.

It’s important to note that the EOS R6 Mark III doesn’t feature blackout-free shooting. That means in the EVF you get short bits of black screens between shots. They’re hardly noticeable by the naked eye, especially when shooting at 40fps, although this will obviously be an issue for sports or wildlife photographers, but those people should be looking at a high speed blackout-free camera like the Sony A1 II or A7R VI instead. Or, if you can sacrifice sensor real estate, the OM System OM-1 Mark II.

Monitor

The EOS R6 Mark III’s rear panel houses the 3-inch TFT LCD touchscreen which has a resolution of approximately 1.6 million dots. This is the same resolution as that on the OM System OM-1 Mark II and the Fujifilm X-H2S. It’s a little lower than on the Sony A7 V (2.09M) and the Canon EOS R5 Mark II (2.1M), but it’s still bright enough that I haven’t had trouble reading the screen even in direct sunlight.

In my testing, I found the EOS R6 Mark III’s touchscreen highly responsive as all of my taps and swipes were registered instantly. The vari-angle mechanism also meant that I could shoot at awkward angles with ease, like when I wanted to take a low-angle photo of a duck loafing on the ground, or of birds flying right overhead.

Ports

Canon hasn’t spared any expense when it comes to the EOS R6 Mark III’s ports, and the camera features better connectivity when compared to its predecessor. You’ll find the battery compartment on the bottom plate, and this houses an upgraded LP-E6P battery pack. Located next to this is a standard tripod mount thread.

All other ports are located on the camera’s left-hand edge, and they’re protected by dust- and water-resistant covers. The biggest upgrade, in terms of connectivity, is the presence of a full-size HDMI Type-A port on the EOS R6 Mark III (versus Micro HDMI Type-D on the EOS R6 Mark II). Next to the HDMI port is a USB-C 3.2 Gen 2 for charging, data transfer, and 4K/60fps UVC live-streaming functionality (a first for an EOS body). And as this is a hybrid stills and video camera, there are two 3.5mm jacks for a mic as well as headphones, and a 2.5mm remote control terminal.

Two memory card slots are located on the EOS R6 Mark III’s right-hand edge. While the EOS R6 Mark II featured dual UHS-II SD card slots, its successor has one SD/SDHC/SDXC UHS-II card slot and one CFExpress Type-B slot, supporting up to 8TB. The latter is there to match the camera’s higher resolution, accommodate 7K RAW files, and sustain the 40fps drive.

Weather-sealing

The EOS R6 Mark III features virtually identical weather-sealing to the EOS R6 Mark II — which means it’s resistant against sand, dust, moisture and rain. You should be able to use the camera in challenging conditions comfortably. I’ve tested it in light rain and haven’t had to worry about water getting inside or damaging the monitor.

Canon EOS R6 Mark III review: Controls

As I alluded to earlier, the Canon EOS R6 Mark III’s control layout is fairly similar to that of its predecessor’s. Though it’s cheaper, I’ve found the EOS R6 Mark III as easy to use (and get to grips with) as the pricier EOS R5 Mark II. All the buttons and dials are well-placed and within easy reach. There’s also a Lock switch located between the On and Off button which prevents accidental settings changes.

Many of the EOS R6 Mark III’s buttons are customizable via the settings menu. For those who photograph different genres, there are three Custom Shooting Modes — C1, C2 and C3 — located on the mode dial. You can tailor settings, such as autofocus modes, button layouts, and exposure parameters, and save entire custom setups to these.

I also like how thoughtfully-placed the customizable buttons are. For instance, the Rate button located in the top-left corner of the rear panel can be fully customized, and I found it easy to press with my left thumb. There’s a Multi-Function (M-Fn) button near the shutter button on the top plate which I customized to swap between drive modes.

The EOS R6 Mark III’s menu system is, as per, a joy to use. I’ve always enjoyed how well-designed Canon’s color-coded menus are, with everything easily understandable even by those who may be picking up a Canon for the first time.

Canon EOS R6 Mark III review: Autofocus

The EOS R6 Mark III utilizes Canon’s Dual Pixel CMOS AF II autofocus system to detect and lock on to humans, animals/birds, and vehicles. The EOS R6 Mark III features no fewer than 6,097 selectable points, which is a hell of a lot more than the Sony A7 V’s 759 points and the Fujifilm X-H2S’s 425 points.

Regardless of the subject I was photographing, I found the EOS R6 Mark III quick to focus. Similar to the Sony A1 II and Canon EOS R5 Mark II, the EOS R6 Mark III features Auto subject-detection, so when that’s selected, the camera automatically switches between human, animal and vehicle detection.

I found this extremely useful when going from photographing birds at the park to my partner, and then randomly jumping to a bicycle. Not once did the EOS R6 Mark III fail to detect the subject. If you want the camera to do even more thinking for you, you can toggle AI Focus, which is an intelligent autofocus setting that automatically changes between One Shot (for still subjects) and Servo (for tracking motion). This is handy for when you’re photographing birds and they suddenly fly away, as an example.

The photos in the gallery above were taken with the EOS R6 Mark III’s autofocus set to human detection. I love that the camera automatically switches between Eye, Face, Head and Body detection, thanks to its deep learning AF system. It searches for the eyes first and if it can’t find one, it seamlessly switches to finding other body parts. I appreciated not having to swap between these detection settings every time.

Indoors, in a photo studio with bright lights, the camera was quick to lock onto my colleague’s eyes, as you can see in the first slide. Outdoors, I was impressed by the EOS R6 Mark III detecting and locking onto the person holding the umbrella, even though you can’t see their face and their body is obscured by the bridge’s railings. Similarly, it was quick to focus on my partner, too.

Animal/bird detection works just as well if not better. The EOS R6 Mark III quickly locked onto the swan in the first slide in the gallery above, and I could see on the monitor that it was focusing on the eyes — even though they aren’t that obvious. In the second shot, even though the moorhen chick was far away and small, the EOS R6 Mark III didn’t struggle to find it, and likewise, it was adept at focusing on the group of ducklings huddled together in the third shot.

I’ve enjoyed using the EOS R6 Mark III’s focus joystick too, as the omission of which I always miss when testing cameras like the Leica Q3 43 ($7,380). I’ve used it extensively to quickly reset focus points, and even used it to focus on a specific subject in a crowded area, like in the photo of the pigeon drinking water (above).

Canon EOS R6 Mark III review: Stabilization

Depending on the lens you use with it, the Canon EOS R6 Mark III is capable of delivering up to 8.5-stops of in-body image stabilization (IBIS). This means that you can shoot at slow shutter speeds handheld and in low-light conditions without worrying about blur from camera shake.

The RF 28-70mm F2L USM lens I tested doesn’t feature any stabilization (bizarre, I know) so for the two photos above, I relied entirely on the EOS R6 Mark III’s IBIS. The first image was shot at 1 second and the second at 2 seconds. As you can see, the first shot is clear and stable while the second has been impacted by camera shake — and I expected that, given the weight of the lens. But this is great as it shows the camera’s stabilization works excellently.

I then took a few photos at varying shutter speeds with the RF 14mm F1.4L VCM which, again, doesn’t feature an image stabilizer. But because the lens is much lighter than the RF 28-70mm F2L USM, my hands didn’t feel as unstable and I was able to shoot at even slower shutter speeds. The image above was captured at 4 seconds!

Canon EOS R6 Mark III review: Image quality

I’m yet to test a mirrorless camera from Canon that doesn’t produce stunning images. The EOS R6 Mark III is an imaging powerhouse, packing a 32.5MP full frame CMOS sensor. Boasting Canon’s vaunted color science, color reproduction is faithful and true to life, and different shades and hues look beautiful. You can see a few sample images in the gallery above. All the colors are well-balanced with none appearing oversaturated or light on contrast.

While the EOS R6 Mark III doesn’t feature a sensor as high-res as, say, the Canon EOS R5 Mark II with its 45MP Stacked CMOS or the Sony A7R VI with its 66.8MP Stacked CMOS, you still get enough resolution to create crops.

The first image in the gallery above is an extreme crop of the second, and the third of the fourth. That’s as far as I could crop in without losing detail. In the portrait of the pigeon, you can still make out its individual neck feathers, and you can still see the different skin texture in the photo of my partner.

Like many other cameras from Fujifilm and Sony, the EOS R6 Mark III comes with built-in picture styles and filters, such as Vivid, Monochrome, Cool, Warm, and so on. In the gallery above, the first photo was taken with Vivid, the second with Cool, and the third and fourth in Monochrome.

I love how the greens pop and look bright in the first shot, and the green water in the second shot appears muted and cinematic. Meanwhile, the shadows look deep and highlights look bright (but not too bright) in the grayscale images, making the Monochrome filter great for portraits.

High-speed drive

The EOS R6 Mark III utilizes Canon’s DIGIC X processor for 40fps sequential shooting with the electronic shutter, and the camera captures 330 JPEGs and 150 RAW images in this mode. Having 40fps drive at your disposal means you can capture every single moment of action, which makes the EOS R6 Mark III a strong choice for wildlife and sports. If you want an even higher drive, the OM System OM-1 Mark II boasts 120fps blackout-free sequential shooting, but you’d be sacrificing resolution for that.

I found 40fps to be more than sufficient for capturing birds in action, as you can see in the gallery above. With the camera set to High-speed Continuous Shooting+ via the Drive quick menu, I was able to photograph the pigeon landing on the stump, and the crow frantically hopping about with a berry in its mouth. The electronic shutter also has a shutter speed of 30s to 1/16,000s, giving you plenty of speed to capture blur-free images.

Thanks to the 40fps burst and best-in-class autofocus, I was able to capture a series of photos featuring two pairs of moorhens fighting with each other, and you can see four shots of that in the gallery above. I was limited by the RF 28-70mm F2L USM’s longest focal length which prevented me from getting really close-up shots, so imagine what you could do with a telephoto lens, like the RF 200-800mm F6.3-9 IS USM ($2,249).

Similar to many other high-speed Canon cameras, the EOS R6 Mark III supports pre-burst capture up to 0.5 seconds, and unlike its predecessor, you don’t need to enable the RAW Burst mode to do so. The EOS R6 Mark III records 20 frames when you half-press the shutter button and these are saved to your memory card when the button is fully pressed — handy for never missing a split-second moment.

ISO performance

The EOS R6 Mark III boasts good high ISO performance. It has a base ISO of 100 and it tops out at 102,400, just like the Sony A1 II, the Sony A7R VI, and the Canon EOS R5 Mark II. To see how it fared, I put the EOS R6 Mark III through an extreme ISO test indoors.

Images come out as you’d expect at ISO6400 so I’ll shift focus to high ISO values instead. The images above were shot at 12,800: the first is a JPEG export of the CR3 RAW file, and the second is the straight-out-of-camera (SOOC) JPEG. As you can see, the EOS R6 Mark III’s in-camera noise reduction has done well to reduce the noise or grain in the SOOC JPEG. There’s no loss in sharpness either as the legends on the scale are still discernible.

I then upped the ISO to 25,600. There’s a lot of noise in the JPEG export of the CR3 file (first slide above) but once again, the camera has done well to smoothing it out in the SOOC JPEG (second slide above). The blue background does appear a bit grainy but it’s far from ruinous. Again, there’s no drop in sharpness. This was also the case with the EOS R5 Mark II and the A1 II.

Finally, ISO 51,200, which is the limit I’d recommend pushing the EOS R6 Mark II — as a last resort, that is. As you can see in the SOOC JPEG (second slide above), the plant in the background has lost the sharpness around its leaves and it doesn’t look as detailed anymore. It has a watercolor effect which we’ve seen on micro four-thirds cameras, like the OM System OM-1 Mark II.

Dynamic range

The EOS R6 Mark III offers up to 14+ stops of dynamic range at base ISO100, so in theory, you can make extensive adjustments in post without negatively impacting image quality. To test this, I took a couple of photos outdoors and lifted the shadows and reduced the highlights in Adobe Photoshop Lightroom.

In the backlit photo of my partner above (the original of which you saw earlier), the camera’s done a great job of maintaining highlight detail while also exposing for the comparatively dim unlit face.

The EOS R6 Mark III keeps shadows relatively noise-free too. In the gallery above, I reduced the highlights and lifted the shadows and doing so revealed many leaves that I couldn’t see in the first unedited shot.

Canon EOS R6 Mark III review: Video

The Canon EOS R6 Mark III doesn’t skimp on video either. It’s a powerful hybrid camera capable of recording 7K/30fps Open Gate video where it utilizes its entire uncropped sensor and resolution, as well as 7K/60fps RAW video. The presence of a full-size port means you can shoot 7K RAW ProRes via HDMI too. Naturally, you can record 4K video at 120fps too. You can see a sample video, shot in 4K at 60fps, above. The video looks smooth and plenty of detail has been captured. The colors look lovely, too.

Alongside these resolutions and framerates, the EOS R6 Mark III is capable of recording in Canon Log 2 and Canon Log 3, where the latter captures a wide dynamic range of up to 13.3+ stops. C-Log is usually reserved for Canon’s Cinema lineup, so it’s good to see it on the EOS R6 Mark III as well as the EOS R5 Mark II mirrorless cameras too.

While the EOS R6 Mark III boasts solid video specs, it doesn’t feature a built-in cooling fan or system, so it can get very hot, and in turn, it doesn’t last very long. Canon says that the camera can record 7K/60fps RAW for only 23 minutes at 73°F / 23°C. This isn’t great news for hybrid shooters, but this is why the Canon EOS R6 V exists. The EOS R6 Mark III’s video-first sibling features an active cooling fan and airflow vents to prevent shutdowns caused by overheating (and it even packs the same 32.5MP sensor).

Canon EOS R6 Mark III review: Battery life

Like I said before, the Canon EOS R6 Mark III introduces and utilizes a new and upgraded LP-E6P battery pack. It’s also compatible with LP-E6NH and LP-E6N packs but not with the original LP-E6. The EOS R6 Mark III is CIPA-rated for 620 shots when using the LCD monitor or 390 shots when using the EVF.

Of course, CIPA-ratings are generally conservative as they’re determined using strict and usually single-shot testing parameters, so more often than not, your camera will last you longer in the field. In my testing, I took nearly 2,500 photos before charging the camera. Your mileage will heavily depend on your shooting settings and modes.

For the purposes of comparison, we’ll use the 620-shot LCD CIPA-rating. This is slightly lower than the Sony A7R VI’s 670-shot, the Sony A7 V’s 750-shot, and the Fujifilm X-H2S’ 720-shot battery life. The EOS R6 Mark III upstages the OM System OM-1 Mark II, though, which is rated for 520 shots. But like I said, the EOS R6 Mark III has lasted me comfortably for a full day’s worth of shooting, so you should get by just fine.

As for video, while the EOS R6 Mark III is capable of shooting 7K/30fps RAW and Open Gate, it’s worth noting that it doesn’t feature an active built-in fan or cooling system, so it has a tendency to overheat, as it did in my testing after about 20 minutes. It’s disappointing that the EOS R6 Mark III doesn’t cope well once it gets too hot (sounds like me during a heatwave), but like I said, that’s one of the reasons why the EOS R6 V, the lineup’s video-first camera, exists.

Canon EOS R6 Mark III review: Verdict

Canon’s EOS R6 lineup hasn’t failed to impress us so far. The EOS R6 Mark III delivers a genuinely well-rounded shooting experience. It feels at home capturing wildlife, sports, landscapes, studio portraits, travel, what-have-you. The combination of a sharp 32.5MP CMOS sensor, class-leading autofocus and stabilization, and 40fps burst shooting make the EOS R6 Mark III a remarkable creative tool. Throw Canon’s beautiful color science, intuitive controls and ergonomics into the mix and you’ve got a camera that’s easy to enjoy.

There are a few caveats, though. While the camera boasts 7K video capabilities, videographers will likely run into the camera’s thermal limits sooner than they’d like. Some rivals offer longer battery lives too.

But these compromises feel relatively minor when weighed against everything the EOS R6 Mark III offers. For photographers seeking a fast, versatile and dependable camera, this is one of the strongest options available today — and a worthy successor to the EOS R6 Mark II.

It's been quite an eventful few week for cameras. Insta360 launched a Go 3S Retro Bundle, we saw the GoPro Mission 1 lineup, and on Wednesday May 13th, Sony and Canon dropped a camera each — what a time to be alive! Sony and Canon's announcements came out of the blue, with teasers posted on their respective social channels either a week or just a few days prior to the launches.

Canon has expanded its V-series lineup of video-first cameras with the new EOS R6 V, while the Sony A7R VI succeeds the four-years-old A7R V. Sony's offering sounds like the ultimate hybrid that builds on its predecessor's success, while Canon's latest camera looks like it could be the best mirrorless camera for video.

Needless to say, I'm excited and thrilled. As someone who reviews cameras for a living and loves photographing her surroundings, I'm intrigued by both cameras. But is there one I'm excited about more than the other? Well, that's what we're here to find out.

A quick rundown of specs

Who are the Canon EOS R6 V and Sony A7R VI for?

Both the Canon EOS R6 V and the Sony A7R VI have different target audiences — but with some overlap. The A7R VI sets a new gold standard for high-resolution full frame cameras with its 66.8MP sensor and 30fps RAW burst capabilities, which make it great for all genres of photography, including wildlife, sports, and portrait. It also features 8K/30fps video so it sounds like a fantastic all-rounder.

Bolstering the A7R VI's position as a powerful hybrid camera is its OLED viewfinder with a 120fps refresh rate and 9.44M-dot resolution. You also get a 3.2-inch 4-axis LCD monitor with a 2.1M-dot resolution. Oh, and 8.5-stops of in-body image stabilization (IBIS) which means you can shoot at very slow shutter speeds and still walk away with a usable photo.

And what about the EOS R6 V? It's the second R-V body Canon has introduced, and it joins the excellent Canon EOS R50 V. The 'V' version of the EOS R6 is also the fourth EOS R6 body in existence — and as the 'V' suggests, it's a video-first take on Canon's hybrid camera. There's no viewfinder so you must rely on the camera's 3-inch vari-angle screen and its 1.62M-dot resolution. The EOS R6 V offers 7K/60fps RAW and 7K/30fps Open Gate video capabilities, both of which make it ideal for content creation.

In addition to that, you get 40fps continuous shooting which is... surprising, and something I wasn't really expecting in a video-first camera. While this camera sounds like it would be peerless for video, I'm sure it will be ideal for capturing photos of birds in flight too with its 32.5MP CMOS sensor and best-in-class Dual Pixel CMOS II autofocus system. And did I mention it packs up to 8.5-stops of IBIS, just like the A7R VI? Yep, it's almost got it all.

The one I'm most excited for (and why)

I'd be lying if I said I wasn't intrigued by the Canon EOS R6 V. It features the same 32.5MP sensor as the Canon EOS R6 Mark III. As a video-first iteration of the series, it packs an active cooling fan — which you'll most certainly need if you're shooting 7K/30fps Open Gate... or even 4K/60fps, really, especially outdoors.

With the EOS R6 Mark III and its predecessors, battery life while recording video was always a sticking point, but this time around, Canon's going for the "best battery life" crown. The company claims the EOS R6 V can record for two hours or more as long as the built-in fan is toggled on, the overheat limit is set to high, and the camera's on a tripod.

While all of this sounds great (and I'm looking forward to test the camera for my full review), the EOS R6 V isn't the one I'm most excited about — it's the Sony A7R VI. The A7R VI packs a newly developed 66.8MP sensor and enables you to shoot RAW photos at 30fps. This will certainly be a boon for wildlife photographers such as myself.

I loved the Sony A1 II when I tested it and it's the one camera I've thought about buying myself time and again. I captured some of my best photos on it, and being able to make extreme crops was a walk in the park thanks to the 50MP resolution. But 66.8MP sounds even better, and the sensor's stacked nature delivers faster readout speeds and minimizes rolling shutter distortion. Then you've got the new BIONZ XR2 processor for 30fps blackout-free bursts, so you don't lose track of your subject because of, well, black screens between shots.

The A7R VI also borrows Auto subject detection mode from the A1 II, so you don't need to manually change the subject you're photographing — handy for anyone who captures a variety of subject. I loved this on the A1 II as I photograph birds, animals and (occasionally) humans and I can't wait to see how it holds up on the A7R VI.

A new trick up its sleeve

In addition to all the goodies the Sony A7R VI offers, it also features a new battery pack: the 2,670mAh NP-SA100. Sony says that with this battery pack, the A7R VI is CIPA-rated for 600 shots with the viewfinder or 710 shots with the monitor. Its predecessor, the A7R V, is CIPA-rated for 440 shots, so Sony's made some strides.

CIPA testing is done under strict conditions and the number is often conservative, so it'll be interesting to see how the battery holds up in real-world use.

I think it's going to be interesting to see how both the A7R VI and the Canon EOS R6 V perform in practice as, in theory, they both sound great in their own right. I'm obviously not pitting both cameras against one another. That would be unfair as they have different target audiences (and there's quite a bit of a price difference). Needless to say, though, it's an exciting time for photographers and camera enthusiasts. I can't wait to get my hands on both cameras and put them through their paces!

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• I tested the Sony A1 II for 2 weeks — and its autofocus results blew my mind
• I just tested the Canon EOS R5 Mark II to photograph wildlife — and this one feature has changed how I take photos forever
• ‘Few wildlife cameras come close to this’: why the OM System OM-1 Mark II is perfect for photographing birds in flight and other animals

I've loved cameras for as long as I can remember, so I'm very lucky that I now get to test them day in and day out. As someone who reviews the best cameras, I'm well aware of how (most) brands love releasing at least two or three new snappers per year. I'm also well aware that not every "upgrade" is really worth "upgrading" to. Because if you have, say, the Sony A7 IV and it works perfectly fine, why would you need to get the Sony A7 V?

Of course, if you can afford to upgrade your camera every year, good for you. But for those who can't due to budget constraints, you don't need to do that. Or if you're new to the world of photography and are overwhelmed by the many expensive choices around you, don't fret: I'm here to tell you that older cameras do the job just fine.

Whether you're looking for a casual camera for vlogging or a fast camera for capturing wildlife and sports, you're spoilt for choice. I've handpicked my 5 favorite and somewhat-older cameras that have either been succeeded by new models or are rumored to be soon. There's certainly some truth in the old saying: old is gold.

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• I test compact and film cameras for a living, and here are my top 12 recommendations for the summer
• I’ve been using my Fujifilm camera for almost a year and these are the time-saving photography hacks I swear by
• ‘Few wildlife cameras come close to this’: why the OM System OM-1 Mark II is perfect for photographing birds in flight and other animals

As a photographer, few things make me happier than using an outstanding camera that takes stunning photos. And as a journalist here at Tom's Guide, I review a lot of consumer tech, including the best mirrorless cameras. That means I get to play with the latest and greatest cameras, capturing stunning sights, and call it work. It's a fantastic job.

For the last two weeks, I've been testing one such camera, and that's the Leica SL3-S. The SL3-S is the Leica SL3's sibling, and both cameras share the same body, autofocus system, and L-mount. The SL3-S, however, is aimed at hybrid content creators who work with both stills and video, and it boasts faster burst shooting (up to 30fps) and 6K Open Gate video. And it's cheaper!

The SL3-S is one of the most beautiful cameras I've had the pleasure of using or testing. It handles sublimely thanks to its stripped back controls and straightforward menu system. It takes gorgeous photos with its 24MP BSI CMOS sensor, and there's 30fps burst shooting too, for anyone partaking in high-speed photography.

There are plenty of things to love about the SL3-S but equally so, there's one thing I dislike and can't look past. Without further ado, here are three things I like about the SL3-S, and one I don't.

What I like

Sublime handling and controls

One of the things I've always appreciated about Leica cameras is their build quality and handling. The Leica SL3-S is no different. It bears striking resemblance to the SL3: it's the same body and the same controls, and I have no complaints there. It measures 5.55 x 4.25 x 3.33 inches and the body weighs 1.69lbs (without battery, SD card and camera bayonet cover).

Though it's a little heavy with a lens attached, it isn't unwieldy to handle. The chunky grip on the right-hand side protrudes quite a bit, and it's perfect for my medium-sized hand to wrap around. The OLED EVF with its resolution of 5.76M dots and refresh rate of 60Hz/120Hz is bright and comfortable to look through too. In addition to that, I love the dual displays: a 3.2-inch rear monitor with a resolution of 2.33M dots, and a 1.28-inch LCD which quickly shows you the active settings.

I also appreciate how rugged and robust the SL3-S is. Its body is IP54-rated, which means it's protected from dust ingress and water spray from any direction. Having shot with the SL3-S in the rain (typical British weather for you), I can confirm that the SL3-S is indeed waterproof, making it a fantastic choice for landscape photographers or anyone who shoots outdoors, really.

Keeping in line with Leica's luxurious philosophy, controls on the SL3-S are stripped back and well-laid out as well, as there aren't too many overwhelming buttons and dials. Similarly, the user interface and menu system is extremely clean and well-signposted. If you want a detailed breakdown of the controls and design, check out my Leica SL3 review — like I said, both the SL3 and SL3-S are visually identical.

Sharp image quality

Unlike the Leica SL3 which utilizes a 60.3MP sensor, the Leica SL3-S settles for a 24MP BSI CMOS sensor to prioritize speed (30fps burst up from 15fps) and improved video capabilities. Even so, the 24MP images the SL3-S captures are gorgeous, and they still pack plenty of detail. While they aren't suited for large format printing or extreme crops, they're ideal for online use, portfolios and making small prints.

I've always been a fan of Leica's colors, and you can see just how beautiful the different shades look in the galleries above (shot in the Standard color profile) and below. The purples and blues appear deep and rich, while the pinks pop, and the camera has captured the pastel pink shades well too. The images are very sharp, as you can see every seed head on the dandelion in the third slide, and the red flower's stigma in the fifth slide above.

Just like on its other cameras, Leica offers users access to a few color profiles on the SL3-S: Standard, Vivid, Natural, Monochrome, and Monochrome High Contrast. The photos in the gallery above were shot with the Vivid color profile toggled. I love how deep the greens appear in the first and second slides, with just the right amount of depth to contrast against the bright pink flowers.

In terms of the camera's shooting settings, the electronic shutter has a shutter speed of 60s to 1/16000s, while the mechanical shutter has a speed of 30m to 1/8000s. The SL3-S has an ISO range of 50-200,000, up from 100,000 on the SL3. There's 5-axis in-body image stabilization (IBIS) at play too, providing up to 5.5 stops of compensation, enabling you to shoot at slow shutter speeds.

Alongside this, the SL3-S boasts an accurate and fast hybrid autofocus system which uses 315 contrast AF and 779 phase detection AF points to quickly lock on to animals/birds and humans. As someone who loves photographing wildlife and taking portraits of my partner, I thoroughly appreciated the SL3-S' autofocus. In the gallery above, it was quick to focus on the pigeons outdoors, and my partner in low-light conditions indoors.

The photo of my partner was shot in the Monochrome High Contrast color profile which has remained a constant favorite of mine every time I've tested a Leica camera. The portrait exudes drama and the inky blacks look stunning. Overall, the SL3-S is a brilliant and capable snapper, and the image quality doesn't give you much to complain about.

6K video is simply stunning

While the Leica SL3-S is a capable stills shooter, it's a video-first camera, which is what distinguishes it from the SL3. The SL3-S is capable of recording 6K video at 30fps, 4K at 60fps, and FHD at 120fps. There's also internal 5.8K ProRes capture, as well as 10-bit color depth, which means the camera is capable of capturing over a billion individual hues and shades.

One of the SL3-S' biggest selling points is that it records Open Gate video in 6K, which means the camera is recording the entire sensor area (3:2), rather than cropping to 16:9. This gives you more freedom to reframe in post-production. Theoretically, it enables users to create 4K videos in both horizontal and vertical formats, fit for social and long-form video.

Video footage captured on the SL3-S is stupendously good-looking. I captured the footage above in 6K Open Gate and reframed it to 16:9 in post. As you can see, the movement of the flowers is smooth and fluid, the colors are gorgeous, and the clips have lovely background bokeh which looks pleasing to the eye. I relied on the monitor to shoot these clips, and I was able to see the screen even in direct sunlight.

Audio quality isn't too shabby either, with the sounds of birds tweeting and the breeze brushing against the leaves sounding clean. Wind buffeting is a slight problem so if you're serious about video work, I'd recommend hooking up one of the best microphones via the 3.5mm audio input jack.

What I don't like

Battery life remains Leica's biggest hurdle

The Leica SL3-S, the Leica Q3 43, the Leica M EV1, and the Leica SL3 all have one thing in common — and it ain't the high price points. I've tested my fair share of Leica cameras, and one things that's been a common denominator amongst most of the models is the short battery life. If we're going based on CIPA ratings alone (done under strict testing conditions), Leica lags behind its rivals from Fujifilm, Sony and Canon.

For instance, the Q3 43 is CIPA-rated for 350 shots; the M EV1 for 244 shots; the SL3 for 260 shots; and the SL3-S for 315 shots. That's... not a lot. But like I said, CIPA battery tests are conducted under very strict conditions, so you'll probably get more shots in real-world use anyway, depending on the camera's settings. In my testing, I was able to achieve approximately 330 shots between charges — and I was shooting in JPEG and DNG, and utilizing both the viewfinder and the monitor for framing/previewing images.

Even though that's 15 shots more than the CIPA-rated battery life, it's still not great, and if you throw video into the mix, it might get even worse. That's why it's recommended to carry an additional BP-SCL6 ($240) battery pack. But that really shouldn't be a requirement, in my opinion, when you're already spending nearly $6,000 on a camera. If and when Leica decides to introduce a successor to the SL3 and the SL3-S, I hope there's a big bump to battery life. I'll stop complaining then.

Looking ahead...

Although mediocre battery life remains a sticking point for the Leica SL3-S, it's something I'm willing to overlook because of everything else the camera offers. Just like the Leica SL3, its hybrid counterpart is a joy to handle. Buttons and dials are sensibly laid out and they never feel overwhelming. The stripped back menu is a pleasure to navigate as all the settings are easy to find.

But it's the SL3-S' video and photo capabilities that are its biggest sell. 6K Open Gate video means you're recording using the entire camera sensor area at 6K resolution, rather than cropping to 16:9. The video quality is drool-worthy, as are the 24MP images the SL3-S captures.

I've thoroughly enjoyed my time with the SL3-S, and though I'd personally prefer the SL3's 60.3MP sensor as a stills-first photographer, there really isn't much else I can complain about. And if you don't mind dropping to a lower-res sensor, the SL3-S comes in cheaper than the SL3 too, with the body retailing for $5,665 at B&H Photo / £4,489 at Clifton Cameras. If I win the lottery, I won't tell anyone, but there will be signs.

More from Tom's Guide

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• I’ve been testing the Leica SL3 — it’s the only camera that’s made me want to ditch my Fujifilm
• I tested and loved the controversial Leica M EV1, but I’d choose this 4.5-star camera instead

I adore photography. Whenever I go to a new place, or even when I'm out and about with my family or partner, I love photographing the landscapes, wildlife, and taking portraits. For almost a year, I've been using the Fujifilm X-T50, and I've taken some beautiful photos with it — in the U.K., in Iceland, and everywhere else I've been since owning it.

One of the greatest things about the best mirrorless cameras is that they can simplify your workflow and make it easier to take photos. The X-T50, like many of Fuji's latest cameras, boasts time-saving features which you may or may not already know of. When you're photographing a crucial moment, say, a bird in flight, you might not want to bother with diving into the in-depth menu settings.

Luckily, many modern Fuji cameras — and other brands — offer quick and easy solutions. From creating your own custom film recipes to adjusting shooting settings on the fly, here are my time-saving tips and tricks as someone who reviews cameras for a living. Hopefully you'll find some of these helpful, and if there are any that you use and I haven't included, do share them in the comments below!

1. Creating custom film recipes

Film simulation dials are a staple on Fuji's latest cameras, but it was first introduced on the Fujifilm X-T50. While some people may disagree, I absolutely love the film sim dial and think it's a big time-saver. The film sim dial gives you access to eight of Fuji's most popular recipes, as well as three customizable slots and a 'C' position for menu-based selection — so 20 in total.

The film sim dial basically lets you apply filters so that images are ready to go for either printing or sharing on social media without you having to edit them in post-production. Customizing your own recipes is super easy too, by diving into the image quality settings menu and editing custom settings. You can then adjust values like Grain Effect, Color Chrome Effect, White Balance, ISO, Sharpness, Exposure Compensation, and more.

It's worth taking your time and playing with the settings to get to the look you like most — or you can copy settings from recipes available on Google and online forums, like Reddit. After that, it's a matter of assigning them to either the three custom slots or menu-based selection.

2. Assigning personal shortcuts

We've all been there. You want to change one setting in a camera's menu settings but you have to navigate through several sub-menus that aren't relevant to you in that moment. The Fujifilm X-T50, for one, offers a simple solution: My Menu. The last tab in the main menu settings is empty by default, but you can add up to 10 items you use most (but aren't assigned to physical buttons).

Once you've assigned your desired items to My Menu and it's all set up, the camera will default to this tab every time you press the Menu button. This saves you a lot of time as you negate having to scroll through sections like Image Quality.

3. Quickly resetting the focus point

The Fujifilm X-T50, like many other Fuji cameras, features a focus joystick, located on the back panel and next to the monitor. While you can use the joystick to change focus points, did you know that pressing it resets and recenters the focus point? This is something most photographers will be familiar with, but I don't think you should overlook its importance.

I find myself pressing the focus joystick to recenter the focus point nearly every time I pick up my camera. It's quick and easy and saves you the time you'd otherwise spend on manually bringing the focus point back to the center of the screen.

4. Zooming into the focus point

One of my favorite dials on the Fujifilm X-T50 is the rear command dial, or the thumb wheel, located right above the focus joystick and navigation buttons. If you use it as a scroll wheel, you can adjust the ISO — or the shutter speed and other settings, depending on what you've programmed it to. Clicking it, however, makes the electronic viewfinder (EVF) and the LDC screen show a 10x zoom on your focus point.

It's a quick way of checking if your subject is in focus, especially if you're using manual focus or single AF. To zoom out, simply press it again. If you're shooting through the viewfinder, as I usually do, you can verify sharpness without taking your eye off the EVF.

5. Remapping gestures/buttons on the fly

The rear panel of the Fujifilm X-T50 houses a few different buttons which help you navigate the camera's settings and gallery. But did you know that the Disp/Back button isn't just for, well, exiting menus? If you hold the Disp/Back button for two seconds, it instantly opens the Function (Fn) Setting menu, which allows you to remap any physical buttons and touch gestures on the fly.

Using the Disp/Back button saves you a lot of time you'd otherwise spend diving into detailed menus. It's important to note that touchscreen gestures are disabled by default, so remember to enable them via the menu if you want to use swipes on the screen to access settings like internal mic adjustment, histogram, and so on.

More from Tom's Guide

• I didn’t realize how much I loved the Fujifilm X-T50 until I photographed my trip to Iceland — and it blew me away
• Fujifilm X-T50 review: Fuji's mid-range stunner
• I think the new Fujifilm X-E5 is overrated — and I’m so glad I bought this camera instead

It's not news anymore that Gen Z and the younger generations love "retro" tech. MP3 players, vinyl, film cameras, and flip phones have all had a resurgence. Add to that list compact cameras like the much-talked-about Fujifilm X100VI, Ricoh GR IV, and Canon PowerShot G7X Mark III. These three are the usual suspects and the darlings of TikTok. Look up any article, video or short on the best compact cameras, and you'll see one or more of these cameras guaranteed. There's just one problem: you can't find them anywhere new.

The hype around them is just too much for manufacturers and retailers, making it impossible for the average person to buy one at retail value. But, they're not the only game in town. Older cameras like the Panasonic GX1 and GX85 are well-known, reasonably priced cameras that produce great images. And they're easy enough to find, so I got one of each… for less than half the cost of a Fujifilm X100VI.

Though Lumix shooters are well aware of these two pocket rockets, Gen Z photographers aren't clamoring for them like they are the Canon PowerShot Elph 360 HS A. I believe they should.

Smaller sensors need love too

The bigger the sensor, the better the image quality. You get better low-light performance and less noise thanks to larger and more sensitive photosites (the analog light sensors that become digital pixels). You get a shallower depth of field, and there's less crop as the sensor size goes up — 35mm full-frame sensors don't have any crop because thanks to the legacy of 35mm film, it sets the standard. But, despite what YouTubers say, bigger isn't always better.

The advantage of a smaller sensor is a smaller camera body. That's why the three aforementioned Fuji, Canon and Ricoh point-and-shoot compacts all feature APS-C sensors instead of full-frame sensors. At roughly 2/3 the size of a full-frame sensor, APS-C sensors are small, but they're not the smallest.

The Micro Four Thirds format is twice as small as full-frame, with a 4:3 aspect ratio, hence the name. This system used by Olympus and Panasonic has produced some of the smallest digital cameras to date, like the legendary Panasonic Lumix GM1 (an absolute powerhouse of a compact camera). While the size and sensor help it stand out, it's the choice of lenses on such a small body that makes it so sought-after.

M43 compacts give you options

The point-and-shoot experience is simultaneously freeing and limiting. The fixed lenses on these cameras are great and allow you to keep your kit small when going on a shoot. The Fujifilm X100VI has a 23mm lens, which gives a field of view equivalent to a 35mm lens on a full frame camera — a classic all-purpose field of view. You can't go wrong with it. After a while, though, the convenience becomes a setback. If you want to shoot landscape, portraits, or sports photography, you're out of luck. That's not an issue with an interchangeable lens compact camera like the GX85 and GX1.

On a trip home to South Texas a few years back, I brought my recently purchased Lumix GX85 and the kit lens it came with. This cheap, plastic 12-32mm, f/3.5-5.6 lens turned out to be all I needed. I snapped a ton of great images of my family, and I got to see the city I once lived in and knew so well in a whole new light with this dinky little lens. And due to the collapsible design of the lens, the entire kit was still small enough to fit in my Wandrd D1 crossbody sling. When I want to travel light but am unsure of what I'll be shooting, this lens is a no brainer.

Another lens I've grown to love is the Lumix 14mm f/2.5 pancake lens that came bundled with my used Lumix GX1. This stubby lens is a community favorite because of its small size and unique 28mm equivalent shooting experience that’s great for street photography. The wider aperture, while not incredible for low-light shooting, is fine for most dusk and indoor shots — the built-in flash on the camera is a lifesaver here.

