When picking the best cameras for black and white photography, you have different priorities from those for shooting in colour. Monochrome photography is a unique discipline, full of its own special challenges and rewards, and if you’re committed to shooting in this style, it makes sense to pick up a camera that is suited to it. Many manufacturers are aware that there are plenty of photographers who prefer to shoot in monochrome, and have kitted out their cameras with dedicated black and white modes. Indeed, some have gone the whole hog and brought out cameras that only shoot in black and white. As such, there’s lots to choose from.

We’ve put together this guide to help you navigate the world of black and white cameras and find the one that’s right for you. One thing to note is that we’re only dealing with digital models – you can check out our best film guides if you’re interested in shooting black and white analogue images. All the cameras on this list are perfect for creating striking, dramatic black and white images, whether you want to shoot monochrome in-camera or convert the images later in software.

How to choose the best cameras for black and white

So what are the priorities for picking a camera that’s going to capture fantastic black and white images? Dynamic range is of huge importance – this refers to the difference between the darkest and lightest tones in an image, and is critical if you want to create monochrome images with depth and tonality. Cameras with larger sensors offer greater dynamic range, however they are also larger and more expensive (see our guide to camera sensor sizes for more on this). Sharpness is just as important in monochrome as it is in colour, so you also may want to pick a camera with a fast, accurate autofocus system.

A ‘true’ monochrome camera

You may want to pick up a “true” monochrome camera – one that only shoots black and white. This will deliver the best raw monochrome image quality, but such models tend to be very expensive. Using a regular colour camera is the way most people will probably go, and many manufacturers pack their models with fantastic in-camera monochrome modes; particularly Fujifilm. The third option is to have a colour camera converted to shoot black and white images by a specialist – this is especially good if you shoot infrared photography. Check out infraredcameraconversions.co.uk to learn more.

With all that in mind, let’s get into the best cameras for black and white…

• Best camera for black and white overall: Leica Q2 Monochrom – buy now
• Best beginner camera for black and white photography: Fujifilm X-T30 II – buy now
• Best enthusiast camera for black and white photography: Pentax K-3 Mark III
• Best black and white rangefinder camera: Leica M11 Monochrom – buy now
• Best black and white camera for travel: Panasonic Lumix GX9 – buy now
• Best cheap black and white camera: Olympus OM-D E-M10 Mark IV – buy now
• Best medium-format black and white camera: Fujifilm GFX50S II – buy now
• Best black and white camera for street photography: Ricoh GR III / GR IIIx – buy now
• Best second-hand black and white camera: Leica M Monochrom (Typ 246) – buy now
• Best black and white camera with a viewfinder: Fujifilm X-Pro3 – buy now
• Best weatherproof black and white camera: Panasonic Lumix S5 – buy now

Best camera for black and white overall: Leica Q2 Monochrom

Leica Q2 Monochrom. Photo credit: Andy Westlake

At a glance:

• Compact camera
• 47.3MP full-frame monochrome sensor; 28mm f/1.7 lens
• Up to 20 fps burst shooting with electronic shutter; 10fps mechanical
• ISO 100 – 100,000
• 225 autofocus points
• Price: $6,606 / £5,200

While it is easier than ever to convert an image to black and white post-capture, a dedicated black and white camera with a monochrome sensor delivers genuine advantages. You get more detail, better dynamic range, lower noise and high ISOs. If you know you’re going to shoot in black and white exclusively, this model is well worth considering.

The Leica Q2 Monochrom is the best black and white camera money can buy. Sleek in looks and superb in handling, it’s one of the most immersive shooting experiences out there. The autofocus is excellent, though as we mentioned in our review, many enthusiasts will likely prefer to use the superb manual focusing experience that employs the focus ring and a precise focus-peaking system.

With a 47.3MP full-frame sensor and a stabilised 28mm f/1.7 lens, the Leica Q2 Monochrom delivers fantastic monochrome images. It’s ridiculously expensive, obviously, but if you can justify the outlay, it’s a camera like no other.

Pros:

• Sublime handling experience
• Stellar image quality
• High resolution

Cons:

• Absurdly expensive
• 28mm is quite wide

Read why we gave the Leica Q2 Monochrom five stars

Best beginner camera for black and white photography: Fujifilm X-T30 II

Fujifilm X-T30 Mark II Camera Body. Photo credit: Joshua Waller

At a glance:

• Mirrorless camera
• 26.1MP X-Trans CMOS IV APS-C sensor
• Up to 30 fps burst shooting with electronic shutter (cropped), 20 fps uncropped
• ISO 80 – 51,200 (extended)
• 425 autofocus points
• Price: $951 / £749 (body only)

The X-T30 II is a refresh of one of Fujifilm’s popular cameras in its mirrorless X series. It’s one of the best-value mirrorless cameras out there and we gave it high praise in our review. The film simulation modes on this camera will be of particular interest to black and white photographers. These fine creations do exactly what it sounds like, and allow you to emulate classic film stocks.

The Acros mode simulates the classic fine-grain film, delivering ultra-sharp images full of detail. Both this and the classic Monochrome mode can be used with red, green or yellow filters for different effects. The tactile, dial-based handling experience of the X-T30 II also feels like a throwback to film cameras of yesteryear.

Pros:

• B&W film simulation modes
• Lots of physical controls

Cons:

• Some badly placed buttons
• No in-body stabilisation

Read our full review of the Fujifilm X-T30 II

Best enthusiast camera for black and white photography: Pentax K-3 Mark III Monochrome

Pentax K-3 Mark III Monochrome with orange and red filters. Credit: Andy Westlake

At a glance:

• DSLR
• 25.7MP APS-C sensor
• Up to 12 fps continuous shooting
• ISO 200 – 1,600,000
• 5-axis in-body image stabilisation
• Price: $2,857 / £2,249

In most respects, the Pentax K-3 Mark III Monochrome is identical to its parent camera. However, with the colour filter array removed, more light is able to reach the sensor. This results in the only obvious change of specification, with the lowest available sensitivity increasing from ISO 100 to ISO 200.

A close look at the menus and settings reveals that, unsurprisingly, everything relating to white balance or colour output has also been removed. Externally, all the buttons and dials are now marked in grey, rather than white, while the onscreen user interface is almost entirely monochrome. But that’s about the full extent of the differences.

Five-axis in-body image stabilisation (IBIS) is built in and works with almost any lens you can use, promising up to 5.5 stops shake reduction. The D-LI90 battery promises an impressive 800 shots per charge and it’s capable of recording 4K video, complete with built-in microphone and headphone sockets.

It’s great to see a company other than Leica proving the advantages of the monochrome sensor.

Pros:

• Robust, enthusiast-friendly design
• High pixel-level sharpness & low noise
• Excellent dynamic range

Cons:

• Fairly chunky
• Shooting experience isn’t special
• IBIS isn’t as effective with telephoto lenses
• Highlights clip a stop earlier at ISO 200 than at ISO 400 in both JPEG and raw files

Read the full review of the Pentax K-3 Mark III Monochrome

Best black and white rangefinder camera: Leica M11 Monochrom

The M11 Monchrom is expensive and mono only, but it’s an amazing machine. Image credit: Will Cheung

At a glance:

• Digital rangefinder camera
• 60.4MP monochrome full-frame sensor
• 4.5 fps burst shooting
• ISO 125 – 200,000
• Rangefinder focusing
• Price: $10,544 / £8,300 (body only)

For those really committed to black and white and the experience of shooting with a manual focusing rangefinder camera, the Leica M11 Monochrom is your dream machine – but you’ll need deep pockets. It’s $9,195 / £8,300 (body only) and Leica M optics aren’t cheap either – the Summilux-M 50mm f/1.4 ASPH is $4,495 / £4,000. As we said in our review, the experience of using this camera is incredible – that rich, high-resolution sensor captures the finest details, and while the experience of rangefinder focusing is tricky to master, it’s immensely satisfying once you get it down.

