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It’s a strange and wonderful time to buy a digital camera. Since smartphones have gutted the casual photography market, manufacturers are focusing on building technological marvels designed for very specific uses. Mirrorless cameras continue to improve in terms of autofocus, video and more. Action cams provide sharp, fluid video, compact cameras are targeted to both tourists and vloggers, and DSLRs are available at some of the best prices we’ve seen. With so many different types of digital cameras, though, you may need some guidance to find just the right one – and that’s where we come in. Whether you’re a creator looking for just the right vlogging camera, an aspiring wildlife photographer or a sports enthusiast, we’ll help you find the perfect model to match your budget and needs.
Best mirrorless cameras under $2,000
Best mirrorless cameras over $2,000
There are a lot of reasons to choose a camera over a smartphone. The larger image sensors in mirrorless cameras let more light in, and you have a wide choice of lenses, from wide-angle to telephoto lenses, with far superior optics. Where smartphones have one f/stop, cameras have many, which gives you more exposure control. You also get natural and not AI-generated bokeh, quicker shooting, a physical shutter, more professional video results and so on.
With that extra quality comes a lot of extra factors to consider, however. The first thing is sensor size. In general, the larger the sensor size, the better (and usually more expensive) the camera.
Full frame is available on models like Sony's new ZV-E1, the Canon EOS R6 II and Panasonic S5 II. At a size equivalent to 35mm film (36 x 24mm), it offers the best performance in terms of image quality, low-light capability and depth of field. It's also the most expensive and finicky. While bokeh looks incredible at f/1.4, the depth of field is so razor thin that your subject's nose might be in focus but not their eyes. This can also make video shooting difficult.
The next size category is APS-C (around 23.5 x 15.6mm for most models and 22.2 x 14.8mm for Canon), offered on Fujifilm's X Series lineup, Canon’s R10 and R50 and the Nikon Z50. It's cheaper than full frame, both for the camera body and lenses, but still brings most of the advantages like decent bokeh, high ISOs for low-light shooting and relatively high resolution. With a sensor size the same as movie cameras, it's ideal for shooting video, and it’s easier to hold focus than with full-frame cameras.
Micro Four Thirds (17.3 x 13mm), a format shared by Panasonic and Olympus, is the next step down in sensor size. It offers less bokeh and light-gathering capability than APS-C and full frame, but allows for smaller and lighter cameras and lenses. For video, you can still get reasonably tight depth of field with good prime lenses, but focus is easier to control.
The other common sensor size is Type 1 (1 inch), which is actually smaller than one inch at 12.7 x 9.5mm. That's used mostly by compact models like Sony’s ZV-1 vlogging camera. Finally, action cameras like the GoPro Hero 11 and DJI’s Osmo 3 have even smaller sensors (1/1.9 and 1/1.7 size, respectively).
For photographers, another key factor is autofocus (AF) speed and accuracy. Most modern mirrorless cameras have hybrid phase-detect AF systems that allow for rapid focus and fast burst speeds. The majority also feature AI smarts like eye-detect AF for people and animals. However, some models are just a bit faster and more reactive than others.
The electronic viewfinder (EVF) and rear display are also key. The best models have the sharpest and brightest EVFs that let you best judge a shot before taking it. For things like street photography, it’s best to have as bright and sharp a rear display as possible. You may also want a screen that flips out rather than just tilting.
DSLRs and mirrorless cameras let you change lenses, but you're stuck with what's built into a compact camera. While that's great for portability, a single lens means you're going to sacrifice something. Fujifilm's X100V, for instance, has a fast but fixed 35mm-equivalent f/2.0 lens and no zoom. Sony's RX100 V has a 24-70mm zoom, but it's slower at the telephoto end (f/2.8) and less sharp than a prime lens.
When it comes to video, there are other factors to consider. Does your camera do “pixel-binning” for video recording or read out the entire sensor? Better cameras tend to do the latter. Another key factor is sensor speed, as slower sensors tend to have more rolling shutter that can create a “jello” effect that skews video.
In addition, how’s the battery life? How do you like the handling and feel? How long can you shoot video before the camera heats up or stops? Does it support 10-bit HDR video? Is there a microphone and/or a headphone jack? (if you do a lot of interviews, it's preferable to have both.) How's the video autofocus? All of these things play a part in your decision – so now let’s take a look at the best models.
Mirrorless is far and away the biggest category of cameras for these days, so it’s the best way to go if you want the best camera for photography with the most advanced features. Both Canon and Nikon recently announced they’re discontinuing development of new DSLRs, simply because most of the advantages of that category are gone, as I detailed in a recent video. The biggest selling feature of a mirrorless camera is the ability to change lenses depending on the type of shooting you want to do.
The key features are sensor size, resolution, autofocus, shooting speeds and video specs. If you’re primarily focused on sports photography or outdoor photography, you’ll likely want fast shooting speeds and accurate autofocus. Portrait and landscape shooters will likely favor large sensors and high resolution to maximize image quality. And content creators will want to look for things like flip-out displays, high-end video specifications and good in-body stabilization. Price point is, of course, a major factor as well.
My top budget camera pick is Canon’s brand new 24.2-megapixel R50, which is one of the best cameras for photography, and content creators will love it. It can shoot bursts at up to 15 fps in electronic shutter mode, and offers 4K 10-bit at up to 30p with supersampling and no crop. It has a fully articulating display, and unlike other cameras in this price range, an electronic viewfinder. It uses Canon’s Dual Pixel AF with subject recognition mode, and even has a popup flash. The only drawback is the lack of decent quality lens that’s as affordable as the camera itself, and a lack of in-body stabilization.