But if you want options and you're on a budget, spare a thought to the Lumix 14-140mm f/4-5.8 lens. Since this ends up being a 28-280mm equivalent lens, it's great for sports photography, street, landscapes, and portraits all at once. It's the biggest lens I own, and it's even bigger when I max out the focal length. Though it looks ridiculous on a smaller body like the GX1, it's worth the additional size and weight. I've taken it to several MLS matches, where I've captured my Rapids up-close as if I was standing on the sidelines. Most sports venues won't let you bring a telephoto lens inside, but if you can, this is the one.

You don’t get that versatility with a fixed-lens compact.

Access to Leica glass

Panasonic and Leica have a longstanding partnership that goes back to the early days of digital photography, when the two brands worked on the Lecia Digilux 1. Since then, Leica has been making glass for Panasonic in formats like Four Thirds, Micro Four Thirds, and L-Mount — the latter is a partnership between the two and Sigma to create full-frame L-Mount lenses. That means Micro Four Thirds shooters are spoiled for choice when it comes to quality lenses.

One of those lenses is my all-time favorite, the Leica Summilux 25mm f/1.4 lens. This 50mm equivalent lens is my go-to when shooting at night or indoors. It's a must-have for concert photography, which is where I've taken some personal favorite shots. Despite having to shoot manual because of loud and slow focus, this is also my top choice for shooting video due to the superior image quality. It's basically glued on to my Lumix GH5 these days, which I use any time I'm headed out the door on the weekends.

A lens I got recently and have been using a lot is the Leica 45mm f.2.8. It's a prime macro lens great for shooting detail up-close, though I've mostly used it to scan 35mm film at home. That said, it has a lot of potential as a portrait lens since it offers a field of view equivalent to 90mm on full frame. If you're shooting product photography or videography, this is one lens you need in your kit for close-up shots and b-roll.

Get more value for your money

The Micro Four Thirds system is alive and well — the Lumix GH7 is a heck of a video camera with the option for Arric LogC3. But the M43 cameras and lenses I've mentioned have been around for a while. You can pick them up for relatively cheap on the used market.

The Lumix GX1 goes for about $200, while the Lumix GX85 tends to fetch a higher price of roughly $400-500. I got lucky when I purchased mine, finding it a local used camera shop for $350. It came bundled with the kit lens, charger, three batteries, and a half-cage. All in, that’s $700 max for my two cameras — less than half the asking price of a new (if you can find one) Fujifilm X100VI ($1,799).

Lenses aren't expensive, either. The trusty Lumix G 14mm pancake lens goes for about $120-$200, and the 12-32mm kit lens sells for $125-$175. The Leica lenses are a bit pricier used, but it's nothing outrageous. My favorite Leica Summilux 25mm is in the neighborhood of $300-$400. Seeing as how this lens has made me many times what it costs through client work, I don't regret purchasing it.

Leave the hype to the influencers

The compact point-and-shoots that everyone is hyped about are great cameras. They're not so good that they're worth paying way above retail value or waiting years until they become available. Let the influencers do that. If you care more about creating images than the status of owning one of these cameras, then there are other options out there.

Micro Four Thirds are near and dear to my heart because they offer a ton of value for not a lot of money. Their compact size, modern features, and lens selection make them more viable for just about any type of shooting you're planning to do. And you don't have to wait years to get one.

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• I bought this 5-year-old Fujifilm and it proves newer isn't always better

On February 28, Leica revealed its first-ever international smartphone, called Leitzphone, powered by Xiaomi. As a Leica product, it carries the German giant's classic red dot and borrows imaging tech from some of its best mirrorless cameras. It packs the most advanced camera system I've seen on a smartphone yet, capable of capturing 200MP images and boasting great optical image stabilization and autofocus.

For the past week, I've been using the Leitzphone and testing its photography capabilities. After all, it's a Leica, it has to be good! Right? You'd be correct in making that assumption, because the Leitzphone honestly blows my trusty Google Pixel 10 Pro XL out of the water. And for the past two weeks, I've been testing the Leica Q3 Monochrom full frame camera. Naturally, I was curious to see how the Leitzphone fared against the latest addition to Leica's lineup of black-and-white cameras.

Usually when I compare smartphone cameras to mirrorless cameras, it feels like an unfair comparison, because smartphones just don't have the space to feature a large sensor, which mirrorless cameras do. But this time around, it was a different story. After all, both the Leitzphone and the Q3 Monochrom have been developed by Leica, so it feels more like a fair competition. And the results? Well, the Leitzphone might actually be the closest a smartphone has ever come to besting a full frame camera.

A quick rundown of specs

Before we dive into comparing the Leica Q3 Monochrom's and the Leica Leitzphone's image quality, let me give you a quick rundown of the specs. We'll start with the Leitzphone first. The smartphone features four cameras: three on the back and a selfie camera on the front. The triple-camera system around the back comprises of a 50MP f/1.67 main camera with a 23mm full frame equivalent focal length; a 50MP f/2.2 ultra-wide-angle camera with a 14mm full frame equivalent focal length; and a 200MP 75-100mm f/2.39-2.96 telephoto camera with an optical zoom resulting in up to 400mm (17.2x) optical-level zoom.

All three cameras feature optical image stabilization which enables you to shoot handheld, even at the maximum focal length/zoom, as well as autofocus, which is quick to lock onto wildlife and humans. You also get access to Leica's 13 color profiles, including Chrome, Vivid and Monochrom High Contrast, and unlike on most smartphones where these filters can be applied only during editing and after the fact, you can use these while shooting, so they're much better than software filters and don't flatten images.

Next up we have the Q3 Monochrom. At the time of writing, this is the latest addition to Leica's lineup of black-and-white cameras, and it features a mono sensor which captures heaps and heaps of detail. It captures 60.3MP images in black-and-white, and having 60.3MP at your disposal means you can make extreme crops and the photos are suited to large-format printing too.

Similar to the Leitzphone, the Q3 Monochrom packs optical image stabilization for shooting at mildly slow shutter speeds. It features a fixed Summilux 28mm f/1.7 ASPH. lens so it's good for street, architecture, landscape and portrait photography. This is also a similar focal length to the Leitzphone's 23mm full frame equivalent on the 50MP main camera. One of the Q3 Monochrom's biggest selling points is its impressive high dynamic range performance (up to 14+ stops) for extensive highlights and shadows adjustments in post-production.

Comparing image quality

One of the key differences between the Leica Leitzphone and most other smartphones is its ability to use color profiles in-camera and not only while editing, as I mentioned before. This helps the Leitzphone take better images that don't look too edited, bringing it one step closer to the performance of mirrorless cameras.

Have a look at the images in the gallery above, where the Leitzphone's images were shot using Leica's Monochrom Natural color profile and using the 200MP camera. In each series, the first image has been taken on the Leica Q3 Monochrom and the second on the Leitzphone. The differences are subtle and don't jump out immediately.

Let's talk about the sharpness first. In the images taken on the Q3 Monochrom and the Leitzphone, all the edges are sharp and defined, and there's good subject separation. This means that the subjects don't blend in with the background, resulting in images looking 3D-esque and characterful.

So how about grayscale and tonality? The Leitzphone excels at balancing the different shades of black and white, as you can see in the gallery above. These images appear true-to-life, and I'd say some are even better than the ones taken on the Q3 Monochrom. For instance, I much prefer the second slide over the first, as in my opinion, the brighter building looks nicer and more pleasing to the eye.

But if you're looking for more detail, the Q3 Monochrom wins, as you can see the subtle shadows of the ivy on the building in the first slide. The Leitzphone, on the other hand, has made them less pronounced, resulting in an image that doesn't have as much depth to it.

I also like that the second, third and fourth set of images look fairly identical, and if I presented them to you without telling you which camera captured which image, I wonder if you'd be able to tell. In the final set of images, though, you can see that the first shot taken on the Q3 Monochrom is ever-so-slightly sharper than the second taken on the Leitzphone. Still, the performance is commendable.

Comparing macro modes

Both the Leica Q3 Monochrom and the Leica Leitzphone feature dedicated macro modes. On the Q3 Monochrom, you can turn the macro ring on the lens barrel to reveal a different set of lens markings, and doing so reduces the minimum focus distance from 70cm to 17cm. Meanwhile, macro mode on the Leitzphone is automatically enabled when the camera is 30cm away from the 200MP telephoto camera — you can also force-toggle it via the settings on the camera screen.

The Leitzphone does well to go toe-to-toe with the Q3 Monochrom, with not many noticeable or glaring differences in image quality, as you can see in the gallery above. Similar to the previous section, each series of images in this section consists of the first photo being taken on the Q3 Monochrom and the second on the Leitzphone. Both cameras have done well to capture the tiny details in the keyboard switch (such as the strand of hair) and the lens of the Piranha Plant Cam.

There is one area the Q3 Monochrom wins, though, and that's background bokeh. As you can see in the first and second shot, the Q3 Monochrom has done an excellent job at blurring the background and ensuring that the keyboard switch and the Piranha Plant Cam are the focus of the images. These images are more pleasing to the eye, and the background bokeh gives the photos a 3D, spatial effect.

Similar to the images taken without the macro mode enabled, the Leitzphone tends to darken images taken with the macro mode on, as you can see in the gallery above. While the phone has done a good job at capturing the details, such as the individual strands of wool, sugar on the biscuit, and the etchings on the key, the photos are considerably darker than their Q3 Monochrom counterparts.

This makes the Leitzphone's images look a bit too dramatic for my liking. They're still good, don't get me wrong, but I prefer the Q3 Monochrom's images which look a little softer and more natural.

For my last series of macro shots, I photographed a fake leaf made of plastic, and this is where both the Q3 Monochrom and the Leitzphone struggled. As you can see in the gallery above, both images are slightly out of focus, and I couldn't get the perfect shot regardless of how many times I tried (and I tried a lot). The lines seem to bleed into one another, and it isn't very pleasant to look at.

Both the Q3 Monochrom and the Leitzphone are incredible, and great in their own right. The Leitzphone performs exceptionally well compared to the Q3 Monochrom, which doesn't come as a surprise to me since this a smartphone developed by Leica, ergo, it uses Leica's phenomenal imaging tech and optics.

If you want a dedicated black-and-white camera and don't mind the steep asking price, getting the Q3 Monochrom is a no-brainer. This is a beautiful camera that handles well and takes stunning photos. Of course, you'll be paying a premium of $7,790 at Adorama U.S. / £5,800 at Wex U.K. so it isn't the most accessible camera out there.

The Leitzphone, on the other hand, is one of the cheapest ways of getting a Leica in the palm of your hands — cheap being a relative term — as it has a suggested retail price of $2,100 / £1,700. If you want a smartphone that takes some of the best photos (for a phone), and you can afford it, then the Leitzphone is very easy to recommend.

More from Tom's Guide

• I just tried the new Leitzphone with a powerful Leica lens — and this might be the phone to finally take me away from Google Pixel
• The Leica Q3 Monochrom shoots only in black-and-white and costs nearly $8,000 — here’s why I love it
• I've been photographing wildlife for 4 years — here's what happened when the Google Pixel 10 Pro XL went toe-to-toe with my mirrorless camera

Nowadays, most people have a camera in their pocket, attached to their smartphone. This has resulted in all of us being able to capture memories and our day-to-day life without necessarily needing one of the best cameras at hand. Even though I own a mirrorless camera, I still take lots of photos (and videos) on my Google Pixel 10 Pro XL.

One of the things I love about my Pixel 10 Pro XL is just how good its camera is, as well as the array of editing features at my disposal. I often play around with the many filters on my phone, and I gravitate towards the black-and-white filters quite a bit.

I've also spent the last two weeks testing a black-and-white camera with a mono sensor: the Leica Q3 Monochrom. Testing this camera got me thinking, "How does the Q3 Monochrom compare to my Pixel?"

It goes without saying that this is an extremely unfair comparison: one has a dedicated mono sensor (and costs nearly $8,000!) while the other uses software filters to add effects to color images. I'm not here to tell you which is better — that much is obvious, the Q3 Monochrom is the winner and it isn't even close. But I'm here to show you the differences, and tell you that the Pixel 10 Pro XL and its monochromatic filters shouldn't be underestimated.

A quick rundown of specs

Before I dive into the (soft) comparison, let's talk about the specs of both the Google Pixel 10 Pro XL and the Leica Q3 Monochrom. The smartphone features 50MP f/1.68 main, 48MP f/1.7 ultra-wide, 48MP f/2.8 5x telephoto, and 42MP f/2.2 selfie cameras. To take photos in 50MP, though, you'll need to enable it via the 'Pro' settings in the camera's menu. These photos are labelled as 'hi-res' and take up more space on your phone.

The Pixel 10 Pro XL also packs a 5x optical zoom and 100x Pro-Res Zoom which uses AI to upscale the image. While it does a solid job, you obviously lose some detail in software processing. The Pixel 10 Pro XL also captures all photos (JPEGs and RAWs) in color, and you need to apply black-and-white filters while editing after you've taken them.

Next up, the Q3 Monochrom. It features a 60.3MP CMOS sensor and a mono sensor so it captures photos in black-and-white only. You get optical image stabilization for shooting at mildly slow shutter speeds. It features a fixed Summilux 28mm f/1.7 ASPH. lens so it's good for street, architecture, landscape and portrait photography. The camera also offers up to 14+ stops of dynamic range for extensive highlights and shadows adjustments in post-production.

Having 60.3MP at your disposal means you can crop right into images, and these images (and their crops) are suited to large-format printing too. So while you can't zoom in as you can with the Pixel 10 Pro XL, the images pack heaps of detail for extreme cropping.

Comparing grayscale and tonality

One of the primary differences between shooting with a dedicated black-and-white camera versus software filters is that the former will always add more depth to the images. They won't look flat, as they would compared to smartphone images and software filters. This is true in the case of the Leica Q3 Monochrom and the Google Pixel 10 Pro XL, where monochromatic images taken on the former have more of a 3D pop to them, and the edges are more refined, so there's good subject separation.

Have a look at the images in the gallery above. Each comparison series consists of two images, where the first is taken on the Q3 Monochrom and the second is taken on the Pixel 10 Pro XL. If we weren't comparing apples and oranges, I'd say the Q3 Monochrom is the winner when it comes to image quality. Instead, I want to talk about the grayscale and tonality of both the camera and smartphone.

While Google's HDR+ and Tensor G5 chip are brilliant at balancing exposure, color images which have the black-and-white filter appear crunchy or over-sharpened, as you can see in the gallery above. On the other hand, the Q3 Monochrom's images look natural and more true to life. The Pixel 10 Pro XL's images lack the moodiness and character of the Q3 Monochrom's images. Again, this is a limitation of the Pixel's small sensor compared to the Q3 Monochrom's full frame sensor.

The Pixel 10 Pro XL still does a commendable job as smartphone photography goes, and given the several filters you have at your disposal make it a versatile shooter, perfect for on-the-fly photography and editing.

Comparing macro modes

Both the Leica Q3 Monochrom and the Google Pixel 10 Pro XL feature dedicated macro modes. On the Q3 Monochrom, you can turn the macro ring on the lens barrel to reveal a different set of lens markings, and doing so reduces the minimum focus distance from 70cm to 17cm. Meanwhile, macro mode on the Pixel 10 Pro XL is automatically enabled when the phone is 2cm to 4cm away from the subject (or you can force-toggle it via the gear icon on the camera screen.

Macro mode is excellent for getting stuck in the detail and capturing hidden details in flowers, leaves, insects, and even food. Again, I'm not going to say whether the Q3 Monochrom is better than the Pixel 10 Pro XL or vice versa, but that both are great at taking macro photos, as you can see in the gallery above. As earlier, each series consists of two images, where the first is taken on the Q3 Monochrom and the second is taken on the Pixel 10 Pro XL.

In the photo of the robin ornament taken on the Q3 Monochrom, the kinks and wood carvings appear softer and more pleasant to the eye. The image is highly detailed and sharp, as is the one taken on the Pixel 10 Pro XL. The image taken on the Pixel, however, makes the wood carvings appear more jagged and pronounced, which isn't how the ornament looks in real life. Still, the smartphone has done an excellent job at capturing the macro details, such as the white dot in the eye.

Similarly, the image of the leaf taken on the Q3 Monochrom is packed with detail, and you can make an even more extreme crop of it. The Pixel 10 Pro XL has excelled at capturing the dust particles and details in the leaf's veins as well. It also goes without saying that applying the black-and-white filter on the Pixel's photos after the fact has made the images a little flat.

Where the Pixel 10 Pro XL wins

There's one area the Google Pixel 10 Pro XL wins in compared to the Leica Q3 Monochrom, and that's value for money. Look, Leicas aren't the most accessible cameras when it comes to their price. The Q3 Monochrom is a very niche digital camera too, as it shoots only in black-and-white, so it isn't everyone's cup of tea.

On average, a brand new (not second-hand) Leica costs at least six or seven grand. The Q3 Monochrom retails for $7,790 at Adorama / £5,800 at Wex, nearly five times the cost of a Pixel 10 Pro XL, which costs $1,199 / £1,199 at Amazon for the 256GB model.

Of course, if you want a dedicated black-and-white camera, there's no doubt about it that the Q3 Monochrom is a winner, and very easy to recommend. But if you're strapped for cash or aren't a professional/serious photographer, I believe you can continue banking on your Pixel 10 Pro XL for casual photography.

Where the Leica Q3 Monochrom wins

It should come as no surprise that the Leica Q3 Monochrom upstages the Google Pixel 10 Pro XL when it comes to packing heaps and heaps of detail, and capturing a wide dynamic range for extensive editing in post-production. This applies to most mirrorless cameras, whose sensors are much larger than those found on smartphones, so they offer superior light gathering, dynamic range and shallower depth of field.

And this is why it's unfair to compare the Q3 Monochrom and the Pixel 10 Pro XL, because the latter's 1/1.3-inch main and 1/2.55-inch tele and ultrawide sensors just can't compete with the former when it comes to sensor real estate. This comparison piece isn't a "buy this, not that" type of feature, as both the camera and the smartphone have different use cases. As a photographer, I will continue to use my mirrorless camera and my smartphone, side by side, and I'll pull one or the other out depending on the situation.

As I said when I compared the Pixel 10 Pro XL and the OM System OM-1 Mark II for wildlife photography, my Pixel is my go-to for on-the-fly photography, or when I'm at a concert where I can't take my mirrorless camera. While it doesn't compare to professional equipment, it's still a formidable piece of tech, and the Pixel 10 Pro XL's excellent cameras continue to fuel my loyalty to the brand.

Once you're done reading this, make sure to check out my full Leica Q3 Monochrom review and our Google Pixel 10 Pro XL review for the complete low-down on the image quality.

More from Tom's Guide

• The Leica Q3 Monochrom shoots only in black-and-white and costs nearly $8,000 — here’s why I love it
• I've been photographing wildlife for 4 years — here's what happened when the Google Pixel 10 Pro XL went toe-to-toe with my mirrorless camera
• Best mirrorless cameras in 2026

I love colors (yes, even though my wardrobe consists mostly of black clothes). I love photographing colors. Capturing vivid greens, popping oranges, and subtle blues brings me a lot of joy. When I test the best cameras, I thoroughly enjoy analyzing how different shades have been captured by a camera's sensor. As someone whose niche is wildlife photography, I adore capturing animals' and birds' varied colors — it brings me a lot of joy.

So what happens when you take color away from someone who loves it so much? For the past two weeks, I've been testing the Leica Q3 Monochrom. As the name suggests, it's a black-and-white version of the standard Q3, and it features a mono sensor which shoots stills and video in black-and-white only. I was skeptical at first, but the more I used the camera, the more details were revealed to me — details I hadn't noticed before.

Because the camera features a mono sensor and the Bayer color filter array (CFA) over the sensor is absent, the Q3 Monochrom captures all the light at every pixel, resulting in a cleaner image, even at high ISO sensitivities. Though I always have fun testing cameras, reviewing the Q3 Monochrom was a challenge in the most fun way possible — and if you aren't a fan of black-and-white photography, you will be after you see the images I captured.

Slow and considered photography that's an utter delight

As a wildlife photographer, I'm used to always being on my toes when I'm out and about trying to photograph animals. Birds, especially, can be skittish and you can never let your guard down, especially if you want to get a good shot. The Leica Q3 Monochrom is not a wildlife camera. Sure, its 15fps drive is suited to casual wildlife photography, but it is in no way a fast snapper, like the OM System OM-1 Mark II or the Sony A1 II.

The Q3 Monochrom is designed for slow and considered photography, so it's meant for street, architecture, landscape and portrait photography. I won't lie, I haven't been a massive fan of street or architecture photography, because I've always felt it's too slow for me. That was true until I tested the Q3 Monochrom, and using the camera to photograph the beautiful streets of Bath, U.K. changed my mind.

Thanks to its 60.3MP sensor, the Q3 Monochrom captures images that are full of detail, as you can see in the gallery above. They're crisp, edges are defined, and the inky blacks appear deep while the subjects never appear flat. What makes this camera great for street photography and for capturing candid moments is the fact that there is good subject separation. In the shots of people standing against buildings or vehicles, they never appear to bleed into the background, so the images have a 3D pop to them.

Even though they're still images, there's a sense of movement to the images, which is also thanks to the 3D-ness captured by the Q3 Monochrom. Each image is characterful, and the monochromatic tones capture the overcast days and the Georgian architecture's moodiness very well.

Revealing hidden details in the shadows

The Leica Q3 Monochrom boasts remarkable high dynamic range performance, which is another reason why this is a fantastic camera for street and architecture photography. Offering up to 14+ stops, the Q3 Monochrom captures a wide dynamic range for flexibility in post-production. This, basically, means that you can make extensive adjustments to bright highlights and dark shadows while retaining (and even revealing) plenty of detail.

What do I mean by this, in practical terms? Have a look at the images in the gallery above. The first image is unedited, straight out of the camera. In the second image, I've reduced the highlights and boosted the shadows in Adobe Photoshop Lightroom. Doing so has revealed lots of detail in the shadows — you can clearly see the different textures in the bark and branches now. Also, doing so has even revealed new branches that weren't visible in the unedited image.

Having such a wide dynamic range at your disposal can come in clutch when you're shooting in challenging conditions. For instance, if your subject is standing in front of a very bright light source or in direct sunlight, you can save some highlights and walk away with a very usable photo after making adjustments in post.

The Q3 Monochrom's ISO (100-200,000) can be pushed to its very limit too, and you can still get a usable photo (with some drop in sharpness) at the highest sensitivity. Because of the black-and-white sensor, images taken at high ISO have a film-like grain, which, in my opinion, adds even more character to them. For the complete low-down on the image quality, check out my full Leica Q3 Monochrom review.

Tactile and beautiful handling

Leica cameras rarely disappoint when it comes to real-world use and handling, and the Leica Q3 Monochrom is no different in this regard. Even though I wish the camera had a sculpted grip for a more secure hold, it's still a sheer delight to use. The camera isn't too heavy, weighing 1.64 lbs (with battery and SD card), and it measures 5.11 x 3.64 x 3.16 inches, so it's compact enough to carry in a small bag or around your neck.

What I really like is that Leica has chosen to forego its classic red dot on the Q3 Monochrom. Don't get me wrong: I love the pop of color the red dot adds on most of its other cameras, but this is a low-key, black-and-white camera, and I like that you don't draw attention to yourself when you're photographing the streets. The Q3 Monochrom is inconspicuous, and it's as stealthy as a Leica gets.

The Q3 Monochrom delivers a hassle-free shooting experience, thanks to its straightforward and well-placed dials and buttons, and its stripped-back menu system. Its fixed 28mm lens has clear markings on it, and it features a dedicated macro mode too, giving you more flexibility and freedom while shooting.

Photographing the streets (and the occasional wildlife, casually) with the Q3 Monochrom has opened my eyes to how many details there are all around us, even in manmade objects. I'm a street photography skeptic no more, and the Q3 Monochrom is the camera to thank for that.

More from Tom's Guide

• The Leica Q3 Monochrom shoots only in black-and-white and costs nearly $8,000 — here’s why I love it
• Best mirrorless cameras in 2026
• I tested and loved the controversial Leica M EV1, but I’d choose this 4.5-star camera instead

What happens when you strip away all color and shoot exclusively in black-and-white? That was the challenge at hand when I started testing the Leica Q3 Monochrom, a camera carrying the same shooting specs as the standard Q3 but packing a mono sensor. This 60.3MP beast captures highly detailed images, chock-full of detail, and even with no color in sight, the images are characterful and nothing short of stunning.

Aiding the Q3 Monochrom’s position as one of the best mirrorless cameras is clean high ISO performance, all packaged into a body that handles well, is easy to use, and is beautifully designed. Autofocus is fast and reliable, and the camera can even shoot 8K/30fps video (in black-and-white only).

But similar to nearly every other Leica I’ve used, CIPA-rated battery life remains a sticking point, and optical stabilization limits handheld shooting capabilities. For the complete breakdown, read my full Leica Q3 Monochrom review.

Leica Q3 Monochrom review: Specs

Leica Q3 Monochrom review: Cheat sheet

• What is it? A 60.3MP camera that shoots exclusively in black-and-white
• Who is it for? Photojournalists, street photographers, and anyone who prefers shooting in monochromatic tones
• How much does it cost? Leicas rarely come cheap, and the Leica Q3 Monochrom retails for $7,790 / £5,800
• What do we like? The detailed and sharp images, clean high ISO and dynamic range performance, beautiful design, and tactile handling
• What don’t we like? The underwhelming battery life and optical stabilization

Leica Q3 Monochrom review: Price & availability

The Q3 Monochrom, at the time of writing, is the latest Leica to get the black-and-white treatment, joining the rangefinder M11 Monochrom ($10,160). It succeeds the Leica Q2 Monochrom which can be bought second-hand for approximately $5,000. The Q3 Monochrom’s imaging tech is identical to the base model, the Leica Q3 which shoots in color. The difference? The Q3 Monochrom features a mono sensor that shoots black-and-white photos and videos only.

As is the nature of Leica cameras, the Q3 Monochrom costs a pretty penny, retailing for $7,790 at Adorama / £5,800 at Wex. It’s a little more expensive than the full frame 60MP Sony RX1R III ($5,099), and far more expensive than other 60MP cameras, such as the Sony A7R V ($3,900). Of course, these cameras shoot in color with black-and-white color profiles available, and the Q3 Monochrom’s monochromatic color profile is closest to Fujifilm’s Acros, found on cameras like the 102MP medium format Fujifilm GFX100RF ($4,899).

One of the advantages of getting the Q3 Monochrom is that it features a fixed Summilux 28mm f/1.7 ASPH. lens, so at least you won’t need to spend money on glass (and Leica glass is ridiculously expensive). It’s also Leica’s only Monochrom camera capable of shooting 8K video, making it a more versatile snapper.

Leica Q3 Monochrom review: Design

The Leica Q3 Monochrom is nothing short of beautiful. Similar to the base Q3 model, the Q3 Monochrom is fitted with a fixed Summilux 28mm f/1.7 ASPH. lens. If you want a lens whose field of view resembles human vision and what your eye sees, I’d recommend the Leica Q3 43 ($7,380) with its 43mm lens. The Q3 Monochrom and its 28mm lens are perfect for street, travel, and landscape photography. It comes fitted with a square lens hood which is revealed when the cap is twisted off.

This looks like a very minimalist camera, and if you didn’t know it was a Leica, you wouldn’t really guess that it’s one. That’s because the German giant has chosen to forego the red dot you find on most of its other cameras. The base Q3’s yellow and red accents have been eliminated too, and the lens and shutter dial markings are now gray and white to reaffirm the fact that this is a black-and-white camera. As Leicas go, this is the stealthiest-looking one out there.

Size and weight remain fairly identical to the standard Q3 as the Q3 Monochrom measures 5.11 x 3.64 x 3.16 inches and weighs 1.64lbs (with battery and SD card). I’ve had no problems or discomfort carrying it in my backpack or wearing the camera around my neck, thanks to the great weight distribution.

Handling is good too, but there is some room for improvement. I wish the camera had a protruding or sculpted grip on the right-hand side, like the Fujifilm GFX100RF does. But the Q3 Monochrom is still very grippy, thanks to the textured faux-leather surface, so I didn’t have any problems holding the camera with one or both hands.

Viewfinder

The Q3 Monochrom features the same viewfinder found on the Q3 43: an OLED EVF with a resolution of approximately 5.76 million dots. It’s also the same resolution found on medium format beasts, such as the Fujifilm GFX100RF, Hasselblad X2D 100C ($8,199) and Hasselblad X2D II 100C ($7,399), and is much higher-res than the Sony RX1R III’s (2.36 million dots).

This viewfinder is exceptional as it’s very bright and highly detailed, displaying adequate shooting information. Via the settings menu, you can opt for either a 60fps or a 120fps refresh rate, both of which relay smooth motion — the latter doing so at the expense of battery life. In my testing, I was able to keep track of my subjects even while panning, and was able to get an accurate picture of what the result would look like when viewing my subject through the EVF.

Monitor

Around the Q3 Monochrom’s back, you’ll find the 3-inch TFT LCD touchscreen. The screen is bright with a resolution of approximately 1.84 million dots. Although it’s a little lower than the Sony RX1R III’s 2.36M-dot and the Leica M EV1’s ($8,995) 2.33M-dot screens, it’s nice and bright, so I was still able to read it clearly even in direct sunlight.

The monitor can also tilt up and down, enabling you to shoot inconspicuously at waist level, which is great for street photography when you want to capture candid moments. The Q3 Monochrom takes the cake here as the Sony RX1R III’s features a fixed monitor. While some people might find it restrictive, compared to a three-way tilt-type monitor, I had no issues using it, as this is also how the monitor on my personal Fujifilm X-T50 ($1,399) works.

Alongside the monitor being easy to read, Leica’s quick settings and detailed menu system is as straightforward as always. Everything is easily accessible and understandable, thanks to the stripped-back menu.

Ports

Similar to many other Leica cameras, such as the Q3 43 and the M11-D ($9,799), the Q3 Monochrom doesn’t feature many ports. A hatch on the left-hand edge of the camera houses the micro HDMI port as well as the USB-C port for charging and data transfer.

It’s important to note that even though the Q3 Monochrom can shoot 8K video, it doesn’t feature any headphone or mic ports, which limits its video capabilities. If you fancy a Leica with video-first specs, I’d recommend the SL3-S ($5,665) instead. But given Leica’s partnership with Rode, the Q3 Monochrom supports Rode mics via the USB-C port.

On the bottom plate, a silver release lever, when pushed, releases the battery pack and also reveals the memory card slot. The Q3 Monochrom is compatible with a single SD/SDHC/SDXC UHS-II/V90. There is no support for CFExpress cards, though, which might be a problem for those constantly shooting 8K video.

Weather-sealing

The Q3 Monochrom carries an IP52 durability rating. This means that the camera is protected from dust entering and ruining the tech inside, and it is also safe against water drips at a tilt. This, basically, means that you should be able to use the Q3 Monochrom even if it starts drizzling — as I did, in good ol’ rainy Bath, U.K.

Leica Q3 Monochrom review: Controls

Now that I’ve tested a few, one thing I always appreciate about Leica cameras is that they are extremely easy to use, and this is also true in the case of the Leica Q3 Monochrom. As a special iteration of the base Q3 and the Q3 43, its control scheme is exactly the same as the two cameras. I’ve had no issues getting to grips with the camera, and every button and dial gives good tactile feedback when pressed or turned.

The top plate houses the shutter speed dial as well as the shutter/power button, and alongside this is the exposure compensation dial (±3 EV in 1/3 EV increments). Your standard navigation and playback buttons are located next to the monitor. The only important thing missing is a focus joystick, and to change focus points, you must rely on the D-pad. It’s annoying and something we disliked about the Sony RX1R III as well, but it isn’t as bad as the Hasselblad X2D 100C where you must rely entirely on the touchscreen for shifting focus points.

Also making a comeback are the two buttons located above the monitor, one for digital cropping for additional effective focal lengths, and another for swapping between stills and video. The former lets you crop in-camera at an effective 28mm (default, zoomed out), 1.25x (35mm), 1.7x (50mm), 2.7x (75mm), and 3.2x (90mm). Like the Leica M EV1 and the Leica Q3 43, the Q3 Monochrom crops into images to give effective focal lengths at the cost of some resolution, but with 60.3MP at your disposal, there’s plenty of room for extreme cropping.

I found myself making use of the digital crops quite often in my testing. They helped me frame my images better as I could see, in real-time, what they would look like if I chose to crop into them during post-production. I’ll discuss the image quality of these crops in the following sections.

Leica Q3 Monochrom review: Autofocus

Unlike the Leica Q3 and the Leica Q3 43 which utilize phase-detection autofocus, the Leica Q3 Monochrom utilizes a contrast-detection-only AF system. Phase-detection is usually quicker and best for moving subjects, but on a mono sensor, phase-detect AF points can produce visible artefacts. So instead, it relies on contrast-detection, which makes sense as this isn’t a fast-paced camera for wildlife or sports, so it isn’t as big of a deal as in a professional workhorse, like the Sony A7R V.

Similar to other Leica cameras, you can choose between Single AF, Continuous AF, Manual focus and Intelligent AF which automatically swaps between the first two.

You can choose between human eye/face/body and animal detection, and in my testing, the camera locked onto animals and people within milliseconds, as you can see in the gallery above. The first two shots of my partner were taken with face/body detection enabled, and the camera did a good job of focusing on her. The photo of the swan has turned out lovely as well, and this was taken with animal body detection enabled.

Leica Q3 Monochrom review: Stabilization

A pitfall of most Leica cameras is the lack of any in-body image stabilization (IBIS). The base Q3 and the Q3 43 both utilize optical image stabilization, which isn’t as effective as the IBIS found on the SL3 ($7,485). Relying on optical image stabilization means you can’t shoot at the kind of slow shutter speeds you could with IBIS, so I’d still recommend using a tripod for shooting in low-light environments and long exposures (naturally).

The first photo in the gallery above was shot at 1/4s and as you can see, the image is clear and in focus, and that’s the slowest shutter speed I could shoot at. Any slower than that, such as at 0.5s in the second slide, and the image was negatively impacted by camera shake. It still isn’t terrible, though, and the image is still usable.

Leica Q3 Monochrom review: Image quality

The Leica Q3 Monochrom is a well-endowed camera, featuring a 60.3MP CMOS sensor, just like its stablemates, the Leica M EV1 and the Leica Q3 43, and it’s the highest resolution of any Leica Monochrom camera yet. It works in conjunction with the Leica Maestro IV processor to capture images packed with heaps of detail. The images captured by the Q3 Monochrom come out extremely detailed and crisp, perhaps even sharper than ones captured by its color siblings.

But why is that? Most digital cameras that capture images in color utilize what’s known as the Bayer color filter array (CFA), located over the sensor. In simple terms, it’s a set of red, green, and blue filters that allows the sensor to detect the wavelength (color) of light, as the light sensitive photosites on a camera’s naked sensor can only measure light intensity (brightness) on their own. Decoding this information can result in a loss of luminance data. So, when a camera is without a CFA, its monochromatic sensor captures all the luminance detected by its photosites, resulting in a sharper image — and better high ISO performance (more on that soon).

This is all to say that the Q3 Monochrom captures ridiculously stunning images, and as someone who shoots primarily in color, even I was impressed by them. The Q3 Monochrom utilizes either a 15fps electronic or a 7fps mechanical shutter so it’s best suited to street, landscape, travel and portrait photography. The 15fps drive is enough for casual wildlife too, and I’ll get to that in a second.

First, let’s talk about the general image quality, and you can see some photos I’ve captured in the gallery above. The image quality is, in one word, gorgeous. The different textures in all the images have a crispness to them that look etched and defined, such as the details in the shots of the Bath Abbey, storefronts, and the water. In the photos I’ve taken, the Q3 Monochrom has captured inky blacks that appear deep, and the subjects never appear flat.

The Q3 Monochrom is an excellent camera for street photography and capturing candid moments. I loved taking the camera around Bath, U.K. and capturing people going about their day. On any other normal day without the camera in my hands, I wouldn’t have thought twice about how strangers behave and act, but with the Q3 Monochrom, I couldn’t stop taking photos of them. The black-and-white images make otherwise mundane scenes look like they’re part of a movie.

Also, in my opinion, there is good subject separation — humans or animals standing in front of a building or vehicle never look like they’re bleeding into the background. The Q3 Monochrom creates a sense of 3D pop, which gives images lots of character and gives you a sense of movement, even in a still.

Because you have a whopping 60.3MP at your disposal, there’s plenty of room for making extreme crops. You can crop right into an image while retaining lots of detail, and images captured with a 60.3MP sensor are suited to large-format printing too.

In the gallery above, the first image is an extreme crop of the second, and the third is an extreme crop of the fourth. As you can see in the first shot, even though I’ve cropped right into the swan’s face, you can still see its individual feathers and water droplets on its beak. And if you saw the fourth image, you wouldn’t actually think there’s a robin in the shot, and the third image reveals the little bird perched on the branch.

The Q3 Monochrom’s lens has a handy macro mode too, which can be enabled by turning the macro ring, revealing a different set of lens markings and reducing the minimum focus distance from 70cm to 17cm. I love how detailed the photos of the flowers are in the gallery above. You can see the various lines and patterns on the petals and though the photos are devoid of color, they’re still characterful.

In-camera crops

In-camera cropping on the Q3 Monochrom can be helpful when you don’t want to bother with making detailed crops and edits in post-production. It can help you frame images better too, giving you a real-time view of what they will look like if you crop into them later. As I mentioned up top, I found myself using these a fair amount. If you’re shooting in both JPEG and DNG, the Q3 Monochrom will also save an uncropped DNG if you aren’t happy with the crop.

The images of the robin ornament in the gallery above were shot at the following crop settings: 1x (28mm), 1.25x (35mm), 1.7x (50mm), 2.7x (75mm), and 3.2x (90mm). Even at 90mm in the last slide, the robin is packed full of detail, with the wooden carving shapes sharp and distinguishable.

High-speed drive

Though the Q3 Monochrom is more of a street and landscape camera, it can shoot burst photos with its 15fps electronic or 7fps mechanical shutter. I personally can’t imagine using the Q3 Monochrom for, say, casual wildlife photography, as you’ll want a dedicated wildlife camera for that, like the OM System OM-1 Mark II ($2,399).

But even so, I had to put it to the test, and the Q3 Monochrom performed respectably. I went out to photograph some birds and swans, and you can see samples in the gallery above. I found the autofocus quick to lock on, and the 15fps burst felt just enough to capture birds in flight.