With tremendous high-ISO performance, impressive dynamic range and exquisite handling, the M11 Monochrom is hugely capable and extremely desirable. However, as this is a Leica, ownership comes at very significant cost.

Pros:

• Large viewfinder and first-class rangefinder
• Superlative image quality
• Gives a great user experience

Cons:

• Ludicrously expensive
• Touchscreen could be better integrated

Read our review of the Leica M11 Monochrom

Best black and white camera for travel: Panasonic Lumix GX9

Panasonic GX9. Photo credit: Andy Westlake

At a glance:

• Mirrorless camera
• 20.3MP Four Thirds sensor
• 9 fps burst shooting
• ISO 160 – 25,600 (extended)
• 49 autofocus points
• Used price: $590 / £465 in excellent condition

One of the most enduringly popular cameras in the Lumix G mirrorless range, the Panasonic Lumix GX9 is a wonderful take-everywhere camera. Now discontinued, it’s widely available on the used market. It’s got an impressive tilting 1240k-dot LCD screen that makes it easy to shoot from all sorts of different angles and its autofocus system is snappy and accurate – though can sometimes struggle with moving subjects.

In our review, we highly rated the Panasonic Lumix GX9 as a street photography camera. One of the things we praised was its attractive L. Monochrome mode. This features is designed to emulate the look of black and white film, with even the option to add a grain effect. Also available is L. Monochrome D, which can be used to bring out additional detail in the darker areas of the frame.

Pros:

• Lightweight and portable
• Arty monochrome modes
• Large lens selection

Cons:

• AF tracking hit-and-miss
• Controls awkward when using viewfinder

Best cheap black and white camera: Olympus OM-D E-M10 Mark IV

The Olympus OM-D E-M10 Mark IV is an inexpensive, entry-level camera with monochrome options. Photo credit: Andy Westlake

At a glance:

• Mirrorless camera
• 20MP Four Thirds sensor
• 15fps continuous shooting
• ISO 80 – 25,600 (extended)
• 121 autofocus points
• Price: $824 / £649 body-only

For an affordable route into monochrome photography, we’d definitely recommend the Olympus OM-D E-M10 Mark IV. It’s a Micro Four Thirds camera, meaning there are loads of lenses to choose from just as with the Lumix GX9 above. Despite its small size and relatively beginner-friendly price, the E-M10 Mark Iv packs in plenty of features that see it punching above its weight, such as highly effective 5-axis stabilisation, Live Composite mode for long exposures, and more.

Monochrome-wise, the E-M10 Mark IV offers in-camera Monochrome picture modes, with the option to add colour tints as though you were using a physical filter. For images with a bit more pop, you can also use Olympus’s digital Art Filter modes in monochrome. Give images a bit more punch with the Dramatic Tone Art Filter, or add a bit of grain for a filmic effect – it’s all there to play with.

Pros:

• Small and portable
• Excellent monochrome JPEG quality
• Affordable price tag

Cons:

• Smaller sensor affects dynamic range
• Aging autofocus system

Read our Olympus OM-D E-M10 Mark IV review.

Best medium-format black and white camera: Fujifilm GFX50S II

The Fujifilm GFX50S II is an affordable route into medium-format. Photo credit: Andy Westlake

At a glance:

• Medium format mirrorless camera
• 51.4MP medium format sensor
• 3fps continuous shooting
• ISO 50 – 102,400 (extended)
• 117 or 425 autofocus points
• Price: $4,445 / £3,499

For monochrome photographers, digital medium format can be a great medium to explore. The stunning tonality and dynamic range offered by the larger sensor is ideal for creating rich, striking monochrome images. Also, the famous Film Simulation modes offered by Fujifilm are present and correct on the GFX 50S II.  Once again, these include the simulation of Acros, one of Fujifilm’s most popular b&w stocks, and a more general Monochrome mode, with options for yellow, red, or green filters.

Medium format is expensive. Always has been. But the Fujifilm GFX 50S II is one of the most affordable routes into medium format, with a sub-£4,000 price that undercuts pretty much all of the competition. We couldn’t help but give it the full five stars in our review, as the image quality you get for the price is simply sublime. It’s also nowhere near as bulky and unwieldy as other medium-format systems. Granted, you’re not going to get the kind of speed in autofocus and shooting as you get with smaller-sensor system cameras, but then, that’s not the reason anyone buys medium format.

Pros:

• Gorgeous image quality
• Superb monochrome modes
• Highly effective stabilisation
• Cheaper than most medium format cameras…

Cons:

• … though still expensive
• Slower than other cameras

Read our Fujifilm GFX50S II review.

Best black and white camera for street photography: Ricoh GR III / GR IIIx

Ricoh GRIII in hand. Photo credit: Michael Topham

At a glance:

• Compact camera
• 24.2MP APS-C sensor; 18.3mm f/2.8 (28mm equivalent) lens
• 4 fps burst shooting
• ISO 100 – 102,400
• Hybrid autofocus system
• Price: $1,269 / £999

The Ricoh GR III is a photographer’s camera. It’s designed for street shooting, for taking everywhere with you, and for capturing instantaneous moments – and as such, it’s ideal for dramatic, black and white imagery. It has excellent dynamic range, which also helps for monochrome shooting, and its fixed 28mm equivalent f/2.8 lens is versatile in a host of situations.

One thing to be aware of is that the GR III has no viewfinder, and also no means of attaching one. You have to be comfortable composing with the rear screen. Also, as we mentioned in our review, its autofocus can sometimes hunt in low light.

If 28mm is too wide for you, then consider also the Ricoh GR IIIx. It’s essentially an identical camera that has a 40mm equivalent lens. You can read our full, in-depth review to learn more about it.

Pros:

• Excellent touchscreen experience
• Travel-friendly setup
• 40mm option available

Cons:

• No viewfinder option
• Poor AF in low light

Our review of the Ricoh GR III
Our review of the Ricoh GR IIIx

Best second-hand black and white camera: Leica M Monochrom (Typ 246)

Leica M Monochrom (Typ 246). Photo credit: Callum McInerney-Riley

At a glance:

• Digital rangefinder camera
• 24MP monochrome full-frame sensor
• 4 fps burst shooting
• ISO 320 – 100,000
• Rangefinder focusing
• Second-hand price around $3,721 / £2,929 in excellent condition

We first published our Leica M Monochrom (Typ 246) review back in 2015. At that time, it was retailing for £5,750 body-only, but these days on the second-hand market, we’ve seen it going in the range $3400-3550 / £2,599-2,879. While that’s still a chunk of change, it’s also a hell of a saving on a frankly exceptional camera.

With a dedicated monochrome sensor, this Leica rangefinder is optimised for black and white imaging, delivering exceptional dynamic range and quality. Having the Leica M mount also gives you access to some of the finest lenses money can buy.

Pros:

• Exceptional dynamic range
• Price has come down since launch

Cons:

• Still very pricey
• Rangefinder focusing takes practice

Read our five-star review of the Leica M Monochrom

Best black and white camera with a viewfinder: Fujifilm X-Pro3

Fujifilm X-Pro3. Photo credit: Michael Topham

At a glance:

• Mirrorless camera
• 26.1MP X-Trans CMOS IV APS-C sensor
• Up to 30 fps burst shooting with electronic shutter (cropped), 20 fps uncropped
• ISO 80 – 51,200 (extended)
• 425 autofocus points
• Used price: $1,396 / £1,099 (body only)

It takes a lot for a camera to surprise us nowadays, so our attention was immediately caught by Fujifilm’s bold X-Pro3. Its reversed, “fold-down” rear screen isn’t visible during normal shooting, encouraging the user to immerse themselves in the viewfinder experience, without the constant “chimping” at the rear screen that can plague digital photography. It essentially provides a rangefinder-style experience without the expense or difficulty of a rangefinder camera.