Autofocus: Dual Pixel CMOS AF II with 651 points
Max shutter speed: 15 fps
WiFi: Yes
Bluetooth: Yes
Full-frame cameras generally used to start at $2,000 and up, but Canon’s brand new EOS R8 is priced at just $1,500. It offers Canon’s excellent Dual Pixel AF with subject recognition AI, and can shoot bursts at up to 40 fps. It's equally strong with video, supporting oversampled 10-bit 4K at up to 60 fps. The R8 also offers a flip-out display, making it great for vloggers. The main drawback is a lack of in-body stabilization.
Content creators should take a hard look at Panasonic’s full-frame S5 II. It’s the company’s first camera with hybrid phase-detect AF designed to make focus "wobble" and other issues a thing of the past. You can shoot sharp 4K 30p video downsampled from the full sensor width, or 4K 60p from an APS-C cropped size, all in 10-bit color. It even offers 5.9K 30p capture, along with RAW 5.9K external output to an Atomos recorder. You also get a flip-out screen for vlogging and updated five-axis in-body stabilization that’s the best in the industry. Photo quality is also good thanks to the dual-gain 24-megapixel sensor. The main drawback is the slowish burst speeds.
Read our full review of the Panasonic Lumix S5 II
Equipped with the same backside-illuminated (BSI) 12-megapixel sensor as the A7S III, Sony’s ZV-E1 offers excellent low-light performance, 4K at up to 120p and a host of new AI features like auto framing, making it one of the best cameras for photography and videography. It also comes with an updated in-body image stabilization system aimed at vloggers that can smooth out even jolting movements like footsteps. The $2,200 price tag makes it enticing for vloggers as it offers features found on the $3,500 A7S III for considerably less money.
Autofocus: 759 points
Max shutter speed: 10 fps
WiFi: No
Bluetooth: Yes
If you’re OK with a smaller APS-C sensor, check out the Fujifilm X-H2S. It has an incredibly fast stacked, backside-illuminated 26.1-megapixel sensor that allows for rapid burst shooting speeds of 40 fps, along with 4K 120p video with minimal rolling shutter. It can capture ProRes 10-bit video internally, has 7 stops of in-body stabilization and a class-leading EVF. Yes, it’s expensive for an APS-C camera, but on the other hand, it’s the cheapest stacked sensor camera overall. The other downside is AF that’s not quite up to Canon and Sony’s level.
Read our full review of the Fujifilm X-H2S
For the ultimate high-resolution camera, check out Sony’s A7R V. With a 61-megapixel sensor, it shoots sharp and beautiful images at a very respectable speed for such a high-resolution model (10 fps). It has an equally fast and reliable autofocus system, the sharpest viewfinder on the market and in-body stabilization that’s much improved over the A7R IV. Video has even improved, with 8K and 10-bit options now on tap, albeit with significant rolling shutter. If you don’t need the video features, however, Sony’s A7R IVa does mostly the same job, photo-wise, and costs a few hundred dollars less.
Read our full review of the Sony A7R V
The most important features to look for in an action cam are image quality, stabilization and battery life. GoPro has easily been beating all rivals over the last few years in all those areas, but DJI made some strides last year with the Osmo Action 3. At the same time, GoPro’s latest models are more expensive than rivals.
GoPro didn’t change the design on its latest model, but it has a larger sensor that enables a couple of cool features – Horizon Lock stabilization and Full Frame mode that makes it easier to shoot for, say, TikTok and YouTube at the same time. It also offers a new wider, though slightly distorted Hyperview field of view.
Otherwise, the Hero 11 Black offers better video quality than ever (up to 5.3K 60p), Hypersmooth stabilization that’s still the best in the business (by far), battery life that’s improved by 40 percent over the last model, and more. It’s easily the best action camera on the market, but you pay for that: it’s $400 with a one year subscription ($500 without it), compared to $329 for the DJI Osmo Action 3 and $300 for the Insta360 RS 4K bundle. If you’re serious about filming extreme sports, though, it’s worth it.
WiFi: Yes
Bluetooth: Yes
Read our full review of the GoPro Hero 11
After experimenting with an oddball modular design on the Action 2, design has gone back to a more classic action cam design on the Osmo Action 3. It also comes with a slick new magnetic quick-release mount that lets you connect the camera directly to a GoPro-style mount with or without the case. Video quality and stabilization are quite good, but fall short of the Hero 11 Black (the Action 3 tops out at 4K 120p resolution compared to 5.3K 60p on the GoPro). While it’s not quite as good as the Hero 11, it’s considerably cheaper.
Read our full review of the DJI Osmo Action 3
This category has fewer cameras than it did even a few years ago and many models are older, as manufacturers focus instead on mirrorless models. However, I’m still a big believer in compact cameras. This type of camera is a big step up from smartphones quality-wise, and a lot of people will take a compact traveling or to events when they’d never bother with the hassle of a DSLR or mirrorless camera.
Compacts largely have type 1-inch sensors, but a few offer larger options, particularly Fujifilm’s XF-100V. Another popular model, Sony’s XV-1, is primarily aimed at content creators looking to step up. In any case, desirable qualities include image quality, a fast lens, relatively long zoom, flip-out display, good battery life, a high quality EVF, decent video and good pocketability.