ISO performance

The Q3 Monochrom has a high ISO range, ranging from 100 to 200,000. Alongside JPEGs, the camera captures DNGs which are generally 15-20% smaller than RAW but with negligible differences. As for the camera’s high ISO performance, it’s perhaps some of the best and cleanest I’ve seen on any camera I’ve tested so far. That’s because due to the absence of a Bayer color filter, the sensor has more light information for each photosite/pixel, resulting in cleaner images with less noise.

Images taken at ISO6400 come out as you’d expect so I’ll discuss shooting at higher ISO sensitivities here. Shot at ISO12,500, the first image in the gallery above is a JPEG export of the DNG file, and the second is the straight-out-of-camera (SOOC) JPEG. As you can see in the second slide, the camera has done well to reduce the noise and grain, and there’s plenty of sharpness to be found in Knuckles’ knuckles and face.

I didn’t notice much difference between ISO12,500 and ISO25,000, so I pushed the camera to ISO50,000. The first image in the gallery above, the JPEG export of the DNG file, features plenty of noise, especially in the background and around Knuckles’ head. The SOOC JPEG, however, is sharp, as you can make out the patterns in the branch on the book in the background, and Knuckles’ features still appear sharp. Though there is visible noise, I don’t think it necessarily ruins the image or makes it unusable — it just makes it look like a film photo with the right amount of noise that doesn’t hurt the eyes.

Given my ISO testing, I believe that you shouldn’t be afraid to push the ISO when you’re using the Q3 Monochrom, because noise in high ISO shots isn’t particularly ruinous. If you want even better high ISO performance, I’d recommend a medium format camera like the Fujifilm GFX100RF where I noticed ruinous noise only at ISO102,400. The Sony RX1R III does well when you’re shooting at ISO25,600 too, as shown in our tests.

Dynamic range

Just like many of its siblings, the Q3 Monochrom can capture a wide dynamic range, offering up to 14+ stops, so you can make extensive adjustments in post-production without significantly impacting image quality. This comes in clutch especially in challenging lighting conditions.

To test the Q3 Monochrom’s dynamic range performance, I conducted an extreme indoors test where I photographed scales in front of a bright studio light at base ISO100, as seen in the gallery above. The first slide is the original unedited image and the second is the same shot where I’ve reduced the highlights and lifted the shadows in Adobe Photoshop Lightroom.

As you can see in the second slide, lifting the shadows has revealed the scales’ legends, all of which are clearly readable and are very sharp. I was also able to save some highlights in the fake ice cubes placed on the background netting, and you can even see their edges.

But how does the camera’s dynamic range fair in real-world scenarios? Very well! The first slide in the gallery above is the original unedited image, and the second is the same shot but with highlights reduced and shadows boosted in Lightroom. Shadows, again, remain noise-free with plenty of detail captured in the dark areas. You can see the markings and various patterns on the tree’s bark and branches, and lifting the shadows has also revealed several new branches which you can’t necessarily see in the first slide.

Leica Q3 Monochrom review: Video

The Leica Q3 Monochrom isn’t your regular hybrid camera. Just how it can only shoot JPEG/DNG files in black-and-white, it can only shoot MP4/RAW videos in black-and-white too. It’s excellent for casual video or cinematic work, as it can shoot C8K/30fps in a 17:9 aspect ratio, and is Leica’s only Monochrom camera that can do so (at the time of writing). You can also record C4K/60fps and slow motion FHD/120fps.

C8K is recorded in 4:2:0 10-bit to deliver true monochrome footage as well as smooth tonal transitions. 8K also gives you plenty of room for extreme cropping while maintaining a high resolution and retaining details. The Q3 Monochrom also supports Apple ProRes compression at FHD, for high-quality video editing in professional post-production workflows.

4K footage looks stunning, as you can see in the compilation of clips above. Movement of the water is fluid and flawless at 60fps, and the weir looks almost mesmerizing. I also think the camera has captured the moodiness of the overcast weather well. If you want to capture a wider dynamic range and for more flexibility in post, you have the option to shoot in L-Log as well.

Leica Q3 Monochrom review: Battery life

Leica continues to miss the mark when it comes to its cameras’ battery life. Packing a 2,200mAh Lithium-ion rechargeable battery, the Leica Q3 Monochrom is CIPA-rated for a measly 302 shots. Although poor, it’s worth noting that this is still better than the Sony RX1R III, CIPA-rated for 270 shots only.

CIPA tests are usually conducted under strict conditions, and Leica specifies another rating for the Q3 Monochrom, and says that the camera can last for up to 1,535 shots with the Adaptive Shooting Cycle. According to the official product page, this test is done in two stages, which are repeated alternately until the battery is empty:

“Cycle 1: Switch on, 1st shutter release after 5s, one shot every 3s, the camera switches off after 10 shots (Auto Power Off) and switched back on after a waiting time of 5 min.

“Cycle 2: Switch on, 1st shutter release after 5s, one shot every 3s, the camera switches off after 50 shots (Auto Power Off) and switched back on after a waiting time of 5 min.”

While this is not exactly how I tested the camera, I consistently checked the media playback, adjusted settings, and used a combination of the EVF and the monitor for framing. I took over 600 photos between charges. Though this is nearly double of the CIPA rating stated by Leica, I’d recommend taking that value as the reference point, as the results will vary depending on whether you’re shooting in burst, etc.

Leica Q3 Monochrom review: Verdict

If you’re a fan of black-and-white photography and need a premium, good-looking camera that takes beautiful images, it’s hard not to recommend the Leica Q3 Monochrom. Its 60.3MP sensor captures an astounding level of detail, perfect for large-format printing and extreme cropping. The camera boasts clean high ISO and dynamic range performance, giving you plenty of freedom in post-production.

The camera itself is tactile to use and handle, with a straightforward control scheme and stripped back menu system. It looks and feels like a Leica but omits the classic red dot to make it an inconspicuous street shooter.

Though it costs a lot of doubloons and its CIPA-rated battery life of 302 shots is underwhelming, few cameras are better at pure black-and-white photography than the Q3 Monochrom.

I believe the best camera you have is the one in your hands. Not only do I reviews cameras for a living, I also love photography as a hobby. I consider wildlife photography my niche, as I've been taking pictures of animals and birds since I was a young child. But even though the best camera phones have come a long way, can they keep up with mirrorless cameras, especially for wildlife photography? Yes and no.

I've spent the last month testing the OM System OM-1 Mark II, which is arguably the best camera for wildlife photography enthusiasts. I've also been using my Google Pixel 10 Pro XL for three months now, so naturally, I took photos on both to see if the Pixel could keep up. It would be unfair to say which of the two is better as smartphones can rarely compete directly with cameras when it comes to optics and image quality. I just want to show you the advantages and disadvantages, and that you can still use a smartphone for wildlife — with some compromises.

A quick rundown of specs

First things first, let's talk about the specs of both the Google Pixel 10 Pro XL and the OM System OM-1 Mark II. We'll start with the Pixel. The smartphone features 50MP f/1.68 main, 48MP f/1.7 ultra-wide, 48MP f/2.8 5x telephoto, and 42MP f/2.2 selfie cameras. To take photos in 50MP, though, you'll need to enable it via the 'Pro' settings in the camera's menu. These photos are labelled as 'hi-res' and take up more space on your phone.

To get good photos of wildlife, you need to observe them in their natural habitat from a distance, which is why you need decent zoom. The Pixel 10 Pro XL packs a 5x optical zoom and 100x Pro-Res Zoom which uses AI to upscale the image. While it does a solid job, you obviously lose some detail in processing, which I'll talk about in a second.

Moving on to the OM-1 Mark II. This is a Micro Four Thirds camera, which means it's sensor size is smaller than that of full frame cameras. Its native resolution tops out at 20.4MP but there are two High-Res Shot modes which let you stack eight to 12 images to get 50MP (handheld) or 80MP (tripod) photos. The OM-1 Mark II captures bright images with popping colors.

Cameras should be paired with long-reaching telephoto lenses so that you get great image quality and capture plenty of detail, and one such lens is the 150-600mm f/5.0-6.3 IS M.Zuiko Digital ED which I used for testing the OM-1 Mark II. Thanks to the crop factor on the camera, you get a full frame equivalent focal length of 300-1200mm, which lets you get up close and personal with animals. No generative AI is involved, unlike on the Pixel — it's just glass and optics.

The Pixel does a respectable job!

The OM System OM-1 Mark II is a fantastic camera for wildlife but it has a drawback: its 20.4MP native resolution and poor high-ISO performance. This is a limitation of Micro Four Thirds cameras in general, which is why it feels natural to compare the OM-1 Mark II's image quality to the Google Pixel 10 Pro XL — they feel like they're on (sort of) level playing ground. On the other hand, comparing the Pixel to the 100MP Fujifilm GFX100RF would not be okay.

This is all to say that the Pixel 10 Pro XL does a respectable job of capturing images, with quite a bit of detail and nice colors, as you can see in the gallery above. I'm surprised by just how sharp the pigeons' feathers and wings look. Of course, there is some grain in the background and in the birds' wings, but again, it's a limitation of the phone camera's small sensor.

This isn't to say that the OM-1 Mark II doesn't capture great photos. The colors in the gallery above are stunning, especially in the photos of the kingfisher and the European robin.

What about autofocus and burst?

Two areas where the OM System OM-1 Mark II, or most other mirrorless cameras, has a leg-up is autofocus and burst shooting. Though image quality on the Google Pixel 10 Pro XL is commendable, the smartphone massively struggles to keep up with birds in flight. But that's just a limitation of smartphones in general as not all of them feature AF and sequential shooting as advanced as that on mirrorless cameras.

The photos in the gallery above were taken on the Pixel 10 Pro XL. As you can see, a lot of detail has been lost in the action shots, such as the wings of the seagulls and cormorant appearing blurry and undefined. The Pixel 10 Pro XL doesn't feature a sequential shooting mode, where a camera takes a series of photos with the single press of the shutter button. This is a big disadvantage for wildlife photography, as you'll want to capture all the action possible.

Check out the photos taken on the OM-1 Mark II, in comparison. The camera features a rapid 120fps drive, as well as slower 10fps to 50fps drives. This means you're able to capture birds in flight or animals sprinting without missing a beat.

The OM-1 Mark II's burst performance is further bolstered by a powerful autofocus system, which quickly locks on to even the smallest of wildlife. The Pixel 10 Pro XL doesn't do this, which results in hit-and-miss photos. Even when subjects are heavily or lightly obscured by tree branches or leaves, the OM-1 Mark II's autofocus doesn't fail.

Its autofocus works even better than my own eyes, frankly speaking. I couldn't actually see the goldfinch before I captured it, because it was right overhead and all I could hear was it chattering away. I pointed the OM-1 Mark II and the camera quickly found it and the 150-600mm focused on it without missing a beat.

And how about the zoom?

The Google Pixel 10 Pro XL has introduced a 100x Pro Res zoom as well as an optical 5x tele zoom, which in theory, should enable you to zoom right in to capture wildlife. But as you zoom in, you encounter a drop in resolution, which is, again, related to the camera's sensor size. This doesn't happen when you use a dedicated wildlife camera and a telephoto lens.

Take a look at the two photos in the gallery above. The first image was shot on the Pixel 10 Pro XL, the second on the OM-1 Mark II. There's a clear difference in the two shots, as the second one is of higher resolution, and you can see the tawny's owl's feathers and other features clearly. The first shot, on the other hand, looks muddled up, with all the elements in the scene merging into one.

To summarize...

At the end of the day, a mirrorless camera and a smartphone have different use cases. A smartphone is something you use every day to make calls, keep in touch with friends and family, access social media on, and alongside it all, it can take photos. A mirrorless camera is for when you want to hone your photography, create photos that can be sold as prints, bolster your portfolio, and just capture high-resolution images.

The Google Pixel 10 Pro XL is a great smartphone that takes good images. The OM System OM-1 Mark II is a great camera that takes lovely images, is much easier to handle for when you're shooting handheld for a long time, and delivers sharper image quality. The added advantage of being able to swap lenses to alter your shooting style is a big advantage. too.

I use my Pixel a lot for photography when I don't have my camera at hand, and it's good option if you want on-the-fly photography, but it doesn't compare to professional equipment. Make sure to check out my full OM System OM-1 Mark II review and our Google Pixel 10 Pro XL review for the complete low-down on image quality.

More from Tom's Guide

• ‘It breaks the laws of physics’: the OM System OM-1 Mark II is now my favorite wildlife camera, and its 120fps burst isn’t even the best part
• ‘Few wildlife cameras come close to this’: why the OM System OM-1 Mark II is perfect for photographing birds in flight and other animals
• 'Always be prepared for anything’: here are my 7 expert tips for wildlife photography

What does a camera need to do to be considered the best mirrorless camera for wildlife? It needs to feature the fastest autofocus system with subject detection; it needs a high-speed drive for sequential shooting; it needs to be weather-sealed; and it needs to handle beautifully. The OM System OM-1 Mark II does all that and more.

Packing a maximum 120fps blackout-free drive, a peerless autofocus system that quickly locks on to birds and animals, a long battery life, and robust IP53 waterproofing, the OM-1 Mark II is exceptional. I’ve been testing the camera for a month now, and in that time, I’ve captured some of my best wildlife photos yet. Aiding the camera’s prowess is up to 8.5-stops of IBIS and Live ND filters for landscape photography.

Is it worth buying the camera if you’re a wildlife enthusiast? Without a doubt: yes. For the complete breakdown, read my full OM System OM-1 Mark II review.

OM System OM-1 Mark II review: Specs

OM System OM-1 Mark II review: Cheat sheet

• What is it? A Micro Four Thirds camera with 120fps blackout-free burst shooting
• Who is it for? For wildlife photographers who don’t want to spend too much on a camera
• How much does it cost? The OM System OM-1 Mark II’s body retails for $2,399 / £2,049
• What do we like? The 120fps drive, rapid autofocus and subject detection, sublime handling, and robust weather-sealing
• What don’t we like? No CFExpress card support, 20.4MP native resolution, and mediocre high ISO performance

OM System OM-1 Mark II review: Price & availability

The OM System OM-1 Mark II succeeds the two-year-old OM-1, and it first came out in January 2024. Two years later, it is still one of the most powerful cameras, especially for wildlife photography, and it excels at what it does without breaking the bank. Its body retails for $2,399 / £2,049, or you can get it with the M.Zuiko Digital ED 12-40mm f/2.8 PRO II kit lens for $2,999 / £2,599.

It’s pricier than its predecessor which carried a retail price of $1,399 at launch. Outside of its stablemates, given its Micro Four Thirds sensor, the OM-1 Mark II’s closest competition is the Panasonic Lumix G9II ($1,899). And given its pro specs, OM System’s flagship finds itself competing with professional bodies, the likes of the Fujifilm X-H2S ($2,499), the Sony A7 V ($2,899) and the Canon EOS R6 Mark III ($2,799).

If you don’t need a full frame sensor packing many, many megapixels, the OM-1 Mark II comfortably undercuts the Sony A1 II ($6,499) and the Canon EOS R5 Mark II ($4,299) — both extremely capable cameras, in their own right, especially for photographing and filming high-speed sports or wildlife.

OM System OM-1 Mark II review: Design

The OM System OM-1 Mark II looks exactly like the image conjured up in your head when you hear the word “camera.” My favorite aesthetic yet practical design choice is the protruding, sculpted grip with plenty of room for you to wrap your fingers around, thereby offering excellent handling — with both hands or just one.

Measuring 5.46 x 3.6 x 2.86 inches, the OM-1 Mark II is fairly portable, so you can stash it in your backpack without it taking up much space. Its body weighs 1.32lbs with the battery and SD cards, so it isn’t too bulky either. I was able to wear it around my neck comfortably for long periods of time. It’s also lighter than the 1.45lbs Panasonic Lumix G9II and the 1.46lbs Fujifilm X-H2S.

Viewfinder

I love the OM-1 Mark II’s electronic viewfinder (EVF) which is bright and clear to look through. It has a resolution of approximately 5.76 million dots, so you get a sharp, detailed, and life-like view of the scene, which helps you accurately frame your subject. It’s also got a refresh rate of 120Hz which is the same as the Fujifilm X-H2S, but higher than the Panasonic Lumix G9II (3.68 million dots, same 120Hz refresh rate).

The fast refresh rate means the camera delivers smooth, realistic, and less jarring motion, and ensures the subject you’re tracking remains free of motion blur. The Sony A1 II’s viewfinder has a 240Hz refresh rate but it is also more expensive than the OM-1 Mark II.

Similar to its predecessor, the OM-1 Mark II features blackout-free sequential shooting, which means there are no black screens between shots, enabling you to keep a constant view of your subject as you shoot. But unlike the first-gen model which provided blackout-free shooting at its highest speed only, the OM-1 Mark II extends this to slower speeds too, such as 12.5 fps, 25fps and 50fps.

Monitor

Located around the back of the camera is a 3-inch vari-angle LCD touchscreen with a resolution of approximately 1.62 million dots. This is the same as the Fujifilm X-H2S but a little lower than the Panasonic Lumix G9II (1.84 million dots). Even so, it’s extremely bright, and I had no issues reading the information displayed even in direct sunlight.

The touchscreen is highly responsive too, with all my taps registering instantly. I also found the three-way tilt mechanism very useful when shooting at awkward angles — for instance, when I was photographing birds perched atop a branch overhead or low on the ground.

Ports

When it comes to ports, the OM-1 Mark II is a well-endowed camera. The battery compartment is located on the bottom plate and it houses the BLX-1 Lithium-ion battery pack. Located next to it is a standardized tripod thread, and a power battery holder for an external power grip (bought separately for $459 / £319).

The camera’s left-hand edge houses a USB-C port for charging and data transfer, a micro HDMI port, and a pair of 3.5 mm stereo mini-jacks for headphones and microphones. All ports are protected against the elements by rubber flaps. Having ports for mics and headphones make the OM-1 Mark II a great hybrid camera for video too.

Alongside the right-hand edge, you’ll find two slots for SD/SDHC/SDXC UHS-II/V90 memory cards. It’s a little disappointing that even though this camera is designed for high-speed photography, it doesn’t support CFExpress cards which let you shoot for longer before filling buffers and feature faster write speeds. The Fujifilm X-H2S has a leg-up here as it has a CFExpress card slot — but the Panasonic Lumix G9II doesn’t.

Weather-sealing

While not many manufacturers specify their camera’s IP rating, OM System does. The OM System OM-1 Mark II is IP53-rated so it offers significant protection against dust as well as water. This is primarily designed for wildlife photography, so it’s no surprise that it’s rugged.

Having tested the camera when the U.K. was being battered by heavy rain thanks to two different named storms, I can attest to the fact that the OM-1 Mark II is very waterproof. Oh, and it can also withstand freezing temperatures down to -14°F / -10°C — just like the Fujifilm X-H2S and the Panasonic Lumix G9II.

OM System OM-1 Mark II review: Controls

I’ve tested a lot of cameras at this point, and few have felt as easy-to-use as the OM System OM-1 Mark II. Most of the buttons and dials are similar to what you’d find on most other cameras. They’re all laid out well and thoughtfully, with each button and dial giving great feedback when pressed or turned.

My favorite button on the OM-1 Mark II is located atop the power lever. The duo of buttons lets you quickly swap between the different focus modes (Manual focus, Preset MF, Single AF, Continuous AF, AF Tracking, Stacking, Bracketing) and burst or single frame shooting. I found myself using these two buttons a lot in my testing, depending on the subject I was photographing. The shooting modes can be customized via the bigger settings menu too, so you can assign different frame rates.

Unlike on the Fujifilm X-H2S where the focus joystick gets in the way if you shoot with your left eye to the viewfinder, the OM-1 Mark II’s joysticks never got in my way. It’s tactile and responsive too, and it doesn’t feel fiddly to change the focus area size. It’s also nice to see that OM System has included a focus joystick when even prestigious brands sometimes refuse to feature it (looking at you, Hasselblad X2D 100C).

Though many settings can be accessed quickly via the buttons and dials, when you need to dive into the big settings menu, you’ll have no problem finding the setting you’re looking for. The OM-1 Mark II’s menu is extremely intuitive and easy to navigate.

OM System OM-1 Mark II review: Autofocus

For any wildlife camera to be considered “good”, it needs to have a rapid autofocus system that always finds your subject and stays locked on to it. Consider the OM System OM-1 Mark II “excellent,” then. The camera utilizes a TTL phase-difference detection and a contrast-detection system, with 1,053 points. For context, that’s just one point less than the premium Canon EOS R5 Mark II, while the Fujifilm X-H2S utilizes only 425 points.

The OM-1 Mark II features multiple subject detection modes, including but not limited to humans, animals, birds, planes, and cars. Not once did its autofocus let me down — regardless of whether I was photographing humans, stationary animals, or skittish birds. I’ve included a few examples in the gallery above.

OM System sent me three lenses for the purposes of testing this camera: M.Zuiko Digital ED 12-40mm F2.8 PRO II ($1,199), M.Zuiko Digital ED 8-25mm F4.0 PRO ($1,099), and the M.Zuiko Digital ED 150-600mm F5.0-6.3 IS ($2,999). The wildlife photos were shot using the super telephoto lens which is primarily designed for wildlife photography. It is extremely quick to focus on subjects, especially when used in conjunction with the camera’s subject detection modes.

The camera was quick to detect and lock onto subjects, and paired with the rapid 150-600mm lens I was using, I had no issues quickly focusing on the squirrel, the European goldfinch, the tawny owl, and the crow. The autofocus worked better than my eyes, truth be told! I couldn’t actually see the goldfinch. All I could hear was it chattering and tweeting away. I pointed the camera in the general direction of the sound, and the OM-1 Mark II took mere milliseconds to lock on to the bird.

Similarly, the tawny owl was tucked away in its box, taking shelter from the rain, and I couldn’t see it very well. I pointed the camera at the box, and the OM-1 Mark II locked onto the little creature. Even though the crow was obscured by branches, it is still in focus.

Human face and eye detection works just as well, with the camera quickly locking onto my partner’s face in the portraits above, taken with the M.Zuiko Digital ED 12-40mm F2.8 PRO II lens. This is a quick-focusing lens too, and I was able to rapidly lock onto her face, even in low light. It’s important to note that the OM-1 Mark II’s subject detection doesn’t switch automatically depending on the subject you’re photographing — but auto subject detection is still not a ubiquitous feature on mirrorless cameras at the time of writing.

OM System OM-1 Mark II review: Stabilization

The OM System OM-1 Mark II features excellent in-body image stabilization, now up to 8.5-stops (lens dependent) which is a 20% improvement over its predecessor. Meanwhile, the Fujifilm X-H2S offers only 7-stops and the Panasonic Lumix G9II offers 8-stops.

This is amazing for when you’re shooting at slow shutter speeds, especially in low-light conditions, or panning across a scene. In my testing, I was able to shoot at shutter speeds as slow as 0.5s. You can see this in the gallery above. The first image was shot at 0.5s and the second at 1s, using the M.Zuiko Digital ED 12-40mm F2.8 PRO II lens at 40mm, which according to OM System provides the full 8.5 stops of stabilization.

With the M.Zuiko Digital ED 150-600mm F5.0-6.3 IS lens, which itself offers up to 7-stops of image stabilization, I was able to shoot at shutter speeds as slow as 2s at 600mm, as you can see in the first slide above. In the second slide at 2.5s, blur became an issue. This level of stabilization at 600mm is very impressive, and will be invaluable to wildlife photographers using similarly long lenses.

OM System OM-1 Mark II review: Image quality

The OM System OM-1 Mark II features a Micro Four Thirds sensor, which is smaller than APS-C and full frame format sensors. The OM-1 Mark II’s native resolution tops out at 20.4MP — which is lower than the Fujifilm X-H2S’s 26MP.

It’s important to remember that you’ll be working within the limitations of the sensor’s small size and low-ish resolution. The small size affects dynamic range and cleanliness at higher ISO values. Combined with the modest resolution, images don’t turn out as detailed as on larger and higher-res sensors.

At moderate ISO values, images lose clarity, giving a watercolor effect and hampering finer details. The first image in the gallery above is the uncropped image, shot at ISO 5000, and the second is a crop of the same. There’s a loss of definition and clarity in the orange fur on the robin’s chest, so it isn’t possible to make out the details of individual furs.

You can see a few more examples in the gallery above, and the images were shot at the following ISO: 5000 (first), 6400 (second), 5000 (third), 6400 (fourth). In the first image of the Eurasian coot, there’s a loss of clarity in the fur at full size, so you can’t make out the individual features. When the second image of the red deer is enlarged to full size, there isn’t much definition in its fur and eyes. Both the kingfisher and great tit lack definition at full size, too. Although at smaller sizes, the images look fine.

Because of the small sensor size, noise is also more apparent at high sensitivities, something we have also seen with other M43 cameras, like the Panasonic Lumix G9II. This is especially true when compared to full frame and APS-C cameras. I wouldn’t recommend shooting past ISO 6400 unless it’s your last resort. The photo of the Eurasian blue tits above was taken at ISO 8000, with minor adjustments to exposure and shadows made in Lightroom, and as you can see, there is a significant level of grain in the branches and the birds’ fur. The birds’ wings and beaks have lost sharpness too, to the point where the photo just appears unusable.

I also conducted an indoors ISO test where I captured a photo at ISO 6400. The photos above were shot at ISO 6400 — the first image is a JPEG export of the RAW file, while the second is the straight-out-of-camera (SOOC) JPEG. As you can see in the second slide, the camera has done a respectable job of reducing noise, especially in the black mouse mat Knuckles is standing on. The image is still usable, but definition has again taken a hit, and I wouldn’t want to shoot higher.

It’s important to remember though that this is a drawback of M43 sensors, the trade off being high speed performance. And also to remember who this camera is for. If you’re an amateur and/or enthusiast photographer, then the OM-1 Mark II’s sensor should suffice. At lower ISO, it captures solid photos for sharing on social media, adding to your portfolio, or even making small prints of. The photo of the mushrooms in the gallery above looks beautiful, with popping oranges, and I love the vivid shades of green captured in the other photos too.

If you’re a serious enthusiast, pixel peeper or professional photographer who wants heaps of detail, enough for large format printing and extreme cropping, you’ll want to consider other full frame or APS-C cameras with higher resolutions and better high ISO performance, such as the Fujifilm X-H2S or Sony A7IV ($2,499).

That said, the OM-1 Mark II’s M43 sensor is perfect for wildlife, giving you lots of effective reach thanks to the crop factor, albeit at the expense of some depth of field. As a wildlife photographer and someone whose favorite subjects to photograph are animals and birds (after my partner, of course), I loved pairing the OM-1 with the 150-600mm F5.0-6.3 IS telephoto lens, which has an effective focal length of 300-1200mm on a full frame camera, which is honestly ridiculous.

I was able to capture birds high up in trees so I didn’t disturb them in their natural habitat. I’m very proud of the photos I’ve captured with the kit combo, examples of which you can see in the gallery above.

For moments when you do want to capture more detail, you get access to two High-Res Shot modes: 50MP (handheld) and 80MP (tripod). The High-Res Shot modes work by stacking eight or 12 images respectively. In the gallery above, the first slide is the uncropped 20.4MP image, the second is a crop of the first, the third is a 50MP handheld crop, and the fourth is an 80MP tripod crop. The fourth image is more detailed with the text appearing clearer and sharper compared to the other two, so this is a great feature to have if you’re shooting with a tripod and want to create tighter crops.

High-speed drive

The OM-1 Mark II packs OM System’s TruePic X processor for blistering 120fps sequential shooting (with AF/AE locked) — all blackout-free through the EVF, as I mentioned earlier. Having 120fps drive at your disposal means you’ll be able to capture every single moment of action, making the camera a standout performer in the realm of wildlife photography. In comparison, the Fujifilm X-H2S’ drive tops out at 40fps and the Panasonic Lumix G9II’s at 75fps.

I fully utilized this while photographing birds. While land animals you find in the U.K. are typically slower, birds are not, and you need all the tech you can get to capture blink-and-you-miss-it moments. With the 120fps drive, I was able to get lovely photos of birds in flight, jumping off branches, and landing on them, as seen in the gallery above. You also get Pro Capture which starts buffering a running series of photos at 120fps when the shutter button is half-pressed, ensuring you don’t miss the action.

But not all situations require a rapid 120fps drive — while photographing slow-moving deer, for instance. You can also shoot at 10fps, 12.5fps, 16.7fps, 25fps and 50fps. These speeds are a new addition as they were missing from the first-gen OM-1. The photos in the gallery above were shot using 25fps and 50fps, and they’ve turned out beautifully. I still got the shots I wanted without having to rely on the 120fps drive.

Built-in ND filters

The OM-1 Mark II’s other features include a new series of Live Graduated ND filters — where part of the scene is darkened — available in 1-stop, 2-stop and 3-stop strengths, and these can be set to soft, medium and hard. These are great for landscape photography as you don’t need to panic in case you’ve forgotten your filters at home. The angle of the filter can be adjusted via the front dial, and in the above image, you can see what it looks like on the camera’s monitor.

Above, you can see what the image looks like without (first image) and with (second image) the GND on. The second photo was shot with the 3-stop, hard GND. There’s also ND128 7-stop Live ND shooting — where light is reduced uniformly across the scene) — which should aid landscape photographers in capturing long exposures when shooting in bright conditions. The only downside is that both Live ND and GND can’t be used simultaneously or in conjunction, so you’ll still need to use traditional screw-on filters when needed.

Alongside the natural color profile, you also get access to a plethora of color profiles and picture modes, such as Monochrome, Film Grain, Vivid, Portrait, Sepia, among others. You can see an example of Monochrome and Film Grain in the gallery above. It’s worth experimenting with the different color profiles to see what suits your style best.

Dynamic range

The OM-1 Mark II offers up to 13+ stops of dynamic range with a base ISO of 80. I conducted an extreme dynamic range indoors by placing an object in front of a bright studio light. The first image in the gallery above is a JPEG export of the RAW file, unedited, and the second is the same photo but with shadows lifted and highlights reduced in Adobe Photoshop Lightroom.

As you can see in the second photo, the shadows are pretty clean. The legends on the scale are easily discernible and they’re sharp. I was able to save some of the highlights in the fake ice cubes placed on the background netting, but quite a lot of detail was lost to blown out highlights.

Above is a real-world example of dynamic range testing. The first is the unedited image and in the second, I have reduced the highlights and lifted the shadows. Reducing the highlights revealed the branches in the foreground, and more detail has been revealed in the other branches too. Lifting the shadows has also revealed more detail in the crow’s neck. The blacks are fairly noise-free as well — so lab tests aren’t everything.

If you want a camera with wider dynamic range, giving you more flexibility in challenging lighting conditions, you’ll need to invest in something with a larger sensor, like the APS-C Fujifilm X-H2S or a full frame camera like the Sony A7IV.

OM System OM-1 Mark II review: Video

If you want to partake in some casual videography, the OM System OM-1 Mark II is more than capable — even though it’s a stills-first camera. The camera can shoot C4K/60fps, 4K/60fps and FHD/240fps. 10-bit 4:2:2 recording means the camera is capable of capturing 1.07 billion individual hues and colors, and OM-Log gives you great freedom in post-production.

C4K/60fps video is colorful and smooth, as you can see in the compilation of clips above. These clips were shot using the M.Zuiko Digital ED 150-600mm F5.0-6.3 IS telephoto lens (at the longest focal length!), so while there is some camera shake, the clips are still very stable, thanks to the camera’s IBIS working in conjunction with the lens’ 7-stop IS.

If you want to shoot at higher resolutions, the Fujifilm X-H2S can shoot 6K/30fps video, giving you more freedom to crop and reframe.

OM System OM-1 Mark II review: Battery life

The OM System OM-1 Mark II utilizes a 2280mAh BLX-1 Lithium-ion battery pack, and the camera is CIPA-rated for 520 shots. This doubles to 1,010 stills when using the camera’s Quick Sleep mode, a power-saving mode in which the viewfinder and monitor are dimmed or put to sleep after a certain amount of time, toggled via the settings menu. Quick Sleep mode dims the monitor after 3s, 5s or 8s, and puts the camera to sleep at various times, between 3s and one minute. It’s a great feature to have if you’re out and about with no access to a charger.

CIPA ratings are usually quite conservative as these are determined using strict (and single-shot) testing conditions, and more often than not, the camera will last you longer in real-world situations. In my testing, I was easily able to shoot more than a thousand images when using a combination of high-speed burst and single shots, and using the monitor to view the images every so often. How long the camera lasts will depend entirely on your shooting settings and conditions, so the CIPA rating can be used as a rule of thumb.

We’ll use the 520-shot rating as the point of reference. In comparison, the Panasonic Lumix GH7 is rated for 330 shots; the Panasonic Lumix G9II is rated for 370; and the pricier Canon EOS R5 Mark II and the Sony A1 II are rated for 340 and 420 shots respectively.

Fuji’s X-H2S, meanwhile, upstages the OM-1 Mark II in the battery department, CIPA-rated for 720 shots between charges. Regardless, if you want a high-speed camera that can last a whole day out in the woods, the OM-1 Mark II is still a decent choice.

OM System OM-1 Mark II review: Verdict

For amateur wildlife enthusiasts , the OM System OM-1 Mark II is near-perfect. Offering IP53 waterproofing, up to 8.5-stops of IBIS, and long battery life, the OM-1 Mark II is incredible. Its blistering 120fps blackout-free drive ensures you never miss a moment while photographing birds in flight or animals in action. Its peerless autofocus system that quickly locks onto wildlife, humans and vehicles is another compelling reason to buy the camera.

It’s a joy to use in the field too, and it packs plenty of handy features for both wildlife and landscape photographers. Live Graduated ND filters and Live ND filters, High-Res Shot modes, and an array of color profiles mean you can get really creative.

But of course, the OM-1 Mark II’s native 20.4MP sensor means you don’t have a lot of room for cropping into images, and images shot at high ISO sensitivities have a watercolor effect to them, and there’s a noticeable amount of noise when shooting at anything higher than ISO 6400. For that reason, the OM-1 Mark II is a good camera for enthusiasts or anyone looking to get their first mirrorless camera — but professional photographers should consider other full frame or APS-C cameras.

Though the lack of a CFExpress card slot feels like a missed opportunity for this speed demon, it more than makes up for that shortcoming with everything else it offers. If there’s one tough-as-nails wildlife camera you’ll ever need, it’s the OM-1 Mark II.

It's no secret that I love animals and birds. If you've read any of my previous camera reviews, or have taken a look at my Instagram, you'll know that I absolutely adore photographing wildlife. It's my niche. But to be able to photograph wildlife properly, you need a telephoto lens that lets you get up close and personal with animals while still respecting their space — and I've spent the past weekend testing perhaps my favorite camera and lens combo yet.

The OM System OM-1 Mark II is, so far, one of the best mirrorless cameras I've had the pleasure of testing. Though I haven't published my full review of it yet (it will come soon, trust me), my first impressions of the camera are extremely positive. I spent the past weekend in nature, photographing Eurasian blue tits, European goldfinches, red deer, fallow deer, robins, and more. And honestly? I'm in love.

An extremely capable and competent camera packed with pro-level features, the OM-1 Mark II boasts rapid autofocus, excellent in-body image stabilization, blackout-free 120fps burst shooting, and lots more. I paired it with the OM System 150-600mm f/5.0-6.3 IS M.Zuiko Digital ED telephoto lens, which helped me capture some of my best photos yet. If you enjoy wildlife and want to step up from smartphone photography, the OM-1 Mark II feels like the right port of call.

Huge but never unwieldy to handle

The OM System OM-1 Mark II is one of the easiest cameras I've ever used, period. Its buttons and dials are well laid out and within easy reach; this camera simplifies photography, really. Each control is labeled appropriately and in an easy-to-read manner so even if you're new to photography, you should have no problem getting to grips with it.

I've been lucky in the sense that OM System sent me three lenses to test, and one of them was the OM System 150-600mm f/5.0-6.3 IS M.Zuiko Digital ED — a telephoto lens with a maddening 300-1200mm equivalent reach. With this lens, I was able to capture deer and birds from far, far away, acting as they do in their natural habitat.

Of course, the lens is... huge, which means it's long and heavy. The OM-1 Mark II, on its own, weighs 1.32lbs, and the lens weighs 4.55lbs. Combined, the kit weighs 5.87lbs — which is quite a bit. You need some arm strength to hold the camera up for long periods of time, especially when photographing birds overhead or in tall trees.

Make no mistake, though: the OM-1 Mark II and the 150-600mm lens never feel unwieldy to handle, or uncomfortable to wear around your neck. Both the camera and lens have great weight distribution which ensures your hands don't feel too fatigued. I would, however, recommend carrying a tripod if you plan on photographing a particular animal in a particular spot, as that will make handling the kit even better.

Drool-worthy autofocus and images

A wildlife camera is no good if it can't quickly focus on animals and birds — and the OM System OM-1 Mark II has no problem doing so. This camera is chock-full of pro specs that make photographing wildlife a walk in the park. First of all, its 20.4MP Micro Four Thirds sensor captures plenty of detail, and there's a High-Res Handheld Shot mode too, which stacks eight to 12 images to produce a 50MP image (80MP in Tripod mode). This is extremely useful and makes the camera stand out in a crowded market.

As for focusing, there are several subject detection modes, including birds, animals, planes, cars, etc. The camera utilizes 1,053 cross-type phase detection focus points which cover 100% of the image area for high-speed subject tracking. In my testing, so far, the autofocus is yet to let me down. It's rapid, really, taking mere milliseconds to focus on

In fact, the autofocus is so good that the camera has been able to spot birds before I have been. For instance, when I was out and about, I heard a European robin singing somewhere behind me, so I turned around but I couldn't see it — they're very good at camouflaging, after all. I pointed the camera in the general direction of the birdsong and instantly, the OM-1 Mark II found the robin and locked on to it. It basically worked better than my own eyes!

Alongside best-in-class autofocus, one feature I've been making extensive use of is the 120fps sequential/burst shooting and Pro Capture. Pro Capture, basically, starts buffering a running series of photos at 120fps when the shutter button is half pressed. This has helped me capture birds in flight, as well as skittish birds that move about a lot, refusing to stay in the same spot for more than a few seconds at a time. You can see examples of photos captured with this mode in the gallery above.

Another OM-1 Mark II feature I adore is the blackout-free sequential shooting, which means that you never loose sight of your subject while tracking them through the electronic viewfinder (EVF). It's something I appreciated on the Sony A1 II, but the A1 II's drive tops at 30fps — making the OM-1 Mark II the better option for high-speed photography. Oh, and the A1 II costs nearly three times more.