Does it work? That’s up to you. We loved it in our Fujifilm X-Pro3 review, but also acknowledged it won’t be for everyone. There are cheaper cameras in the Fuji stable with similar or identical imaging setups and without the handling quirks. However, the retro experience of using an X-Pro3 feels so perfectly right for black and white shooting that we simply had to include it here. The X-Pro3 is discontinued so you’ll have to search around for it and expect to pay in the region of $1,700 / £1,500-1,600 (body only) for a good sample.

Pros:

• Immersive, rangefinder-style experience
• Excellent B&W modes

Cons:

• “Invisible” screen won’t be for everyone
• Cheap Fuji X options available

Read our full review of the Fujifilm X-Pro3

Best weatherproof black and white camera: Panasonic Lumix S5

Panasonic Lumix S5. Photo credit: Michael Topham

At a glance:

• Mirrorless camera
• 24.2MP full-frame sensor
• 7 fps continuous shooting
• ISO 50 – 204,800 (extended)
• 225 autofocus points
• Price: $1,142 / £899 (body only)

Just like the Lumix GX9, the Panasonic Lumix S5 has the L.MONOCHROME designed specifically to optimise black and white shooting – only now, they’re paired up with a full-frame sensor. The Lumix S5 is capable of capturing images with the kind of hugely impressive dynamic range that’s perfect for black and white photography. It does so in a body that’s both lightweight and weatherproof.

As we mentioned in our full review, the lightness of the Lumix S5 addresses some of the criticisms users had of previous Lumix S cameras. We also had a lot of time for the 20-60mm kit lens you can buy it with, which is an excellent all-purpose optic.

Panasonic has since released an upgrade to this camera, the Panasonic Lumix S5 II, which fixes the sluggish autofocus and adds a raft of video updates. We’re sticking with the more affordable original as our pick for now, but the Mark II version is worth consideration if you have a higher budget and prioritise fast focusing.

Pros:

• Full-frame in a light body
• Splash/dust resistant

Cons:

• Sluggish burst mode
• Rivals have better AF

Read our full review of the Panasonic Lumix S5

Written by Jon Stapley with additional information by Joshua Waller & Michael Topham

Are you looking to improve your black and white photography? Read more on monochrome with these articles:

• How to shoot stunning black and white portraits
• How to convert images to black and white in Adobe Lightroom
• Black and white street photography: Tips and techniques from the experts

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post Best cameras for black and white photography in 2024 appeared first on Amateur Photographer.

That means we’ve covered a selection of focal lengths, with mirrorless and DSLR lens options for all the major mounts in use in 2024. We’ve used the findings of our extensive lens testing and reviewing experience to inform our choices – if you want to know more about how we picked the lenses on this list, scroll to the bottom of the page where we’ve put together a short explainer of the factors that make a good street photography lens.

Street photography is all about being being observant, and reacting quickly. As such, we’ve included a selection of lenses that will help you achieve just that. If you’re starting from scratch with your street-shooting setup, check out our guide to the best street photography cameras. For monochrome lovers, we also have a guide to black & white street photography.

The best street photography lenses: our quick list

In a rush? Here’s the quick list of our picks, with links to the best prices…

Best street photography lenses for mirrorless cameras:

• Best street photography lens for Nikon Z: Nikon NIKKOR Z 35mm f/1.8 S – buy now
• Best street photography lens for Sony FE: Sony FE 24mm f/1.4 GM – buy now
• Best street photography lens for Canon RF: Canon RF 50mm F1.2L USM – buy now
• Best street photography lens for Fujifilm X: Fujifilm XF 27mm f/2.8 R WR – buy now
• Best street photography lens for Micro Four Thirds: Olympus M.Zuiko Digital ED 25mm F1.2 PRO – buy now
• Best street photography lens for L-mount: Sigma 35mm f1.4 DG DN Art – buy now
• Best street photography lens for Sony E (APS-C): Tamron 20-40mm F/2.8 Di III VXD – buy now
• Best street photography lens for APS-C sensors: Sigma 30mm F1.4 DC DN – buy now

Best cheap mirrorless lenses for street photography:

• Best budget street lens for Micro Four Thirds: Panasonic Lumix G 25mm f/1.7 Asph – buy now
• Best budget street lens for Sony FE: Sony Sonnar T* FE 35mm F2.8 ZA – buy now
• Best budget street lens for Canon RF: Canon RF 50mm F1.8 STM – buy now

Best street photography lenses for DSLRs:

• Best street photography lens for DSLRs: Sigma 40mm f/1.4 DG HSM Art – buy now
• Best street photography lens for Nikon F-mount: Nikon AF-S NIKKOR 28mm f/1.4E ED – buy now

Read our for a detailed breakdown of all these lenses, including the impressions of our review team, as we count off the best lenses for street photography…

Best street photography lenses for mirrorless cameras

The latest mirrorless cameras offer street photographers unprecedented shooting speeds, preternatural autofocus accuracy and sublime image quality – so it’s important to get a lens to make the most of them. In this section of the guide, we’ve compiled a selection of our favourite street lenses for all the major mirrorless mounts, with options at a range of focal lengths and price points. Remember, if the lenses here are too expensive for your budget, we also have a section of cheap mirrorless street lenses further down the page.

Best street photography lens for Nikon Z: Nikon NIKKOR Z 35mm f/1.8 S

Nikon NIKKOR Z 35mm f/1.8 S

At a glance:

• Lens mount: Nikon Z
• Aperture blades: 9
• Filter thread: 62mm
• Weight: 370g
• Price: $846 / £899

For mirrorless Nikon shooters, the Nikon NIKKOR Z 35mm f/1.8 S is an excellent choice. Despite having a semi-wide 35mm view, this lens provides excellent sharpness across the whole frame. The AF motor is also worth a mention, as not only is it smooth and fast to focus, it’s also practically silent. This means you can shoot discreetly, which for street photography is an absolute bonus!

The knurled control ring is also useful. In the AF mode you can assign it to adjust the exposure compensation setting, or in the manual mode it becomes a focusing ring as standard. The focus also shifts according to how fast or slow you turn the ring.

Finally the large f/1.8 aperture setting, teamed with a 9-rounded-blade aperture ring, will deliver that sought-after beautiful bokeh for those who enjoy capturing dreamy results.

Pros:

• Superb image quality
• Wide max aperture
• Perfect focal length

Cons:

• On the heavy side (for a 35mm lens)

Best street photography lens for Sony FE: Sony FE 24mm f/1.4 GM

The Sony FE 24mm f/1.4 GM offer a wider perspective, for frame-filling scenes. Photo credit: Andy Westlake

At a glance:

• Lens mount: Sony FE
• Aperture blades: 11
• Filter thread: 67mm
• Weight: 445g
• Price: $1,398 / £1,300

When your lens can open up to f/1.4, you know you’re going to have great flexibility in all types of shooting conditions, particularly low-light! The Sony FE 24mm f/1.4 GM is by no means a budget lens; however, for $1,400 / £1,300 you get a premium lens that is capable of delivering spectacular results.

The 11-blade circular aperture ring is also worthy of a mention, and with a minimum focusing distance of 0.24m, you can have a play around producing wide-angle bokeh shots. If used on an APS-C camera, then this lens gives a 36mm equivalent, but might feel a bit unbalanced with Sony’s A6000 series.

The Sony FE 24mm f/1.4 GM features two XA (extreme aspherical) elements that produce pin-sharp results and three ED (Extra-low Dispersion) glass elements that help suppress chromatic aberration. Thanks to Sony’s advances in technology, they have made a great lens that offers high quality while being relatively light and compact, making it ideal for the street genre.

Pros:

• 11-blade aperture
• Pin-sharp image quality
• Not too heavy (for a 24mm wide-angle lens)

Cons:

• Quite pricey

Take a look at our Sony FE 24mm f/1.4 GM sample images.