The X100V is the latest in Fujifilm's famous fixed-lens X100 camera series. Like other models in the lineup, it has an APS-C sensor and a 23mm f/2.0 lens, equivalent to 35mm on a full-frame sensor. You also get the same hybrid optical/electronic viewfinder, mechanical dials, film simulations and good looks as before. But the X100V is the most significant advancement in the series' history. It has Fujifilm's latest 26.1-megapixel X-Trans 4 CMOS sensor compared to 24.2-megapixels on the last model and a new, sharper lens to handle that extra resolution.
A new tilting rear display makes "shooting from the hip" street photography much easier, as does the fast 11 fps/20 fps shooting speeds in mechanical/silent shutter modes. You also get a better hybrid phase- and contrast-detect autofocus (AF) system with more AF points along with face and eye detection. Finally, it now has the same 4K video-shooting features as the X-T30. It doesn't come cheap, but the X100V is the ultimate camera if you're into street photography – assuming you can find one.
Max shutter speed: 20 fps
WiFi: Yes
Bluetooth: Yes
Read our full review of the Fujifilm X100V
The ZV-1 is Sony’s first RX100-series camera designed specifically for vlogging. It does that job well thanks to a lightweight body, built-in high-quality microphone, flip-out display, best-in-class autofocus and excellent image quality. The 24-70mm lens is sharp, but it needs to be wider because of the 25 percent crop when using electronic stabilization. It also lacks a true touch display and a headphone port. That nitpicking aside, if you’re looking to step up from a smartphone or just want something simple, it does the job nearly perfectly.
Read our full review of the Sony ZV-1
For a value compact camera, the best option is Panasonic’s 20-megapixel ZS-200. It offers a lot of features for the price, like a 1-inch, 20.1 megapixel sensor, 5-axis stabilization, 4K, 30 fps video and more. Its main claim to fame, though, is the 24-360x lens that offers incredible reach for travel and more. Though it dates back to 2018, it’s actually one of the more recent compact models.
With mirrorless cameras taking over the interchangeable lens market, DSLRs still give you the ability to change lenses at relatively cheap prices. The defining feature is the reflex mirror that lets you look directly through the lens at your subject with no electronics in between. Most also have very fast autofocus thanks to a dedicated phase-detect sensor, and very fast battery life. However, many lack features you’d expect on modern mirrorless cameras like subject tracking, eye-detection and more.
Nikon's full-frame (FX) D850 is the best deal on a high-end camera and arguably the best camera for photography. With a 45.7-megapixel sensor and max 102,400 ISO, it gives you the best quality for the money, whether mirrorless or DSLR. It can also shoot fast, at up to 7fps, which is very good for such a high-res camera. In addition, the battery life (1840 shots on a charge) puts any mirrorless option to shame, and there’s a massive number of FX Nikkor lens options to choose from. Nikon has upped its video game as well with the D850 by introducing 4K internal recording. If you’d still rather have a live optical rather than an electronic view, the D850 is the best option available.
Autofocus: 153 points
Max shutter speed: 7 fps
WiFi: Yes
Bluetooth: Yes
Another one of the best cameras for photography is Canon’s 24-megapixel APS-C EOS Rebel SL3, which has a great blend of features, build quality and value. It offers features like a vari-angle touchscreen, 4K video (albeit with a crop) and Dual Pixel autofocus technology in live mode. You get shooting speeds of up to 5 fps, 1600 shots on a charge and an ISO range up to 51,200 (expanded). It also offers guided screen options for beginners. Best of all, it offers excellent picture quality for the price thanks to Canon’s skin-friendly color science.
This article originally appeared on Engadget at https://www.engadget.com/best-cameras-151524327.html?src=rss
Panasonic S5 II full-frame mirrorless camera review
Panasonic S5 II full-frame mirrorless camera review
The last few months in the camera world have been tumultuous, to say the least. Since our previous guide, we’ve seen numerous new models from Sony, Canon, Fujifilm, Nikon and Panasonic with better shooting speeds, autofocus and video. That’s exciting if you’re after the latest cameras, but it also means that deals can be found on great older models, as well.
If you’re confused about which models have the best AF capabilities, stabilization or other features, we’re here to clear things up. Our 2023 guide will catch you up on all the latest models and deals, so you can select the best camera whether you’re a vlogger, sports shooter or wildlife photographer.
To learn more about mirrorless tech and why it’s taken over the camera world, check out our previous camera guide for an explanation, or watch our Upscaled video on the subject for an even deeper dive.
Why get a camera when my smartphone takes great photos, you may ask? In a word, physics. The larger sensors in mirrorless cameras let more light in, and you have a wide choice of lenses with far superior optics. Where smartphones have one f/stop, cameras have many, which gives you more exposure control. You also get natural and not AI-generated bokeh, quicker shooting, a physical shutter, more professional video results, and so on. Smartphones do have impressive AI skills that help make photography easier, but that’s about it.
With that settled, mirrorless is the best way to go if you’re shopping for a new camera. Both Canon and Nikon recently announced they’re discontinuing development of new DSLRs, simply because most of the advantages of that category are gone, as I detailed in a recent video. With putting all their R&D in mirrorless, that’s where you’ll find the most up-to-date tech.
Compact cameras still exist as a category, but barely. Panasonic has built a number of good models in the past, but recently said it would focus only on video-centric mirrorless models going forward. And we haven’t seen any new ones from Canon or Nikon lately, either. Only Sony and Fujifilm are still carrying the compact torch, the latter with its $1,400 X100V model, which has become famously hard to find. Most of Sony’s recently compact models, like the ZV-1F, are designed for vloggers.