Worth ditching your smartphone for

Thanks to the advent of technology, there's always a camera in your pocket — in the form of a smartphone, of course. But even your shiny, brand new, up-to-date Google Pixel, Samsung or iPhone has limitations. A mobile camera can never really hold a candle to a mirrorless camera, especially when it comes to wildlife photography. Your phone may be able to focus on birds, but it will never be able to capture professional-looking snaps of them in flight, for example.

And that's why the OM System OM-1 Mark II is a formidable camera for those looking to either capture better photos or simply get close to animals without disturbing them. While your smartphone probably features a good digital zoom, the sharpness and crisp quality a camera lens captures remains undisputed.

There are loads of cameras out there, ones that excel at wildlife and high-speed sports photography. But if there's a mid-range, capable camera I can wholeheartedly recommend — even though I've been using it for just a couple weeks — it's the OM-1 Mark II ($2,399 / £2,049). Pair it with the 150-600mm f/5.0-6.3 lens ($2,999 / £2,499) and you've got yourself a winner.

More from Tom's Guide

• I just tested the Canon EOS R5 Mark II to photograph wildlife — and this one feature has changed how I take photos forever
• This $1,100 camera beats out $10,000 super telephoto lenses for wildlife photography, and I've taken some of my best photos yet
• I tested the Sony A1 II for 2 weeks — and its autofocus results blew my mind

It has been over three weeks since I held the Leica M EV1 in my hands for the very first time. Before I got my review unit in, I'd read a lot of chatter on online forums, talking about how the M EV1 was a step in the wrong direction for the M-series lineup of optical rangefinders as it incorporates an electronic viewfinder (EVF) and focus assisting aids.

In the time since, I've spent days photographing a Christmas gathering with my friends and then another couple of weeks conducting my in-depth testing before publishing my full Leica M EV1 review. My conclusion? It isn't a step in the wrong direction. In fact, I believe Leica has chosen to go down the right path, and make the M-system more accessible, in a way.

But here's the kicker. Even if I had all the money in the world, I don't think I'd personally buy the M EV1. Why not, you ask? After all, it takes stunning photos, handles well, and enables pinpoint, precise focusing. Somehow, that alone doesn't convince me to drop nearly ten grand on it. If money were no object, I'd buy its Leica cousin instead.

A Q disguised as an M

The Leica M EV1 is a rugged-looking, powerful camera, capable of capturing stunning images. Featuring a hi-res OLED EVF and focus peaking while manually focusing, images taken are incredibly sharp and packed with detail. It borrows the EVF from its stablemate, the Leica Q3 43, and frankly speaking, I'd pick the latter over the M EV1 any day.

Don't get me wrong: the M EV1 is a joy to use, but it feels like halfway between an M-series and a Q-series camera. The M EV1 has the same base ISO of 64, as well as the same 60.3MP sensor and a slower Leica Maestro III processor — but the Q3 43 packs all that (plus Maestro IV) and so much more, so why not spend a little less and grab it instead?

You see, the Q3 43 is the more 'well-rounded' camera which is practically perfect for any kind of photographer. Intelligent Hybrid AF, a tilt-type monitor, a 15fps shutter for burst shooting, and C8K/30fps or C4K/60fps make it fit for any occasion. The thing you miss out on, of course, is Leica's top-drawer M-mount lenses, as you're stuck with a fixed 43mm lens instead. But the good news is that you can toggle the camera to manual focusing if you want, so you really get the best of both worlds.

The M EV1, on the other hand, is for a specific type of photographer: someone who wants a compact camera for slow and considered photography where you must take your time with focusing. Not that there's anything wrong with that, and I'd venture to say that it's the most approachable M-series camera yet, thanks to the EVF for easier focusing. But gun to my head and I had to pick one of the two? The Q3 43, easily.

Don't write it off though

Just because one thing is better than the other, it doesn't make the other thing inherently bad — and the Leica M EV1 is far from being considered a poor camera. I kicked off the new year just right with the M EV1 in my hands for review, and I'd be lying if I said I haven't enjoyed every single minute of testing it.

Perfectly endowed for architecture, portrait and studio photography where your primary subject is stationary or slow, the M EV1 enables pinpoint precise focusing. You can zero in on your subject, have them and only them in focus with everything else blurred, and capture a cinematic photo, as you can see in the gallery above.

One thing I adore about the M EV1 is its various color profiles, present also on the Q3 43. There are a few to play around with, but my favorite is Monochrome High Contrast which makes photos appear extremely dramatic with deeper blacks. Honestly, the more I test Leica cameras, the more I like the brand's black and white color profiles better than Fujifilm's Acros!

Of course, it highly depends on your photography needs to determine the better camera for you. The M EV1 is great for considered photography and for those who don't care much about class-leading specs, while the Q3 43 is ideal for... well, everyone, regardless of the kind of photographer they are.

The one thing both cameras have in common, though? They'll burn a hole in your pocket!

What about cheaper alternatives?

I won't beat about the bush here, and it's something we are all aware of: Leica makes expensive cameras. Very expensive cameras. I speak of the Leica Q3 43 as if I will actually end up buying one soon, but that's wishful thinking, and it might be true for a lot of people. Both the Q3 43 and the M EV1 cost an arm and a leg, much like other cameras bearing that red dot.

So are there any cheaper, more affordable alternatives to the Q3 43 and the M EV1? There are indeed! While not all of them can be considered 'budget' options, they're definitely more accessible.

More from Tom's Guide

• Leica M EV1 review: A step in the right direction
• Leica Q3 43 review: Pin-sharp image quality that stole my heart
• I tested the Leica Q3 43 for a week and fell in love — there’s just one problem

Towards the end of October 2025, Leica announced the launch of its latest rangefinder-style camera, the Leica M EV1. Sporting a straightforward, stripped-back control layout, an electronic viewfinder (EVF) instead of a rangefinder, and a 60MP full frame sensor, the M EV1 sounds like a stunner on paper.

But you can't please everyone, no matter what you do right or wrong, as online forums (namely r/Leica on Reddit) were divided over the camera, with users and purists complaining about the death of the rangefinder and omission of an optical viewfinder (OVF). As someone who tests the best cameras, I was curious to try the M EV1 and decide for myself whether this was fair criticism or unwarranted hate.

I've been using the M EV1 for over well over a week now. I haven't finished putting the camera through my usual battery of tests yet (even I need a few days off over Christmas!), but having used the camera to photograph a Christmas party with friends, I have to say, I am impressed... but am I convinced? Let's find out.

Simple yet challenging

One of the things I love most about the Leica M EV1 is something I appreciate in every other Leica I've tested so far: stripped-back dials and a straightforward control scheme which make handling a delight. Don't get me wrong: I appreciate the many dials and buttons on a complex camera like the Sony A1 II, but I also like the simplicity and convenience Leicas offer.

But just because the M EV1's controls are easy to reach and get a hang of doesn't mean the camera makes photography easy, too. This is a rangefinder-style camera, which means there's no autofocus so you need to use the protruding handle on the lens to turn the focus ring to focus on your subject.

Unlike a traditional rangefinder, like the Leica M11-D, there's no "focusing patch" where you have to align two images to focus. Instead, the M EV1's 5.76M-dot EVF features focus assistance and peaking to help you, well, focus on your desired subject. It's slightly challenging but it's fun, and it makes you slow down, take in your surroundings as well as time to frame your subject. For me, it makes me more considerate of what and who I'm capturing.

Focus peaking helps you frame your subject by displaying red lines around it. When photographing humans and buildings, it proved effortless. However, the real challenge arose when photographing my best friend's cats, Bunny and Dougie. Dougie is a shy boy so I respect his privacy as he hid under the couch, but Bunny posed for me on numerous occasions, as you can see above.

The M EV1 struggled to focus on Bunny as she's a black cat with thin whiskers, so photographing her involved a lot of trial and error, with the camera occasionally showing faint red lines on her whiskers. The three photos above are a few of the only in-focus ones I snapped, and they've turned out highly detailed.

Peerless image quality and color

If there's one thing Leica excels at, it's outstanding image quality and true-to-life colors — and the Leica M EV1 is no different. Fitted with a 60.3MP BSI CMOS sensor and Maestro III processor, the M EV1 produces stunning images packed with plenty of detail. Colors appear nothing short of beautiful, as you can see in the gallery above. I haven't edited these photos barring some cropping in post-production.

Because I had so much control over the area I wanted to focus on, this enabled me to focus precisely on my subject, and I captured some cinematic shots, whether that was with background bokeh or foreground blur.

And for anyone confused, my friends and I dressed up as Christmas icons, such as the Grinch, Cindy Lou Who, and Nessa from Gavin and Stacey. I (not pictured) was the most iconic Christmas icon of them all: Rudolph the red-nosed reindeer.

There are a few color profiles I played with too, such as Vivid and Natural, depending on the look I was going for. My favorite, though, is Monochrom High Contrast, which makes photos look dramatic. The images in the gallery above were captured in this color profile, and they look fantastic. I might like it more than Fujifilm's Acros, to be honest!

Who is this for?

Although I've used the Leica M EV1 for a week, I am yet to put it through its paces before writing up my full review and awarding it a rating out of five stars. My initial impressions are highly positive. The M EV1 is a delight to use, and it packs a lot of charm. Image quality is, as I expected, sharp and outstanding, while manual, rangefinder-esque focusing is both challenging and fun.

But who exactly is the M EV1 for? It's not for professional photographers to use as their workhorse as high-speed drive is limited to 4.5fps (nearly identical to the Sony RX1R III's 5fps drive), there's no video recording unlike the Leica SL3, and there's no image stabilization (similar to the rangefinder-style Fujifilm GFX100RF). It's an evolution of the rangefinder M Series, which includes the Leica M11-D, but who is it for?

That is a question for another day, once I've reviewed the M EV1. For now, I remain impressed but cautiously optimistic.

More from Tom's Guide

• I tested the Leica Q3 43 for a week and fell in love — there’s just one problem
• I’ve been testing the Leica SL3 — it’s the only camera that’s made me want to ditch my Fujifilm
• The Leica M11-D is one of the most challenging cameras I’ve reviewed — and it has made me a better photographer

The year's drawing to a close and many of us are starting to wind down to enjoy the holidays and well-deserved breaks. This is the time of the year when many of us start coming up with New Year's resolutions, whether they're related to hitting the gym more often, quitting a bad habit, or picking up a new hobby.

You know what's a great hobby that I, personally, vouch for? Photography. It's a wonderful hobby that involves learning new skills and technical knowledge, as well as going outdoors, spending time in the natural elements. Photography can be very rewarding too — take it from someone who has been doing it since she was a child. Nothing beats the feeling when you grab a shot of, say, a bird, that you've been vying for for a long time.

I love photography as a hobby and it's also part of my job as senior reviews writer here at Tom's Guide, which means I test the best cameras. If you want to take up photography as a hobby in 2026 but don't know which camera to get, I've got you covered.

Budget pick

Currently ranking as our top pick for best budget mirrorless camera, the Canon EOS R100 is a superb all-purpose camera. Whether you want to capture pet portraits, family group photos, or landscapes, this camera can do it all — and without burning a hole in your pocket too. It's the next step up from smartphone photography, thanks to its straightforward control scheme and compact and lightweight design.

Featuring a 24.1MP sensor, the EOS R100 captures lovely-looking stills which are perfect for sharing on social media. What makes this camera ideal for beginners is the 'Display Level' section of the menu which offers a Guided Menu display option, Interactive Mode guide, and a pop-up Feature guide. All of these help you find your way around the camera, and learn how to use different shooting modes. The EOS R100 teaches you photography, basically!

The EOS R100 is an interchangeable lens camera (ILC) which means you can swap its lenses. It's compatible with Canon's RF-S (APS-C) and RF (full frame) lenses, giving you the freedom to experiment with different focal lengths, apertures and more. For a beginner camera, this is a great feature to have, as you can always invest in more advanced lenses down the line.

For those who want to capture videos of their family, friends, pets and travels, the EOS R100 is up to the challenge as it can record 4K/25fps video too. It's the ultimate, beginner-friendly all-purpose camera, which is why I recommend it to every smartphone user looking to build on their photography skills.

Check out more sample images and videos in our Canon EOS R100 review.

Video work

If you want a camera specifically designed for videography, and one that doesn't break the bank, I've got a great recommendation for you: the Fujifilm X-M5. Similar to the Canon EOS R100, you can mount different lenses on to the X-M5, giving you more versatility and freedom. It's an excellent video and/or vlogging camera, thanks to its ability to record 6.2K/30fps footage. This resolution gives you some headroom to crop to 4K while maintaining a high resolution.

The X-M5 records 10-bit video, which means it’s capable of capturing a wide color gamut with a total of 1.07 billion individual hues. Fuji's color science is breathtaking so you know you're getting your money's worth. It's a versatile camera as it can shoot detailed, colorful 26.1MP stills too. Autofocus works well in both video and stills, as the camera is quick to lock onto animals and humans.

What makes the X-M5 an absolute steal (in addition to its solid video and photo capabilities) is its compact size, making it a lovely travel companion, and dedicated film simulation dial. Film simulations are, essentially, filters which you can apply to videos and photos, and there are many different ones to choose from. These help you produce usable footage without the need for post-production — something beginners will definitely appreciate.

For videography, the X-M5 boasts good audio performance too, thanks to a wind filter and three internal directional mics. You can choose to record surround sound, front or back priority, or front and back priority. The camera captures environmental, ambient sounds as well as human voices well, negating the need to buy an external mic right off the bat.

Check out more sample images and videos in my Fujifilm X-M5 review.

Vlogging on a budget

The best cameras can help elevate your content creation, and you don't necessarily need to spend thousands on one. If you're planning on picking up a camera specifically for vlogging (perhaps that's your New Year's resolution!), it's worth checking out the Sony ZV-1F, which currently ranks as our best cheap vlogging camera.

Sony's beginner-friendly vlogging camera is extremely compact and portable, and easy to use. Firstly, it takes nice photos with its 20.1MP sensor, and there are a few color profiles/filters for you to play around with. It shoots great 4K/30fps footage and can shoot in S-Log 3 to capture a wider dynamic range for more freedom in post-production.

The ZV-1F's prowess lies in its vlogging-specific features, which make it easy to create content. One of these is Product Showcase, where the ZV-1F automatically focuses on the subject close to the camera and blurs the background. This is a great tool for product reviews, for instance, where you want to put the object of your choice front and centre.

There are many other vlogging features to be enjoyed, such as the built-in three-capsule mic with a windscreen for clear audio, Background Defocus for quick transitions, and more. If there's one camera you need to kick off your vlogging career, it's none other than the ZV-1F.

Check out more sample images and videos in my Sony ZV-1F review.

Wildlife

My favorite non-human subjects to photograph are birds and animals. I love wildlife photography, so I'm always on the lookout for a camera that will help me achieve lovely shots. Thing is, proper wildlife cameras can be really expensive for many reasons, such as high-speed burst shooting, rapid autofocus, etc. Telephoto lenses designed to capture close-up shots of animals can easily cost you over ten grand.

But wildlife photography doesn't need to be an expensive hobby, and for that reason, I recommend the Nikon Coolpix P1100, a bridge camera featuring a 125x zoom with an effective optical focal range of 24-3000mm (and 6000mm with 4x digital zoom). Though its body is bulky (similar to DSLRs) and the ISO tops out at 6400 which means low-light performance isn't the best, this is still a fantastic camera to get for bird watching... and moon photography too!

The Coolpix P1100's biggest selling point is its long-reaching zoom, which helps you get up close and personal with animals without actually disturbing their peace. The modest 16MP sensor captures plenty of detail with great color reproduction. There's a dedicated Bird Watching mode which toggles the continuous 7fps drive, so you can keep the shutter button pressed and the camera will capture seven frames. This is handy for capturing birds (or animals) in motion/action.

The Coolpix P1100 handles well too, thanks to the chunky, ergonomic grip, as well as the well-placed controls. Speaking of, the Coolpix P1100 is very straightforward to control, so if you're a beginner, you should have no problem getting to grips with the camera's buttons and dials. If you don't want to spend thousands and thousands on a mirrorless camera and telephoto lens for wildlife photography, the Coolpix P1100 is the one to get.

Check out more sample images and videos in my Nikon Coolpix P1100 review.

Aerial

Photography doesn't need to be restricted to just staying on the ground, of course. If you're interested in aerial photography, it's worth investing in one of the best drones — and many doesn't cost thousands. For beginner pilots, the DJI Neo 2 is the ideal choice. The Neo 2 is extremely easy to fly, either via a smartphone, controller or even hands-free via the buttons on its body and Gesture Control.

It's packed with powerful imaging tech too. For stills, you get a 12MP sensor which captures detailed shots, especially in bright conditions, and for video, you get smooth, stable 4K/60fps footage. But what makes the Neo 2 a downright incredible mini drone is its omnidirectional obstacle avoidance, which means it can either brake in front of or bypass obstacles — an invaluable safety feature for all pilots.

The Neo 2 is a wonderful selfie drone too. It features an array of QuickShot Intelligent Flight modes, where the drone takes photos or videos before returning to its takeoff position. These include Follow, Circle, Rocket, SelfieShot, and more, and they're great for hands-free shooting either solo or with other people.

If you want a drone that's easy to fly, is fit for beginners, allows you to capture stunning aerial footage via manual control, and one that's built extremely well, the Neo 2 should be your port of call. It'll help you take your first steps into the vast world of drone videography and may even convince you to spend more on an advanced quadcopter in the future!

Check out more sample images and videos in my DJI Neo 2 review.

More from Tom's Guide

• Best cameras in 2025
• This $1,100 camera beats out $10,000 super telephoto lenses for wildlife photography, and I've taken some of my best photos yet
• I ditched my Google Pixel 7 Pro for the new Fujifilm X-M5 — here's why I won't be going back

2025 has been a superb year for tech, especially cameras. I've loved photography for as long as I can remember, and I hate leaving the house without a camera around my neck. I am, then, very lucky that I get to test the best cameras as part of my job. I get to spend weeks with a camera, putting it through its paces, and it's really an in-depth test drive in case I want to buy one... and I did!

The first-ever camera I tested here at Tom's Guide was the Fujifilm X-T50. Since then, I've had a soft spot for it. When I first held it in my hands, all the way back in May 2024, I thought it was a lovely, compact, premium camera that took incredible photos. Fast forward a whole year to me adding it to my cart and paying for it myself.

The X-T50 replaced my battered old Nikon D5100 DSLR, and I haven't looked back since. I rarely go anywhere without it, and I've taken beautiful photos and videos in the U.K. and — wait for it — Iceland. It's become my ride-or-die, and it's one of the best decisions I've ever made. Here's why the X-T50 is a winner in my books.

A class apart

Fujifilm has released great cameras this year, such as the X-E5, the GFX100RF, the X half, and the X-T30 III. All formidable cameras, in their own right. When the X-E5 dropped, I had half a mind to get it — I'd even added it to my cart. You know what else was sitting in my cart? The Fuji X-T50. I spent a while comparing the two cameras' specs side by side, and in the end, I opted for the one-year-old X-T50 — and I have no regrets.

Obviously, it depends on your requirements and the specs you're after, but the X-T50 is the perfect camera for me. It's compact, measuring just 4.87 x 3.3 x 1.92 inches and weighing only 15.45 ounces, which means I can carry it with ease, either in my backpack or around my neck. Though its sculpted grip doesn't protrude as much as on some other cameras, it's the ideal size and shape for my medium-sized hands, and I've never once complained about it.

Another reason why the X-T50 is my favorite camera is its film simulation dial, which gives you quick access to a number of recipes (filters, essentially). Some people might argue that it's unnecessary and takes up space on the top plate, but I think it's a boon. I adore Fuji's color science and film recipes, and I love being able to instantly swap between them depending on the mood I'm going for.

What's even better is that you can customize and load your own film recipes onto the camera, ready to use whenever you like. I love this feature because it can help you maintain a consistent look across photos, say, of streets, landscapes, and portraits.

Power in spades

Of course, I wouldn't have bought the Fujifilm X-T50 if it didn't take downright amazing photos, and JPEGs that can be used straight-out-of-camera or with minimal editing. At that, the X-T50 excels. It uses Fuji’s latest X-Processor 5 image processor and a 40.2MP APS-C sensor, which means you can capture plenty of detail and make extreme crops too.

When I reviewed the camera, I photographed the streets of Bath, U.K., and the X-T50 did well. But I didn't realize just how much I loved the X-T50 until I used it to photograph my trip to Iceland (the country, not the British supermarket chain). Photographing the most beautiful country in the world with the X-T50 made me realize one thing: this camera is a jack of all trades.

The X-T50 captures detailed images, yes, but it also has quick autofocus that locks on to humans and animals, ensuring you never miss a shot. Whether I was capturing landscape shots of gigantic waterfalls or portraits of my beautiful partner, the X-T50 never let me down.

But this isn't just a stills camera. The X-T50 is more than capable of recording 6.2K/30fps video, which is shake-free thanks to 5-axis (7 stops) in-body image stabilization. Film simulation recipes can be applied to videos too, and the autofocus stays locked onto your subject, even as you move the camera. See? Jack of all trades.

Would I change anything? Well...

No. The short answer is: no, I wouldn't change a thing about the Fujifilm X-T50. Like most gadgets, I admit that the X-T50 isn't perfect. It's not weather-sealed, which means I can't use it when it's raining cats and dogs (as it does often in the U.K.). Battery life, on paper, isn't the best (305-shot CIPA rating), but it has lasted me fairly long in the real world. And it's expensive.

But a thing doesn't need to be perfect for you to fall in love with it, and that's what happened with me and the X-T50. As soon as I laid my eyes on our charcoal review unit, and I held it in my hands, I knew there was no better camera for me — that has proven true a year later, even though I've tested at least 50 cameras since.

My favorite subjects to photograph are birds, animals and my partner, and the X-T50 is up to that challenge. Sure, I'd love a Sony A1 II or a Canon EOS R5 Mark II to take my wildlife photography up a notch, but I'm not a professional photographer. I also don't have a cool five grand (at least) to spare or drop on pro-level cameras. All of these factors combined led me to the X-T50, and it is, by far, the best mirrorless camera for a casual photographer such as myself.

More from Tom's Guide

• Fujifilm X-T50 review
• I didn’t realize how much I loved the Fujifilm X-T50 until I photographed my trip to Iceland — and it blew me away
• I think the new Fujifilm X-E5 is overrated — and I’m so glad I bought this camera instead

For someone who reviews tech for a living, I hate having technology take over my life. I’m a firm believer that technology is there to enhance our lives, and when it starts to cause hindrance or distraction, we’ve gone a step too far.

That thought always applies whenever I want to stay in the moment, which is why I got into photography. Not only do you get much cleaner and crisper photos than you can achieve with your phone, but it’s just you, your subject, and the camera.

I usually like to take pictures of nature, whether I’m at a lake, beach or in the woods, it’s a great way to connect with my surroundings. I’ve been shooting mostly on the Sony a6100 for the last couple of years, but in June, I had the opportunity to head out to Valencia with Fujifilm to test out their then-new camera, the Fujifilm X-E5, which I think is one of the best mirrorless cameras around.

If I’m being honest, I was getting a bit bored with my photography. It all felt the same, and I stopped seeing growth in my work. But this camera literally changed everything. It showed me that the main reason my work wasn’t progressing is that I stopped having as much fun with my camera, and this camera brings all the fun right back.

The film simulation dial

With previous Fujifilm cameras I have used, like the X-Pro 3, you had to go into the camera’s menu and use the toggle to adjust film simulation settings. This is pretty time-consuming and can sometimes mean that you miss the shot you want with the film sim you want. Sure, you can edit in post, but isn’t that the fun of Fujifilm cameras?

The main selling point of the X-E5 camera for me, and so many others, is the film simulation dial. This sits right on top of the camera, just above the viewfinder, so you can easily cycle through the film simulations.

There’s also the option to add three of your own presets, which I have taken full advantage of. I’ve even added a warm-toned one that replicates the style of Kodak Gold 200 film, as you can see above, giving my photos a nostalgic feel perfect for the holiday season.

Effortless photography

Point and shoot; it seriously couldn’t be any easier. When I first used the camera, I was a little apprehensive since I wasn’t too sure what to expect, but I managed to get some of the best images I’ve ever taken.

Sure, a lot of it has to do with the fact that I was in Valencia, which is, quite frankly, beautiful, but the tech inside the camera is doing most of the work. The 40.2MP sensor means I can even crop in and adjust image skew in post without worrying about image quality. This is a major upgrade over the X-E4, which offers only 26MP.

In another step up from its predecessor, the X-E5 comes with in-body image stabilization, which makes it a little heavier, but there’s more assurance that your pictures are going to come out great. The 3-inch, 1.04 million dot LCD screen tilts to 180º, so I’m always able to get the perfect angle in my shots.

There is nothing difficult about this camera. Everything runs smoothly, and there is very little room for error.

Super compact style

When I bought my first camera, the man who sold it to me said that I needed to take pictures of anything and everything. It’s the only way to build experience, find a style, and ultimately, learn. That means that my camera comes everywhere with me, so it’s ideal that the X-E5 is the perfect size to go in my bag (in a case, of course, I’m not an animal).

The hand grip on the right side of the camera also makes it really easy to hold, and it felt super secure whenever I was using it. It’s simply the perfect size, measuring just 4.9 x 2.8 x 1.5 inches.

I use the camera with the pancake lens that comes with this kit, which, as the name would suggest, is flat as a pancake. The XF 23mm F2.8 R WR lens has a minimum focal distance of 20cm, so I’m able to get up close and personal to subjects like flowers and get great, detailed shots. It also offers a decently wide field of view for landscape photography.

I purchased this lens as part of a kit with the body of the camera, but you can also purchase it separately.

More from Tom's Guide

• I just bought this 5-year-old Fujifilm camera and it proves newer isn’t always better
• The best cameras you can buy
• The best instant cameras on the market

So you've just got a new Fuji for Christmas? Or maybe you've treated yourself to one (I don't blame you). Congratulations, they're some of the best mirrorless cameras around. Now comes the tricky part, though: deciding what lenses to buy.

Your camera might come with a kit zoom lens, and these aren't bad to get you started. Kit zooms are generally quite limited though, with narrow and often variable maximum apertures. That makes them less flexible in low light, or if you want to get out of focus backgrounds. To make your photography look professional, you'll need a better zoom lens or a prime lens.

A prime lens doesn't zoom, but the trade off is that they're smaller, sometimes more cinematic looking, and often have wider (A.K.A "faster") maximum apertures for better-looking bokeh. Zooms, on the other hand, are more flexible, which is important if you want to span multiple genres or photography different without changing lenses (although part of the fun with prime lenses is moving yourself to frame properly).

There are lots of Fuji lenses out there, both from Fuji itself and third parties. The choice can be daunting, but don't worry — I'm here to help. I got my first Fujifilm 10 years ago and have owned six in total. And as the senior editor in charge of our cameras section here at Tom's Guide, I test almost all Fujis that are released, from the entry level Fujifilm X-T30 III through to street legends like the Fujifilm X-E5 and Fujifilm X100VI, to powerful medium format cameras like the Fujifilm GFX100 II.

I've used many Fuji lenses throughout that time. Here are my recommendations. I've broken things down into a few different genres to help you find the right lens for you.

Note: I'm only covering APS-C X-Mount fit lenses here. I'm assuming that new Fuji users likely won't have dropped $8,000 into a brand new GFX100 II, so I'm leaving Fuji's GF medium format lenses out. Note 2: Fujinon is the brand name for lenses made by Fujifilm itself.

Best all-rounder: Fujinon XF35mm F2

This, in my opinion, should be every Fujifilm user's first lens. It's a fantastic, compact versatile lens with a field of view equivalent to 52.5mm on a full frame camera. That's known as a "standard" field of view and is good for a variety of genres, including street, documentary, architecture and even portraiture. It has a fast F2 maximum aperture for some reasonably attractive out of focus backgrounds, too!

This is the only Fujifilm lens I've owned and never sold. It's my ride-or-die Fuji lens. You can see it fitted to my X-E4 above! Buy it once and it'll last you forever.

If you can't stretch to the XF lens, you can try the Fujinon XC 35mm F2, which costs $239 at Amazon, which uses the same optics.

XC lenses are Fuji's cheaper range, with plastic bodies instead of metal and no aperture control ring — this is vitally important! Some Fuji cameras have very limited controls, so having an aperture control ring frees up priceless on-camera dials for other important controls, such as ISO. In my opinion, cheaper XC lenses are not worth the saving in the long run.

Best for street: Fujinon XF23mm F2.8

This is a fun little lens. It was launched as the kit lens for the Fujifilm X-E5, which I reviewed. So I spent a few weeks shooting with this thing. It's also been released standalone, to (kinda) replace the older Fujinon XF27mm F2.8 that shipped with the X-E4.

The 23mm is a pancake lens, so it's very flat, compact and unobtrusive, making it great for street, documentary and travel. It has a wide 23mm focal length, which gives a field of view equivalent to a 34.5mm lens on a full frame camera. 35mm is the classic focal length for street! The XF23mm has a fairly wide maximum aperture of F2.8, which is good for getting some out of focus backgrounds and isolating your subject.

Below you can see a photo of the lens on the X-E5, as well as some photos I took using the 23mm lens during testing.

If you'd like to save a bit of cash and want a similar focal length, check out the Viltrox AF 23mm F1.4, which is just $239 at Amazon. This lens is super sharp and highly regarded in the photography world. It has a super bright maximum aperture of F1.4, although it's a lot bigger and heavier than the XF23mm pancake.

Best for video: Sigma 18-50mm F2.8 DC DN | C

This is a lens I haven't tested personally, but this one is actually on my bucket list, as I need a standard zoom for my product photography and personal work. I have, however, used Sigma standard zooms before when I shot with Sony, and they're excellent optics.

The Sigma 18-50mm has proved itself an extremely sharp little lens, having already been released for Sony E-mount APS-C cameras before the Fuji variant was released. This is a great little lens for video, as it demonstrates no noticeable focus breathing (where the lens zooms in and out slightly while focusing). Its an AF lens, too, with fast focusing capabilities, and also has a fairly bright F2.8 constant maximum aperture, which means you can maintain F2.8 throughout the zoom range.

An alternative to the Sigma F2.8 would be the Fujinon XF16-55mm F2.8, currently $1,399 at Amazon. This is a lens I've shot with extensively during testing, and it's a beautiful general-purpose zoom lens. It also has an F2.8 constant maximum aperture, as well as adjustable aperture ring feel (clicky or smooth), allowing you to perform smooth focus pulls in video. The downsides? It's big, and it's very expensive, so my vote would still be for the Sigma.

Best for architecture: Fujinon XF14mm F2.8

I've been using the Fujinon XF14mm F2.8 for a few years now for my personal architecture photography. I actually sold this lens once a few years ago, only to regret my decision and buy it back. This lens is truly excellent for architecture because it's almost unbelievably straight. Usually, at wide focal lengths like 14mm, wide-angle barrel distortion warps the image — think of the fish bowl effect on a fisheye lens.

The XF14mm is astoundingly straight, showing no barrel distortion while maintaining excellent sharpness in image corners. Hence, it's my go-to for snapping buildings!

Now, I'll be the first to admit this lens' imperfections, because there are a few. Firstly, it's old. This was one of the first XF lenses released for Fuji mirrorless cameras back in the 2010s, and that shows — it's a slow lens to focus, and noisy too, so it's not ideal for video work or fast-paced photography.

It also has a curiously loose aperture ring (from the factory — this has been an issue on both my versions), so you might find yourself knocking your aperture out in use. Neither as huge issues for architecture photography, though, which is a slower-paced and more considered genre.

If you'd like something a little newer and snappier, not to mention cheaper, there's the Viltrox AF 13mm, which costs $486 at Amazon, has a slightly wider field of view and a brighter F1.4 maximum aperture. And yeah, this is also a great lens that I'm happy to recommend. But I just love the character and utter sharpness of the Fuji optic!

Best for portraits: Viltrox 56mm F1.2

Another great Viltrox lens is the 56mm F1.2. All of Viltrox's AF lens range have fantastic reputations, so despite not having used this one, I'm happy to recommend it. Again, this is a lens I have on my own bucket list, potentially for purchasing in the new year sales.

56mm on an APS-C camera gives a field of view equivalent to an 84mm lens on a full frame camera. That's the ideal focal length for portraiture, providing lots of distance compression to separate your subject from their background. Add to that the super shallow F1.2 maximum aperture, and you can get razor thin depth of field, extremely tight background blur and gorgeous bokeh. What more could you ask for from a portrait lens?

You're actually spoiled for choice when it comes to 56mm portrait lenses on the X-mount. Fuji makes its own version, the Fujinon XF56mm F1.2, which costs $1,199 at Amazon. I've used this lens, and it's gorgeous, but it's hella pricey. There's also the Sigma 56mm F1.4, which costs $459 at Amazon, so could be a good budget alternative. However, the Sigma has no aperture control ring, which is a difficult thing for many Fuji users to stomach.

Best for wildlife: Fujinon XF70-300mm F4-5.6

The XF70-300mm is a fantastic lens for wildlife shooters thanks to its super telephoto 300mm maximum focal length. That gives you a field of view equivalent to a 450mm lens on a full frame camera, and essentially gives you bags and bags of reach to bring far away critters into frame.

I tested with this lens recently for my Fujifilm X-T30 III review, where I took it for some wildlife photography. It performed very well, focusing quickly and producing images with lovely distance separation thanks to the long focal length. It also features optical image stabilization, which is extremely useful when shooting at longer focal lengths (where handheld camera shake is exacerbated) on a non-IBIS camera.

There isn't a whole lot of competition for this lens. Tamron makes a 70-300mm APS-C camera, but hasn't yet ported its version to the Fuji X-mount, so you'd need a mount adapter for the Sony or Nikon variant.

There's also the Fujinon XF50-140mm F2.8, which costs $1,899 at Amazon. This is a fantastic lens for wildlife, and you can see some examples of images I shot with it in the gallery above. It also has a bright constant F2.8 maximum aperture, meaning no need to stop down throughout the zoom range. However, it's much more expensive and doesn't have the same extra-long reach as the 70-300mm.

More from Tom's Guide

• I'm a cameras editor — here are my top mirrorless cameras from a year of testing
• I reviewed every drone that came out in 2025: these are the best photos and videos I’ve taken
• I just bought this 5-year-old Fujifilm camera and it proves newer isn’t always better

I love my job! I get to test the latest and best mirrorless cameras... and I get paid to do it. I also get to help you guys figure out which new camera to buy. And I mean this when I say it: that's one of my favorite things to do.

Looking back on 2025, it's been a pretty big year for camera launches. Recently, we even had the announcement and launch of the brand new Sony A7 V (although we've yet to test that so it doesn't make it to this list).

So which are my favorites? Read on to find out the top entries from the class of 2025.

Nikon Z5 II

After it launched in April 2025, I utterly adored testing the Nikon Z5 II, and I was even a little shocked at the sheer value for money it offers. Pro features like dual card slots, excellent AF and outstanding image quality, the Nikon Z5 II very quickly made it into our best mirrorless cameras roundup.

This camera is ideal for enthusiast photographers upgrading from their beginner camera to something more serious. It's especially suited to anyone who thinks paid professional work might be on the horizon, as it has useful pro features like dual card slots and advanced subject detection AF.

All in all, the Z5II has more than earned its award of "best value for money" from myself and the Tom's Guide team. Check out my Nikon Z5II review for more info.

Fujifilm X-T30 III

The Fujifilm X-T30 III succeeds the (you guessed it) Fujifilm X-T30 II, and I've reviewed both! The X-T30 III launched in October 2025 and brought with it some modest, but choice upgrades over the former model. This is Fuji's entry-level stills camera, and is easily one of the best cameras for beginners (although it is a little pricey).

The X-T30 III features the same 26MP image sensor as its predecessor, the X-T30 II. However, Fuji fitted the camera with its latest autofocus sysetm and advanced subject detection. It also benefits from the latest Fujifilm X-Processor 5, which brings reduced power consumption (despite having the same battery) than its predecessor as well as improved image processing.

The only major issues I have with the X-T30 III are its awkward Q-button placement and its price. It's pretty expensive for an entry-level camera, although Fujis are simply pricey (and you get what you pay for, especially in terms of build quality). None of this overshadows what an excellent camera this is, though! Find out more in my Fujifilm X-T30 III review.

Canon EOS R50 V

The Canon EOS R50 V launched in March 2025 and immediately became our favorite vlogging camera for beginners. It builds substantially on the Canon EOS R50 (one of our top picks for beginners), which was a little weak in the video department.

Compact yet powerful, the EOS R50 V packs 4K/60fps video and 24.2MP stills, all in a very affordable package. It also features Canon's excellent subject detection AF system, to ensure you're always in perfect focus.

This makes it the ideal tool for new content creators looking for a vlogging camera to start producing video for social media. Find out more in our Canon EOS R50 V review.

Hasselblad X2D II 100C

When it launched in August 2025, I got to test the unbelievably beautiful Hasselblad X2D II 100C. I tested the original Hasselblad X2D 100C, and I'm no stranger to medium format cameras (from having tested all Fujifilm GFX bodies). The X2D II is a major improvement over the first model while undercutting its chief rival from Fujifilm in price! What more could I ask for? (Except for someone to give me the money to actually buy one, of course.)

Is anyone after a new kidney? Because I'm selling. The price is $15,000. The money will go on a Hasselblad X2D II 100C and a couple of lenses.

The X2D II 100C is the second generation of Hassy's 100MP professional mirrorless body. Unlike the manufacturer's other traditional cameras, like the Hasselblad 907X + 100C, the X2D line packs the huge medium format sensor into a modern mirrorless body, giving professionals the handling and features they need when shooting.

the X2D II 100C sports major improvements over its predecessor, including upgraded AF and IBIS, as well as a HDR mode for super-wide dynamic range in JPEGs. It also undercuts its chief rival, the Fujfilm GFX100 II in price, which is pretty impressive! Find out more in my full Hasselblad X2D II 100C review.

What's your favorite mirrorless camera? Let me know in the comments below.

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• I've been shooting Fuji for over 10 years — here's why I won't be buying the X-E5

Recently, I’ve been on the prowl for a weekend camera. I love my Fujifilm X-T5, but it’s the camera I use on a near daily basis for work, shooting product photography or article illustrations. As tactile and enjoyable as it is, the X-T5 is also a bit too good.

"Huh? Too good?” Yeah, you heard me: too good. There are dials, Fn buttons, remappable buttons or swipe commands for everything. It’s a phenomenally easy camera to use, which I love about it. But on the weekend, when I shoot my personal photography, I want a bit more of a challenge.