Best street photography lens for Canon RF: Canon RF 50mm F1.2L USM

The Canon RF 50mm F1.2L USM is a professional prime. Photo credit: Canon/AP

At a glance:

• Lens mount: Canon RF
• Aperture blades: 10
• Filter thread: 77mm
• Weight: 950g
• Price: $2,299 / £2,449

With fast, precise focusing thanks to the USM motor, and a large f/1.2 aperture that positively drinks in light, the Canon RF 50mm F1.2L USM is a dream of a portrait lens – for those with the budget for it. As an ‘L’ lens, it’s part of Canon’s professional range, and as such commands a premium price. However, with astonishing sharpness delivered right the way to the corners of images, we’d say this is a lens that justifies the cost.

You’ll find more than a few professional photographers who proudly cop to this being the only lens they use on many shooting days, and it’s tailor-made to make the most of the spectacular sensors of full-frame EOS R cameras.

Granted, the price tag isn’t the only thing that’s heavy – weighing in at almost a kilogram, this is a lens that you won’t forget you’re carrying any time soon. Ultimately though, in terms of quality and responsiveness, it’s a street photographer’s dream.

Pros:

• Luminous maximum aperture
• Terrific corner-to-corner sharpness
• Fast and responsive focusing

Cons:

• Heavy
• Expensive

Best street photography lens for Fujifilm X: Fujifilm XF 27mm f/2.8 R WR

Fujifilm XF 27mm f/2.8 R WR

At a glance:

• Lens Mount: Fujifilm X
• Aperture blades: 7
• Filter diameter: 39mm
• Weight: 84g
• Price: $519 / £399

Made for the the best Fujifilm X-series mirrorless cameras, the Fujifilm XF 27mm f/2.8 lens has been designed to be small, light and discreet. Weighing in at a mere 84g, this lens is by far the lightest in our round-up, making it a strong contender for those who prioritise keeping weight and size to a minimum.

For traditionalists who like the old-school method of adjusting the aperture on the lens, the Fujifilm XF 27mm f/2.8 R WR has a nicely implemented aperture ring. Another handy feature is its weather-resistant construction, which gives you peace of mind when out on the streets, whatever the weather.

This lens is equivalent to a 40mm view on a full-frame camera, which is a good choice for street photography – wide enough to get in plenty of the scene without distorting lines or exaggerating perspective.

Pros:

• Lovely aperture ring
• Weatherproof
• Amazingly light

Cons:

• Other X-mount lenses offer better quality

Best street photography lens for Micro Four Thirds: Olympus M.Zuiko Digital ED 25mm F1.2 PRO

Olympus’ M.Zuiko Digital ED 25mm F1.2 PRO is a spectacular lens. Photo credit: Andy Westlake

At a glance:

• Lens mount: Micro Four Thirds
• Filter diameter: 62mm
• Aperture blades: 9
• Weight: 410g
• Price: $1,399 / £1,199

We couldn’t possibly have a best street lens list without mentioning the Olympus M.Zuiko Digital ED 25mm F1.2 PRO! In our 5-star review, we found the top-end 25mm lens to be built to the highest standard of quality; it survived our rigorous testing that included a heavy autumnal rain shower.

It’s worth noting that the focus mechanism isn’t completely silent. However, the noise only really become noticeable in a quiet room, so you should be fine out in the street. The Olympus M.Zuiko Digital ED 25mm F1.2 PRO is fast and accurate to focus under many different shooting conditions.

Where this lens comes into its own, though, is at its largest aperture. Out of all our lenses on our list, this one goes the brightest to f/1.2. Although MFT might not seem like the obvious choice for producing beautiful bokeh and background blur, this lens does just that.

Pros:

• Hardily weather-sealed
• Large f/1.2 aperture
• Fast, accurate focusing

Cons:

• Focusing not completely silent

Read our Olympus M.Zuiko Digital ED 25mm F1.2 PRO review.

Best street photography lens for L-mount: Sigma 35mm f1.4 DG DN Art

Sigma 35mm f1.4 DG DN Art

At a glance:

• Lens mount: L-Mount, Sony E
• Aperture blades: 11
• Filter diameter: 67mm
• Weight: 645g (L-Mount) 640g (E-Mount)
• Price: $799 / £749

For L-mount, the Sigma 35mm f1.4 DG DN Art lens makes it onto our list. This lens is comfortably a 5 star product (you really can’t go wrong with a Sigma Art lens) and produces amazing bokeh thanks to its smooth 11 aperture blade ring.

We found in our review that although it’s a wide angle lens, the large aperture settings enable subjects to be easily separated from the background by selective focusing which is great for street photography. The out of focus areas look nice and smooth and there are no obvious aberrations.

This 645g lens is among the heavier examples on our list – however the outstanding quality it produces far outweighs its weight issue! Shop around second-hand and you can get this lens for under $600 / £500, which is a great deal.

For DSLR shooters, the Sigma 35mm F1.4 DG HSM Art is the best equivalent.

Pros:

• 11-blade aperture
• Handy f/1.4
• Attractive-looking bokeh

Cons:

• Another hefty lens

Read our Sigma 35mm f1.4 DG DN Art review.

Best street photography lens for Sony E (APS-C): Tamron 20-40mm f/2.8 Di III VXD

Tamron 20-40mm F/2.8 Di III VXD. Credit: Andy Westlake.

At a glance:

• Lens mount: Sony E mount
• Aperture blades:
• Filter diameter: 67mm
• Weight: 365g
• Price: $699 / £879

One of recently released lenses that start at 20mm and then extend into ‘standard’ territory, the Tamron 20-40mm f/2.8 Di III XCD might be an unusual choice as people tend to think of small primes for street photography but its zoom range and portability make it stand out, particularly for subjects such as landscape, architecture and travel.

In our review we described it as ‘a unique lens with an interesting blend of features. It’s compact and lightweight, while still offering a bright maximum aperture, and its image quality is more than respectable. Add in its silent autofocus and weather-sealed construction, and you get a compelling blend of features.’

The 40mm long end gives a natural-looking perspective to images. Credit: Andy Westlake

ILCE-7RM4 · f/16 · 1/80s · 40mm · ISO100

Pros:

• Compact and lightweight
• Very good image quality
• Bright maximum aperture
• Silent focusing

Cons:

• Not the fastest continuous autofocus

Read our Tamron 20-40mm F/2.8 Di III VXD review.

Best street photography lens for APS-C sensors: Sigma 30mm F1.4 DC DN

The Sigma 30mm F1.4 DC DN C comes in plenty of mount options (this is the X-Mount version). Photo credit: Richard Sibley

At a glance:

• Lens mount: Sony E, Canon EF-M, L-Mount, Fujifilm X, Micro Four Thirds
• Aperture blades: 9
• Filter diameter: 52mm
• Weight: 265g
• Price: $264 / £289

The Sigma 30mm F1.4 DC DN is a worthy contender for street photographers who use APS-C mirrorless and Micro Four Thirds cameras and are on a budget. In our review we found it to be of reasonable size and weight, produce excellent image quality (going as bright as f/1.4), have superior build quality and all at an affordable price point.

Used on an MFT camera, it has a 60mm equivalent field of view, and around a 45mm equivalent on a Sony E-mount, Fujifilm X-Mount, or L-Mount camera with an APS-C-sized sensor, and 48mm on Canon’s EF-M cameras.

With a retail price of around £300 / $300 / £300, it is hard to really fault this lens. Sharp images at f/1.4 and edge-to-edge sharpness when stopped down make this lens very appealing, and a useful addition for any street photographer on a budget.

Pros:

• Very good value for money
• Sharp even wide open
• Available for lots of mounts

Cons:

• A little narrow for street on MFT

Read our Sigma 30mm f/1.4 DC DN Contemporary review.

Best cheap mirrorless lenses for street photography

One of the best aspects of street photography is that you don’t need loads of gear to get started – all you really need is a camera and a lens. As such, it’s a great pursuit for the photographer on a budget, and as such, we’ve compiled a selection of our favourite cheap street photography lenses for mirrorless systems. If you liked the look of some of the lenses in the previous section but were put off by the prices, this section should be of some help to you.