Now, let’s talk about features you need in a mirrorless camera. The one that affects your photography (and budget) the most is sensor size. The largest is medium format, but that’s only used on niche and expensive cameras from Hasselblad, Fujifilm and Leica, so we’ll skip over those for this article. (See my Fujifilm GFX 100S and Hasselblad X2D reviews for more.)
The most expensive category we’ll be discussing here is full-frame, largely used by pros and serious amateurs. Models are available from all the major brands except Fujifilm, including Sony, Canon, Nikon and Panasonic. That format offers the best image quality, low-light capability and depth of field, with prices starting around $1,000. With the right lenses, you can get beautifully blurred backgrounds, but autofocus is more critical. Lenses are also more expensive.
Down one size are APS-C cameras, offered on Fujifilm, Sony, Nikon and Canon models. Cameras and lenses are cheaper than full-frame, but you still get nice blurred “bokeh,” decent low-light shooting capability and relatively high resolution. With a sensor size equivalent to 35mm movie film, it's ideal for shooting video.
Micro Four Thirds, used by Panasonic and Olympus, is the smallest mainstream sensor size for mirrorless cameras. It offers less dramatic bokeh and light-gathering capability than APS-C, but allows for smaller and lighter cameras and lenses. For video, it’s harder to blur the background to isolate your subject, but focus is easier to control.
The next thing to consider is sensor resolution. High-res cameras like Sony’s 61-megapixel full-frame A7R V or Fujifilm’s 40-megapixel APS-C X-H2 deliver detailed images – but the small pixels mean they’re not ideal for video or low-light shooting. Lower-resolution models like Panasonic’s 10.3-megapixel GH5s or Sony’s 12.1-megapixel A7S III excel at video and high-ISO shooting, but lack detail for photos.
Image quality is subjective, but different cameras do produce slightly different results. Some photographers prefer the skin tones from Canon while others like Fujifilm’s colors, for example. It’s best to check sample photos to see which model best suits your style.
What about handling? The Fujifilm X-T5 has lots of manual dials to access shooting controls, while Sony’s A6600 relies more on menus. The choice often depends on personal preferences, but manual dials and buttons can help you find settings more easily and shoot quicker. For heavy lenses, you need a camera with a big grip.
Video is more important than ever. Most cameras deliver at least 4K at 30 frames per second, but some models now offer 4K at up to 120p, with 6K and even 8K resolution. If you need professional-looking results, choose a camera with 10-bit or even RAW capability, along with log profiles to maximize dynamic range.
In-body stabilization, which keeps the camera steady even if you move, is another important option for video and low-light photography. You’ll also want to consider the electronic viewfinder (EVF) specs. High resolutions and refresh rates make judging shots easier, particularly in sunny environments.
Other important features include displays that flip up or around for vlogging or selfie shots, along with things like battery life, the number and type of memory card slots, the ports and wireless connectivity. Lens selection is also key, as some brands like Sony have more choice than others. For most of our picks, keep in mind that you’ll need to buy at least one lens.
Now, let’s take a look at our top camera picks for 2023. We’ve divided the selection into four budget categories: under $800, under $1,500, under $2,500 and over $2,500. We chose those price categories because many recent cameras slot neatly into them. Manufacturers have largely abandoned the low end of the market, so there are very few mirrorless models under $500.
My top pick in the budget category is Canon’s brand new $680 24.2-megapixel R50, an impressive model considering the price. It can shoot bursts at up to 15 fps in electronic shutter mode, and offers 4K 10-bit at up to 30p with supersampling and no crop. It has a fully articulating display, and unlike other cameras in this category, an electronic viewfinder. It uses Canon’s Dual Pixel AF with subject recognition mode, and even has a popup flash. The only drawback is the lack of decent quality lens that’s as affordable as the camera itself. Pre-orders are open with delivery set for spring.
Your next best option is an older model, the 20.7-megapixel Olympus OM-D E-M10 Mark IV, as it offers the best mix of photography and video features. You get up to 15 fps shooting speeds, 4K 30p or HD 120p video, and it’s one of the few cameras in this price category with built-in five-axis stabilization. It’s portable and lightweight for travel, and the lenses are compact and affordable. The drawbacks are an autofocus system that’s not as fast or accurate as the competition, and a small sensor size.
If you’re a creator, Sony’s 24.2-megapixel ZV-E10 is a strong budget option. It can shoot sharp, downsampled 4K video at up to 30 fps with a 1.23x crop (or 1080p at 120 fps) and uses Sony’s fantastic AI-powered autofocus system with face and eye detection. It also has a few creator-specific features like Product Showcase and a bokeh switch that makes the background as blurry as possible so your subject stands out. Another nice feature is the high-quality microphone that lets you vlog without the need to buy an external mic. The main drawbacks are the lack of an EVF and rolling shutter.
Another good creator option that’s better for photography is Panasonic’s Lumix G100, on sale right now with a 12-32mm lens. As with the ZV-E10, it can shoot 4K video at 30 fps (cropped 1.47x), though 1080p is limited to 60 fps. Unlike its Sony rival, though, the G100 has a 3.68-million dot EVF and 10 fps shooting speeds. Other features include a fully-articulating display, and 5-axis hybrid image stabilization.