I’ve been here before. A few years back I traded my Sony A7 III for a Fujifilm X-E4 for the very same reason. I had to get rid of that X-E4 as it had a dodgy sensor, and I’ve pined for it ever since.

A few months back, its successor, the Fujifilm X-E5 was released, a camera I spent a lot of time with while reviewing. I knew I wanted another X-E camera, so I was weighing up buying the X-E5. Despite it not feeling right for me during my review, for some reason I felt like I needed the newest and best camera (specs-wise, at least) for the job.

But in the end, I didn’t. And instead, I just re-bought the X-E4. Here’s why I’m so glad I did, and why newer isn’t always better.

So why not the X-E5?

I get to test many of the best mirrorless cameras here at Tom’s Guide, and having been a Fuji shooter for a long time now, I take the lion’s share of Fujifilm cameras for review. That ranges from medium format beasts like the Fujifilm GFX100 II, through to entry-level models like the Fujifilm X-T30 III.

I also tested the X-E5, and personally I feel like it’s missing the magic of previous X-E cameras. Fuji’s mantra with the X-E4 launch was “make more with less” or something to that effect. And it encapsulates the experience of using the X-E4 perfectly.

The X-E4 is a stripped-back camera with one re-assignable command dial, and one re-assignable Fn button, the D-pad buttons… and that’s it in regards to custom commands. There are screen swipe gestures but these are more trouble than they’re worth. The result is a camera which doesn’t give you every function at your fingertips. And that’s why I’ve bought it twice now. It’s fun. It’s challenging. It forces you to focus only on the things that matter: shutter, aperture and ISO. You might miss a few shots as a result of not having the feature you want right there, but that’s part of the experience.

The X-E5, by contrast, has (clears throat): two command dials; an assignable lever; an assignable top button; an assignable front button; and a film sim dial. Not to mention the same d-pad and four swipe gestures. Oh, plus IBIS, do-everything AF and a 40MP sensor.

It’s too much. I spent a few weeks with the X-E5 for my review, and while it’s a fantastic, competent camera, it was missing the magic I expect from the X-E line. It felt like every other Fuji. It felt safe. It felt boring.

It's about the experience

So I re-bought my X-E4, and I’m already having an absolute blast. When I have fun with photography, I find I’m at my most creative.

The X-E4 is small and unobtrusive enough that you can get away with taking it and using it practically anywhere. The ideal camera to own is the one that you want to take everywhere, as you’ll naturally capture more.

And with its rangefinder style, people find the X-E4 far less intimidating than a large mirrorless with a 2lb zoom lens strapped to it. As such, I’ve had the camera practically glued to me for a couple of weeks now. I even took it to an amateur wrestling event, which was extremely fun (and a test for the camera's high ISO performance).

As I mentioned above, it’s just so much fun to use, too. It forces you to whittle down the actual functions you need mapped, with its limited controls helping focus you only on the fundamentals of photography: aperture, shutter and ISO.

It would be easy to mistake the camera’s simplicity as suited for beginners, and I guess to some extent that’s true — where better to spend your time than focusing only on the fundamentals of photography? But in reality, the layout is intended precisely for people like me: experienced photographers who want a good, engaging time.

It’s still a very well laid out camera — the controls that are there, at least. The X-E4 is designed for use with XF lenses that have aperture rings, and with one fitted (plus the shutter dial and command dial set to ISO) you then have all your primary exposure controls within finger’s reach at all times.

Once you’re used to it, the X-E4 is a camera you can use exceptionally quickly. In the image above, I noticed the hedge gap framing the couple at the very last moment while walking past. I was able to get the X-E4 adjusted (near enough) in a second or two and get the shot before walking on.

26MP is enough — there, I said it!

In my opinion, the 26MP X-Trans 4 CMOS sensor is the sweet spot for little Fuji street cameras. I don’t think a dinky rangefinder-style casual body needs the extra pixels of the 40MP X-Trans CMOS 5 sensor (in the X-T5 and X-E5), which results in much larger file sizes. I love being able to quickly offload and edit my street snaps with the smaller, but still excellent-quality 26MP files.

With 26MP, in a tiny street camera, you don’t need IBIS, either. The 40MP X-E5 has IBIS in large part due to counteract the increased micro-blurring of the higher-res sensor, but also because the community had been baying for IBIS for some reason.

Why? Learn to use your shutter properly in good light and you don’t need IBIS. In low light, accept shadows and learn to use high contrast to your advantage, and then you don’t need it either.

And the X-Trans CMOS 4 images just look so good. I’m on a drive to capture cinematic images, which most Fuji’s excel at, but I just love the look of the 26MP sensor. For me, it totally encapsulates that “Fuji look.” The images are atmospheric and gorgeous to look at, without the extra refinement of the sharper sensor that I think makes images feel a little too polished.

While not new, the X-E4 is also recent enough to benefit from many of the Fujifilm features I can’t live without. One of those is in-camera RAW conversions after shooting. I initially shot the images below in Classic Chrome to match the soft lighting hitting the dog’s face. Checking it out via playback, though, I felt it needed more contrast. I converted to Classic Neg in camera and got exactly what I was after.

You also get virtually all the same simulations as found on the X-E5, with the exception of Reala Ace and Nostalgic Neg (more on this later). And you can simulate those two in-camera via custom profiles anyway, so it isn’t like you’re missing out massively on film sims.

It isn't perfect

I won’t lie to you, the X-E4 has its drawbacks. As I’ve touched on throughout, it’s a challenging camera to use at times, with its restricted controls. Add on that its AF system is a little long in the tooth now, and you will find yourself missing shots at times.

The AF sometimes can't keep up with moving subjects, and with my XF35mm F/2 lens, there’s a tendency for some back-focusing. To me, though, that’s all part of the fun. I bought this camera (twice) precisely because I was bored at having everything at my disposal to always get the shot. There's no challenge in that.

Returning to film sims for a moment, too, I really miss Nostalgic Negative from my X-T5. I documented virtually my whole honeymoon on Nostalgic Neg, and it’s my favorite addition to the simlibrary from the last few years. You can simulate it in post or use a third-party recipe to create it yourself in the X-E4’s custom profile bank, but I dunno, it doesn’t quite feel the same as having the real deal. Has it affected me wanting to shoot with the X-E4 though? No chance.

Handling is doubtless an issue. On the X-E4, Fuji removed the front grip of the X-E3, and that makes a huge difference to how secure it feels in hand. You’ll want to buy a third-party cage with a front grip to ensure adequate handling, particularly in portrait orientation or at odd angles. These are fairly cheap at Amazon.

There’s also no rear thumb rest, so it’s also a good idea to buy a hot shoe thumb rest for the back, which massively improves handling in portrait orientation. I already had a silver one from my old X-E4. It doesn't quite match my new black one, but I'm not too fussed.

Don't be afraid to buy used

Don’t get me wrong, I like the Fujifilm X-E5. It’s a solid camera, but I think Fuji lost sight of what made the X-E line so good to begin with. It made the X-E5 too safe, packing it with too many features and controls. But I was still considering one anyway. I wanted a compact street camera and fell into the trap of lusting after the latest model.

It’s easy for anyone to fall into that trap (although especially in my job). It's natural to want, or even feel like you need the newest gear. But most of the time, you don’t. This experience has shown me that escaping those thought patterns can pay dividends. The X-E4 may be five years old, but it still performs exceptionally well for its intended purpose.

For most photographers who take photos for fun, the most technically proficient camera isn't always the best for our needs. In fact, I'd argue the exact opposite, and what's best for many like me is actually experience. It's more important, in my eyes, to focus on that over specs.

So, if you’ve been eyeing up that several-year-old second hand camera. Maybe an X-Pro 2 or X-E3 — heck, maybe even a GFX50R (which are going for pretty cheap these days), don’t be afraid to bite the bullet. You can have just as much fun with a golden oldie!

More from Tom's Guide

• The best cheap cameras you can buy
• Fujifilm GFX100S II review
• I've been shooting Fuji for over 10 years — here's why I won't be buying the X-E5

The RX1R III is Sony’s resuscitation of the RX1R line. Its predecessor, the RX1R II, was launched way back in 2015. As such, we in the photography community assumed the line had been killed — after all, Sony is Sony, so if it wants to release a new camera, it will. And it didn’t. Then compact cameras became a thing again.

The RX1R III is Sony’s attempt to capitalize on the market’s current hunger for compact fixed-lens cameras: from the humble 00’s era point-and-shoot; to premium compacts like the Fujifilm X100VI and the Ricoh GR IV; and onto ultra-premium compacts like the Fujifilm GFX100RF and the Leica Q3 43. Priced at over $5,000, it’s the latter two in particular the RX1R III is up against.

Make no mistake, the RX1R III is an extravagance. It’s intended as the plaything of the professional photographer or otherwise well-off enthusiast. And the key word there is “plaything” — this camera is a weekender. So, could this be one of the best cameras to remortgage your house for? Find out in my full Sony RX1R III review.

Sony RX1R III review: Specs

Sony RX1R III review: Price & availability

The Sony RX1R III costs $5,099 / £4,049. That’s a lot given this is essentially a condensed Sony A7C R ($2,999) — itself a condensed Sony A7R V ($3,900), both of which I've tested extensively. With the RX1R III, you’re getting less camera than those two in virtually all manners, yet Sony charges a surcharge… just because?

Kinda. The ultra-premium compact camera market is currently in a boom. Think of it like the housing market: if a four-bed house on your street sells for $X, that means you can charge $X for your four-bed house, too! The Fujifilm GFX100RF ($4,899) and Leica Q3 43 ($7,380) are also exorbitantly expensive. Thus, Sony feels it can charge five grand for its entrant.

The problem is: I’m not sure it can. The Leica Q3 43 has more features, including better video specs and optical image stabilization. And remember, the Leica Q3 43 is a Leica, not a rebadged A7C R. It’s special. The cheaper GFX100RF, meanwhile, features a beautiful 100MP medium format sensor. The usual drawback of medium format sensors is slower AF and drive rates, but a) the RX1R III’s isn’t that quick; and b) the Fuji isn’t that slow, either.

These cameras are all super premium toys — they’re all equally as unblessed in the raw speed and pro features departments. With that in mind, why spend $5,099 on a stripped-back A7C R, 61MP full frame Sony toy when you could spend $200 less on a 100MP medium format Fujifilm toy?

If you fancy emptying your wallet even more, you can also buy the RX1R III with some ludicrously overpriced accessories. A lens hood: $199. A leatherette body case: $248. And a thumb grip: $298. But hey, shipping is free and you get $50 cashback if you register the camera within 30 days (that’s less than 1% cashback.)

Sony RX1R III review: Design

The Sony RX1R III looks very similar to its predecessor, with no radical changes to the camera’s general size or dimensions. The top dials have been shrunk to sit flush with the top panel, which (marginally) helps its portability.

The RX1R III is extremely compact at 4.5 x 2.75 x 3.5 inches, and fairly lightweight at just under 1.2lbs. I had no issues wearing it around my neck for hours around the city. It handles excellently as a result of its diminutive size, plus the front grip and rear thumb rest — each subtle but effective. Both are finished with a textured rubber which is extremely grippy, allowing Sony to keep the actual grips shallow and unobtrusive.

The magnesium alloy body is finished in a “newly developed” iron black matte coating that looks more or less like the finish on most Sony Alpha cameras. Regardless, the finish is lovely, and the RX1R III feels beautifully made. As per all Sony cameras.

Displays

One of the major updates to the RX1R II is its viewfinder. The RX1R II had a removable EVF, allowing you to shrink the camera down. The RX1R III’s EVF is built-in, although incorporated entirely within the body so it doesn’t get in the way. The EVF cup is quite large but can be removed easily if you need to save space.

The EVF is the same resolution as that in the RX1R II and A7C R: 2.36M dots. For $5,099 and at 61MP, though, I’d expect more. The Q3 43 and GFX100RF each have 5.76M-dot EVFs, as does the A7R V. A higher resolution display would do better justice to the camera’s high-res sensor when shooting, focus checking and during playback. Given the space constraints, though, a higher-res EVF clearly wasn't viable. And to be honest, I'm not sure the camera's battery life could take more power draw.

The RX1R III’s rear screen is bright and easy to use in direct sunlight. It has likewise seen changes, with resolution rising from the RX1R II’s 1.22M dots to 2.36M dots — a run-of-the-mill rear display resolution. The screen is now fixed to the body, which is a pain when shooting from the hip or at tricky angles.

Connectivity

The RX1R III has a single SD slot, which is expected in a camera this compact and not designed for professional use. The A7C R and Leica Q3 43 each have a single slot, although the Fujifilm GFX100RF has two (a necessity given the huge 100MP RAW files).

The RX1R III has a 3.5mm mic port, a USB-C port and a micro HDMI port. There’s no headphone jack or interface, so you can’t connect headphones to monitor audio. Once more, however, I remind you this is not a workhorse or a video camera. Its ports are suitable for its purpose.

The RX1R III features Bluetooth and Wi-Fi, so you can hook up to the Sony Imaging Edge apps (mobile/desktop) for wireless file transfer and tethered shooting. The smartphone app is now as it has been ever since I first started shooting Sony in 2019: a buggy, unreliable waste of time.

Sony RX1R III review: Controls

The RX1R III is a decent camera to control. All the rear controls are located on the right-hand side of the camera, making them easy to reach with one hand. All except the C2 Fn button: it’s located on the outside of the thumb rest, which necessitates bringing a second hand into play. Not a big deal.

The RX1R III features an on-lens aperture control ring which, as a Fuji shooter, I love. This removes the need to change aperture using a command dial — important on the RX1R III, as it only has a single assignable dial. The camera could’ve done with a frontal command dial, which would allow more intuitive control over ISO than by using the rear wheel, although I got by just fine.

Unfortunately, Sony has removed the focus selector dial (present on the RX1R and the RX1R II), so you need to change focus modes via the Fn menu or an assigned button map. Disappointing but, again, not a huge deal.

Annoyingly for a camera that’s so photography-biased, there’s also no focus joystick. To shift AF point, you first need to select the movable AF point mode from the focus menu — too many steps when in a hurry to get your shot. As long as you never actually confirm a focus point, though, you can jerry rig it to stay in a movable state. Still, not ideal.

Menu

Sony’s menu system is very good. It’s user friendly, with an intuitive layout and color coding to make navigating easy. Importantly, it remembers where you were last time you used it, which makes going back and forth to tweak and re-tweak settings much quicker.

Sony RX1R III review: Autofocus

The Sony RX1R III uses a Zeiss Sonnar T 35mm F2 lens, which is rather long in the tooth now. It’s the same lens used on both predecessors, and it shows. This lens is rather noisy while autofocusing, which I’ll cover more in the video section later.

Sony’s AF system is very, very proficient, and the RX1R III sports the manufacturer’s vaunted AF algorithms and automatic subject detection modes — humans, animals, birds, vehicles, etc. In decent light, everything works just fine. The AF detects subjects quickly and reliably, as per any Sony, and the lens can focus just about fast enough to keep up with moving subjects, as long as they aren’t too fast.

In the studio portrait of Tom's Guide senior writer Nikita at the top of this section, the camera was able to lock onto her eye, tracking it throughout the frame.

In lower light, the lens struggles. I took the RX1R III to an evening Thanksgiving dinner. I came away with some good shots, but quite a few were out of focus as the camera failed to detect subjects. In the photo of my wife Laura directly above, the camera managed to lock onto her eye, but only after some hunting. It took me quite a few attempts to get the camera to lock onto the dog's eye in the photo below.

Admittedly, though, it never feels like a big deal with the RXR1 III — this camera is primarily about slower-paced, personal photography, with a definite bias towards street, documentary, architectural and artistic endeavours.

The 35mm is a joy to use manually, too, which Sony’s MF assist magnifier makes a walk in the park. The focus ring is smooth, with a long throw, allowing plenty of fine control. Manual focusing really suits the ethos of this camera — it just feels right.

There’s also a close focusing mode that drops the minimum focusing distance (in AF and MF) to 20cm, allowing you to get some close-up shots — combined with the cropping headroom of 61MP, this allows you to capture a good amount of fine detail.

Sony RX1R III review: Image performance

As I mentioned above, the Sony RX1R III features a 35mm F/2 lens, which is utterly lovely. The moderately wide 35mm field of view on full frame is ideal for a variety of scenarios, but especially street, documentary and architectural photography.

You can apply in-camera digital crops to effective 50mm and 70mm focal lengths, and still come away with acceptably high resolution images thanks to the sensor’s 61 megapixels. It’s nice to have that extra reach while framing, and also to use the tighter frames to help you compose shots. It all makes the RX1R III a very flexible camera on the street.

The crop is all digital and only applies to JPEGs, so when shooting in RAW + JPEG you still get the full 35mm FoV RAW file. I like that any crop used is pre-applied to the RAW file in Lightroom (if importing with the 'use camera settings' box checked), so you can open up a file to alter color and exposure without losing the framing you used in-camera.

The lens is extremely sharp, doing justice to the high-res sensor. It also has a lot of character, and thanks to the fairly fast f/2 maximum aperture, you can generate some nice out of focus backgrounds.

I've seen some discourse about this lens not having been updated since the last model, but honestly, I think this is the perfect lens for this type of camera. It makes lovely images and is just so damned flexible on the street, especially with the digital crops. If it ain't broke, why fix it?

The camera's mechanical shutter tops out at 1/4000sec, which isn't particularly fast. The same can be said for the electronic shutter, too, which maxes out at 1/8000sec. For the fast majority of use, this will be fine, but if you're shooting wide open outdoors in bright light, you might want to pack some 49mm ND filters in your bag.

The shutter is slow because it's a leaf shutter. The trade off for that slower maximum speed is that the camera can sync to flash at any speed (up to its maximum) — arguably not too important in a street camera. It also means, though, that the RX1R III won't suffer from rolling shutter, as light hits each part of the sensor evenly.

Color

As always, Sony’s color replication is excellent, with natural-feeling colors in the Standard profile and 15 stops of dynamic range to enable smooth color transitions. With those 61MP RAW files, you’ve got a lot of flexibility with editing, too.

That said, with so much resolution and the creative profiles available on the RX1R III, I was more than happy to just use extra-fine JPEGs most of the time, unless I had a serious color or exposure issue to correct.

On the topic of color profiles, in a blatant attempt to catch up with the popularity of Fujifilm’s in-camera film simulations, Sony has developed its own. And they’re ideal for a street camera like the RX1R III, allowing you to achieve stylized retro-inspired looks straight out of camera. Check out the image captions throughout to see which color profiles were used.

The FL, FL2 and FL3 profiles (FL = Film Look) are exceptional. FL gives a slightly washed-out, nostalgic look but boosts blues and greens, making it great for sunny days and blue skies. FL2 washes out the color even further, with lots of contrast for a retro film style. FL3, meanwhile, lifts shadows and scales back contrast, for a brighter look.

My favorites are SH (Soft Highkey), which reduces contrast but boosts saturation; and IN (Instant) which gives a distinct retro instant camera vibe. I just left the camera in these two or FL3 most of the time.

Sony’s black and white profile is, as ever, utterly gorgeous, with its super strong contrast and deep shadows giving a sleek, modern feel. I spent years of my life solely shooting B&W on the Sony A7 and A7 III. I was tempted away by Fujifilm’s Acros, which has a more retro, filmic feel. Every time I shoot Sony, though, I miss it.

High ISO and dynamic range

Just like its siblings using the same sensor and processor (the A7R V and A7C R), the RX1R III retains very strong image quality at high ISO. It shoots up to ISO102,400, although I wouldn’t push above ISO25,600. The images above are the out of camera JPEGs (with default noise reduction applied) at ISO12,800 and ISO25,600.

Obviously, for the cleanest images you’ll want to shoot as low as possible, but I’d happily shoot at ISO12,800. Meanwhile, ISO25,600 still looks surprisingly good, although noise reduction has had to smooth the image enough to seriously affect sharpness.

The images above are the RAW files of the same images. Again, ISO12,800 is noisy but nothing that can’t be solved in post. ISO25,600 would need some attention in post for sure, but it's eminently salvageable.

As with the A7R V and A7C R, the RX1R III has 15-stops of dynamic range at ISO100 facilitating smooth tonal transitions while also offering lots of flexibility in post. As you can see in the two images above, I was able to rescue some highlights around the fake ice cubes on the softbox netting. Meanwhile, I could reveal lots of shadow detail in post. Shadows also remained fairly noise-free, with clear tonal separation, although there is some noise around the lens hood.

This is a very extreme test, though, and in real world usage, this sensor and processor combo deliver outstanding dynamic range giving you lots of tonal separation and flexibility in challenging lighting.

Continuous drive

This isn’t a camera intended for high speed photography, topping out at 5fps in maximum drive. Its buffers are also limited by the single card slot and the large 61MP files, so you can forget sustaining that rate for very long in RAW + JPEG.

Still, 5fps is there when you need it, and I used it to fire off some bursts of JPEGs to capture dogs as they moved about during a Thanksgiving dinner with friends, and to capture swans floating down the river Avon in Bath, U.K., which you can see in the 'Image performance' section above.

Sony RX1R III review: Video performance

The Sony RX1R III isn’t a video-centric camera. That said, it has a few recording features up its sleeve. It shoots 4K at up to 30fps, with Sony’s usual range of Picture Profiles, including S-Log3 and S-Gamut3.Cine for increased dynamic range, and S-Cinetone for graded out-of-camera footage. I love S-Cinetone; it reminds me of Fuji’s Eterna Cinema, delivering cinematic, almost ethereal-looking footage.

It also features Sony’s SteadyShot digital image stabilization (incurs a crop), which does a really good job at smoothing out the jitters of handheld footage, as you can see in the sample footage above.

The 35mm lens is quite noisy and shaky when focusing, although if you’re using an external mic away from the camera, that shouldn’t be too much of an issue.

Sony RX1R III review: Battery life

The Sony RX1R III’s battery life is fairly poor, with a CIPA rating of 270 shots. At best, I was able to achieve just over 300 shots before needing to charge, although that was using high speed drive for intervals, which inflate shot-counts per charge. After a few hours of street photography, I received a red battery warning icon, so it won’t last a full, intensive day of shooting. Add 4K video into the equation and the camera drains in no time.

I’ll caveat the above with the fact that Sony’s U.K. representative sent us a third party aftermarket battery for testing, but my testing results were more or less in line with the stated CIPA ratings. Either way, the RX1R III’s battery life absolutely pales in comparison to the GFX100RF, with its 800-shot battery life, although it's in line with the 350-shot Lecia Q3 43.

Sony RX1R III review: Verdict

The Sony RX1R III has been a really tricky camera to review. $5,099 is frankly extortionate for a scaled down A7C R, while the paltry EVF res and battery life make the price an even harder pill to swallow.

However, the RX1R III has some incredible virtues. The high-res images are beautiful, as I’ve come to expect from this 61MP Exmor R sensor, and the AF is more than capable enough for this camera’s intended purpose.

And on the topic of purpose, it’s important to frame this camera along those lines. The RX1R III camera is designed, first and foremost, as a street weapon. And it is. It handles sublimely, the digital crops give lots of flexibility, the lens is gorgeous and the new color profiles deliver beautiful stylized results right out of camera. All these things make it ideal as a plaything camera for pros on their days off.

Would I buy it over the Fujifilm GFX100RF? Not a chance, although I’d be buying the A7C R before both. Nevertheless, the RX1R III still succeeds at its core purpose, and for that reason, it deserves an overall positive review. And besides, it is just a lovely, lovely thing.

A couple of days ago, Sony announced the A7 V, its latest full frame mirrorless camera which succeeds the Sony A7 IV. The fifth iteration of mainline Alpha 7 bodies, the A7 V is packed with notable upgrades, such as a 33MP partially stacked sensor, 30fps blackout-free burst shooting, faster autofocus with more subject detection modes, and so on. When I heard the news, I was itching to get my hands on the camera — and it happened yesterday when Sony U.K. & Nordic invited me to London, U.K.

I spent a day learning about the cutting-edge technology packed into the A7 V. Sony says that the A7 V is an "entry-level professional" camera — the middle-ground between an enthusiast and professional body. The A7 V has borrowed tech from pro cams, such as the A1 II, while introducing some new, nifty features. In our press briefing with Sony's U.S. team, they described it as a "baby A1 II".

Once all the pleasantries had been exchanged and formalities were done, I went hands-on with the A7 V at Tower Bridge, one of the U.K.'s most iconic landmarks. Sony had graciously hired three models who we were free to photograph, which I did, and I captured the London skyline too. Spending time with the camera confirmed a couple of things for me — one of them being that the Japanese giant is actually the king of autofocus.

So, without further ado, let me take you through my first impressions of the Sony A7 V.

A quick rundown

• What is it? The Sony A7 V is the latest addition to the Alpha 7 lineup, and it succeeds the A7 IV which came out four years ago in 2021. The A7 V now sports a chunkier grip for better handling, a 33MP partially stacked sensor, a new image processor/AI-processing BIONZ XR2 chip, 30fps blackout-free burst shooting, and 7.5-stop IBIS, amongst other things.
• Who is it for? Sony says that the A7 V puts "professional edge within your reach" and to that effect, it has borrowed some features from its pro cams. 30fps blackout-free shooting which is found in the A1 II is now featured in the A7 V, along with the A9 III's 1-second of pre-capture. The A7 V, then, is for photographers stepping up from APS-C to full frame, upgrading from an older camera and requiring fast performance, or for aspiring pros needing a reliable workhorse for their paid work.
• How much does it cost? The A7 V's body is priced at $2,899 / £2,799, which is $400 pricer than the A7 IV at launch. But this isn't surprising, given that the A7 V features a new sensor, processor and stabilization architecture, and it checks out since it's an “entry-level professional" camera. Also accompanying the new camera is the FE 28-70mm F3.5-5.6 OSS II kit lens, available for $449 / £429 on its own, or $3,099 as a kit in the U.S., although U.K. kit prices haven't been confirmed yet.
• When is it available to buy? The A7 V body will go on sale later this month on December 18, with the kit available in February 2026.

Chunkier grip = Fantastic handling

Compared to its predecessor, the Sony A7 V now sports a chunkier grip which is suitable for all hand sizes, as was made clear to me by one of the product leads claiming the camera is perfect for his large hands. I have medium-sized hands and I had no issues using the camera. My fingers wrapped well around the grip and due to its size, I could confidently hold it with just one hand too.

The A7 V is a little heavier than its predecessor (24.5oz vs 23.2oz) but it doesn't feel unruly or uncomfortable to handle or wear around your neck, even with a lens mounted. I didn't get to try the new FE 28-70mm F3.5-5.6 OSS II lens (since it isn't launching until February), but I used a couple wide-angle lenses as well as a gigantic, heavy FE 600mm F4 GM OSS lens (which made me realize I need to start hitting the gym).

Wielding the A7 V with a massive lens didn't feel like a mammoth task, though, and I was able to capture a stunning photo of the nearly-full moon from Tower Bridge, as well as part of the beautiful, lit-up London skyline.

30fps blackout-free burst is a win

I love photographing wildlife, and one thing that a good wildlife photographer needs to get stellar photos is high speed burst shooting. The Sony A7 V features 30fps burst shooting (versus 10fps on the A7 IV) — and then some. When I reviewed the Sony A1 II, I thoroughly appreciated its blackout-free burst shooting, and the A7 V features just that, thanks to its partially stacked sensor.

This basically means that the camera provides a shooting experience free of interruptions as the camera writes image files to cards — this allows you to keep tracking your subjects constantly as they move, which is fantastic for wildlife, sports, and dance. Combine the 30fps blackout-free burst shooting with a faster autofocus system and AI subject recognition and you've got a winning formula for high speed work.

I tested the autofocus and high speed drive while photographing the models and dancers at Tower Bridge, and it worked exceptionally well. The photos above were taken in burst mode and I think they've turned out fantastic! Even though they are stills, you can make out the movement.

The A7 V feels like a complete, all-round camera, and one that's more accessible and affordable than the (much) pricier A1 II. Putting blackout-free shooting within easy reach of amateur or semi-pro photographers is a big win in my books.

AI-powered subject detection has received a bump too, with Sony promising 30% improvement, and not once did I lose track of my subject when I attended the hands-on event. Of course, we will test this out more thoroughly by photographing an array of subjects — including wildlife — when we get our review unit.

Bright, beautiful, bold colors never looked better

As a Fujifilm owner, I absolutely love the brand's color science, but I can't deny the fact that Sony produces some of the best life-like colors I've ever seen — and the same holds true for the Sony A7 V. In the photos of the model, Emma, above, not only are the greens in her coat vivid, but the details in her face and hair have come out lovely too. All of these photos were shot in the Standard color profile, and they're straight-out-of-camera JPEGs — I haven't edited them one bit (except for cropping)!

The A7 V's BIONZ XR2 processing chip delivers incredible colors in images, as you can see above. Sony also claims that auto white balance (AWB) performance has been improved as it now uses deep-learning technology for "light source color estimation." According to this, the camera should very quickly adjust the white balance even in changing conditions.

I can't wait to test this out, especially out in the field where birds often emerge from the dark and into bright light, so it'll be interesting to see the results, and compare this performance to the A7 IV's.

Sony A7 V: Outlook

Even though I've spent just a few hours with it, the Sony A7 V has already impressed me. It takes what the Sony A1 II does really well and stuffs it into a more accessible body, all the while introducing a 33MP partially stacked sensor, 7.5-stops of IBIS, and a chunkier grip — all of which are missing from its predecessor.

It remains to be seen whether the A7 V can hold up in real-world use, such as while photographing wildlife and birds in action, and we'll find that out when we test the camera fully for review. Keep an eye out for our full Sony A7 V review!

The new Sony A7 V's body retails for $2,899 / £2,799 and it's available to pre-order now, with shipping expected on December 18. The kit lens will be available to purchase in February 2026, with a retail price of $449 / £429.

More from Tom's Guide

• Sony just dropped the A7 V with a stacked sensor — this could be a Canon R6 killer
• Best mirrorless cameras in 2025
• I tested the Sony A1 II for 2 weeks — and its autofocus results blew my mind

Yesterday (Dec 2), Sony dropped the A7 V. And if you know anything about cameras, you know that a mainline Sony Alpha lanch is about as big news as you can get in the industry.

After helping pioneer mirrorless camera technology in the early 2010s with the original A7 (a camera I owned and loved), Sony's Alpha 7 cameras, especially since the Sony A7III (another camera I owned and loved), have practically become the benchmark bodies for semi-pro/pro hybrid shooters. They’re some of the best mirrorless cameras around.

The Sony A7 V is the fifth iteration of mainline Alpha 7 bodies, following from the fantastic Sony A7 IV. It features a 33MP partially stacked sensor, a new image processor/AI-processing chip, and 7.5-stop IBIS.

The Sony A7 V will cost $2,899 / £2,799 body-only, or $3,099 with the new 28-70mm F3.5-5.6 OSS II kit lens launched alongside the camera. Neither Sony nor my sources have provided me with a U.K. price including the kit lens yet. The camera body will go on sale later this month on December 18, with the kit available in February 2026.

The a7 V is aimed at enthusiasts and pros, although Sony sees this as the “entry-level” professional camera, sitting underneath the Sony A7R V, A1 II and A9 III. It’s competing against the Nikon Z6 III, a camera we adore, and the brand new Canon EOS R6 Mark III — both pitched at the same audience.

The camera was just announced, so we haven’t tested the A7V yet, but we’ve been briefed by Sony on the key information. Here’s everything you need to know.

Sony A7 V: Key specs

33MP BSI partially stacked sensor

The A7 V’s biggest upgrade is undoubtedly its 33MP full frame sensor. 33MP is the same resolution as the A7 IV. This time, though, the sensor is partially stacked.

The A7 V has its DRAM stacked behind the sensor, improving high speed stills performance. This is a step down from the fully stacked sensor in the flagship Sony A1 II, but similar to the partially stacked sensor of the Nikon Z6 III. The EOS R6 Mark III is not stacked at all. To go alongside the new sensor, Sony has fitted the A7 V with new processor architecture in the form of the BIONZ XR2 processor, which bundles the A7 IV’s two image processors and separate AI chip into a single unit.

Sony promises this will deliver a 30% improvement in AI subject recognition — meaning faster autofocus (AF). It also promises improved battery life thanks to the more power-efficient processor, with up to 750 shots on a single charge.

On the topic of AF, the A7 V features 759 phase detection AF points, just like its predecessor. There are new AF point sizes, though: XS and XL. I’ve been using these on the recently-launched Sony RX1R III, and they’re handy to have.

With the XS point in particular you have much finer control over AF, allowing you to nail the exact focus point you want — instead of surrounding something entirely with an AF point and hoping for the best, or stopping down to a narrower aperture to compensate.

Still a little short on IBIS

The A7 V’s IBIS has received a bump from 5.5 stops in its predecessor to 7.5 stops of compensation, giving you even more flexibility in low light handheld stills shooting, and smoother handheld video footage.

It’s still a little short versus the Canon EOS R6 Mark III (8.5 stops) and Nikon Z6 (8 stops), but I’ve had absolutely no complaints when using the A7 III and A7 IV IBIS systems. And besides, when combined with the new optically stabilized kit lens, the IBIS should provide ample stabilization for virtually all of the target market’s use cases.

Sony hasn’t yet confirmed the combined stop compensation from both the A7 V and the new OSS lens.

What about video?

In our briefing, Sony was adamant that the A7 V is a stills-biased hybrid camera. It sees the target user as spending 70% of their time shooting stills, with 30% of their time dedicated to video — but during that 30% of time, they need a powerful video tool.

The A7 IV tops out at oversampled (from 7K) 4K/60fps or 4K/120fps slow motion, in compressed XAVC/HS formats only. That may seem a little disappointing compared to the powerful performance of the partially stacked Z6III, with its 12-bit 6K N-RAW and ProRes RAW HQ internal recording.

In Sony’s words, though, it’s providing what it thinks the target audience will actually use. Huge on-paper specs are great, but they don’t necessarily translate into usable features.

From a producer's perspective...

Also at Sony’s briefing was Tom’s Guide’s video producer, Paul Antill, who had this to say: “The Sony A7 V is the hybrid camera I’ve been waiting for. When I want to just pack one camera, I’ve been forced to choose between the high frame rate slow motion of my Sony A7S III or the higher resolution stills of my Sony A7 IV. The new A7 V finally feels closer to the blend I’ve always wanted.

“4K/120fps finally makes its way to the A7 line. There is a Super 35 crop, more than the 1.1x crop on the a7S III, but I thought we’d be stuck with 4K/60fps! The A7 V now offers up to 7.5 stops of stabilization and adds Dynamic Active Mode which is designed to give you more gimbal-like movement via the internal IBIS system.

“Thermal performance is supposedly improved, with Sony claiming that indoors you’ll likely run out of card space or battery before you hit any overheating limits. A big gripe is that my A7 IV overheats noticeably faster during longer studio recordings.

“Autoframing with AI still seems a bit gimmicky to me, but a new 4-axis articulating screen should help a lot when framing in shots from awkward angles. Rolling shutter performance is apparently significantly improved compared to the A7 IV [thanks to that partially stacked sensor]. Low light should also be solid — not quite ‘12MP dual-ISO A7S III’ solid, but still strong for a higher resolution sensor.

“One limitation is the lack of external RAW over HDMI. The A7 IV didn’t feature it either, but if you need external RAW for workflows built around Atomos or ProRes RAW recording, it is something to be aware of.

"The only feature I wish Sony included is open gate recording. It remains somewhat niche, but for creators it’s incredibly useful. I use open gate all the time here at Tom’s Guide to pull vertical and horizontal edits from the same clip without reshooting.”

A $400 price increase

The A7 V is $400 pricer than the A7 IV at launch, and that’s a sizable increase in price. However, with the new sensor, processor and stabilization architecture — not to mention it being 2025 and all — the A7 V was always going to come at a premium over its predecessor.

Again, the A7 V is designed to be an “entry-level professional” camera, not an “entry-level” camera, so its price is still fairly reasonable. Remember: it’s a workhorse for people who know that photography and video are going to be a major part of their lives, and indeed their income.

The Nikon Z6 III and EOS R6 Mark II have an edge here, at $2,499 and $2,799 respectively. Although Sony’s array of glass is much larger, meaning the cheaper cameras could be a false economy, particularly for video shooters.

Sony rarely retires its older mirrorless ILC cameras, though, which means that the A7 V’s launch brings a price drop for the A7 IV (specific pricing not yet confirmed). A silver lining indeed.

So what's the outlook?

Nor now, suffice it to say, the A7 V looks like a serious competitor to the Z6 III and R6 Mark III. The Z6 III offers more powerful video specs, but I’m not sure it has the lens infrastructure nor sheer video-kudos of the Alpha 7 line to give Sony too much trouble sleeping. Its sensor is also lower resolution than the A7 V — a boon in low light, perhaps, but an issue for pro photographers who need that extra cropping headroom.

The R6 Mark III will, I think, be the more serious thorn in the A7 V’s side. It’s cheaper, with a similar res, albeit unstacked sensor yet faster maximum drive rates, not to mention 7K/60fps, internal RAW and open-gate recording. We’ll have to see how they stack up against one another in testing.

We’ll be testing the Sony A7 V very soon, so stay locked to Tom’s Guide for more coverage, including our full review.

More from Tom's Guide

• Fujifilm X-T30 III review — My new favorite entry-level camera
• Nikon Z5 II review: Unbeatable value for money
• The best cameras in 2025

The Fujifilm X-T30 III is the latest installment in Fuji’s entry-level X-T30 line, following 2021’s Fujifilm X-T30 II… which itself followed the original X-T30 from 2019. And I’ll admit, I was a little surprised when the III was announced. Previous X-Txx generations, like the X-T20, only lasted one iteration. So, after two generations of the X-T30 and the launch of the Fujifilm X-T50, it was reasonable to assume Fuji would retire the ‘30’ variant.

Not so. And admittedly, this is a solid time for Fuji to relaunch its premium, entry-level APS-C camera. Right now, there’s a gap in that market. With the ageing X-T30 II lacking some 2025-worthy features, if you want your first camera to be a chic, retro APS-C mirrorless with the latest mod cons, there aren’t any options. The bulbous Canon EOS R50, while cheaper than ever, looks it — and is itself a few years old now. The Nikon Z50II, meanwhile, is much pricier than it has any right to be, given its 20.9MP sensor. Neither of them can match the sheer swagger or premium feel of Fuji, either.

So, could Fuji take the top entry-level spot of my best mirrorless cameras roundup? Find out in my full Fujifilm X-T30 III review.