Best budget street lens for Micro Four Thirds: Panasonic Lumix G 25mm f/1.7 Asph

The Panasonic Lumix G 25mm f/1.7 Asph is a fantastically inexpensive lens.

At a glance:

• Mount: Micro Four Thirds
• Diaphragm blades: 7
• Filter size: 46mm
• Weight: 125g
• Price: $147 / £149

Fair enough, not everyone can stretch to the kind of budget required for the Olympus M.Zuiko Digital ED 25mm F1.2 PRO. If you’re a Micro Four Thirds user looking for a similar lens that’s a bit more affordable, we can happily recommend the superb little Panasonic Lumix G 25mm f/1.7 Asph. An accomplished lens that focuses nice and quickly on any MFT body – we tested it on both Panasonic and Olympus cameras with no problems.

In terms of image quality, the Lumix G 25mm f/1.7 Asph hugely impresses for the price. For sharpest results you’re best off around f/4-f/5.6, though it’ll only be a concern for real pixel-peepers – wide-open f/1.7 results are more than acceptable. Be aware when shooting straight into the light though, as we did encounter strong veiling flare covering the frame in these situations. Not unusual for fast primes, but worth knowing.

Shot wide open at f/1.7, this 25mm lens can give some nicely blurred backgrounds. Photo credit: Andy Westlake.

Street photographers will appreciate the unobtrusive dimensions of this tiny lens, as well as its silent focusing. You can get better optical quality if you spend more, naturally. But this lens is an absolute diamond for its price, and what’s more, if you buy used you might be able to knock around £50/$50 off the ticket price. At that, it’s frankly an absolute steal.

Pros:

• Incredible value for money
• Tiny and unobtrusive
• Fast, silent focusing

Cons:

• Pronounced flare when shooting into the light
• Raw image quality inevitably lags behind expensive peers

Read our Panasonic Lumix G 25mm f/1.7 Asph review.

Best budget street lens for Sony FE: Sony Sonnar T* FE 35mm F2.8 ZA

Sony Sonnar T* FE 35mm F2.8 ZA. Photo credit: Sony

At a glance:

• Mount: Sony E (FE)
• Diaphragm blades: 7
• Filter size: 49mm
• Weight: 120g
• Price: $598 / £600

The Sony Sonnar T* FE 35mm F2.8 ZA lens has been made with the street photographer in mind, and comes with many appealing features such as a 120g lightweight design and anti-reflective coating that minimises unwanted lens flare. It almost qualifies as a pancake lens as it is so small!

The lens is fast to react and accurate to focus, which is ideal when shooting any type of street scene. Although compared to others on the list the 7-blade aperture construction is slightly disappointing, however this is to be expected as you don’t get a lens this small and light without some compromise.

The 35mm view on a full-frame camera will appeal to traditional street photographers. Also, for those with an E-mount APS-C mirrorless camera, the lens provides an equivalent 52.5mm view, which is equally as good for many street photographers.

Pros:

• Great value
• 120g weight
• Anti-reflective coatings

Cons:

• Only 7-blade aperture

Best budget street photography lens for Canon RF: Canon RF 50mm F1.8 STM

Lightweight, affordable, sharp – the Canon RF 50mm F1.8 STM ticks a lot of boxes. Photo credit: Andy Westlake

At a glance

• Lens Mount: Canon RF-mount
• Aperture blades: 7
• Filter diameter: 43mm
• Weight: 160g
• Price: $159 / £199

When it comes to street photography, many photographers like to shoot wide. However, a nifty fifty is a great choice for those who like to stand back from the action yet not appear too far away from their subject. It produces a fairly naturalistic-looking image, with a field of view roughly equivalent to that of the human eye. Many pro photographers keep a 50mm within easy reach in their kit bag at all times, and you could quite easily spend an entire day happily street-shooting with one

The Canon RF 50mm F1.8 STM lens is an affordable, reliable choice for Canon mirrorless shooters, and in our review we found this particular lens to produce excellent image quality for a lens at this price point, while also adding little weight to our EOS R camera body – it weighs a minuscule 160g! Ideal for street photography, it’s a natural successor to Canon’s EF-mount 50mm f/1.8 lens, which is worth picking up if you’re using Canon DSLRs rather than mirrorless.

Pros:

• Very affordable
• Naturalistic perspective
• Incredibly light

Cons:

• Soft corners at large apertures

Read our Canon RF 50mm F1.8 STM review.

Best street photography lenses for DSLRs

While DSLRs are a bit bulkier and generally slower than mirrorless systems, they still have their place in street photography, and there’s no reason you can’t produce great street images on a DSLR setup. In this section, we’ve compiled a few of our favourite DSLR

Best street photography lens for DSLRs: Sigma 40mm f/1.4 DG HSM Art

The Sigma 40mm f/1.4 DG HSM Art is a big boy, but offers a lot for street photography. Photo credit: Michael Topham

At a glance:

• Lens mount: Canon EF, Nikon F, Sony E, L-mount
• Aperture blades: 9
• Filter thread: 82mm
• Weight: 1,200g
• Price: $799 / £629

While this is one of our favourite DSLR lenses, also making an appearance in our guide to the best Canon EF lenses, it’s available for E-mount and L-mount mirrorless systems too. As one of Sigma’s ‘Art’ lenses, its pitch is peerless optical quality, with top-notch distortion control. It’s designed to be a match for high-resolution sensors like that of the Canon EOS 5DS R, or more recently the Sony A7R V, where the pixels really matter. And it passes that test with flying colours.

The 40mm focal length is something of an unsung hero in street photography – you don’t always see it talked about, and lenses hitting this length are rarer. But it provides a more naturalistic view than 35mm while putting a little more of the scene in play than 50mm, so there’s plenty to recommend it. While you’ll need to keep both hands on the setup when using this lens, as its weight exceeds 1.2kg, if you’re up for a little hefting, the quality and responsiveness are first-rate.

The price has come down too. On release this lens had a four-figure price tag, but these days it can be picked up new for around £629 / $799, and used for even less than that.

Pros:

• Price has come down nicely
• Street-friendly focal length
• Optical quality meets demands of high-res sensors

Cons:

• Big and hefty

Read our Sigma 40mm f/1.4 DG HSM Art review.

Best street photography lens for Nikon F-mount: Nikon AF-S NIKKOR 28mm f/1.4E ED

Nikon AF-S NIKKOR 28mm f/1.4E ED lens. Photo credit: Nikon

At a glance:

• Lens mount: Nikon FX, DX
• Aperture blades: 9
• Filter thread: 77mm
• Weight: 645g
• Price: $1,996 / £1,999

The Nikon AF-S NIKKOR 28mm f/1.4E ED is a wonderful lens that produces incredible results and even has pinpoint accuracy at f/1.4. We admit this lens is not as discreet compared with others on our list, and is rather heavy (645g is not lightweight, though it’s just over half the weight of the Sigma above), however it’s still worth considering if you value image quality above size and weight.

With the move of many photographers to mirrorless cameras, lenses like this are coming up more and more on the second-hand market. If you shop around you can pick up one for just over £1000, which, while still not cheap, is far more affordable than the full retail price. You get plenty of good quality glass for your money.

Pros:

• Gorgeous image quality
• Excellent at f/1.4

Cons:

• Heavy
• Expensive

How to choose a lens for street photography

So what are the main criteria for a street photography lens? The key things to focus on are: focal length, aperture range, aperture blades and physical size and weight. Below we’ve put together some more information on what you might want from a street lens.

Street Photography – Copyright: Claire Gillo

Prime vs zoom: There are two main types of lenses on the market. A prime lens, which has a fixed focal length (for example 50mm), and a zoom lens, which has a variable focal range (for example 24-70mm). A zoom lens provides more versatility, but will tend to be heavier, longer, pricier (if high quality) and less discreet. In our guide we therefore stick to prime lenses, as these are generally lighter, smaller, and are able to open to much wider aperture settings (without having to break the bank). For more on prime vs zoom, have a look at our guide to prime vs zoom lenses.