Honorable mentions go to two models, starting with Nikon’s 20.9-megapixel APS-C Z30, another mirrorless camera designed for vloggers and creators. It offers 4K using the full width of the sensor, 120fps slow mo at 1080p, a flip-out display and AI powered hybrid phase-detect AF. The drawbacks are the lack of an EVF and autofocus that’s not up to Sony’s standards. And finally, another good budget option is the Canon EOS M50 Mark II, a mildly refreshed version of the M50 with features like a flip-out screen, tap-to-record and focus, plus 4K video with a 1.5x crop.
Your best option overall in this category is Canon’s 32.5-megapixel APS-C EOS R7. It offers very fast shooting speeds up to 30 fps using the electronic shutter, high-resolution images that complement skin tones, and excellent autofocus. It also delivers sharp 4K video with 10 bits of color depth, marred only by excessive rolling shutter. Other features include 5-axis in-body stabilization, dual high-speed card slots, good battery life and more.
Full-frame cameras generally used to start at $2,000 and up, but now there are two new models at $1,500. The best by far is Canon’s brand new EOS R8 – basically an R6-II lite. It has Canon’s excellent Dual Pixel AF with subject recognition AI, and can shoot bursts at up to 40 fps. It's equally strong with video, supporting oversampled 10-bit 4K at up to 60 fps. The R8 also offers a flip-out display, making it great for vloggers. The main drawback is a lack of in-body stabilization. It’s now on pre-order with delivery set for spring.
A better choice for video is Panasonic’s Micro Four Thirds GH5 II. It’s one of the least expensive models with 10-bit, high data rate 4K 60p video. It also offers effective image stabilization, pro inputs, dual high-speed card slots and a flip-out screen. Negative points are the small Micro Four Thirds sensor and relatively low 20-megapixel photo resolution.
Several cameras are worthy of honorable mention in this category, including Canon’s 30.3-megapixel EOS R, still a great budget option for 4K video and particularly photography despite being released over four years ago. Other good choices include the fast and pretty Olympus OM-D E-M5 III and Sony’s A6600, which offers very fast shooting speeds and the best autofocus in its class. Finally, Nikon’s 24.3-megapixel Z5 is another good choice for a full-frame camera in this price category, particularly for photography, as it deliver outstanding image quality.
This category currently has the most choices, with the Sony A7 IV leading the charge. Resolution is up considerably from the 24-megapixel A7 III to 33 megapixels, with image quality much improved overall. Video is now up to par with rivals with 4K at up to 60p with 10 bit 4:2:2 quality. Autofocus is incredible for both video and stills, and the in-body stabilization does a good job. The biggest drawbacks are rolling shutter that limits the use of the electronic shutter, plus the relatively high price.
The next best option is the EOS R6 II, Canon’s new mainstream hybrid mirrorless camera that offers a great mix of photography and video features. The 24.2-megapixel sensor delivers more detail than the previous model, and you can now shoot RAW stills at up to 40 fps in electronic shutter mode. Video specs are equally solid, with full sensor 4K supersampled from 6K at up to 60 fps. Autofocus is quick and more versatile than ever thanks to expanded subject detection. It’s still not quite up to Sony’s standards, though, and the microHDMI and lack of a CFexpress slot isn’t ideal.
If you’re OK with a smaller APS-C sensor, check out the Fujifilm X-H2S. It has an incredibly fast stacked, backside-illuminated 26.1-megapixel sensor that allows for rapid burst shooting speeds of 40 fps, along with 4K 120p video with minimal rolling shutter. It can capture ProRes 10-bit video internally, has 7 stops of in-body stabilization and a class-leading EVF. Yes, it’s expensive for an APS-C camera at $2,500, but on the other hand, it’s the cheapest stacked sensor camera out there. The other downside is AF that’s not quite up to Canon and Sony’s level.
Video shooters should look at Panasonic’s full-frame S5 II. It’s the company’s first camera with hybrid phase-detect AF designed to make focus "wobble" and other issues a thing of the past. You can shoot sharp 4K 30p video downsampled from the full sensor width, or 4K 60p from an APS-C cropped size, all in 10-bit color. It even offers 5.9K 30p capture, along with RAW 5.9K external output to an Atomos recorder. You also get a flip-out screen for vlogging and updated five-axis in-body stabilization that’s the best in the industry. Photo quality is also good thanks to the dual-gain 24-megapixel sensor. The main drawback is the slowish burst speeds.
The best value in a new camera is the Fujifilm X-T5. It offers a 40-megapixel APS-C sensor, 6.2K video at 30p/4K 60p 10-bit video, 7-stop image stabilization, and shooting speeds up to 20 fps. It’s full of mechanical dials and buttons with Fujifilm’s traditional layout. The downsides are a tilt-only display and autofocus system that can’t keep up with Sony and Canon systems. If you want better video specs for a bit more money, Fuji’s X-H2 has the same sensor as the X-T5 but offers 8K 30p video and a flip out display.
Honorable mentions in this category go to the $2,000 Nikon Z6 II, which offers excellent image quality, solid video specs and great handling. For budget options, take a look at Sony’s compact full-frame A7C, along with Fujifilm’s older, but still great X-T4.
Finally, here are the best cameras if the sky’s the limit in terms of pricing. At the apex is Sony’s 50-megapixel stacked sensor A1, a stunning camera with a stunning $6,500 price. It rules in performance, with 30 fps shooting speeds and equally quick autofocus that rarely misses a shot. It backs that up with 8K and 4K 120p video shooting, built-in stabilization and the fastest, highest-resolution EVF on the market. The only real drawbacks are the lack of a flip-out screen and, of course, that price.