Fujifilm X-T30 III review: Specs

Fujifilm X-T30 III review: Price & availability

On sale from November 2025, the Fujifilm X-T30 III is available in all black, silver/black, or gray/black. It costs $999 body-only, which is a $100 increase over the prior model — not great, but not an enormous hike. In the U.K., it costs £829 body-only, which is only a £30 increase over the X-T30 II. The camera launched alongside a lens, the XC 13-33mm OIS, and the kit costs $1,149 / £999. The X-T30 III is therefore significantly cheaper than its bigger 40MP sibling, the X-T50, which costs $1,399 / £1,299 body-only.

As with its predecessor, the X-T30 III will no doubt sell like lemonade in a heatwave. Cheaper models, like the X-T200, have been discontinued. The Fujifilm X half and Fujifilm X-M5 are effectively special interest cameras, and the pricier (but much more desirable) Fujifilm X-E5 and Fujifilm X100VI cameras are constantly sold out everywhere.

Consequently, the X-T30 will be the most affordable (and probably the only) onboarding point for new Fuji users who want a photography-biased mirrorless camera without jumping up several hundred dollars in price to the X-T50 or X-T5. That’s how it’s been for previous X-T generations, at least since Fuji’s enormous spike in popularity over recent years.

Versus rivals

The X-T30 III’s main rivals in the premium entry-level arena are the Canon EOS R50, Nikon Z50 II, and the Sony A6600. Although still respectable options for beginners, the Sony A6600 and EOS R50 are ageing now and a little outdated. The EOS R50 is the most affordable at $679, but feels the cheapest. The Nikon Z50II is a sound choice, thanks to its decent imaging performance, phenomenal handling and excellent AF, but is pricier and has a lower-res sensor. Neither can match the resolution, premium construction, or sheer ‘cool factor’ of the Fuji.

Then there are lenses to consider. Seriously, Fuji just can’t stop itself from releasing lenses. It has lens diarrhea… of the explosive variety. Fuji also opened up its X-mount to third-party lens manufacturers years ago, so there’s a wider array of affordable lenses for the X-T30 III.

Fujifilm X-T30 III review: Design

To call the X-T30 III a successor to the X-T30 II, while technically true, feels like skirting the truth slightly. It’s a clone with a strand or two of DNA gone astray. Aside from the film simulation dial, the X-T30 III looks exactly the same as both its forebears.

And that’s a good thing, of course. It’s a beautiful little camera, with Fuji’s usual timeless retro styling and employment of high-quality materials throughout. It’s a major cut above the bulbous styling and plasticky feel of the EOS R50 and the bland, professional-styled Z50II.

At 4.7 x 3.3 x 1.8 inches and 13.3 ounces (with battery and card), the X-T30 III is exactly the same dimensions and weight as the X-T30 II. And that’s also good. It’s as compact as it needs to be, especially with Fuji’s small XF and XC lenses, and didn’t give me any grief around my neck for a several-hour walk.

As with most Fuji X cameras, the X-T30 III isn’t officially weather-sealed, but I used it in moderate rain with my XF35mm F/2 R WR (WR = weather resistant) lens with no issues. I wouldn’t do that regularly or use it in heavy rain, though.

Displays

The X-T30 III features the same 3-inch tilting rear monitor as its predecessor, with 1.62 million dots of resolution. The EVF is also the same: a 2.36M-dot 0.39-inch OLED. Neither were broken, neither were fixed.

The Z50II features a lower-res 1.04M-dot rear display, while the EOS R50 also offers a 1.62M-dot screen. Both rivals also feature a 2.36M-dot EVF.

I shot with the X-T30 III in bright sunlight and had no issues with the brightness of the EVF or display, unlike with the Z50II. The X-T30 III’s tilting display is designed primarily for photography, though, so if you’re shooting video, you’ll prefer the vari-angle displays on the Canon and Nikon.

Connectivity

The X-T30 III is a little short on ports. There’s a single UHS-II SD slot — run-of-the-mill under $1,000, although this solidifies the camera as a casual photography tool. Under the side hatches are ports for USB-C and micro-HDMI, plus a 3.5mm mic/remote jack. And that’s it.

There’s no dedicated 3.5mm headphone jack, so you’ll need to hook up cans via USB-C. This could be an issue if you want to shoot video using multiple accessories. That said, the X-T30 line is stills-focused, so look instead at the IBIS-equipped Fujifilm X-S20 for video.

Fujifilm X-T30 III review: Controls

I genuinely facepalmed when I saw the X-T30 III’s rear controls for the first time. Fuji hasn’t listened to reviewers of the last two generations of X-T30, meaning the new model has inherited the god-awful Q button placed slap-bang on the rear thumb rest.

I was hoping for Fuji to subtly reposition it or make it harder to knock somehow, but no. You’ll knock the Q button constantly during shooting. It’s incredibly annoying and has caused me to miss shots when using both the X-T30 II and III.

Otherwise, the X-T30 III handles just fine. Fuji’s trademark retro dials make for a tactile, engaging experience; there are enough remappable buttons to get by; and, of course, it wouldn’t be a Fuji in 2025 without a film simulation dial, which makes it easy to switch between color profiles.

Honestly? I find Fuji’s film sim dials of limited use. Even with the three custom slots, you don’t get access to the whole array of profiles. None of my five most-used profiles are on the dial. As such, the dial often makes switching profiles no quicker than just assigning the film sim menu to a screen swipe, Fn, or d-pad button — that’s what I do on my Fujifilm X-T5.

Unlike the Nikon Z50II, the X-T30 III’s grip is fairly small, and there are no Fn buttons in the grip recess. This makes the Nikon by far the better-handling camera, although it has no focus joystick, which the X-T30 III does — a boon when shooting through the EVF.

Menu

Fuji’s menu is a little kooky. You’ll find the odd setting in an unintuitive place, but otherwise it’s fairly well laid out, without the pointless complexity of Nikon’s menu. It doesn’t offer the sheer ease-of-use of Canon’s menu, but it’s fine for the job.

Fujifilm X-T30 III review: Autofocus

The X-T30 III features subject detection AF that can detect and track various subjects, including humans, eyes, faces, animals, birds and vehicles. It's a major step up features-wise from the X-T30 II's AF, which could only detect humans.

It's also a major step up in performance, too. The X-T30 III's AF had no issues detecting and tracking subjects and eyes, locking onto subjects quickly and reliably, then tracking their movement tenaciously through frame. I took the X-T30 III for a spot of bird photography to put the camera through its paces.

For animals and wildlife, the X-T30 III's AF proved highly proficient, especially for a $999 camera. The AF could detect and track birds as they flew rapidly through the frame, as you can see in the images above.

Of course, it works especially well when paired with rapid wildlife lenses like the XF50-140mm I used for testing. Even with that lens, not every frame was a keeper when shooting extremely fast subjects, but I came away with a very large roster of bird shots in good focus. Very impressive.

Naturally, it was overkill for slower-moving subjects. The camera had no issues locking onto the eye of the cow in the image above, and I had no problems with dogs and other large animals, even when moving.

The X-T30 III's AF is also ideal for slower-paced genres like portraiture, street, or casual photography. In the portraits above and below, the camera locked onto each subject for perfectly-focused photos. In the image above of my wife, Laura, the AF switched from her eye to her face as she turned side-on to the lens. In the studio portrait of Tom's Guide senior writer Erin below, the camera locked perfectly onto her left eye.

There really isn’t a whole lot in it when comparing the X-T30 III’s AF to the Nikon Z50II and Canon EOS R50. They’re all extremely snappy systems that are more than capable of serving the needs of the market segment they target, and then some.

Fujifilm X-T30 III review: Image performance

Despite blessing many cameras with its 40MP sensor, Fuji knows there’s still a market for 26MP APS-C street cameras, and I very much agree — don’t be put off by “only” 26MP.

I’ve owned several Fujis and tested many, many more. In my opinion, 26 megapixels is the sweet spot for the filmic, retro “Fuji look”, for which 40MP often feels just that bit too crisp. Many older, characterful Fuji lenses were designed for and perfectly suit 26MP, too.

The X-T30 III uses the same 26MP X-Trans CMOS 4 back-side illuminated APS-C sensor (...and breathe) as the X-T30 II. I was hoping Fuji would differentiate the two by fitting the more recent X-Trans CMOS 5 HS 26MP stacked sensor from the Fujifilm X-H2S, which is capable of faster readout and quicker focusing during high-speed drive. Alas, no such luck.

26MP gives casual and enthusiast photographers all the resolution they really need. You just won’t be able to do outrageous cropping and/or very large-scale printing. As you can see in the image gallery above, I was able to crop in and still maintain a sharp image, with plenty of fine detail visible in the lion sculpture masonry and the discarded child’s glove.

The EOS R50 has 24MP, which will give you slightly less headspace when cropping, while the Nikon Z50II has only 20.9MP, so is significantly down on resolution.

Color

As always, Fuji’s color rendition is best in class if you’re after a stylized look. I won’t go through every single film simulation profile because you’d be here all day, but they all look wonderful in their own right. Except Provia Standard, of course (boring). Although Provia is very true to life, you simply don't buy a Fujifilm to shoot in Standard.

There are loads to play around with, and you can even create and save your own filmic recipes, so you can get super creative. Check out the image captions throughout this article to see which simulations I used. Some standouts, though…

Astia is my go-to for portraits in warm lighting, with soft but natural skin tones (see the portrait in the AF section above). I love Velvia Vivid for nature and plants, as you can see demonstrated by the flower and pigeon photos in the gallery above. It boosts saturation plenty, only without the sickly, oversaturated look of the vivid profile on the Z50II.

My favorite color profiles are Eterna Bleach Bypass for a total saturation washout and highly stylized look; Nostalgic Neg, for a cooler, slightly washed-out nostalgic look; and Classic Chrome for more of the same, albeit with a little more warmth and saturation.

As a primarily black and white shooter, though, Acros is as good as mono gets in my opinion — at least without remortgaging the house for a Leica Q3 43.

High-speed shooting

The X-T30 III shoots at an impressively quick 20fps without a crop, where you’ll achieve up to 127 JPEGs or 21 uncompressed RAW + JPEG frames. However, it’ll also shoot at up to 30fps with a 1.25x crop. At 20fps, this will allow you more frames before the camera buffers fill and it freezes. At 30fps, you’ll achieve 128 JPEGs and 21 RAW + JPEG frames, so you’re getting equivalent sustained shooting times to the uncropped 20fps rate, only at 10fps faster.

This is all super handy for any budding wildlife photographers, especially in conjunction with the rapid AF. I used the 20fps uncropped continuous drive mode to shoot photos of fast-moving birds in flight, and achieved lots of usable files.

High ISO & dynamic range performance

High ISO performance is fairly strong. The gallery above shows RAW files exported as JPEGs in Adobe Lightroom Classic. I wouldn’t go above ISO12,800 unless I really had to, but the only one I’d deem totally ruined is at ISO51,200, where noise has destroyed the definition of the photo’s background.

The second gallery above shows the out-of-camera JPEGs of the same photos with the camera’s default noise reduction applied. It’s essentially the same story, and the camera has done a fairly good job of smoothing out noise without totally ruining images, up to ISO25,600 at least.

Dynamic range is again very respectable. The first image above is strongly backlit for a deliberately extreme dynamic range. The second image has been brightened up in Lightroom, where I was able to rescue highlights in the ice cubes above the lens. Lots of shadow detail has been revealed, although the shadows are quite noisy.

Still, this is an extreme test, and in real-world challenging dynamic ranges, the X-T30 III performed very well. In the backlit pumpkin photo above, which is a typical scenario, the camera has captured the deep shadows of the dark pumpkins, the broad range of vibrant colors, as well as the bright highlights of the windows in the background — these were only slightly blown out with detail recoverable in post.

Fujifilm X-T30 III review: Video performance

The X-T30 line has historically been geared towards stills rather than video, and that’s no different here. That said, as with most of Fuji’s lineup these days, the manufacturer has fitted the X-T30 III with enough video credentials to pique the interest of those who might fancy a spot of vlogging.

The X-T30 III shoots 6.2K video at 30fps, allowing you to crop into frame while maintaining 4K resolution. It also shoots 4K at 60fps and slow motion 240fps at 1080p. It also shoots 4:2:2 in 10-bit color, both at 6.2K, again giving you extra flexibility with color manipulation in the edit.

Naturally, you can also use the film simulations to grade in-camera, my favorite being Eterna Cinema, which is beautifully soft and ethereal. You can see a short video all shot in Eterna Cinema at 4K/60fps above.

Again, though, this isn’t a video or even a vlogging camera. There’s no F-Log, no vari-angle screen for video, and, of course, no IBIS. The latter isn’t a huge deal, as many Fuji lenses feature O.I.S — you can see the difference that makes in the video above — but IBIS is ideal for video, allowing for extra smooth handheld footage and giving you more flexibility with lens choice.

If you want a camera for vlogging and video content creation, you should look at the Fujifilm X-S20 or the Sony a6700.

Fujifilm X-T30 III review: Battery life

The X-T30 III uses Fujifilm’s NP-W126S battery, as found in many other Fuji cameras like the Fujifilm X-E5, X-T50, and the X-T30 II. It’s a much smaller battery than the NP-W235S battery found in the Fujifilm X-T5 (which can achieve up to 780 shots).

Thanks to the X-Processor 5, the X-T30 III is more power-efficient than the previous models, and Fuji rates the NP-W126S for 315 shots in this camera in normal mode. That’s along CIPA testing lines, though, which result in fairly conservative figures. I was able to push the camera into the high 300s before needing to charge. In eco mode, Fuji claims you should be able to achieve 425 shots, which rings true with my testing — again, I’d say that’s probably a little conservative.

This is a much stronger performance than the Nikon Z50II, which is rated for a paltry 250 shots and topped out at 275-300 in my testing. The Canon EOS R50, though, is rated for 440 shots.

Fujifilm X-T30 III review: Verdict

The premium entry-level market is a close-run contest, but one that I think the X-T30 III just about edges. In the U.S., it’s pricey for an entry-level camera, I admit, and has had a $100 price hike over its predecessor. In the U.K., though, it’s priced fairly competitively, with only a teensy increase over the prior model.

Besides, the X-T30 III is cheaper than the Nikon Z50II. And it definitely earns its increased price over the more affordable EOS R50. The Fuji is built better than both: it has a better sensor with more resolution, offers a retro tactile shooting experience, and just oozes style.

I wish Fuji would sort out that heinous Q button, although that aside, the X-T30 III barely puts a foot wrong. It’ll give new photographers everything they need to take beautiful photos, with extremely competent AF and stunning stylized images. Lenses are aplenty, too, and it’ll happily shoot the odd video, should the need arise. I think we might’ve just found our new champ.

The Nikon Z50II is the successor to (you guessed it) the original Nikon Z50, which was one of the best mirrorless cameras at its launch a few years back. Alas, the original model is really rather behind the times at this point, with similarly-positioned APS-C rivals now sporting much more advanced and modern features, especially autofocus.

The Z50II is therefore a much-needed update to Nikon’s lineup, refreshing its entry-level offering for beginners and sitting between the vlogging-focused Nikon Z30 and the more advanced Nikon Z5II (a camera I absolutely adore).

It’s primarily up against the Canon EOS R50, the best mirrorless camera for beginners in our opinion, with its excellent subject detection. But there’s also the recently announced and launched Fujifilm X-T30 III to think about, too.

Does this plucky little camera have what it takes to become the finest entry-level mirrorless around? Find out in my full Nikon Z50II review.

Nikon Z50II review: Specs

Nikon Z50II review: Price & availability

The Nikon Z50II starts at $1,009 body-only in the U.S., or $1,149 with the DX 16-50mm kit lens. The U.S. price isn’t outrageous, but feels a little steep given this is an entry-level camera.

By contrast, the Canon EOS R50 starts at $679. The R50’s AF is just as good as the Z50II’s (maybe better) and you get a few extra megapixels. However, it’s a few years older, feels cheap in comparison, won’t shoot 4K/60p and will start to overheat at 4K/30p. I think the Nikon justifies a premium over the Canon, but over $300 more? I’m not sure. The Z50II is even pricier than the brand new Fujifilm X-T30 III ($999), which offers beautiful premium build quality, 6.3K video and an extra 5MP of resolution. That’s a very hard one to justify.

In the U.K., the Z50II makes much more sense, as it’s priced at a very competitive £799 versus the Canon’s £699 typical price at the time of writing (the EOS R50 cost £789 new in 2023 but has dropped since launch).

Kit lens

Nikkor's APS-C Z DX lenses and full frame Z lenses will both fit the Z50II. Forget the DX 16-50mm kit lens — it produces uninspiring images and its aperture maxes out at f/6.3 at the telephoto end. It’s cheap for a reason.

We use Nikon in our studio so I’m spoilt for choice with lenses. I used the Z 35mm f/1.8 S for most shots in this piece, but that’s probably a little pricey for beginners. You can pick up the Z DX MC 35mm f/1.7 or Z 40mm f/2 as relatively affordable starter prime lenses (especially the 40mm), which will both give you decent image quality and versatile fields of view. The Z DX 16-50mm f/2.8 VR is a solid aspirational zoom lens with a constant f/2.8 maximum aperture.

Nikon Z50II review: Design

The Nikon Z50II looks like any other recent Nikon mirrorless, and that’s no bad thing. It’s nondescript and relatively professional-looking, and looks much nicer than the tacky Canon EOS R50 (at least when the latter is in its white guise). Naturally, it lacks the pizzazz of the gorgeous Fujifilm X-T30 III, but it’s a Nikon — they’re always just a bit boring.

The Z50II looks and feels premium, though, especially for an entry-level camera. It feels much sturdier than the lightweight, hollow EOS R50. This is reflected in each camera’s respective weights: the Z50II weighs 1.2lbs while the EOS R50 tops the scale at just 0.8lbs. The Z50II is also the larger at 5 x 3.9 x 2.7 inches.

It isn’t at all big and heavy by general standards, though. I had no issues with it around my neck on a long walk through the countryside, and no problems shooting at odd angles. Besides, I appreciate that the Z50II’s extra weight avoids the hollow, insubstantial feel of the R50.

Displays

The Z50II features a 2.36M-dot Quad-XGA OLED EVF, which is about as much as you can expect at the $1K mark, but only about as much as you need for 20.9 megapixels anyway. This is the same resolution as the EVFs on both the EOS R50 and X-T30 III.

The rear display is a 1.04M-dot vari-angle TFT LCD display, which is lower-res than both the Canon and Fuji — both sporting 1.62M dots. The vari-angle articulation is useful for shooting at odd angles and from the hip, and is especially useful for video. On bright days, I found the display too dim in auto-brightness mode, so I had to set brightness manually. All-in-all, the rear display is a little disappointing at this price point.

Connectivity

The Z50II features a single UHS-II SD slot — again, expected in this price bracket. Dual slots allow simultaneous writing, meaning faster drive speeds and backups of images — the latter in particular being crucial for paid work with clients on the line. You’ll need to step up to the Z5II, Canon EOS R7 ($1,449) or Fujifilm X-T5 ($1,699) for dual slots.

Along the side of the camera are ports for USB-C and micro HDMI, a 3.5mm microphone jack and another 3.5mm jack for headphones or a remote (it’ll switch between the two automatically).

The Z50II also features Wi-Fi and Bluetooth for wireless connection, including to the Nikon SnapBridge app. The app gives you remote control over the camera and allows you to offload images quickly to your phone for sharing, both of which are super useful.

Nikon Z50II review: Controls

The Nikon Z50II is an only-slightly-scaled-down version of the Z5II — we’re talking about a few fractions of an inch on each plane. As such, it’s just about big enough to host a moderately-chunky zoom lens if needed, especially given the deep, sculpted front grip. By contrast, the X-T30 III with its tiny grip may prove cumbersome to handle with large lenses.

Controls

The Z50II’s control layout is effectively the same as the Z5II and very similar to the Nikon Z6III ($2,499). That means it handles like a professional camera, making it fantastic for beginners with big aspirations.

Almost everything is laid out expertly, with two command dials and virtually all of the other controls, save the Drive button, within easy reach of your right fingers and thumb. I absolutely love the inclusion of dual Fn buttons inside the grip recess, which are extremely helpful for when shooting one-handed in portrait orientation, or at odd angles. That’s another professional feature typically found on high-end cameras, like the Z6 III.

Just like the EOS R50, there’s no joystick, so focus points are adjusted using the D-pad. It works fine, but a joystick is always preferable when shooting through the EVF — you’ll need to step up to the Z5II to get one.

Menu

Nikon’s menu is pretty good, although I find it needlessly overcomplicated. There are sections for photo settings, video settings and focus, then a second separate set of sub menus for more detailed settings. Why not just roll both sets into each other?

It’s fine once you’re used to it, and actually offers a very high amount of control and customization. But it takes a fair bit of getting used to. By comparison, Fujifilm’s menu is a bit of a hot mess, with things randomly placed in ill-fitting places, although it’s easier to use than Nikon’s. Canon’s menu system is excellent, though, providing the ideal balance of simplicity and control.

Nikon Z50II review: Autofocus

The Z50II’s 209-point hybrid phase/contrast detection autofocus is excellent. AF like this is becoming par for the course even in entry-level cameras these days, with similarly-proficient systems on the X-T30 III and EOS R50. The outsider in AF terms is the Panasonic Lumix G97 ($849), which is contrast-only and comparatively pretty weak, although unlike the Z50II, the G97 has IBIS.

Just like the Z5II, the Z50II features automatic subject detection, as well as specific detection/tracking modes for humans (eyes/faces), animals, birds and vehicles. It’s fast, accurate and tenacious especially in the dedicated modes.

In the image of the swan above, the Z50II detected and tracked the swan’s eye and followed it moving quickly down the river. It also had no issues detecting the cow’s eye in the image above, despite the low levels of contrast between the animal’s black eye and black fur. It’s also excellent for humans, detecting and locking onto the subject’s eye in the portrait below.

My only gripe with the Z50II’s AF is the auto detection mode, which is a little slower and sometimes has trouble picking up subjects or eyes. That said, it’s fine most of the time, and is still very nice to have. By contrast, the X-T30 III has no automatic mode, so you need to switch between the various subject detection modes manually, potentially missing shots as you do.

Nikon Z50II review: Image performance

The Nikon Z50II has a 20.9MP APS-C sensor, which is the same resolution as the cheaper Nikon Z30 ($709) and a bit of a let down. I understand that Nikon has to separate this camera from the pricier Z5II, but the Z50II’s lack of IBIS and its single card slot already serve that purpose. Nikon could’ve fitted the Z50II with the Z5II’s 24.5MP sensor without treading too hard on the pricier camera’s toes.

20.9MP is fine for online sharing, but proves restrictive if you want or need to crop, as you’ll suddenly start dropping into single-digit megapixel counts at anything more than a light trim. The first image below is full size, while the second image is a moderate crop, which has reduced the image to under 10MP. Cropping in further on the third image and the image has dropped to just under 3MP, significantly reducing detail.

Resolution reduction is, of course, a normal side effect of cropping, but my point is that the extra few megapixels of Nikon’s 24.5MP sensor would’ve been welcome for that extra headroom — if you’re using a prime lens and physically can’t get closer to a subject, you’d have a little extra resolution to play with when cropping in post.

The Z50II shoots up to a very impressive 30fps, although with its single SD card slot, it can’t sustain that for long, especially when shooting RAW+JPEG. Still, in the second-tier 15fps mode, I was able to shoot some nice bursts of moving birds and swans.

Color

Nikon’s standard profile color reproduction is extremely lifelike. The colorful image above looks very true to life. I’m also a big fan of the Neutral and Flat profiles. The image below is shot in Neutral and has perfectly captured the cooler tones of the cold winter morning and purple-hued apple, maintaining the bold greens of the leaves and the deep blue sky.

Vivid looks great, although I’d argue it’s maybe slightly too bold. The lantern photo in the gallery below looks fantastic, perfectly capturing the strong contrast as bright evening sunlight shone through the trees. The pink flowers in the second photo look a little too saturated for my liking though.

I especially like the Rich Tone Portrait profile (see the portrait in the AF section above) with its warm skin tones and heightened contrast. And as a primarily black and white photographer, I love Nikon’s two monochrome profiles. Deep Tone monochrome looks fantastic, demonstrated by the photo of Wells Cathedral’s ceiling below, and is great for adding some drama in flatter lighting. I’d still have preferred to shoot that photo in Fuji’s Acros + Red filter, though.

I really like the standard monochrome profile in bright lighting and strong contrast, as in the image of my dog, Luna, second in the gallery above. In diffused lighting, it feels a little flat, though, as in the two last images. Again, I much prefer the starker contrast of Fuji's Acros.

High ISO performance

The Z50II uses Nikon’s EXPEED7 image processor, which delivers impressive image quality at high sensitivities.

The images above are RAW files exported as JPEG in Adobe Lightroom Classic, with no other processing applied. Even at ISO12,800 and ISO25,600, the photos are perfectly usable. There’s a lot of noise going on, especially in the less-busy areas like the background. But it isn’t ruinous. The set of scales is reasonably sharp with the legends easily distinguishable.

The images above are the out of camera JPEGs of the same image, with the camera’s default noise processing applied. At ISO25,600, there’s a noticeable loss of definition in the scale legends and the background looks fairly blotchy versus ISO6400, both thanks to noise smoothing. But the central legends are still easily legible. And besides, we’re talking about ISO25,600 on an entry-level camera! Crazy.

Dynamic range

Dynamic range performance is also fairly strong. The first image below is shot in deliberately challenging backlit conditions at ISO100 with the foreground obscured in shadow and the background virtually blown out.

The second image is the same photo with the shadows boosted and highlights reduced. Plenty of detail was retrievable in the highlights, as you can see from the fake ice cubes above the lens. The shadows are quite noisy, reducing the amount of detail in darker areas. Lots of shadow detail was still salvageable in post, though, with the lens legends and control ring ridges easily visible.

Nikon Z50II review: Video performance

The Z50II shoots 4K/60p video and is touted by Nikon as a vlogging- and streaming-capable hybrid video camera. And yeah, I’d agree with that… mostly. 4K/60p is obviously nice to have for content creators, as it offers smooth, high-res footage. There are both mic and headphone sockets, too, meaning the Z50II can be used for both to- and behind-the-camera filming. And the Z50II is capable of live recording via USB-C, for high quality livestreaming.

There’s no IBIS, though, which is a major pitfall for video. The handheld footage above is shot in 4K at 60p. The image quality looks great, and I love the cinematic feel of the Deep Tone monochrome profile. However, the lack of stabilization makes it look very jittery and amateur, though, especially when panning.

You can, of course, buy an optically stabilized lens. If video and content creation is going to be a major part of what you do, though, I’d recommend something with sensor-shift stabilization like the Panasonic Lumix G97, Sony A6600 ($1,400) or Fujifilm X-S20 ($1,299).

Nikon Z50II review: Battery life

The Z50II uses Nikon’s rather puny EN-EL25 battery, which is CIPA-rated for a measly 250 shots in this camera. That’s incredibly low, and surprising given the camera is using Nikon’s latest image processor (more efficient processing usually reduces power consumption). It just speaks to how weak this battery is. The Canon EOS R50, by contrast, is rated for 440 shots, while the X-T30 III is rated for 425.

CIPA testing standards result in pretty conservative battery claims, and real world results are usually higher. I was about to achieve around 275-300 shots per charge before a flashing red battery icon told me to juice up. So even with the benefit of the doubt, battery life is still poor.

Nikon Z50II review: Verdict

The Nikon Z50II is a solid entry-level camera. It shoots lovely stills with impressive high ISO and dynamic range performance. This is in part due to the modest megapixel count, meaning larger photosites. However, I’d personally prefer a little more resolution as I rarely shoot higher than ISO6,400 anyway.

The AF is fantastic, as are the handling and controls, making this feel like a scaled-down version of a professional or semi-pro camera. Combine that with some of Nikon’s beautifully sharp lenses and any beginner has themselves a seriously good platform to learn and build on.

But would I buy the Z50II over its rivals? The EOS R50, X-T30 III and — to a lesser extent — the Lumix G97? No. The Z50II is very much a jack-of-all-trades, master of none — there are better options for just about every important niche. Video: Lumix all the way. Stylized, impactful photos: Fuji all the way. Budget: Canon all the way.

Want a solid camera to learn on, though? You can definitely do a lot worse than the Z50II.

I have tested many of the best mirrorless cameras as a reviews writer. Some have been highly memorable while some haven't. The most recent camera I've tested is the Leica SL3, a camera so good that I instantly fell in love with it — but let's be honest, it's kinda hard not to love a Leica. Most of the German giant's cameras ooze charm and class, and they take ridiculously beautiful photos.

But of course, they are accompanied by hefty price tags that may not appeal to everyone. If I had all the money in the world, or if I won the lottery next week, I'd easily spend some of it buying the SL3 and a sharp lens to go with it. And that's saying a lot considering just how much I love my Fujifilm X-T50.

There are lots of things to love about the SL3. It's built like a tank; it looks and feels luxurious; it's got great ergonomic for beautiful handling; and the 60MP images it takes? Sharp, stunning, heavenly. It has reliable and fast autofocus too, so it gives photographers (and hybrid shooters) plenty to love and work with.

Some of the best photos I've ever taken

I've been using cameras ever since I was a child, and there's nothing more I enjoy doing than taking photos of my partner or wildlife. I'm very lucky that I now get to test cameras in a professional capacity and for a living — and that means I get to play with all sorts of cameras from Sony, Nikon, Fujifilm, Canon and yes, Leica. And the Leica SL3? Well, it's helped me capture some of my best photos ever.

The SL3 is fitted with a 60.3MP CMOS sensor and it utilizes the Leica Maestro IV processor to capture sharp images. Photos are packed with plenty and plenty of detail, and color reproduction is phenomenal — some of the best I've seen since Fujifilm. I love the range of colors and hues in the gallery above, especially in the images of the autumnal trees and leaves.

What also makes the SL3 reliable to use is its fast autofocus system with human and animal subject detection. It utilizes a combination of phase-detection for speed and contrast-detection for accuracy, as well as depth mapping to lock on to faces and eyes. It works like a charm, and I rarely missed a shot thanks to it.

Built like a tank

I won't lie: the Leica SL3 is a heavy camera, and it isn't for you if you want a sleek, easy-to-travel-with device. The camera's body alone weighs 1.69lbs (without battery, SD card and camera bayonet cover), but if you attach a lens like the 50mm f/1.4 to it, that drives the weight up to a whopping 4.03lbs. I'm not jacked so when I was holding up the camera for extended periods of time, I could feel my muscles going sore. I should probably hit the gym soon.

But what I'm very thankful for is the SL3's ergonomics. Sporting a chunky, sculpted grip and fantastic weight distribution, the SL3 is nothing short of delightful when it comes to handling it. All the buttons and dials are placed well and in easy-to-reach locations, so I never felt like the camera was difficult to use.

Leica hopes to offer a stripped-back photography experience with the SL3, and in my opinion, it has succeeded in delivering it. With the straightforward control scheme and omission of overwhelming dials, as well as a simple menu system, the SL3 could be the camera to put fun back into photography if you're feeling stuck.

Anything wrong?

The Leica SL3 is a near-perfect camera. I say that because it isn't without its flaws. In my Leica SL3 review, I mentioned its premium price tag under the cons — and that's only a con if you can't afford it. If you can, then it's a brilliant camera. No, the only noteworthy flaw it has is its poor battery life... and it's bad.

The SL3 is CIPA-rated for 260 shots only. CIPA ratings are done under strict testing conditions and it isn't necessary that you will get only that during real-world use. In fact, I managed to take just over 300 photos between charges. Which still isn't great. This means that you either need to carry a power bank or invest in spare batteries, both of which are added expenditures. But I guess if you've already dropped close to ten grand on camera, that won't hold you back.

The SL3 sounds enticing, doesn't it? I highly recommend it if you can stomach the price. Its body retails for $7,485 / £5,899 and a decent lens will cost you another five grand. For example, I tested the Summilux-SL 50mm f/1.4 ASPH. which, on its own, costs $7,055 / £5,200. But fret not! I have found alternatives for you.

Cheaper alternatives

For the typical photo enthusiast, Leica isn't exactly attainable. Most of the German giants cameras cost an arm and a leg — even without a lens. But there are cheaper, equally-as-good alternatives available if you want great image quality as well as ease of use.

More from Tom's Guide

• I’ve been testing the Leica SL3 — here’s my honest verdict on whether it’s worth $7,500
• The Leica M11-D is one of the most challenging cameras I’ve reviewed — and it has made me a better photographer
• I tested the Leica Q3 43 for a week and fell in love — there’s just one problem

Oh, Leica. Most photographers, whether they’re amateur or professional, are aware of Leica’s existence and prowess. As far as high-end cameras are concerned, Hasselblad and Leica continue to dominate that sphere. I’ve been testing the Leica SL3, one of the German brand’s most powerful snappers, and I can’t think of a better full frame camera for those who value class over everything else.

Packing a 60.3MP sensor, Leica’s advanced hybrid autofocus tech, 5-stops of IBIS, and fantastic video capabilities, the SL3 is a phenomenal camera. All this tech is packed into a bulbous yet ergonomic body which is a joy to handle. The SL3 is great for portraits, landscapes, even a spot of wildlife, and everything in between, thanks to phenomenal color reproduction.

Is this one of the best mirrorless cameras out there? Oh yes! Read my full Leica SL3 review to find out why.

Leica SL3 review: Cheat sheet

• What is it? A full-frame mirrorless camera with a 60.3MP CMOS sensor
• Who is it for? For professional portrait and studio photographers, and also for enthusiasts who need a high-end, versatile hybrid camera
• How much does it cost? It’s not cheap (and Leicas never are) — the Leica SL3’s body alone retails for $7,485 / £5,899
• What do we like? The beautiful and detailed stills it captures, the reliable autofocus, effective IBIS, excellent handling as well as C8K/30fps video
• What don’t we like? The underwhelming battery life and premium price tag

Leica SL3 review: Specs

Leica SL3 review: Price & availability

If there’s one thing all Leica cameras have in common, it’s that they don’t come cheap. The Leica SL3’s body alone retails for $7,485 / £5,899. It’s compatible with an array of SL-mount lenses of varying focal lengths. I tested the Summilux-SL 50mm f/1.4 ASPH. which, on its own, costs $7,055 / £5,200.

On average, you’re looking at an expenditure of over ten grand at the least if you want the SL3 — unless you settle for third-party or refurbished lenses. This camera is perfect for those already invested in the SL-mount system, or for people who really, really want a Leica. If you don’t fit either of those categories, you may want to consider other options.

And there are plenty. In terms of price, the SL3 is similar to medium format cameras like the Hasselblad X2D II 100C ($7,399) and Fujifilm GFX100 II ($7,499). The Leica and Hasselblad look quite similar but one of the key differences is that the Hasselblad has a higher-res 100MP medium format sensor (as does the Fujifilm). As full frame cameras go, the Canon EOS R5 Mark II ($4,299) and the Sony A7R V ($3,900) have similar specs to the SL3 and both are highly capable, fast, full-frame cameras.

Leica SL3 review: Design

As cameras go, the Leica SL3 is absolutely beautiful, wrapped in a faux-leather-like material that lives up to the premium price tag. Bold ‘Leica’ branding alongside the classic red dot sits above the lens. Personally, I think Leica could have ditched the big letters spelling out the brand’s name, but I suppose you don’t really own a Leica unless everyone knows you own a Leica, eh? Well, this is a sure shot way of ensuring no one can ignore the fact that you, indeed, own a Leica.

If you’re looking for a sleek, compact camera, this isn’t the one for you. The SL3 is a bulky mirrorless camera which requires some arm strength. It measures 5.55 x 4.25 x 3.33 inches and the body weighs 1.69lbs (without battery, SD card and camera bayonet cover). That’s not too bad, but the overall weight of the camera will obviously depend on the lens used. The 50mm f/1.4 lens I tested weighs a whopping 2.34lbs, and using the camera made me question how physically fit I actually am.

The SL3’s body is heavier than the Canon EOS R5 Mark II (1.44lbs) and the Sony A1 II (1.45lbs) but it’s similar to the Sony A7R V (1.6lbs). But despite its heavy weight, the SL3 is fantastic and tactile to handle, featuring a chunky grip that my fingers easily wrap around.

Displays

Similar to the Canon EOS R5 Mark II, the SL3 features two displays: one around the back and another on the top plate. The 3.2-inch backlit LED sits atop a tilting mechanism, and it features a resolution of approximately 2.33M dots, nearly as much as the X2D II 100C (2.36M dots). It’s bright and easy to read in most lighting conditions, highly responsive, and features an anti-fingerprint and anti-scratch design. The tilt-type mechanism came in handy when I was shooting at awkward angles, such as ducks loafing on the ground.

Speaking of the rear monitor, I also want to shout out the SL3’s menu system. Firstly, it’s stripped back and easy to read/navigate. The menu doesn’t overwhelm you, enabling you to maintain your concentration. You can also streamline your workflow by customizing the eight tiles to complement six customizable physical buttons. There are also six user profiles for photo and an additional six for video, so you get a ridiculous amount of personalization.

On the top plate, you’ll find the 1.28-inch monochrome LCD which displays the shooting settings, such as shutter speed, aperture, ISO and so on. It’s nice to have but I really wouldn’t have noticed its absence if it didn’t exist. Leica doesn’t specify the top display’s resolution but in real-world use, I found it easy to read, especially while shooting video and when I wasn’t using the viewfinder to frame my subject.

Viewfinder

Throughout my testing, the SL3’s viewfinder never let me down. I found it quick, reliable, and easy to look through and frame my subjects. The SL3’s OLED electronic viewfinder (EVF) is bright and detailed, with a resolution of 5.76M dots (similar to the Canon EOS R5 Mark II) and a refresh rate of either 60Hz or 120Hz — and it’s more than sufficient for the kind of photography the camera is best suited for.

But for the price, I’d have expected a higher-res viewfinder. The Sony A7R V and Sony A1 II both have 9.44M-dot EVFs. The A1 II’s viewfinder is especially exceptional as it’s large and has a 240Hz refresh rate.

However, the SL3’s 120Hz refresh rate is more than plenty for when you’re photographing subjects that don’t move rapidly at very high speeds — this isn’t a high-speed camera designed specifically for wildlife or sports, so it doesn’t need to have a whopping 240Hz refresh rate like the Sony A1 II ($6,499). Everything I photographed in my testing remained fairly free of motion blur through the viewfinder.