Pancake lenses: If having a small lightweight lens is at the top of your list, then you may want to consider a pancake lens. A pancake lens essentially just means a lens that is almost flat – like a pancake! This means they’re naturally light and portable; the disadvantage is they often don’t offer as bright an aperture as a standard prime lens (a pancake lens is more likely to be f/2.8 than a larger lens of equivalent focal length, which may be an f/1.8 or f/1.4), and often the image quality is not as good compared with a larger lens.

Focal length: The next aspect you want to consider is the focal length of your lens. Ideally, in street photography, you want your lens to capture as much of the scene as possible, without going so wide that it distorts. For this reason, a 35mm lens is a popular choice (on full frame – on crop sensor APS-C cameras, a 23/24mm will equate to the same). However, there are times where a wider 24mm view or a narrower 50mm view can be desirable, and some manufacturers also offer 40mm lenses. Your own personal preferences will be important here.

Aperture: The aperture range of your lens is key for street photography. Ideally, the brighter your lens can go, the better, and as the very minimum you want your lens to open up to at least f/2.8. If producing beautiful bokeh in shallow depth of field is high on your priority list, also look at the aperture blade construction. Generally speaking, the more aperture blades a lens has, the better the bokeh circle, but pay attention to whether the lens mentions a circular or rounded aperture blade in the specifications.

DSLR or mirrorless: Many photographers have switched to a mirrorless camera system now, but it’s useful to note that many DSLR lenses can be used on a mirrorless system with the right adapter. However, it doesn’t work the other way round – i.e. you can’t use a mirrorless lens on a DSLR. If you’re wanting to know more on DSLR vs Mirrorless have a look at our guide to DSLR vs Mirrorless cameras.

Does it fit? Finally, you need to make sure the lens you are buying has the correct mount for your camera. Every camera has a specific lens mount, and it will only take lenses designed to fit that mount. Nikon DSLRs, for example, use the F-mount, so you will need Nikon F-mount lenses. There are adapters that allow cross-using of different lenses and cameras, but these cost extra, and in some cases prohibit the use of electronic functions like autofocus and stabilisation.

There are many different types of cameras out there – DSLRs, mirrorless, full frame, crop sensor, all of them have different requirements. Many full-frame lenses can also be used on the crop sensor cameras but check before you buy. Also remember that third party lens companies produce lenses for cameras across the industry so make sure you double check that it fits your camera before you buy!

Top tip! Save some money by buying second hand. If you buy second hand from a trusted dealer the lenses have been checked and often come with a warranty.

Street photography is all about fleeting moments – so you need a lens that will keep up! Photo credit: Claire Gillo

Now you’ve found the perfect lens for you, have a look at the complete beginners guide to street photography. Or if you need help finding the right camera for you, have a look at our guide to the best camera brands for JPEGs. For more lenses have a look at the latest lens reviews.

Related articles:

• Best camera for street photography
• Using smartphones for street photography
• Best budget portrait lenses in 2023

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The post Best lens for street photography in 2024 appeared first on Amateur Photographer.

A wide-angle lens allows you to fit as much of the landscape into the frame as possible – it’s perfect for capturing those sweeping vistas and dramatic skies. Why a zoom and not a prime? Mostly because of the compositional flexibility – landscape imaging generally involves shooting at distance, and it’s less practical to reframe by moving your feet than it is with subjects that are closer to the camera. Also, the larger apertures of prime lenses aren’t as useful for landscape shooting, as you’ll likely be stopping down to maximise sharpness and depth of field.

Wide-angle zooms have other uses too – they’re great for wedding and event photography, architecture shots (interior and exterior) and real-estate photography, and they also provide a number of advantages for astrophotography. You can scroll to the bottom of this page to read more of the additional uses for wide-angle zooms, as well as learning more about how we tested these lenses, and our key criteria for choosing the best ones.

Read on as we count off the best landscape lenses for every major system and lens mount – and don’t forget to check out our guide to the best cameras for landscape photography.

The best lenses for landscape photography: quick list

For a quick-reference guide, here is the full list of lenses we’ve included in this piece, along with links to pick them up for the best prices…

Best landscape lenses for DSLRs:

• Best Canon APS-C landscape lens: Canon EF-S 10-22mm f/3.5-4.5 USM – buy now
• Best Canon DSLR landscape lens: Canon EF 11-24mm f/4L USM – buy now
• Best Nikon DSLR landscape lens: Nikon AF-S 16-35mm f/4G ED VR – buy now
• Best Pentax landscape lens: Pentax DA* HD 11-18mm f/2.8 ED DC AW – buy now
• Best APS-C DSLR landscape lens: Tokina Atx-I 11-20mm F2.8 CF – buy now

Best mirrorless landscape lenses:

• Best RF-mount landscape lens: Canon RF 14-35mm f/4 L IS USM – buy now
• Best Nikon Z landscape lens: Nikon Z 14-30mm f/4 S – buy now
• Best professional Nikon Z landscape lens: Nikon Z 14-24mm f/2.8 S – buy now
• Best Sony landscape photography lens: Sony FE 12-24mm F4 G – buy now
• Best L-mount landscape lens: Sigma 16-28mm f/2.8 DG DN C – buy now
• Best Sony APS-C landscape lens: Sony E 10-18mm F4 OSS – buy now
• Best Fujifilm landscape lens: Fujifilm XF 10-24mm F4 R OIS WR – buy now
• Best Micro Four Thirds landscape lens: Panasonic 8-18mm f/2.8-4 ASPH Vario – buy now
• Best Olympus landscape lens: Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO – buy now
• Best mirrorless APS-C landscape lens: Tamron 11-20mm f/2.8 Di III-A RXD – buy now

Read on to learn more about each of these lenses as we count off the best lenses for landscape photography…

Best landscape lenses for DSLRs

DSLR users have an absolutely huge range of wide-angle zooms to choose from – to the point where we could only include a small selection in this section of the guide! Whether you’re shooting on Canon, Nikon or Pentax DSLRs, you’ll be spoiled for choice, with legacy lenses and newer updated versions plentifully available both new and second-hand. Also, if you’re shooting with Canon RF or Nikon Z mirrorless cameras, remember that all of these lenses can be adapted to work on your EOS R or Z body, usually with full electronic functionality.

Best Canon APS-C landscape lens: Canon EF-S 10-22mm f/3.5-4.5 USM

The Canon EF-S 10-22mm f/3.5-4.5 USM. Photo credit: Canon/AP

At a glance:

• Construction: 13 elements, 10 groups
• Weight: 385g
• Mount: Canon EF-S
• Street price: £484 / $601

This wide-angle zoom is designed for Canon cameras with an APS-C sensor, like the Canon EOS 90D or EOS 250D. It gives a view similar to a 16-35mm lens on a full-frame body, so there’s plenty of options for big scenes. And being made to be compact and lightweight at only 83.5×89.8mm and 385g, it’s a great choice for landscape photographers who’re doing extensive hiking.

This doesn’t come at the expense of image quality though, with the lens using a Super Spectra coatings that combats ghosting and flare to keep images clear and contrasty. As a bonus, its minimum focusing distance of 24cm means you can achieve sumptuous foreground textures.

There are many secondhand examples of the lens available. Expect to pay in the region of £175 for one in good used condition or slightly more for an even better example.

Pros:

• Compact and lightweight
• Very good contrast and sharpness
• Close focusing distance

Cons:

• Not weather sealed

Best Canon full-frame landscape lens: Canon EF 11-24mm f/4L USM

The striking feature of the EF 11-24mm f/4L USM is the bulbous front element. Photo credit: AP

At a glance:

• Construction: 16 elements in 11 groups
• Weight: 1,180g
• Mount: Canon EF
• Street price: £3,099 / $2,899

This is the world’s widest rectilinear zoom lens – meaning it renders straight lines as appearing straight, unlike a fisheye which will curve them. The Canon EF 11-24mm f/4L USM is an outstanding achievement in the field of how much you can cram into a frame, and there really isn’t a lens to match it, in or out of the Canon ecosystem. The image quality is absolutely sublime, and the build of the lens as solid as you’d expect from an L-series optic. And while that bulbous front element precludes the attachment of screw-in filters, it is possible to drop in rear filters via a dedicated adapter from LEE Filters.