For a bit less money, the Nikon Z9 packs a 45.7-megapixel stacked sensor that’s so fast, it doesn’t even have a mechanical shutter. It has Nikon’s best autofocus system by far, and delivers outstanding image quality. Video is top notch as well, with 8K 30p internally and 8K 60p RAW via the HDMI port. The main drawbacks are the lack of an articulating display and high price, but it’s a great option if you need speed, resolution and high-end video capabilities.
Tied for the next positions are Sony’s A7S III and A7R V. With a 61-megapixel sensor, the A7R V shoots sharp and beautiful images at a very respectable speed for such a high-resolution model (10 fps). It has equally fast and reliable autofocus, the sharpest viewfinder on the market and in-body stabilization that’s much improved over the A7R IV. Video has even improved, with 8K and 10-bit options now on tap, albeit with significant rolling shutter. If you don’t need the video, however, Sony’s A7R IVa does mostly the same job, photo-wise, and costs a few hundred dollars less.
The 12-megapixel A7S III, meanwhile, is the best dedicated video camera, with outstanding 4K video quality at up to 120 fps, a flip-out display and category leading autofocus. It also offers 5-axis in-body stabilization, a relatively compact size and great handling. While the 12-megapixel sensor doesn’t deliver a lot of photo detail, it’s the best camera for low-light shooting, period.
And if you want a mirrorless sports camera, check out Canon’s 24-megapixel EOS R3. It can shoot bursts at up to 30 fps with autofocus enabled, making it great for any fast-moving action. It’s a very solid option for video too, offering 6K at up to 60 fps in Canon’s RAW LTE mode, or 4K at 120 fps. Canon’s Dual Pixel autofocus is excellent, and it offers 8 stops of shake reduction, a flip-out display and even eye detection autofocus. The biggest drawback for the average buyer is the $6,000 price, so it’s really aimed at professionals as a replacement for the 1DX Mark III DSLR.
Honorable mention goes to Canon’s 45 megapixel EOS R5. For a lot less money, it nearly keeps pace with the A1, thanks to the 20 fps shooting speeds and lightning fast autofocus. It also offers 8K and 4K 120p video, while besting Sony with internal RAW recording. The big drawback is overheating, as you can’t shoot 8K longer than 20 minutes and it takes a while before it cools down enough so that you can start shooting again. Another solid option is Panasonic’s S1H, a Netflix-approved mirrorless camera that can handle 6K video and RAW shooting.
You’re now caught up, new models have been arriving thick and fast, including potential rumored APS-C models from Canon. Another known model coming in May is Panasonic's S5 IIx, which offers the same features of the S5 II plus internal SSD recording and live streaming for just $200 more. We’ll have full coverage of those when they arrive, so stay glued to Engadget.com for the latest updates.
This article originally appeared on Engadget at https://www.engadget.com/best-mirrorless-cameras-133026494.html?src=rss
Sony A7S
The Sony A7S camera sits on a round white patio table outdoors, with its view screen flipped around to point the display forward. In the background is a group of trees at the edge of a backyard at dawn or dusk showing a dramatic sun cutting through the leaves.
It's been a long time coming, but Xiaomi is finally bringing its Leica-endorsed smartphones to the international market. Following their China launch back in December, the Xiaomi 13 and 13 Pro are going global at MWC, with Germany, France, Spain and Italy being some of their first markets in the west. As you'd expect, both Snapdragon 8 Gen 2 flagships now come with Google services pre-installed, but they are otherwise identical to their China counterparts.
The Xiaomi 13 and 13 Pro share similar-looking Leica camera islands on the back, but only the 13 Pro offers the much-hyped Type 1-inch sensor (Sony's IMX989; 1.6um pixel size) — arguably the industry's most powerful camera sensor at the moment — for its 50-megapixel f/1.9 OIS (optical image stabilization) main shooter. You also get a 50-megapixel 3.2x telephoto camera (75mm equivalent) with OIS and a 50-megapixel f/2.2 ultra-wide camera (14mm equivalent).
As for the lesser Xiaomi 13, it comes with a 50-megapixel f/1.8 OIS main camera with a smaller sensor (IMX800; 1um pixel size), a 10-megapixel 3.2x zoom OIS zoom camera and a 12-megapixel ultra-wide (15mm equivalent) camera.
Both models share the same 32-megapixel f/2.0 punch-hole selfie cam on the other side. On a similar note, both phones offer two modes of capture — Leica Authentic and Leica Vibrant — along with Google's Magic Eraser tool.
The Xiaomi 13 series also comes in two designs. The 13 Pro comes with a curved 6.73-inch 3,200 x 1,400 AMOLED screen with vegan leather or ceramic back versions. On the other hand, the 13 packs a flat 6.36-inch 2,400 x 1,080 AMOLED display, which is surrounded by iPhone-like aluminum sides and complemented by either glass or leather back options. Both screens support a refresh rate of up to 120Hz for a slick scrolling experience.
Other noteworthy features include the 13 Pro's 120W charging (from zero to 100 percent in just 19 minutes for its 4,820mAh battery), the 13's 67W charging (38 minutes to fully charge its 4,500mAh cell), and 50W wireless charging, Dolby Atmos dual speakers and IP68 ruggedness for both Android devices. The 13 Pro starts from 1,299 euros (around $1,370), whereas the 13 starts from 999 euros (around $1,060).