Ports

Ports on the SL3 are minimal. On the left edge of the camera, you’ll find HDMI 2.1 Type-A, USB-C, and 3.5mm audio output and input ports. The right edge houses two memory card slots, for a SD/SDHC/SDXC UHS-II/UHS-I card and for a CFExpress Type-B card. You can use a CFExpress Type-A card too as long as you have an adapter. CFExpress cards ensure faster write and read speeds versus SD cards, so it’s great that the SL3 supports them given the large 60 megapixel files.

Weather-sealing

Thanks to a solid and entirely sealed full-metal housing, the SL3 is weather-sealed with an IP54 rating. This means that the camera is protected from dust ingress and water spray from any direction. As is typical of British weather, I was treated to light rain every now and then when I was testing the SL3, but both the camera and lens remained unscathed.

Leica SL3 review: Controls

The Leica SL3 is simply a joy to use. Physical buttons and dials are stripped back with only a few, well-placed ones present on the body. This camera is designed to simplify your workflow without overwhelming you, and at that, it excels. I found the camera delightful to use, with all the buttons and dials providing good tactile feedback.

Due to the sheer size of the camera, some buttons may feel harder to reach, such as the dial on the right side of the top plate. But that doesn’t detract from the user experience. The large dials and buttons make perfect sense if you’re using the SL3 mounted on a tripod in a studio setting. Combined with the bright tilt-type screen, it feels right at home in a professional studio.

The SL3 also features a focus joystick which feels great and responsive to use, and I’ve found it more comfortable to use than the Sony A1 II’s. The A1 II’s joystick is textured while the SL3’s is covered with rubber, which makes it comfortable to use for long periods of time.

Leica SL3 review: Autofocus

The Leica SL3 borrows the hybrid autofocus system from the likes of the Leica Q3 43 ($7,380), and it utilizes a combination of phase-detection for speed and contrast-detection for accuracy. As with most other cameras, you get the option to choose between Single AF (AFS), Continuous AF (AFC) and Manual Focus, or you can select Intelligent AF where the camera will decide whether to use AFC or AFC.

The camera also uses depth mapping to accurately and reliably lock on human eyes, faces, and bodies, plus animals and birds. This worked exceptionally well in my testing. The SL3 was quick to lock on to my partner’s face in the first slide above, and it did a good job of locating and locking on to the swans’ faces.

Similar to the Q3 43, if there are multiple people in the frame, the camera will highlight the person it is focusing on with a yellow box and the others with white, so you can use the joystick to swap accordingly.

The SL3 does so when using animal detection too, and I found it easy to swap to the subject I wanted to focus on with the joystick. That’s how I achieved the photo above where the swan is the centre of attention in an otherwise crowded space.

The SL3’s autofocus is a little sluggish when recording video. In the video above, it takes a while to focus on my face as I exit and enter the frame. It’s not the slowest but not the fastest either. It just is.

Leica SL3 review: Stabilization

In contrast to its Q-series siblings, the Leica SL3 features 5-axis in-body image stabilization (IBIS) for up to 5 stops. Albeit slightly less competent than the IBIS systems on the Sony A1 II and the Canon EOS R5 Mark II (both 8.5 stops), it’s still very good and enables you to shoot at slower shutter speeds without the need for a tripod.

I tested this out by reducing the camera’s shutter speed to take a series of photos until I couldn’t take a sharp one, as you can see in the gallery above. I was able to shoot down to 0.3s handheld while retaining sharpness and detail (first slide above).

Any slower than that, at 0.5s for example, and I struggled to capture a sharp image (second slide above). On a camera like the Sony A1 II which features up to 8.5-stops of IBIS, I’ve been able to shoot at shutter speeds as slow as 2 seconds. The Sony A7R V could shoot reliably down to around 1 second handheld.

Leica SL3 review: Image quality

If there’s one thing Leica does well, it’s imaging performance. I’ve seen it with the Leica Q3 43 and the Leica M11-D ($9,799) in the past, and now I’ve seen it with the Leica SL3 too. If it’s best-in-class quality you’re after, you won’t be disappointed with the SL3. Fitted with a 60.3MP CMOS sensor and utilizing the Leica Maestro IV processor, the SL3 captures downright heavenly images.

You can see a few sample shots in the gallery above. I adore the colors in all the shots. The yellow and orange autumnal shades pop and appear vivid. The close-up shot of the leaves is one of my favorite photos as you can clearly see the raindrops. Even photos taken in a dark room with just one light source, like the last slide, turn out fantastic and packed with detail.

In terms of shooting rates, the SL3 utilizes a 15fps electronic or 7fps mechanical shutter, just like the Q3 43. This is fast enough for most genres of photography, including serious wildlife photography, but won’t suit sport photography (but who buys a Leica to shoot sports?). The electronic shutter has a maximum speed of 60s to 1/16000s while the mechanical one has a maximum speed of 60m to 1/8000s, ready for any situation and genre of photography.

Although 60.3MP isn’t as much as, say, a medium-format 100MP camera like the Hasselblad X2D II 100C or Fujifilm GFX100 II, there’s still plenty of room for cropping. The gallery above shows crops with the full-size original photos afterwards. Even the crops are highly detailed.

For instance, in the first slide, you can clearly see the raindrops on the flower, and it almost looks like the flower is being weighed down by them. In the third slide, I love the different shades of green and the purple veins in the leaf. You can see specks of dust too… which reminds me, I should probably clean the leaves!

Similar to other Leica cameras, you get access to six popular color profiles, including Vivid, Monochrome and High Contrast Monochrome. High Contrast Monochrome, similar to Acros on Fujifilm cameras, is one of my favorite filters when shooting portraits and architecture, and I love the photos in the gallery above. The photos exude drama, and I’d expect nothing less from a black and white profile.

ISO performance

Similar to the Q3 43, the SL3 has an ISO range of 50 to 100,000. In comparison, the Canon EOS R5 Mark II, the Sony A7RV and the Sony A1 II top out at 102.400. It captures JPEGs alongside DNGs. DNGs are usually 15-20% smaller than RAW files, but the difference is almost negligible.

I conducted my usual ISO testing to see how the SL3 fared. Nothing to report when shooting at ISO6,400, so I’ll talk about higher ISO values instead. The first photo in the gallery above was shot at ISO10,000 and is a JPEG export of the DNG file, and the second photo is the straight-out-of-camera (SOOC) JPEG. While some noise creeps in, the camera’s noise reduction technology does a great job of smoothing it out, and the image is far from ruinous.

Bump the ISO up to 25,000 and noise becomes more of a problem. There is a slight loss in detail in the art print in the background of the second slide (SOOC JPEG) from the smoothing of noise suppression. You can see some grain in the bobblehead’s chin too and you can see a slight wavy line when the chin outline should be straight. But again, this image is very usable.

I wouldn’t really recommend shooting at ISO32,000 or higher. As you can see in the second slide above (SOOC JPEG), the bobblehead’s fingers have lost sharpness and the wooden desk looks very grainy. But this isn’t a major flaw in the SL3, as I wouldn’t recommend shooting past ISO25,000 even on the Leica Q3 43.

Medium-format cameras tend to perform better at high ISO levels, such as the Fujifilm GFX100RF ($4,899) where I only started to notice ruinous noise at ISO102,400.

Dynamic range

The SL3 doesn’t falter when it comes to dynamic range either. Offering up to 15+ stops at base ISO50, you can make extensive adjustments in post-production without significantly impacting image quality.

To test this out, I conducted an extreme test by placing an object in front of a bright light source, and I was impressed with the results. The first slide in the gallery above is a JPEG export of the DNG file, and the second is the same shot but with shadows and exposure boosted in Adobe Photoshop Lightroom.

As you can see, the shadows are clean while plenty of color and detail has been retained. The legends on the scale are easily readable. The part of the scale on top where the measuring plate goes doesn't appear blown out either.

Leica SL3 review: Video

The Leica SL3 is the ultimate hybrid camera, perfect for shooting stills as well as capturing video as it features 3.5mm audio in and out jacks and good IBIS. The camera can shoot Cinematic 8K at 30fps and Cinematic 4K at 60fps, as well as regular 4K at 60fps and FHD at 120fps. C4K (4096 x 2160) and C8K (8192 x 4320) utilize a 17:9 aspect ratio for slightly higher resolution than standard 16:9 UHD 4K (3840×2160) or UHD 8K (7680 x 4320).

C8K, C4K, 4K and FHD video in the MOV format is recorded in 4:2:2 10-bit which means the camera can capture 1.07 billion individual hues. This drops to 4:2:0 10-bit when recording in the MP4 format. And just like on the Leica Q3 43, the SL3 records 59.94 b/s 4:2:2 HQ ProRes, but it can’t shoot ProRes RAW. If you want a Leica that’s designed specifically for professional video work, I’d recommend the Leica SL3-S ($5,665) instead.

Video captured on the SL3 does look absolutely stunning, though. The footage above was captured in C4K at 60fps, and I love how smooth and stable it looks, even while panning. Colors look lovely too, just like they do in stills. You also get the ability to shoot in L-Log to capture a wider dynamic range, for more flexibility in post-production and while color grading.

Leica SL3 review: Battery life

I’ve used and tested a few Leica cameras, and it looks like the one thing the brand can’t seem to shake is battery life that leaves you wanting more — and it seems to be the case with the Leica SL3 too. This otherwise perfect camera is let down by poor battery life. It has a CIPA rating of 260 shots only, which is even less than the Leica Q3 43’s 350-shot rating.

CIPA ratings are, of course, very conservative and they don’t always match up with the results in real-world usage. Even so, I was able to get just over 300 photos when shooting in JPEG and DNG, and utilizing both the viewfinder and the monitor for framing/previewing images.

Cameras like the Fujifilm GFX100 II and the Sony A7R V might be more up your street if battery time is a concern, as those cameras are CIPA-rated for 530 frames and 440 shots respectively. Even the Canon EOS R5 Mark II is CIPA-rated for 340 shots and the Sony A1 II for 420 shots, both of which are much better than the SL3’s battery life.

If you want, you can always buy spare battery packs to ensure you’ve got enough juice when out and about. The BP-SCL6 retails for $240 / £150, so it can be worth buying at least one extra.

Leica SL3 review: Verdict

If you’re not on any form of budget and want a full frame camera that takes outstanding photos, regardless of the lighting conditions, I can’t recommend the Leica SL3 enough. Although bulky, the SL3 is delightful to handle thanks to its chunky grip and great ergonomics. Its 60.3MP CMOS sensor captures beautiful photos with great color reproduction, and the camera is capable of recording C8K/30fps and C4K/60fps video too.

Great for street, portraits, landscapes, and casual wildlife, the SL3 is a lovely all-rounder. Its autofocus is quick and reliable (although it’s a little sluggish in video work), and can accurately lock onto humans, animals and birds.

While battery life isn’t the best, and the camera costs a premium, it’s well-worth the money if you want a high-end mirrorless that offers best-in-class image quality. If money wasn’t an issue, I’d happily swap my Fujifilm for the Leica SL3.

This morning, Fujifilm revealed its new camera and the successor to the four-year-old Fujifilm X-T30 II — a camera that spent a long time on our roundup of the best mirrorless cameras. That’s right: the Fujifilm X-T30 III is here. As with other recently launched Fuji cameras, I attended a product briefing where I got to spend three hours with the latest addition to the X-T lineup. And I won’t lie, I was expecting Fuji to reveal maybe the successor to the Fujifilm X-T5, or even the long-rumored X-Pro 4 — what I wasn’t expecting was the X-T30 III, only because I thought the X-T50 was the X-T30 II’s replacement.

But I love being proven wrong (sometimes… rarely), and having spent a short time with the X-T30 III, I’m slightly enamored with it. It handles beautifully (like its predecessors), it looks stunning and retro (like its predecessors), and it takes gorgeous photos (... like its predecessors). The 26MP sensor from the X-T30 II and accurate color reproduction alongside 20 film simulation recipes make for a formidable snapper. Oh, and it’s extremely easy to use too, so it’s fit for purpose as both a family-friendly camera for casual photography and an enthusiast's tool.

I haven’t spent ages with the camera yet, as that will happen once we receive our review unit, but I have a few initial thoughts. Spoiler alert: they’re mostly positive. Without further ado, let me take you through my first impressions of the X-T30 III…

A quick rundown

• What is it? The Fujifilm X-T30 III is the latest addition to the X-T lineup, and it succeeds the Fujifilm X-T30 II which came out in 2021 and was discontinued in June 2025. It’s the little sibling to the Fujifilm X-T50, and it retains the X-T30 II compact design. With a 26MP X-Trans CMOS 4 sensor, the same as in the X-T30 II, Fuji has added the latest X Processor 5 to the X-T30 III, and a film simulation dial has replaced the old Drive dial.
• Who is it for? The X-T30 III is an entry-level camera and, according to Fujifilm, it’s designed primarily for stills photography and everyday use, and those who want to capture their family, pets and travels. The camera is accompanied by a new XC 13-33mm F3.5-6.3 OIS lens, making it great for wide-angle landscapes too.
• How much does it cost? The X-T30 III’s body is priced at $999 / £829, and the kit with the lens retails for $1,149 / £999. Surprisingly, the body costs nearly the same as the Fujifilm X half which is a vastly different digital camera. I also think it’s great value for money as it’s the cheapest X-T camera (barring second-hand or refurbished ones, of course). This is a step up in price from the X-T30 II, which cost $999 with a lens when it launched a few years back.
• When is it available to buy? The X-T30 III will be available to purchase starting 20 November, 2025, and if you want to buy the XC 13-33mm lens on its own, you’ll be able to do so in February 2026.

Same old tricks… but better

Upon first glance, the Fujifilm X-T30 III looks identical to its predecessor, the X-T30 II, and that’s because both cameras are the same size and weight — the bodies are, at least. The X-T30 III weighs 13.22oz, making it 2.33oz lighter than the X-T50. The new XC 13-33mm kit lens is very light at just 4.4oz, and with it mounted, the camera weighs 17.74oz, so it’s very light and easy to travel with.

But just because it’s light doesn’t mean it doesn’t handle well. I used the X-T30 III to shoot the streets of London, U.K., and I adore how it handles. It feels premium and sturdy to hold, with great weight distribution.

The X-T30 III also features the X-Processor 5, which is Fujifilm's latest image processor and provides more advanced AF features (such as subject detection) as well as reduced power consumption and therefore better battery life.

Similar to the X-T50, a dedicated film simulation dial replaces the old Drive dial on the left-hand side of the top plate, giving you quick access to 20 film recipes (versus 18 on the X-T30 II) including three custom ones.

Look, you can hate on it all you want, but I really appreciate the film simulation dial, only because I’m so used to using it on my X-T50 (and because Fuji’s color science is unmatched, in my opinion).

So where does the Drive dial go? Just like on the X-T50, the Delete button doubles as the Drive button, enabling you to choose between 30fps burst shooting, 6.2K/30p video, and other shooting modes. The X-T30 III handles excellently, and I found it very comfortable to use the entire time I was photographing the streets of London, U.K.

So is it just another X-T50?

When Fujifilm’s representatives were telling me about the goodies packed into the Fujifilm X-T30 III, a simple thought popped into my head, “It’s a Fujifilm X-T50 but… weaker?” And that’s not a farfetched thought. The X-T30 III has borrowed a lot from its bigger sibling. It even features a built-in flash, making it one of three Fuji cameras with it.

But there is one major difference between the two cameras: the X-T30 III captures 26MP stills while the X-T50 has a bigger 40MP sensor. Thing is, not everyone needs a whopping 40 megapixels at their disposal. Yes, 40MP images are easier to crop into while retaining plenty of detail, but considering the X-T30 III is aimed primarily at families and casual photographers, 26MP is more than enough. It also results in a slightly more retro look than the high-res 40MP cameras, which many feel helps add to the "Fuji look".

Another thing that sells the X-T30 III as a family camera is the fact that you can select aspect ratios based on Fuji’s Instax lineup of instant cameras. That means you can choose mini, Square and Wide aspect ratios, hook up the camera with an Instax printer, and print out your favorite snaps instantly. As someone who loves physical prints (and tests the best instant cameras), this is one feature I’m looking forward to testing the most when we get our review unit.

And remember that flash I spoke about? It’s better than it is on the X-T50. Fujifilm claims that the X-T30 III can now automatically adjust its built-in flash for improved low-light photography, and that it can boost shadows and balance them against highlights far better than any other camera, at the time of writing.

How about that new lens?

I don’t usually fawn over lenses in my camera reviews, but I want to quickly talk about the new XC 13-33mm F3.5-6.3 OIS kit lens that accompanies the Fujifilm X-T30 III. Fuji’s XC lineup of lenses is usually cheaper than the XF lineup because the former are made of plastic, and I haven’t always been fully sold on them — but I think the XC 13-33mm has just converted me.

This is the first XC lens to adopt a manual retractable structure, similar to XF lenses, so unlike the XC 15-45mm lens for the X-T50, it isn’t a power zoom. That means there are no more annoying zoom sounds when you’re zooming in or out, and these won’t be present in any video recorded either.

I, personally, love the focal length Fuji has gone for here. At 13mm, it’s very wide and perfect for capturing sweeping landscapes, and at 33mm, it becomes a lovely lens for portraits. When flattened, the lens and body are very compact, and I was able to stash it into my jacket’s pocket when I wasn’t using the camera.

There is a small problem

There is one thing I’m particularly concerned about, though, and that’s the Fujifilm X-T30 III’s video capabilities. The camera can record 6.2K/30p or 4K/60p video. Does that sound familiar? That’s because the Fujifilm X-T50 can do that too, but that camera is pricier. There is another camera that can do the same, and that’s the Fujifilm X-M5.

The X-M5 is a vlogging-first camera, so it doesn’t have a viewfinder (which the X-T30 III does). Both cameras shoot 26MP stills, and neither is full-frame. They both have film simulation dials too. Both cameras also cost nearly the same, with the X-M5 kit carrying a retail price of $899 / £899. Sure, the X-M5 doesn’t have a brand new, non-power-zoom lens, but if both cameras are aimed at beginners, and you already own an X-M5, is it worth upgrading?

But because it has a viewfinder, the X-T30 III does make a compelling argument for those looking for a stills-oriented camera.

New camera, new price... old sensor

Another thing I'm slightly skeptical about is the X-T30 III's sensor. The X-T30 III and the X-M5 have the same X-Trans CMOS 4 BSI sensor. This is an old sensor now, and in fact it's the same sensor the X-T30 II utilizes.

The thing is, a fifth-gen 26MP sensor exists — and you'll find it on the Fujifilm X-H2S, which has a stacked BSI X-Trans CMOS 5 sensor that offers improved AF at higher shooting rates.

Admittedly, the X-T30 III camera doesn't really need that sensor as it's not a high speed shooter. But it would've been nice to see more fundamental updates to the core camera given the age of the X-Trans CMOS 4 and that the fact that at $999 body-only the X-T30 III costs a serious chunk more than the X-T30 II ($999 with a lens).

Exacerbating the issue is the fact that Fuji has a 26MP X-Trans CMOS 5 already at hand, with no other cameras in the lineup except the X-H2S are using it — using the 26MP X-Trans 5 wouldn't be stepping on the toes of other mid-range cameras.

Fujifilm X-T30 III: Outlook

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Today, Fujifilm launched the successor to the Fujifilm X-T30 II, a camera that came out four years ago and spent a decent amount of time on our best mirrorless cameras guide. Say hello to the Fujifilm X-T30 III, a mirrorless camera designed for everyday photography. The latest addition to the X-T lineup features the same 26.1MP X-Trans CMOS 4 sensor as its predecessor, but features the latest X-Processor 5 image processor, improving autofocus and power consumption. There's also a film simulation dial instead of the X-T30 II's drive dial, while the whole thing comes in the same lightweight and compact body as the X-T30 II.

The X-T30 III is the Fujifilm X-T50's younger sibling, featuring a smaller 26MP sensor (versus 40MP on the X-T50) as well as a smaller price point. Available to buy on 20 November, the X-T30 III comes in three colors: silver, black and charcoal.

The body retails for $999 / £829 while the kit — which includes the new XC 13-33mm F3.5-6.5 OIS lens — is priced at $1,149 / £999. It's the ideal, entry-level camera for casual photographers and anyone who wants to capture their family, pets, travels, and more. It's important to note that the X-T30 III features the same sensor as its predecessor, even though Fuji could have fitted it with the fifth-gen one found in the Fujifilm X-H2S.

As I mentioned already, the X-T30 III introduces some new upgrades. The old Drive dial on the X-T30 II has now been replaced by a film simulation dial — similar to the one on the Fujifilm X-T50 — giving you quick access to 20 film recipes. The Delete button above the monitor around the back now doubles as the Drive button.

The film simulation dial is a fantastic addition, and we first saw it on the X-T50. Now, it is available at a more accessible price point. Considering this camera is designed for families and beginners who want to document their everyday life and travels, it's great to have 20 film recipes at your fingertips, so you can quickly share your favorite snaps on social media without any post-processing required. Arguably this is more important than a drive dial (access to drive mode has now been assigned to the delete button).

The X-T30 III also becomes one of only three Fuji cameras to feature a built-in flash. The flash itself has received an upgrade. According to Fujifilm representatives, the flash can automatically adjust itself for improved low-light photography by boosting shadows and balancing them against highlights.

Battery life has been given a bump too, thanks to thew new processor, as the X-T30 III is now CIPA-rated for 425 frames (depending on shooting conditions). Its predecessor, the X-T30 II, had a CIPA-rating of 380 shots only, so you can continue shooting for longer between charges. With no change in batteries (The X-T30 III uses the same NP-W126S battery as its predecessor), this reduced power consumption stems purely from the more efficient X-Processor 5 processor.

As I mentioned up top, the X-T30 III comes with a new kit lens: the XC 13-33mm F3.5-6.3 OIS lens, and it's the first XC lens to adopt a manual retractable structure, unlike power zoom ones. This means there are no more annoying zoom sounds when you’re zooming in or out, and these won’t be present in any video recorded either.

At its shortest focal length of 13mm, it's a great lens, capable of capturing wide-angle, sweeping landscapes. And at 33mm, it becomes a fantastic portrait lens, giving beginner photographers plenty of versatility.

What makes the X-T30 III even more family-friendly is the fact that the camera allows you to shoot in the format of Fuji's Instax cameras. You can choose to shoot in Instax mini, Wide or Square format, and then use the appropriate Instax Link printer to print them out. For those who love physical prints, this is sure to be a valuable feature.

Sample gallery

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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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We all have bucket lists which detail the things we want to do or countries we want to visit before we kick the bucket. Up until now, I've been lucky enough that I've checked a few things off my personal bucket list, such as visiting the fjords in Norway, karting down the mountains in Switzerland, and seeing the Northern Lights in all their glory.

However, the top of my bucket list has been occupied by one thing for the last decade: visiting Iceland. And last week, I checked that off. Iceland is, in my opinion, the most beautiful country on the planet, home to over 10,000 waterfalls, majestic glaciers, and the only place where two major tectonic plates are located above sea level. Visiting all these otherworldly places felt like an out of body experience, and something I hope everyone can do at some point in their lives.

I also love photography, and Iceland feels like a photographer's dream. To capture such stunning scenery, I needed one of the best mirrorless cameras in my possession, and that's where my trusty Fujifilm X-T50 proved its worth. I took a thousand photos with it and I could have taken a thousand more and they still wouldn't be enough.

All photos in this article are straight-out-of-camera JPEGs (captured using different Fujifilm film simulation recipes) which means I have not edited them in any way whatsoever (unless stated otherwise in the captions).

Through rain or shine

Iceland is an island located in the Arctic Circle, so it's susceptible to storms, torrential rain and high-speed winds like you've never seen before. When my partner and I were planning our trip, we knew we needed to be prepared for unpredictable weather. She packed her trusty Nikon D5100, a DSLR she swears by, and I packed my Fujifilm X-T50 — neither of these cameras are weather-sealed.

The X-T50 isn't weather-resistant so I exercised caution while using it in Iceland — but there's only so much I could do when rain came pouring down out of nowhere, or when I was engulfed in heavy mist while walking behind a waterfall. And you know what? Nothing happened to my camera. It came out of that trip unscathed.

Maybe I just got lucky, so take this with a pinch of salt, of course, and don't go using the X-T50 in a blizzard or storm! Most mirrorless cameras are weather-resistant to an extent, which is why it's important to have a lens that has "WR" ("weather-resistant") engraved on it — like the XF 16-50mm F2.8-4.8 R LM WR.

Splashes of colors

I've used and reviewed many cameras in my time as a journalist and a photographer, but I'm still a firm believer in the fact that nothing comes close to Fujifilm's color science — and the Fujifilm X-T50 proved that with every photo I took in Iceland. I've always loved Fuji's film simulation recipes, and the X-T50 was the first of the brand's cameras to host a dedicated film sim dial.

I've heard people say on online forums, "What a waste of space, why can't you just dig into your settings to change color profiles?" The convenience and ease of use can't be overstated, in my opinion. Having them in the form of an easy-to-reach dial on the X-T50 made swapping between them a walk in the park, and I was able to capture images that were instantly shareable without the need for post-production.

Depending on the weather, I could pick a high-contrast or high-saturation color profile easily. While Nostalgic Neg has always been my go-to on cloudy days, I played around with Classic Chrome and the low-saturation Cinematic Cool with Eterna Bleach Bypass, and I adored the grungy looks both produced. I can't wait to use them more going forward!

Jack of all trades

I love describing the Fujifilm X-T50 as a jack of all trades because it's true. This camera can handle any kind of photography: portraits, landscapes, slow wildlife, you name it. The X-T50's autofocus system is rapid and highly capable of keeping your subject in focus — whether that's a human being or an animal, as you can see in the gallery above.

If you're familiar with my camera reviews, you'll see my partner pop up in them quite often. She's my favorite subject to photograph, really, and I couldn't stop pointing the camera at her every now and then when we were admiring a landscape in Iceland, and the photos turned out beautifully. The camera was quick to lock onto her face and eyes when I half-pressed the shutter button.

On the this trip, I had newfound appreciation for the tiny button located next to the shutter release which enables/disables face detection. I found myself using it a lot. When I wanted to take a picture of my partner or an animal, I hit the button to enable it and within milliseconds, the X-T50 had locked on.

But when I wanted to put the focus on, say, the Sólheimajökull glacier in the third slide and have my partner just out of focus as she walked into the frame, I disabled face detection, and captured one of my favorite photos of all time.

Worth a thousand words

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The Hasselblad X2D II 100C is the legendary Swedish camera manufacturer’s latest flagship mirrorless camera and the successor to the original Hasselblad X2D 100C. Just like its predecessor, the new model features a behemoth 100 megapixel medium format sensor, and is aimed at discerning modern professionals who need the last word in image sharpness and color accuracy.

For all the similarities, though, the X2D II fixes some of its predecessor’s glaring issues. The first model — as glorious, indulgent and lovable as it was — lacked features I’d expect in a professional body. The autofocus was very basic, with little in the way of subject detection, while there wasn’t even a focus joystick, often forcing you to rely on the screen instead of the beautiful hi-res EVF.

These were bitter pills to swallow given the +$8,000 price tag and the fact that its main rival, the (admittedly newer) Fujifilm GFX100 II, had no such issues, and even offered video.

The X2D II is Hasselblad’s answer to the GFX. The AF is much improved. There’s a joystick. It even costs less than its predecessor. So can it do enough to best the Fuji and become the best mirrorless camera in the medium format arena? Find out in my full Hasselblad X2D II 100C review.

Hasselblad X2D II 100C review: Specs

Hasselblad X2D II 100C review: Price & availability

The Hasselblad X2D II 100C costs $7,399 which, believe it or not, is pretty good value (in medium format terms). At the very least, it’s a step in the right direction. See, medium format cameras are just incredibly expensive. Even a “budget” example, the Fujifilm GFX100S II, sits pretty at $4,999.

The original X2D 100C cost $8,199, so kudos to Hasselblad for knocking nearly 10% off the second model (despite significant updates). Stop the presses, though: the Fujifilm GFX100 II costs $7,499, so Hasselblad is even undercutting Fujifilm!? Am I dreaming? Am I drunk? Am I… dead?

Anyway, back to this new weird reality: lenses are still Hasselblad-expensive. To resolve 100 megapixels, glass has to be incredibly good. Otherwise there wouldn’t be any point using such a high-res sensor. This is the best glass in the consumer industry, and you’ll pay for it. I tested the X2D II with Hasselblad’s latest lens, the XCD 35-100mm F2.8-4, which will set you back another $4,599.

Hasselblad X2D II 100C review: Design

The X2D II looks virtually identical to the original X2D, which is no bad thing. I adore the camera’s styling. It’s ultimate high-end scandi: minimalist and futuristic, albeit with a neo-retro vibe. Sharp lines, elegant fonts, a matte gunmetal gray finish. It puts the odd shiver down the old spinal cord.

Build quality is peerless. Fujifilm’s cameras are built by the Japanese, and that’s good. Hasselblads are hand-forged by Norse Gods, and that’s better. Just kidding, they’re actually hand-forged by run-of-the-mill Swedish human beings, but the crafting is God-tier nevertheless.

Despite being a similarly humungous chunk of metal, the X2D II is 7.5% lighter than the original X2D (1.97lbs), although that’s like comparing a 92.5-ton slab of granite to a 100-ton slab of granite. At 1.85lbs the new model is still really bloody heavy, especially when you add that enormous 35-100mm lens. It’s 0.35lbs lighter than the GFX100 II (2.2lbs), though.

Displays

The X2D II has three displays. I’ll go in the order of how much I resent them, from least to most. The rear screen is a tilting 3.6-inch 2.36M-dot OLED display, which is super bright (1,400 nits, no less) with lots of contrast — both needed for the HDR mode I’ll discuss below.

Aside from looking great, the screen is capacious too, enabling the spacious and easy-to-use menu system (more on that later). 2.36M-dots of resolution is par for the course with mid- and high-end cameras, and is the same as you’ll find on the GFX100 II. For detailed focus checking at 100MP, though, you’ll want to use the higher-res EVF.

Up on the top panel sits a 158K-dot 1.08-inch TFT settings display, about which I’m ambivalent. Its job is to show you settings. It does its job.

The EVF is, honestly, a let down. It’s a micro-OLED display with 5.76M dots of resolution. That’s not bad. But it’s no improvement on the original X2D and much lower res than the GFX100 II’s 9.44M-dot EVF. The much cheaper 61MP Sony A7R V ($3,900) has a 9.44M-dot EVF, as does the 50MP Sony A1 II ($6,499). The 45MP Canon EOS R5 Mark II ($4,299) and even the 24.5MP Nikon Z6 III ($2,499) both have 5.76M-dot EVFs.

100MP is where a super high-res 9.44M-dot EVF is needed most, especially when you’re paying $7,399. This camera ought to have one.

Connectivity

Just like the original X2D, this second iteration features a built-in 1TB SSD with a CFExpress Type-B port for expanding storage by up to 512GB. Even with the camera’s enormous 100MP RAW files, though, 1TB is plenty of storage — I shot around 400 photos in testing and still had over 800GB left, so never needed to install my SanDisk Extreme 128GB CFExpress Type-B card.

There’s also a USB-C port for tethering and a port for wired shutter release devices. Naturally there’s a hot shoe up top for flash (which is supported at all mechanical shutter speeds). And that’s it! Pared-back Scandi minimalism.

Software

The X2D II also pairs with the Hasselblad Phocus 2 app. I wouldn’t want to edit RAW files on the app, but at the very least it’s useful to quickly preview and download shots — much quicker than transferring hundreds of +70MB JPEGs or +200MB RAW files to a computer.

Importantly, the X2D II is not compatible with Capture One and you’ll need to use Hasselblad’s Phocus desktop app to tether instead, which will be a big reason for many pros to opt for Fuji’s GFX line.

Hasselblad X2D II 100C review: Controls & handling

The X2DII handles extremely well for such a large (5.8 x 4.1 x 2.9 inches) camera. It features a redesigned sculpted grip, blessed with more bevelling around the lower front and rear areas. It’s extremely comfortable to hold, but then again, so was the previous grip.

I had no issues operating the camera handheld on the street, at angles, and in portrait orientation. There are very few buttons and some are a stretch for your right hand due to the camera’s sheer size, although everything can be tweaked using the screen and menu (more on that below). There’s an Fn button down by the lens, just in reach of my right pinky, but it would’ve been nice to see a button or two in the grip recess, à la the GFX100 II and GFX100S II.

On a tripod in the studio — any Hasselblad’s indigenous habitat — it’s a joy. The control scheme just makes perfect sense, with large buttons and a bright screen that are each easy to hit in the dark.

Most pertinent control-wise is the addition of a focus joystick. Hasselblad calls it a “long-awaited joystick” — a tacit admission that it really, really should’ve put one on the last model. On the original X2D, choosing focus points while using the EVF was a total pain in the proverbial. Problem now solved.

Menu

Ah, Hasselblad’s menu system: while it giveth with one hand, it taketh away with the other. It’s so pretty, so minimal, so well laid out. Alas, like a benign mole it is but skin deep. I said the same thing about the last model: there’s just not enough control over the camera.

Fujifilm’s menu gives you mastery of virtually every aspect of its GFX cameras. And it’s not as though it’s an outlier for doing so: Sony, Canon, Nikon, Lumix — their menu systems are all equally as comprehensive. It’s de rigeuer with modern mirrorless cameras.

Hasselblad X2D II 100C review: Autofocus

The X2D II’s autofocus is much improved over the original model, which only had a single detection mode for human faces. The X2D features face and eye detection, which is important. On both the Hasselblad 907X + CFV 100C ($8,199) and X2D 100C (both use the same AF system), eyes often weren’t in sharp focus when shooting portraits — important, as the X2D was otherwise fantastic for high-end fashion billboard photographers.

Anyway, the new eye detection works very well, making the camera an even better prospect for portrait photographers. In the image above, eye detection found and tracked the subject’s eye, which is in sharp focus. It had no problems detecting in lower light, either, as in the portrait below which was taken in a dimly lit restaurant with the exposure boosted in post.

There’s now also cat/dog and vehicle detection modes too, making the X2D II a much easier camera to shoot with outside of a perfect studio environment. That said, the GFX100 II packs a wider roster of subject detection modes (including bird, animal, plane, train etc), so remains the more flexible tool.

The X2D II’s AF is fairly competent. It feels faster than the original X2D, especially using the new XCD 35-100mm lens. Although AF on medium format cameras is never that snappy: they simply aren’t meant to be fast. It struggled to keep up with slow moving birds, for instance, and the pigeon in the shot below is just a little soft.

Thanks to the hybrid PDAF/CDAF and LiDAR combo, the AF is effective even in dimly lit conditions, especially with human subjects. It struggled with low contrast subjects like my dogs’ eyes — they have black eyes and fur — but I haven’t yet found a camera that doesn’t struggle with those.

However (and I can’t bang the drum enough here), this isn’t a fast camera for rapidly changing scenarios. It’s for slower-paced, considered photography and studio work, so pining after the fastest AF is a moot pine. And besides, it's indisputable: the best way to focus on a Hasselblad is manually. For the uninitiated, MF on a Hassy is a joyous experience, and the on-screen/EVF MF assist dial makes it super easy, always proving accurate and reliable.

Hasselblad X2D II 100C review: Stabilization

The X2D II features an upgraded in-body image stabilization (IBIS) system, now good for up to 10 stops of stabilization. It’s very, very competent and bests the (still very good) IBIS systems in Fujifilm GFX cameras.

For the images below, I was able to shoot down to ¼ sec handheld with the scale legends still perfectly sharp. By ½ sec I was unable to get sharp shots — the image looks okay from afar, but zoom in close and the legends have blurred.

On the original X2D and GFX100 II, you started to get problems at ⅛ sec in the same test. It takes a lot to stabilize such whopping great sensors, so ¼ sec is a fantastic result for a medium format camera.

Hasselblad X2D II 100C review: Image performance

100MP gives you jaw-dropping levels of detail. The gallery below shows crops with the full-size original photos afterwards. As you can see, it’s possible to crop to borderline criminal levels and still come away with richly detailed images. In the cropped image of the green and red foliage, you can see the veins of the leaves and droplets of water. Click right to see the original image and how extreme the crop is.

In the cropped image of the bee, you can see its fuzzy little abdomen and veined wings. That reframed image is still 12 megapixels despite the massive crop. It’s madness. Having this much detail at your fingertips isn’t just about cropping either — 100MP is ideal for super large format printing, like commercial billboard advertising.

Color rendition is equally as important to the Hassy ethos. It’s put decades behind its vaunted color science, and as soon as you use one, you get it. The X2D II offers 16-bit color depth, just like the original X2D, giving you 281 trillion individual shades. As a result, colors are just so darned true to life. The colors in the leaves picture above are incredibly natural feeling and match the real life lighting while I was shooting.

Having all that headroom with color also gives you heaps of flexibility with color and light in post. In the portrait above, I was able to shift the background entirely from blue to purple without any banding.

You only get one color profile, though. It's a good one, but if you want to be able to shoot in different profiles in-camera, you'll need to opt for one of the GFX cameras. Likewise, if you want black and white, that all has to be done afterwards in post.

Dynamic range

With a big old sensor comes a big old dynamic range, and the X2D II’s RAW files give you heaps of flexibility in post production, with lots of headroom in highlights and less risk of blowing out the top end of the histogram.

The first image above is shot in purposefully challenging backlit conditions at the lowest native sensitivity, ISO50. The second image is the same file with the shadows and exposure lifted, plus the highlights reduced.

Shadows are very clean, and plenty of detail has been revealed at the low end with shadows boosted — you can see the text on the lens body and the individual ridges on the control rings. The highlights were also salvageable. I placed fake ice cubes on the softbox netting behind the lens — they weren’t blown out with lots of detail retrievable.

One of the new features on the X2D II, though, is HDR (High Dynamic Range), which lets you push to a maximum 15.3 stops of dynamic range. Alongside 16-bit color depth, this gives you even more tonal range, with super deep shadows and crisp highlights.

Personally, I still prefer working with RAW files, and there’s so much headroom there anyway that I don’t really need the extra dynamic range in JPEGs. Still, 200MB RAW files are a serious headache to move around and work on. With HDR JPEGs, you can have your cake and eat it too: bags of dynamic range with much easier files.

As you can see in the out-of-camera JPEG above, you still have plenty of editing room despite the compression: In the second image, I’ve boosted the shadows to reveal lots of detail. I don’t see why you couldn’t work entirely with JPEGs on this camera.

High ISO performance

One of the joys of shooting on medium format cameras is how far you can push ISO values and come away with great-looking shots. The portrait below was shot at ISO25,600.