Of course, that will add to the already considerable outlay you’ll incur for the Canon EF 11-24mm f/4L USM. There’s no sugar-coating it – this is an expensive lens. The fact that it’s such a unique proposition is likely why it has so stubbornly held onto its high price in all the years since its release. With that said, if your budget stretches this far, the Canon EF 11-24mm f/4L USM really is worth it. And not just for Canon DSLR users – there isn’t an equivalent to this lens in the RF range, so EOS R users should definitely consider adapting it (though again, that’ll cost you). If it’s too much, consider the Canon EF 16-35mm f/4L IS USM. It’s still expensive, but you know, less so.

Pros:

• One-of-a-kind rectilinear wide-angle
• Exceptional build quality
• Can take rear filters via adapter
• Truly remarkable image quality

Cons:

• Very expensive

To find out more about how the lens performs, read our Canon EF 11-24mm f/4L USM review.

Best Nikon DSLR landscape lens: Nikon AF-S 16-35mm f/4G ED VR

Nikon AF-S 16-35mm f/4G ED VR. Photo credit: Nikon/AP

At a glance:

• Construction: 17 elements, 12 groups
• Weight: 680g
• Mount: Nikon F (FX)
• Street price: £1149 / $1428

Launched over a decade ago, this full-frame (FX) lens is still a superb landscape option. It was the world’s first ultra wide-angle zoom to offer optical stabilisation and is rated at four stops, so very useful in a handheld squeeze, while the f/4 aperture is constant throughout the zoom.

The lens provides excellent sharpness and distortion free images thanks to its three aspherical and two extra-low dispersion elements, while Nikon’s legendary Nano Crystal Coating ensures superb clarity.

It also has a nine bladed diaphragm which is rounded to give softer and more natural rendering to landscape details and highlights, and at 680g and 82.5x125mm it can save size and weight in a backpack compared to the faster but larger, heavier and more expensive 14-24mm f/2.8. And still offers great build and weather sealing.

Pros:

• Lovely nine-blade diaphragm
• Very good image quality
• Optical stabilisation

Cons:

• Sharper lenses have come out since

Best Pentax landscape lens: Pentax DA* HD 11-18mm f/2.8 ED DC AW

Pentax DA* HD 11-18mm f/2.8 ED DC AW. Photo credit: Ricoh/AP

At a glance:

• Construction: 16 elements, 11 groups
• Weight: 704g
• Mount: Pentax K
• Street price: £1199 / $1490

Pentax produces some great lightweight DSLRs for landscaping and models like the K-3 Mark III have superb weather sealing. To match, check out the DA* HD 11-18mm f/2.8 ED DC AW, with its dustproof, weather-resistant construction letting you keep on shooting in atmospheric rain or mist, or close to water without worry.

Its ultra-wide view gives an equivalent 17-27.5mm and despite having a fast f/2.8 aperture it comes in at a reasonable 704g and 90x100mm, keeping load reasonable. It also has a very handy Focus Clamp mechanism which lets users lock the point of focus for multiple exposures, bracketing or starlit scenes.

Pros:

• Tough build
• Fairly light
• Useful focus clamp

Cons:

• Soft in the corners
• One of the pricier Pentax lenses

Best APS-C DSLR landscape lens: Tokina Atx-I 11-20mm F2.8 CF

Tokina Atx-I 11-20mm F2.8 CF. Photo credit: Tokina/AP

At a glance:

• Construction: 14 elements, 12 groups
• Weight: 570g
• Mounts: Canon EF-S, Nikon F (DX)
• Street price: £569 / $707

This ultra-wide zoom for APS-C bodies is available in Canon EF-S and Nikon F mounts, and with a constant maximum aperture of f/2.8 it’s a great tool for low-light landscape work, including Milky Way shots and aurora shots, or for general scenes, too.

The focal lengths make it versatile, while it uses three aspherical and three super-low dispersion elements to provide edge-to-edge sharpness and excellent contrast.

The 28cm minimum focus isn’t as close as some, but it takes front filters, with an 82mm size, and has an internal focusing design, so the front element won’t rotate, which is helpful while using a polariser or holder.

Pros:

• Very good sharpness and contrast
• Internal focusing mechanism
• Great in low light

Cons:

• Requires big (read: expensive) filters
• Longer close focus distance

Best landscape lenses for mirrorless

No matter which mirrorless system you’re using, there are plenty of excellent wide-angle zooms that are well-suited to landscape shooting. We’ve aimed to cover a broad mix in this section, with options for both full-frame and APS-C sensors, as well as budget-friendly choices. Remember that as a landscape shooting you don’t necessarily need a fast constant aperture like f/2.8, and you can potentially save yourself some cash by opting for a cheaper lens.

Best RF-mount landscape lens: Canon RF 14-35mm f/4 L IS USM

Canon RF 14-35mm f/4 L IS USM. Photo credit: Canon/AP

At a glance:

• Construction: 16 elements, 12 groups
• Weight: 540g
• Mounts: Canon RF
• Street price: £1749 / $2174

If you’ve moved to Canon’s stunning RF-mount cameras and want a lightweight full frame wide-angle zoom, look no further than the RF 14-35mm f4 L IS USM; a lens that really shows the benefits of the new system. The 14mm end adds incredible drama to landscapes, but step into the zoom and there’s plenty of scope for tighter framing.

With a constant f/4 aperture, it still has low-light potential, while the optical construction is exemplary with three aspherical and three ultra-low dispersion elements giving superb sharpness and distortion control.

If you need to work handheld, there’s a highly effective 5.5-stop Image Stabilizer that will increase to a heady 7 stops when fitted to a EOS-R camera with IBIS. Weighing 540g and measuring 84.1×99.8mm it’s highly portable and weather sealed, too. Those with a higher budget may also want to consider the Canon RF 15-35mm f/2.8L IS, though be warned this lens is more expensive and heavier than the 14-35mm. It’s worth it if you’re doing astro or night work, but for most landscapes, the 14-35mm is the more balanced and better choice.

For more Canon RF-mount lens options, take a read of our Best Canon RF mount lenses article.

Pros:

• Very effective stabilisation
• Weather sealed
• Superb sharpness

Cons:

• Expensive

See more details on the Canon RF 14-35mm f/4 L IS USM

Best Nikon Z landscape lens: Nikon Z 14-30mm f/4 S

The Nikon Z 14-30mm f4 S is one of Nikon’s premium wide-angles. Photo credit: Amy Davies

At a glance:

• Construction: 14 elements, 12 groups
• Weight: 485g
• Mount: Nikon Z
• Street price: £1169 / $1453

Perfectly illustrating the appeal of Nikon’s excellent mirrorless Z Series, the Nikon Z 14-30mm f/4 S brings superb image quality in a package that’s far smaller and lighter than its FX forebears. It weighs only 485g, measures 89x85mm thanks to a retracting design and is the widest Nikon full frame lens to allow screw-on filters, taking 82mm models.

As one of the Z Series’ S line it also has top-notch optics, with no less than four extra-low dispersion and four aspherical elements, plus Nikon’s anti-reflective Nano Crystal Coat.

There’s no optical image stabilisation, but all the full-frame Z cameras have that in the body, keeping the lens’s footprint even smaller. And if you’re shooting landscapes in harsh conditions or poor weather, it’s weather sealed against drips and dust.

For more Nikon Z mount lens options, take a read of our best Z Mount lenses for Nikon guide.