As a surprise for MWC, Xiaomi also announced the 13 Lite, which appears to be a variant of the selfie-centric Civi 2 sold in China. And no, there's no Leica involvement here. This model starts from 499 euros (around $530) and boasts dual front cameras (32-megapixel + 8-megapixel depth sensor) plus dual "Selfie Glow" LEDs for supposedly better selfies. It's powered by a Snapdragon 7 Gen 1 processor, and it also packs a 50-megapixel main camera (IMX766), a 20-megapixel ultra-wide camera, a 2-megapixel macro camera, a 4,500mAh battery with 67W charging, and a 6.55-inch Full HD+ 120Hz display. This is all tucked into a 171g-heavy, 7.23mm-thick body, which obviously goes well with its "Lite" branding.
Xiaomi 13 Pro
The Xiaomi 13 series are the company's first Leica-endorsed smartphones to enter the international market.
Sony’s full-frame A7R IV was one of the best mirrorless cameras I’ve ever reviewed, so there was a lot of pressure on its successor. The company’s answer is the 61-megapixel A7R V, designed to deliver the maximum amount of detail for portrait and landscape photography.
Though it uses the same sensor as the A7R IV, the new model has been improved in nearly every other way. The processors have been updated to the same ones found on the 50-megapixel A1, allowing for faster autofocus and AI tracking and better video specs. Sony has also improved the stabilization, the rear display, EVF and more – all for the same $3,900 price as its chief rival, the Canon EOS R5.
Sony’s advanced technology has always been its superpower, but rival models from Canon, Panasonic and others have started to catch up. To find out if the A7R V is worth buying over other cameras, and even the last model, I took it out for some detailed testing. Spoiler alert – it’s one impressive camera.
Sony made some changes to the design of its full-frame mirrorless cameras starting with the A7S III, and the A7R V continues in that vein. On top of a slightly bigger grip, it has a number of improvements over the A7R IV, such as a new dedicated selector for video, photos and the slow motion (S&Q) mode.
By taking that function off the mode dial, it’s relatively easy to switch between photos and video, then change modes in each. It’s also possible to share some, all or none of the settings like shutter speed and ISO between photo and video modes using the customization menu. Sony also moved the record button from the back to a better position on top.
As with other Sony cameras, it’s intuitive and easy to use. Some people may find it uncomfortable to hold all day, though, particularly those with larger hands. That’s because the grip has some hard edges and a material that’s less cushy than Canon’s R5, for example.
A big new innovation on the A7R V is the rear display. Rather than a simple tilt-only screen like before, Sony has come up with a whole new system. It not only flips out, but also tilts – not just upwards like Panasonic’s similar system on the GH6, but also down and out as well.
On top of being better for vlogging and selfies, it also lets you move the screen clear of any microphone or monitor cables. It’s also better for photo shooters. Some people prefer a tilting display (for shooting at high and low angles), so the A7R V has the best of both worlds.
The A7R IV already had a very good 5.76-million dot EVF, but Sony made it even better. Resolution on the OLED panel is up to 9.44 million dots, though it drops when you focus or increase the refresh rate to the maximum 120Hz. Still, it’s now close to matching what you’d see in an optical viewfinder.
Like the A1 and A7S III, it has a pair of dual-format card slots. Each one accepts either UHS-II SD or faster, but far more expensive CFexpress Type A cards. The latter are required for 8K video and let you shoot photo bursts longer before the buffer fills.
Since the A7R V is now a much better video camera, Sony has seen fit to swap out the tiny and fragile micro HDMI jack for a full-sized one. Though still not up to pro standards, it offers a relatively secure connection and allows for more robust cables, as micro HDMI models are prone to breaking.
It has the same battery as the A1 and delivers exactly the same number of maximum shots on a charge, 530. That’s under lab conditions, though, and I got about double that in the real world. The USB-C 3.2 Gen 2 port is PD compatible, so you can charge the battery and power the camera at the same time. It also comes with microphone and headphone ports as you’d expect, plus a wired LAN port and the ability to do zoom calls or livestream over USB-C via the UBC webcam standard.
The A7R V has roughly the same burst speeds as its predecessor, 10fps in both mechanical and electronic modes, shooting C-RAW and JPEG photos. That drops to 7 fps when shooting uncompressed RAW files. While not super quick compared to Sony’s A1 or the Canon EOS R5 (both have stacked sensors), it’s not bad at all for a 61-megapixel camera. You can shoot about 104 C-RAW + JPEG files before the buffer fills, though that takes less than two seconds.
Sony is known for its brilliant autofocus, and the A7R V may be its best camera in this area to date. WIth 693 phase detect focus points (up from 567 on the A7R IV) the regular (non subject tracking) AF is uncannily accurate in all five area modes, delivering a large majority of sharp frames even with fast moving subjects.
Things get even better when you kick in the AI. On top of the excellent face, head and eye tracking, Sony has introduced a new body tracking mode. It works much like 3D motion tracking software used for animation, predicting the position of your head and eyes based on your skeletal structure. If it fails to track the subject’s face, it can also switch to their body and still grab sharp shots.
On top of humans, it can also track people, birds, animals, insects, cars, trains and airplanes. However, you have to select those manually – it would be nice to have an auto mode that lets the AI choose the subject like Canon’s EOS R6 II. It also has a touch-to-track mode that locks onto subjects more accurately than rival models.