The X2D II tops out at ISO25,600, which is short of the GFX100II’s ISO51,200. That’s a little disappointing: these cameras can shoot up at 51,200 comfortably so why not give us the option, Hasselblad?

Above are JPEG exports of the RAW files, which had no noise processing applied. Noise is obviously visible at the higher values, and causes a dip in sharpness, but even at ISO25,600, it isn’t even approaching ruinous. I wouldn’t want to blow up the ISO25,600 shots for large-scale printing, but for online/small screen viewing, they’re absolutely fine.

Above are the out-of-camera JPEGs, with in-camera noise processing applied. The smoothing effect of noise suppression results in a noticeable drop in sharpness versus lower ISO values. Again, though, I wouldn’t think twice about using ISO25,600 JPEGs online.

Continuous drive

The X2D II’s continuous shooting rates are positive sedate, even for medium format. The camera tops out at 3fps, versus the GFX100II’s 8.7fps. If you need any semblance of speed, you’ll want to opt for the Fuji.

That said, 3fps should be fine for fashion shoots, giving models enough time to change position as you fire off shots!

Hasselblad X2D II 100C review: Battery life

Hasselblad rates the X2D II for 466 shots on a single battery, which is fairly accurate, if not a little conservative. I managed 246 frames (RAW + JPEG) from around 55% of battery. And that included mixed use of the EVF and rear display, playback, messing around on menus and tweaking settings etc.

Extrapolating, you can expect nearly 500, and that ain’t bad for a monster like this. Switch on HDR, and you can naturally expect your frame count to drop.

Hasselblad X2D II 100C review: Verdict

The Hasselblad X2D II 100C is a solid step up over the original X2D. Many of its core features have received welcome updates, especially the AF, but also the boosted IBIS, too. It’s the best camera the brand has made so far, and if you’re new to the Hasselblad system, it’s the model to get.

Would I upgrade from the original X2D 100C? No. These aren’t fast cameras. They’re about supreme imaging performance and are most at home in a studio environment. I don’t think the X2D II will perform that much better in such scenarios to warrant the upgrade.

Should you buy the X2D II 100C over the Fujifilm GFX100 II? Tricky. Both cameras produce phenomenal photos, but the Hassy’s glass and images feel just that bit sharper. And if you care most about color rendition, it’s Sweden all the way. Overall, though, the X2D II can’t pip the Fuji for general usability. The Hasselblad is slower; its AF is still behind the curve; the EVF is lower-res; and it won’t shoot video.

If you put both in front of me and asked me to pick one, though, I know it’d be the Hassy — not from the head, but from the heart. And I’m a Fuji guy.

I've been using cameras since I was a young teenager, and photography has always been one of my hobbies. I'm very lucky that I, then, get to test all the best cameras here at Tom's Guide. But cameras don't always come cheap, and neither do lenses. You can do with just one camera body for decades but investing in glass to accompany that body can burn a hole in your pocket.

The good news, though, is that you can re-use your old lenses on your new camera. "But what if I have a Canon camera and a bunch of Sony lenses?" I hear you ask, you can still use those lenses on your camera, even though they're from rival brands.

"And what if I have a bunch of DSLR lenses and a mirrorless camera? Should I throw them away or sell them?" No, you don't have to. There's a quick and easy fix for using DSLR lenses with mirrorless camera bodies — all you need is the right lens adapter. If this is your first time hearing that term, don't worry, I've got you covered. Let me take you through what you need and how to use DSLR lenses with mirrorless camera bodies.

What you need

There isn't a lot you need to get started: two of the three things you need you probably already own (which why you're reading this article!). You'll need to buy a compatible lens adapter but fret not, these usually aren't very expensive.

Websites like K&F Concept have an array of lens adapters — just make sure you get the right one, and for that, you'll need to double-check your lens mount and camera mount. Skip to the next section for a rundown of what those terms mean.

So, in a nutshell, you need the following:

• A lens adapter (from K&F Concept, Urth, or any other camera accessories retailer)
• A mirrorless camera (I used my Fujifilm X-T50)
• A lens designed for DSLR cameras (I used my Nikkor 55-200mm f/4-5.6G lens)

Quick tech rundown

You can usually tell the camera mount type by looking at the area where a lens is mounted. More often than not, there are visual indications for quick identification. For instance, Fujifilm's X mount cameras have a red dot in the lens area, Canon's RF mount cameras have a small red stripe, Sony's E mount cameras have "E mount" engraved on the mount itself, and so on. You can see a few examples in the gallery above.

Similarly, lenses will have a mount type too, so you'll need to either consult your user manual or search online to find out what exactly it is. Some lenses mention the mount type on the rear lens cap. As an example, a Fujinon XC or XF lens is compatible with Fujifilm X mount cameras.

Think of a lens adapter as a bridge. I'll give you an example of how I did it. My Fujifilm X-T50 is an X mount camera while my Nikkor 55-200mm f/4-5.6G is a Nikon F mount lens, so I bought a lens that could mount the Nikkor lens onto it and attach to my Fuji camera.

There are different types of lens adapters too, some which can electronically communicate with the camera and ensure the lens continues utilizing the camera's autofocus. Cheaper ones usually feature manual adjustments, so it really depends on your budget and shooting requirements.

How to use DSLR lenses with mirrorless cameras

Once you've got your lens adapter, lens and camera, it's time to assemble your weapon. First, remove your camera's lens cap or existing lens. Don't forget to screw on the rear cap onto the lens you've just removed to protect it from scratches and dust.

Next, attach your lens adapter to your camera by lining up the red dots (or other visual aid) and twisting it on. If done properly, you'll hear a click, indicating that it has been attached properly.

For the third and final step, align the red dot on the lens adapter with your lens and twist it. Again, if done properly, you'll hear a click. Yep, it's really that easy! Both the lens adapter and lens should mount easily but if they don't, double-check to ensure they're compatible.

Don't force it if it doesn't screw on smoothly as you don't want to risk damaging your camera mount or lens.

Once you have your lens mounted onto your camera via a lens adapter, there's one very important thing you need to do. Dig into your camera's settings and enable the Shoot Without Lens setting. For example, I did this on my Fujifilm X-T50 because the camera wasn't electronically communicating with the Nikkor lens as it does with first-party lenses.

Are there any limitations?

While using old DSLR lenses with mirrorless cameras is great for beginners and enthusiasts, it does come with some limitations. After all, you're using two different systems and technology. You may experience a loss in resolution and image sharpness as the lens won't always be able to resolve the megapixel count.

Depending on the lens and the adapter, you may lose autofocus too, and you may need to rely solely on manual focus and aperture control — which, to be honest, might make you a better photographer! Some older DSLR lenses may be heavy for your mirrorless camera too, but that comes down to personal preference. I don't really mind the added weight of my Nikkor lens on my Fujifilm X-T50 as I have a lighter kit lens that I can carry everywhere and swap as needed.

Using a lens adapter is simple and easy to do, and you can use mirrorless lens on mirrorless cameras too — as I said, just make sure you've got the right adapter!

More from Tom's Guide

• Best mirrorless cameras in 2025
• DSLR vs. mirrorless cameras: Which is better for you?
• I tested the Fujifilm X half for two weeks — and some might think this one feature is a gimmick but it’s my favorite

This is the Sony RX1R III — a camera photographers like me have been waiting over 10 years for. And honestly, we weren’t even sure it would ever be released.

It’s a fixed-lens full-frame camera, just like the RX1R II before it. Same lens, but now it’s paired with a 61-megapixel full-frame sensor from the Sony A7R V and Sony A7CR. It’s designed to be a premium compact — something that fits in your jacket pocket, but still delivers pro-level image quality. Think of it as a fun, weekender camera for working photographers or serious enthusiasts who don’t want to lug around a full kit.

While I think I own one of the best camera combos with the video-first Sony a7S III and the hybrid Sony a7 IV, they’re not the most convenient to take on the go, especially when I just want to focus on exploring and not be weighed down by my gear. The smaller and lighter the camera, the more likely I’ll bring it with me as an everyday carry (at least that’s what I keep telling myself). The thing is, I rarely take photos on my most portable camera, my iPhone 16 Pro, unless I really have to. Small point-and-shoots like the Sony RX1 I previously owned were a step up, but to me, they ultimately lacked that oomph I was after.

I’ve been chasing that elusive sweet spot: a small, fun camera that still gives me full creative control and doesn’t make me compromise on image quality. That’s what the Sony RX1R III aims to achieve. I had the opportunity to test this new $5100 camera and after a day of testing it around NYC, here’s what I loved — and what still feels stuck in the past.

If it ain't broke, don’t fix it.

The Sony RX1R III uses a 10 year old lens, but that’s not a bad thing. It’s the same 35mm f/2 Zeiss Sonnar T* lens as the previous model — it’s sharp, delivers excellent depth of field, and is of course compact. Why change?

The camera is now paired with an upgraded 61-megapixel full-frame sensor (up from 42.4MP of the RX1R II). This gives enough resolution for digital crops. To an effective 50mm focal length with 29MP spare, and 70mm at 15MP — so you get lots of flexibility without ever swapping lenses.

The 3 effective focal lengths can quickly be toggled between using a programmable Custom Button. I enjoyed nailing my framing in camera, saving me from needing further edits. From capturing a delivery guy chilling on his Vespa in front of a pizzeria with perfectly complementary teal and orange colors, to retro signage I found across during my walk, to authentic moments of New Yorkers just being New Yorkers, the RX1R III offers good focal range to work with for street photography.

That said, there were definitely times where I wished the lens could go wider — something like a 24mm or 20mm — especially when I couldn’t physically move backwards to capture more in frame. One missed shot that sticks with me: a yellow cab flying past with a killer backdrop behind it. Wider glass would have told a better story.

Inconspicuous… and I love that

The RX1R III reminded me how great it is to have a very compact high quality stills camera that I can take basically anywhere. It weighs just 1.1 pounds and measures under 3 inches thick. Not exactly pocketable — but it still fits easily in a jacket or sling bag without weighing you down.

On the street, it’s stealthy. People don’t tense up when you raise it. They don’t assume you’ve got the reach to grab a candid moment across the street — even though you do. And for me, there’s another big bonus: most venues will let it through security without hassle.

By contrast, even my smallest Sony Alpha body with a pancake lens sets off the “pro gear” alarms. I’ve lost count of the awkward moments explaining to security, “Actually, according to your policy this lens is small enough and allowed to be brought in.” The RX1R III skips that whole song and dance — it’s just a small camera to everyone else, which is exactly what I want it to be.

The reigning champ of AF

Sony still reigns champ when it comes to autofocus, especially compared to the likes of Leica Q3 43 and Fujifilm GFX100RF, which may have the edge with image quality, but can’t keep up with the RX1R III’s speed and AI. The Sony offers 693 Phase detection autofocus points covering around 78% of the image capture’s area and can focus up to 20cm close for macro shots. One thing holding it back, though, is that it uses stepper motors, so its tracking may not be as reliable as Sony’s newer Alpha cameras.

In my tests, I tracked a group of skaters riding toward me, keeping focus on the guy on the left as he busted a sick kickflip, and the camera just locked on the whole time.

I ended up printing that shot straight out of camera — no edits needed. And that’s the beauty of a camera like this. It almost gives me that instant camera vibe, where I can quickly capture a moment and print it right away without worrying about spending hours in Lightroom.

The trade-offs

For hybrid shooters like me, the RX1R III also shoots 4K at up to 30fps, which is great for capturing quick video moments on the fly. I’d still use this primarily as a photo-first camera, as the compact size does come with trade-offs. Specifically for video: there’s no mic or headphone jack, no stabilization, and there’s no record button. Considering the target audience, the video features may rarely get used — but there are a few other quirks photographers won’t love either.

First, the rear screen is fixed — no flip-out, no tilt — which makes framing low or high-angle shots a bit tricky. Sometimes when I’m doing street photography, I like to rely on a flip-out screen to be more inconspicuous about what shot I’m framing. So that was a bummer and definitely made me rethink how I shot. This is even more surprising when you remember that even the 10-year-old RX1R II had a tilt screen!

Something else I quickly missed from my other Sony cameras was a joystick to shift the autofocus point without relying on the touchscreen. Just like its predecessor, your only other option is to use the control wheel to navigate and select focus points. Again — for a camera this expensive — it feels like it misses out on a lot of the conveniences I’ve grown used to with my nearly 5-year-old Sony bodies.

The underwhelming

On paper, battery life is a little underwhelming. It’s rated for about 300 shots, which is on the lower end of what cameras in this category offer. The Leica Q3 43 is rated for 350, though you can easily get double that in real-world use.

After an hour-long photo walk — roughly 250 photos and some short videos — I wrapped with about 25% battery left. I’m also someone who rarely turns their camera off between switching scenes so I don’t risk missing the shot, so keep that in mind.

Finally, this camera lacks weather resistance. While I don’t make a habit of shooting in the rain, many of my favorite shots over the years have been in less-than-ideal weather. Weather resistance isn’t necessarily about letting your camera get wet — it’s about added peace of mind for your very expensive investment.

What you’re paying for

The RX1R III will set you back $5,100 before you even think about accessories — and yes, they’re pricey too. The matching thumb grip is $300, and the leather body case will run you another $250. That plants it firmly in flagship territory, but it’s not out of step with other premium compacts like the Leica Q3 or the Fujifilm GFX100RF.

You’re not paying for versatility here — you’re paying for a very specific type of camera: discreet, pocketable (ish), and capable of producing full-frame images that can hang with your main workhorse. Whether that’s worth the cost depends entirely on how much you value traveling light without sacrificing quality.

Should you buy the Sony RX1R III?

If you’re a professional photographer who already shoots Sony and wants something compact that still feels familiar in the hand, or a serious hobbyist who values high-resolution stills and fast, reliable autofocus in a discreet package, the RX1R III makes a compelling case.

It’s not perfect — the fixed screen, lack of weather sealing, and average battery life will frustrate some. But if you can live with those quirks, this is one of the few cameras that can deliver A7R V-level image quality in a body small enough to disappear into a sling bag.

It’s the kind of camera you buy because you know exactly what it’s for — and if that’s you, it’ll earn a permanent spot in your kit.

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The Fujifilm X-E5 is the latest in Fuji’s X-E line of street cameras, which are essentially the interchangeable lens versions of the fixed-lens X100 line, including the Fujifilm X100VI. Compact and lightweight, X-E cameras are designed for street and documentary style photography. Capable yet stripped-back, they’re also intended to be fun, and to provide a classic, tactile shooting experience.

The X-E5’s predecessor, the Fujifilm X-E4, embodied that multi-faceted ethos perfectly, as did its predecessors the X-E3 and X-E2, so the X-E5 has some big ancestral shoes to fill.

And it does fill them... and then some. Fuji has thrown the kitchen sink at this camera, fitting it with the same 40.2MP sensor, X-Processor 5 and 5-axis IBIS system as the Fujifilm X-T5 and X100VI. In predictable fashion, Fuji has also gone and thrown in a couple of extra dials for good measure, plus a smattering of ‘purist’-oriented features. All in an effort to justify the elephant in the room: a list price double that of its predecessor.

So, is it worth it? Could this be one of the best mirrorless cameras for street photography? Find out in my full Fujifilm X-E5 review.

Editor's note: the X-E5 is currently on pre-order at Fujifilm with sales starting in August 2025.

Fujifilm X-E5 review: Specs

Fujifilm X-E5 review: Price & availability

You ought to sit down for this. The Fujifilm X-E5 costs $1,699 body-only, a frankly sickening price given a) the $849 list price of its predecessor; b) that the range-topping X-T5 also costs $1,699; and c) that while the X-E5 builds upon its predecessor in many ways, it’s actually a backwards step in certain areas, such as display resolution and battery life.

Tariffs or no, I simply cannot fathom how $1,699 is a fair price for this camera. But the very least Fuji could’ve done while gouging us all was to improve the X-E4 in every single way.

Now, while I can’t justify it, that isn’t to say I’m clueless as to why this camera is so expensive. I wasn’t born yesterday. Fujifilm understands that its brand is currently at a zenith of popularity. Just like the X100VI, Fuji knows the X-E5 will sell no matter how much it charges, particularly if supply is short.

Profiteering, or simply capitalizing on market demand? There’s a very thin line between the two, especially if Fuji deliberately limits supply to inflate demand once the camera goes on sale in August 2025. I’ll leave you to decide which you think is at play, but you can probably guess my opinion.

In the U.K., the X-E5 costs £1,299 body-only. Not quite as sharp a gut punch as the U.S. pricing, but nevertheless a £500 premium over the X-E4.

Specs-wise, you’re better off with the almost identically-specced Fujifilm X-T50 ($1,399) for less money, or the higher-spec X-T5 ($1,699) for the same price. If you’re after as much bang for buck as possible, I’d also suggest the similarly-priced full frame Nikon Z5II, which offers much more performance (while sacrificing looks).

The X-E5 was released alongside a new kit lens, the XF23mm F2.8 R WR, a weather-resistant pancake lens which replaces the X-E4's 27mm lens. I prefer the 23mm focal length to the 27mm lens, which I found 'neither here nor there' — its 40mm full frame equivalent FoV wasn't wide enough for expansive scenes, yet was too wide for a typical standard field of view, and proved an uncomfortable lens for me. The 23mm equates to a 34.5mm full frame FoV, which I find much more usable.

With the XF23mm, the X-E5 costs $1,899 / £1,549, so you're paying $200 for the lens (which feels fair). The lens is available for purchase standalone from November 2025.

Fujifilm X-E5 review: Design & controls

The Fujifilm X-E5 sees the reimplementation of a front grip and rear thumb rest after the X-E3’s were removed for the flat-fronted, straight-backed X-E4. These make the X-E5 a much easier camera to keep hold of, although it’s lacking the sheer security and comfort of its grip-endowed stablemates, the X-T50 and X-T5.

The general profile is more or less the same as the X-E4 — a relatively compact, rectangular rangefinder. Thanks to its stabilized sensor and full-aluminum top plate, the X-E5 weighs 2.8 ounces (81g) more than the X-E4 and is a few millimeters wider and deeper. While the difference is small, it definitely feels bigger. That said, this is still a lightweight camera in general terms.

The relatively trim figure, combined with the rangefinder design, devolved ergos and classic controls, all make for a decent handling street camera. And all without sacrificing Fujifilm’s typically exquisite build quality — of which the new full metal top plate is the chief highlight.

Controls

The X-E4 was a stripped back camera with few buttons and dials. It gave you just what you needed to change settings quickly and intuitively, without overloading you with a plethora of custom function buttons. Everything you remapped was wholly deliberate and crucial to your shooting.

The X-E5 has watered that down somewhat by adding more controls. The tactile top plate dials are familiar, as are the two command dials and limited Fn buttons. But now there’s an X100VI-style lever and button up front, just by the lens, and naturally a film simulation dial — no self-respecting Fujifilm could be without a film sim dial these days. I didn’t resent having either, though, and found them useful for quickly changing settings on-the-fly.

Unfortunately, though, the film sim dial is placed right above the eye sensor, turning off the screen every time you use it. This is a real pain if you’re framing with the display, and the worst Fuji design decision since the Fujifilm X-T30/II’s awfully placed Q button.

Displays

The X-E5 features the same 2.36M-dot OLED EVF as the X-E4. It would’ve been nice to see the higher-res 3.69M-dot EVF from the X-T5, though, befitting the resolution of the new camera, not to mention the price. The tilting rear display resolution, meanwhile, has actually decreased from 1.62M-dots on the X-E4 to 1.04M-dots on the X-E5 — unacceptable given the doubled price. Both displays are bright, and I had no issues using them in bright sunlight.

There are a handful of display settings to aid immersive shooting. The front lever is a display toggle by default, letting you enable/disable displays if you’d like to avoid using the screen. This harkens to the ‘purity of experience’ ethos of the X-Pro line — the X-Pro 3 has a hideable rear display to discourage using it. There’s also a limited display mode, which only shows key info at the bottom of the display.

Naturally, Fuji is acting as though both of these are revolutionary features, although you’ve been able to do each of the above on, well, all recent Fujifilm cameras (albeit not as quickly and easily).

Another experiential feature is the X-E5’s “Surround View” mode, essentially an Optical Viewfinder (OVF) simulator — this applies a frame crop to the EVF/display and JPEGs, but still shows the full 3:2 frame outside your frame boundaries via the EVF, like an OVF. I enjoyed using it, although I doubt die-hard OVF fans will find it satisfying. For $1,699, though, I would’ve liked to see the hybrid OVF/EVF of the X100VI and X-Pro 3.

Connectivity

The X-E5 isn’t particularly well connected, but as a street camera, it doesn’t need to be. There’s a single SD slot, which has been upgraded to UHS-II compatible from the X-E4’s UHS-I, for faster write speeds.

There are microphone, USB-C and micro-HDMI slots underneath the side hatch. There’s no headphone jack, although the USB-C port can be used for headphones when shooting video.

Weather sealing

The X-E5’s body is not weather sealed, so you’ll need to be careful using it in poor conditions, and avoid using it in extremely sandy or dusty environments. However, many Fuji lenses, including the new XF23mm kit lens, are weather resistant, which will provide you with some protection if you get caught in a light shower while out on the street.

Fujifilm X-E5 review: Autofocus

The Fujifilm X-E5 features hybrid contrast/phase detection autofocus, while its X-Processor 5 image processor brings Fuji’s latest AF algorithms and the familiar array of subject detection AF modes from other recent Fujifilm cameras.

The AF is pretty snappy for stills using the new XF23mm pancake lens and my XF35mm F2. That said, the XF23mm proved a little frustrating for video, where it was quick slow to focus and refocus on continuous AF mode, especially when subjects moved out of and back into frame — I had to use focus lock for the footage in the video section below, to ensure it maintained focus when the cup came back into shot. For stills, though, it was absolutely fine.

The X-E5's subject detection was able to detect and lock onto subjects quickly and easily. Humans were an absolute breeze, and in the portrait above the camera had no problem locking onto the subject’s eye, even behind her glasses.

It was also able to detect the eye of the sheep in the image below, tracking and holding onto it through the frame as the sheep approached me.

When shooting street and architecture, I prefer to focus manually or set my focal point with the joystick. That said, it’s reassuring to have such a competent AF system there when you need it, during fast-changing situations on the street, for example.

Fujifilm X-E5 review: Stabilization

The Fujifilm X-E5 is the first camera in the X-E line to feature in-body image stabilization (IBIS). I don’t think these cameras particularly need it, and it sorta undermines the whole lightweight, stripped-back street camera ethos.

That said, there’s no disputing the fact that IBIS adds lots of functionality, so it’s objectively a good feature to have for low-light shooting and video. With higher resolution sensors also comes greater amounts of micro-blur, which IBIS helps to reduce.

The X-E5 features a 5-axis IBIS system providing up to 7-stops of stabilization. In the images above, I was able to shoot down to about 1/5sec before camera shake started to render the scales legends blurry. The X-E5’s performance is roughly on par with Fuji’s other 40MP cameras like the X-T50 and X-T5, although the lower-res (26MP) Fujifilm X-S20 ($1,299) managed down to 1sec, making that a better camera for low-light work.

Fujifilm X-E5 review: Image performance

The Fujifilm X-E5 uses the X-Trans CMOS 5 HR 40.2MP imaging sensor, which is very familiar by now, having featured in the Fujifilm X-H2 ($2,499), X-T5 and X-T50. It’s a brilliant sensor, producing highly detailed stills.

The first image in the gallery above is a heavy crop of the second, and there’s plenty of detail thanks to having so much resolution to play with in the first place.

Of course, this is a Fujifilm street camera with a film simulation dial, so a big part of the experience of using the X-E5 is dabbling with the film recipes for retro, film-like aesthetics. The film simulation dial has the most popular recipes assigned to it, with three custom slots so you can assign any other favorites of yours. I assigned Eterna Bleach Bypass, Pro Neg Hi and Acros + R filter.

The film simulations, as always, are a lot of fun to experiment with, although as a black and white shooter, Acros always has my heart.

As I mentioned above, I found the OVF simulation pretty useful, allowing me to choose a crop to fit the scene (I particularly enjoy cinematic 16:9), then view it in the EVF while keeping the whole frame visible around it — this let me time my shots while subjects moved through the frame. The second and third photos in the gallery below show the cropped and un-cropped (RAW) versions of the same file.

The X-E5 also features a digital teleconverter, like the Fujifilm GFX100RF. This applies either a 1.4x or 2.0x digital crop/zoom, effectively giving you two extra focal lengths per lens/current focal length. Thanks to the high resolution sensor, digital zoom is possible without sacrificing too much image quality.

The X-E5 isn’t a high-speed camera, and it only uses a single SD-slot, so I didn’t spend time testing out its sustained high speed drive performance. That said, it’ll shoot at up to 20fps, where in RAW + JPEG you can expect 20 frames, so around a second of shooting. If using the mechanical shutter, this will apply a crop.

I used the lower drive 5fps drive setting when taking the sheep photos above, where you can expect around 20 frames again, this time equating to 4 seconds of shooting. These drive modes are more than enough for capturing some fast-paced street action.

ISO performance

As we’ve seen in other cameras with this sensor, the X-E5 handles high sensitivity settings fairly well given the high MP count and modestly-sized APS-C sensor. The images in the gallery directly below are RAW files (with no noise processing), exported as JPEGs in Adobe Photoshop with no processing made at all.

At ISO12,800, images are still usable. There’s lots of grain visible in the background, but the subject is still reasonably sharp. Any higher, though, and noise starts to overwhelm the photo and degrade sharpness.

The photos below are the out of camera JPEGs files of the same images. In these files, the camera has applied noise reduction (using the default amount). As usual with Fuji cameras, the noise suppression is very good. At ISO25,600, the subject is still pleasingly sharp, although lots of half-smoothed noise is visible in the background.

The ISO51,200 JPEG is still serviceable, I’d say, despite a noticeable loss of definition in the central subject. You likely wouldn’t find yourself shooting here often, but it’s good to know you could come away with a just-about-passable JPEG.

Dynamic range

The X-Trans CMOS 5 HR's dynamic range performance is also strong. The gallery photos below of a backlit lens are the same image, taken with the camera’s default level of dynamic range optimization (DR100).

The second image has had the shadows boosted and highlights reduced in post production. As you can see, I was able to reveal plenty of details in the shadows. I placed some prop ice cubes on the softbox netting behind, to check for blown highlights — lots of highlight detail was retrievable, too.

Fujifilm X-E5 review: Video performance

This is primarily a street-oriented stills camera, although it has a few punchy (and familiar) video specs to facilitate the odd bout of video. It will shoot 6.2K video at 30p, or 4K at up to 60p, both in 4:2:2 10-bit color for a wide color gamut and extra flexibility with managing color in post. There’s also F-Log and F-Log2 profiles for wide dynamic range capture, and naturally, you can use any of Fujifilm’s film simulation profiles for ready-graded footage out of camera.

A useful feature for vloggers is the flip-up display, which facilitates framing and settings changes when shooting to camera. Again, though, this isn’t really a video-oriented camera, and Fuji isn’t pushing it as such. If you do want to shoot lots of video with the benefits of Fuji styling and film simulations, I’d recommend a more video-focused camera, such as the Fujifilm X-S20 or Fujifilm X-M5 ($799).

Fujifilm X-E5 review: Battery life

The Fujifilm X-E5 uses the same NP-W126S battery as its predecessor, which was CIPA-rated for 460 frames in the X-E4 (Normal mode). But thanks to the new sensor and process running gear, CIPA-rated battery life has gone backwards to just 310 frames in the X-E5 (Normal mode), or 400 frames (Eco mode).

That’s quite a slump. I think battery life is paramount in a street camera, so I prefer the chunkier NP-W235 battery from the X-T5, although this requires extra housing space in the grip, which would’ve compromised the X-E5’s form factor.

CIPA testing is done under strict conditions that don’t totally reflect real world usage, however the Normal mode figures more or less bore true in testing. I was able to shoot around 250 combined stills and short 4K/60p video files before I was presented with a flashing battery icon. This also included operation of the camera, changing settings and using both the EVF and rear display on their brightest settings during bright sunlight — general usage. In short, it isn’t great, so pack a spare battery (luckily, NP-W126S batteries are cheap).

Fujifilm X-E5 review: Verdict

The Fujifilm X-E5 is a blend of evolution and devolution from the X-E4. Fuji had to do something to the X-E4: it couldn’t just rerelease the same camera. Fitting the X-E5 with the latest autofocusing algos and sensor tech — not to mention IBIS — results in a highly competent camera at its core, and a strong evolution of the lineup. And of course, there’s still the compact form factor, tactile handing and retro styling to live up to the spirit of the X-E line.

There’s a little too much devolution here, though, for me to bestow our 4.5-star rating and Editor’s Choice award, and a lot of that comes down to price. $1,699 is, frankly, a crazy price, and is simply unwarranted. The X-E5 is a step backwards in certain areas, including its rear display and battery life, and for this much money, I expected the hybrid OVF/EVF from the X100VI.

As I said, the X-E5 is a brilliant little camera at its core. It’ll make a phenomenal street and documentary camera and I would definitely recommend it if you’re willing to splash a bucket load of cash. However, the only way I could recommend the X-E5 over the cheaper X-T50 and similarly-priced X-T5 (both 4.5* cameras) would be if it were priced sensibly, which it isn’t.

I test some of the best mirrorless cameras here at Tom's Guide. I've tested ones from Sony, Canon, Fujifilm, Nikon, you name it. And I own a Nikon and Fuji for personal use too. And when you think real hard about cameras, there's one name that always comes up, and that's Leica — premium, classic, sharp, and usually out of most people's budgets.

But as is the nature of my job, I'm very lucky that I get to test Leica cameras too. I recently reviewed the Leica M11-D rangefinder and the Leica Q3 43 compact camera. Both of them got glowing recommendations for me, and when I had to return the loan units, I had tears in my eyes (slight exaggeration but you get the sentiment).

Leica cameras are the pinnacle of sharpness and image quality, as my in-depth testing has proven. And I, for one, wish I could get one for myself. But there is a very big hurdle here: four figures that usually come after or before a currency symbol.

So what makes the Q3 43 worth the premium? Let me show you.

Sharper than a knife

If you were active back in the good ol' days of Tumblr, remember how everyone used to say things like, "That's sharper than Benedict Cumberbatch's cheekbones"? (Or Tom Hiddleston's or Cate Blanchett's, fill in the blanks with your celebrity of choice.) That's how I'd describe the Leica Q3 43's image quality — it's sharper than all the knives in my kitchen.

The Q3 43 has a 60.3MP sensor and utilizes Leica's latest Maestro IV processor to make images feel almost ethereal yet lifelike. Color reproduction is absolutely fantastic with a great balance between shadows and highlights. Plenty and plenty of detail is packed in these images, even when you zoom in.

Just take a look at the photo of the swan in the gallery above. Feathers? Sharp. Water droplets? Crystal clear. You could use these images straight out of the camera without having to do any post-processing.

That's the beauty of the Q3 43. It is a ridiculously good camera that gives you barely anything to complain about.

Looks that could kill

The Leica Q3 43 won me over as soon as I took it out of the box, to be honest. Its ability to capture gorgeous photos and video were the cherries on top of an already delicious cake. There aren't many cameras I test that make me go, "That's a beautiful camera," but the Q3 43 did.

It made me actually gasp when I unboxed it. It looks like a million bucks, sporting a compact yet premium look, its front wrapped in a leather-like material. It's as comfortable to hold as it is a treat for the eyes to look at.

If you think the Q3 43 is good for stills only, think again. This camera can shoot 4K/60fps and 8K/30fps video, making it great for casual video — I say "casual" because it doesn't have a 3.5mm headphones/mic input/output port, limiting its use out in the field for videography.

How much moolah is too much?

"So, Nikita, should I buy the Leica Q3 43?" I hear you ask, and I say yes, you should.

But if you aren't familiar with the vast world of cameras and have heard whispers about Leicas being great, I have some news for you. These cameras do not come cheap. The Q3 43 retails for $7,380 / £5,900 — but at least it's a fixed-lens camera so you won't need to spend extra on glass over the years.

If money is a concern, I completely get it. If you can afford it, though, I don't see any reason why you shouldn't buy the Q3 43. I wouldn't let the price tag put me off because this camera is so ridiculously easy to use with a straightforward control scheme.

If it's pure power and image clarity you're after, I can't think of a better camera to recommend. I'm transferring some extra money to my savings account every month now so that I can eventually, one day, get the Q3 43 for myself. That red dot sure costs a lot but to me, it feels like it's worth every cent.

More from Tom's Guide

• I’ve been testing the Leica Q3 43 for a week — and if you didn’t believe the Leica hype already, you will after seeing these photos
• The Leica M11-D is one of the most challenging cameras I’ve reviewed — and it has made me a better photographer
• Best mirrorless cameras in 2025

I’m in the very privileged position of testing the best cameras, from compacts to medium format bodies and everything in between. More than a year of testing these cameras has proven one thing to me: the Leica hype is real, and these cameras are in a league of their own. And the camera that proved that? The Leica Q3 43, which I tested for a week — I had tears in my eyes when I returning the loan unit.

The Q3 43 is an exceptional compact camera. It’s tactile to handle and intuitive to use, and it’s very easy to travel with, barely taking up space in your backpack. Fitted with a 43mm lens whose field of view resembles human vision, and a 60.3MP CMOS sensor, the camera takes stunning images packed with plenty of detail and beautiful colors. The autofocus performs well for stills while the Maestro IV processor captures a wide dynamic range. For casual videographers, the Q3 43 offers the ability to shoot 8K/30fps and 4K/60fps footage too.

While not without its faults, as there’s no IBIS and the battery life is short, the Q3 43 is worth every cent… if you can afford it. Read on for my full Leica Q3 43 review.

Leica Q3 43 review: Cheat sheet

• What is it? A 60.3MP compact, fixed-lens camera with a 43mm focal length and the ability to shoot 8K video
• Who is it for? For anyone who wants to document their travels with pin-sharp precision
• How much does it cost? Oh, just a little — the Leica Q3 43 is available for $7,380 / £5,900
• What do we like? Its comfortable and compact design, detailed-packed 60.3MP images, great autofocus, unique focal length, and stunning 8K and 4K video
• What don't we like? No IBIS, short battery life, and it’s very expensive

Leica Q3 43 review: Specs

Leica Q3 43 review: Price & availability

Leica cameras don’t come cheap and they fit a certain luxurious lifestyle. The Leica Q3 43 retails for $7,380 / £5,900, but unlike the Leica M11-D ($9,799) where you need to spend extra on glass, the Q3 43 has a fixed lens. This lens has a focal length of 43mm, which I’ll discuss in depth later, and it has been specifically designed for the Q3 43.

The Q3 43 finds itself competing with the likes of the Fujifilm GFX100RF ($4,899) — also a fixed-lens camera but medium format. It’s priced closely to the Hasselblad X2D 100C ($8,199), which is an interchangeable lens camera (ILC). Given the Q3 43’s compact, full frame nature, the Sony A7CR ($2,999) and the Fujifilm X100VI ($1,599) are also its competitors, but they cost a lot less than the Leica.

So why would you buy the Q3 43 if you can just get one of the aforementioned cameras for cheaper? People who want a Leica aren’t looking for cheaper alternatives — they want a Leica. If I could afford it, I would be buying the Q3 43 in no time. Its unique 43mm focal length sets it apart, and the image quality and color reproduction are phenomenal.

Leica Q3 43 review: Design

The Leica Q3 43 is a stunning camera. It’s near-identical to the base Leica Q3 which features a 28mm lens. That has been replaced with a 43mm lens with a field of view that resembles human vision and what your eye sees. It’s a fantastic, sharp lens that, when combined with the camera’s 60.3MP sensor, captures an incredible amount of detail.

The front of the Leica Q3 43 is wrapped in a faux-leather material that gives it a premium edge — and yes, this looks like an expensive camera.

The camera measures 5.11 x 3.84 x 3.16 inches so it’s slightly bigger than other compacts, like the Fujifilm X100VI. Without a battery and SD card, the Q3 43 weighs 1.51lbs and has great weight distribution. It feels great to carry around your neck with the included leather strap.

Tactile to hold and use, I love how the Q3 43 handles. One thing I would change? Add a protruding sculpted grip, like on the Fujifilm GFX100RF. That’s not to say it isn’t comfortable to hold; that would just make it even better.

Ports

Similar to the Leica M11-D, the Leica Q3 43 doesn’t house as many ports as most other cameras. Located behind a hatch on the left-hand side, you’ll find the USB-C port for data transfer and charging, and a micro HDMI output port.

Even though the Q3 43 is a hybrid camera that can shoot cinematic 8K video, it doesn’t house any 3.5mm jacks for headphones and mic input or output. However, Leica’s partnership with Rode means that the Q3 43 supports Rode mics via the USB-C port, such as the Rode Wireless Go Gen 3 ($329).

On the bottom plate, you’ll find a silver release lever which, on being pushed, releases the battery pack. Also located on the bottom plate is the memory card compartment, and the Q3 43 is compatible with one SD/SDHC/SDXC UHS-I/UHS-II card. There’s no support for CFExpress cards which may be an issue for those looking to shoot a lot of 8K video.

Monitor

The Leica Q3 43 is fitted with a bright 3-inch TFT LCD touchscreen around the back. It has a resolution of approximately 1.84 million dots, and it falls just short of the Fujifilm GFX100RF’s which boasts 2.1 million dots though, but I still found it bright enough to read in direct sunlight and in the dark.

I found the touchscreen highly responsive in my testing, enabling me to quickly adjust settings and swap between Leica Looks, for instance. The monitor has a Tilt-Type mechanism so it can tilt only up and down and can’t be swung outwards, but it’s handy enough for shooting at waist-level or remaining discreet when shooting the streets or macro.

Viewfinder

The Leica Q3 43 features an excellent, detailed OLED electronic viewfinder (EVF) with a resolution of approximately 5.76 million dots. It’s on a level playing field with the Fujifilm GFX100RF’s and the Hasselblad X2D 100C’s (both 5.76M dots).

You can choose between a 60fps or 120fps refresh rate, and while the latter will shorten battery life, it will relay smooth motion. The viewfinder also provides a depth-of-field preview as half-pressing the shutter button stops down the aperture. In my testing, the viewfinder was quick and reliable and never once let me down.

Weather-sealing

Unlike the Fujifilm X100VI, you don’t need to buy a weather-sealing kit for the Leica Q3 43 as the camera has an IP52 rating, This means its body prevents a significant amount of dust from entering, and it is also safe against water drips at a tilt. You should be able to use the camera while it’s drizzling but as always, err on the side of caution.

Leica Q3 43 review: Controls