In most of these tracking modes, the camera did a good job at focusing on the subject’s eyes. Failing that, it accurately tracked the head or body and still delivered sharp photos. The results were particularly impressive considering the high resolution that shows focus flaws in minute detail.
It sometimes failed to lock onto birds’ and other animals' eyes, though that’s something Sony could potentially improve with firmware updates. By and large, though, it nailed focus nearly every time, beating rivals by a solid margin.
The A7R V also has a new in-body stabilization system, boosting it from 6 to 8 stops with supported lenses, the same as what Canon’s EOS R5 offers. It was very good for photography, letting me take sharp shots down to a quarter of a second. That means you can shoot handheld and capture the streak of a car’s lights, for instance, while freezing the background. That being said. it falls a bit short for video as you’ll see soon.
As it has the same 61-megapixel sensor, the A7R V delivers near identical image quality to the A7R IV. That’s not a bad thing, as the latter can produce stellar images. With the very high resolution and the lack of an anti-aliasing filter, only Hasselblad and Fuji’s 100-megapixel medium format cameras offer greater detail. If that’s not enough, you can use Sony’s Pixel Shift Multi-Shot and quadruple it to 240.8 megapixels.
With no low-pass filter, beware of antialiasing or moire that can crop up in detailed or repeating parts of an image. The high resolution means that the detail has to be very fine, however.
JPEGs are ready to share right out of the camera, with nicely tuned levels of sharpening and noise reduction. Colors are more accurate but perhaps less flattering to skin tones than Canon’s latest models. The system is particularly well tuned to sunny, blue-sky scenes, so the A7R V is a great option for landscape shooting.
Sony claims 15 stops of dynamic range, above Canon but perhaps slightly below Nikon. That gives you tons of overhead to edit RAW files, fix under- or over-exposed shots or tweak colors. Except for highly detailed scenes, I didn’t notice much difference between compressed and uncompressed RAW files.
The A7R V does surprisingly well in low light. At speeds up to ISO 6400, grain isn’t an issue. Noise increases considerably at ISO 12800, but images retain detail. Beyond that, they can get gnarly with large grained color noise. Still, for such a high-resolution camera, it exceeded my expectations in this area.
As it happened, I reviewed the A7R V at the same time as the 100-megapixel Hasselblad X2D, so it was a good opportunity to test two very high resolution cameras. Both use sensors that have the same size pixels, and both are likely manufactured by Sony. For many photos, it was honestly hard to tell the difference, which is not bad for Sony considering the X2D costs over twice as much.
The A7R V is a pretty darn competent video camera if you understand its limitations. It now offers 8K at up to 24/25 fps, 4K 60p and 10-bit 4:2:2 video with S-Log3, S-Cinetone and HDR formats. The A7R IV had none of those features, so it’s quite a step up.
There are some asterisks, though. The 8K video has a 1.24 times crop, while 4K 60p has a 1.24 times crop with pixel binning. 4K 30p video is uncropped, but also uses pixel binning. The only way to get supersampled video is with a 1.5 times APS-C crop. That, however, is limited to 30 fps. 120 fps video is only available at 1080p.
That said, Sony has done a good job with the pixel binning, so it doesn’t look significantly less sharp than the APS-C video supersampled from 6.2K.
Now that it supports 10-bit capture, the S-Log3 video is far more useful than on the A7R IV. You’ll see less banding once you grade it, and the 15 stops of dynamic range give you extra room to push blacks, pull back highlights and tweak colors. As with photos, hues are natural and accurate, and the A7R V is decent but not awesome for video in low light.
The A7R V now has the best video autofocus system, too. It’s nearly foolproof, locking onto subjects quickly and accurately even in chaotic circumstances. Shooting one scene with three people, it stayed locked onto the main subject even after he moved positions around the frame. All the AI features mentioned for photos work for video, so it can track animals and other subjects nearly as well as humans.
The updated stabilization isn’t nearly as good for video as for photos. It’s good for handheld video if you don’t move around, nicely smoothing out any hand shake or small motions. However, any rapid movements or walking will cause jolts that mar the video. Panasonic’s new S5 II is much better in this regard.
You might be thinking at this point that the A7R V is actually a solid video option, but it’s held back by one thing: excessive rolling shutter. It’s particularly bad at 8K and full-frame 4K, with any camera movement setting off a jello-like effect. The best case scenario is in APS-C mode, but you’ll still need to be careful not to whip the camera around.
Still, the A7R V is fine for most video shooting. If you’re mainly looking to shoot video, though, I’d get another camera. For instance, Canon’s EOS R5c or the Nikon Z9 are better, if you need 8K and can tack an extra thousand or two onto your budget. If 4K is fine, Canon’s new $2,500 EOS R6 II or the $2,000 Panasonic S5 II are better and a lot cheaper.
Sony is once again on top of the high-resolution full-frame camera market with $3,900 A7R V. Image quality and detail are outstanding, autofocus is second to none and the updated video capabilities are a great addition for hybrid shooters.
As mentioned, Sony’s main rival is the 45-megapixel Canon EOS R5, which offers lower resolution and better video capabilities, but suffers from overheating issues. The 45-megapixel Nikon Z9 is also a more capable video camera, but costs $1,500 more, and Nikon’s $3,000, 45-megapixel Z7 II is $500 less but has inferior autofocus and video.
None of those models come close to matching the A7R V’s resolution, image quality and exceptional AF, though. Given that, plus the massive video improvements, it’s now the best high-resolution full-frame camera on the market, by far.
Sony A7R V camera review
Sony A7R V camera review
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