Pros:

• Excellent optical quality
• Weather sealed
• Allows screw-on filters

Cons:

• Some noticeable vignetting

Read our review of the Nikon Z 14-30mm f/4  

Best professional Nikon Z landscape lens: Nikon Z 14-24mm f/2.8 S

Nikkor Z 14-24mm f/2.8 S with Z7, Photo: Michael Topham / AP

At a glance:

• Construction: 16 elements, 11 groups
• Weight: 650g
• Mount: Nikon Z
• Street price: £2319 / $2,883

If you’re looking for the best of the best and are less concerned with cost-saving, then the Nikon Z 14-24mm f/2.8 S should be right up your alley. The ‘S’ designation means it’s a premium Z-mount lens, designed for serious enthusiast and professional users who don’t want to compromise on optical quality. And as such, it delivers – in our review, we found the Nikkor Z 14-24mm f/2.8 S to be capable of producing images with absolutely stunning sharpness, in a range of situations.

What’s more, it’s both lighter and more compact than pairing the Nikon AF-S 14-24mm f2.8 G with an adapter, making it a good excuse for Z-mount users to go all in and opt for the native lens. While there is some distortion evident if you leave it uncorrected, there’s no reason you ever would leave it uncorrected, with Nikon’s automatic correction profiles ready and able to swoop in and take care of matters.

If you’re a Nikon user and want to find out much more about Nikon Z-mount lenses, take a read of our Best Z Mount lenses for Nikon article.

Pros:

• Exceptional image quality
• Lighter than F-mount equivalent
• Customisable control ring

Cons:

• Very expensive
• Control ring can be over-sensitive

Read our review of the Nikon Z 14-24mm f/2.8 S

Best Sony landscape photography lens: Sony FE 12-24mm F4 G

Sony FE 12-24mm F4 G ultra wide-angle zoom lens for Sony’s full-frame mirrorless Alpha 7-series and Alpha 9 cameras

At a glance:

• Construction: 17 elements, 13 groups
• Weight: 565g
• Mount: Sony FE
• Street price: £1399 / $1739

Offering the widest view of any Sony full-frame wide-angle zooms, you might expect the FЕ 12-24mm F4 G to be big and heavy, but not a bit of it. Like Sony’s exemplary Alpha cameras this is a lens built with a low profile, but still offers peak quality via its four aspherical, one super extra-low dispersion and three extra-low dispersion elements, plus a Nano AR coating to suppress reflections.

It won’t take front filters, so an adapter holder is required, and though there’s no optical image stabilisation, that comes as standard in the Alpha bodies. The f/4 aperture brings some starry-sky possibilities, and at 565g and 87х117.4mm it’s a great option when space is tight, while its all-weather construction means you can keep shooting in some pretty foul conditions.

Pros:

• Incredibly compact for its type
• All-weather construction
• Excellent image quality

Cons:

• Won’t take filters

Read our review of the Sony FE 12-24mm F4 G lens

Best L-mount landscape lens: Sigma 16-28mm f/2.8 DG DN C

The Sigma 16-28mm f/2.8 DG DN C on test. Photo credit: Joshua Waller

At a glance:

• Construction: 16 elements, 11 groups
• Weight: 450g
• Mount: L
• Street price: £749 / $931

Designed for full-frame Sony E-mount and L-mount cameras, the 16-28mm f/2.8 DG DN C is an exceptionally small, light, fast and versatile wide-angle zoom.

It promises very low distortion and edge-to-edge sharpness, via five FLD and four aspherical lens elements, and uses an internal zoom mechanism, there’s no extension of the front element, perfect for use with polarising filters or holders.

It takes an affordable 72mm fit for filters. The lens is backpack ready at just 100.6mm long and weighs only 450g, while offering dust and splash resistance. We reviewed this lens recently, and were impressed more than anything by the sheer value for money it offers. Landscape shooters using L-mount or full-frame E-mount cameras really should give this lens serious consideration. Its sharpness is great right across the frame, and it’s physically well-balanced, too.

Pros:

• Excellent value
• Lightweight and portable
• Very good sharpness

Cons:

• No aperture ring
• Not fully weather sealed

Read our full Sigma 16-28mm f/2.8 DG DN C review

Best Sony APS-C landscape lens: Sony E 10-18mm F4 OSS

Sony E 10-18mm F4 OSS. Photo credit: Sony/AP

At a glance:

• Construction: 18 elements, 8 groups
• Weight: 225g
• Mount: Sony E
• Street price: £599 / $744

If you shoot landscapes on a Sony mirrorless camera with an APS-C format sensor like the A6400 or A5100, you’ll want an equally small, lightweight but dependable wide-angle zoom. The 10-18mm F4 OSS is just that, offering a streamlined design that’s still weather sealed. At 225g and 70х63.5mm it’s genuinely pocket sized, so can be brought along as the accompaniment to a standard zoom, and it takes 62mm filters and adapter rings, which keeps space – and cost – down, too.

Its constant aperture means shutter speed and ISO can be kept consistent across the 15-27mm equivalent range, perfect for manual working, and it has a four-stop optical stabiliser for hasty handheld landscapes if required.

Pros:

• Very small and light
• Constant f/4 aperture
• Four-stop stabiliser

Cons:

• Not weather sealed
• Corner sharpness so-so

Best Fujifilm landscape lens: Fujifilm XF 10-24mm F4 R OIS WR

The Fujinon XF 10-24mm F4 R OIS WR is an impressive lens. Photo credit: Michael Topham

At a glance:

• Construction: 14 elements, 10 groups
• Weight: 385g
• Mount: Fujifilm X
• Street price: £949 / $1179

Recently updated to include weather sealing, an upgraded aperture ring and more effective stabilisation, the XF10-24mm F4 R OIS WR is our pick of wide-angle zooms for X Series landscapers.

With an equivalent view of 15-36mm it’s a highly versatile package and gives a constant f/4 aperture across the range. The updated aperture ring has a lock to prevent accidental shifts in the diaphragm, while it Optical Image Stabilizer gets an additional stop over the previous 10-24mm model, and will go higher with IBIS-equipped X Series bodies like the X-T4 and X-H2S.

At 77.6х87mm and 385g it’s highly portable, but that doesn’t mean any compromise in optical quality with four aѕрhеrісаl and four extra-low dispersion elements. While this is a fairly minor upgrade on the previous version of this lens, as we pointed out in our review, landscape photographers will appreciate the addition of weather-sealing, which justifies the extra cost outlay.

Pros:

• Weather sealed
• Excellent image quality
• Optical Image Stabilizer

Cons:

• On the pricey side
• Low frequency clicking of the diaphragm blades

Read our Fujifilm XF 10-24mm F4 R OIS WR review

Best Micro Four Thirds landscape lens: Panasonic 8-18mm f/2.8-4 ASPH Vario

Panasonic 8-18mm f/2.8-4 ASPH Vario. Photo credit: Panasonic/AP

At a glance:

• Construction: 15 elements, 10 groups
• Weight: 315g
• Mount: Micro Four Thirds
• Street price: £899 / $1117

Covering a range of 16-36mm in old money (a.k.a. in full-frame 35mm terms), the Panasonic 8-18mm f/2.8-4 gives some superb low-light landscape options for Micro Four Thirds shooters, while sticking to all the things that make the format so attractive for adventure photography.

At 315g and 73x88mm it’s bag or pocket friendly, but also weather sealed. The lens has an optical construction of 15 elements іn 10 groups with one aspherical extra-low dispersion, three regular аѕрhеrісаl, two extra-low dispersion and one ultra-high refractive indех elements in the light path, all of which adds up to some beautifully sharp and distortion free results.

The minimum focus of 23cm also brings foreground details like flowers and sandy patterns up close for landscapes.

Pros:

• Excellent sharpness
• Good in low light
• Very portable

Cons:

• Premium price tag
• Max aperture not constant

Read more on the Panasonic 8-18mm f/2.8-4 ASPH Vario. lens

Best Olympus landscape lens: Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO 

Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO. Photo credit: AP

At a glance:

• Construction: 14 elements, 11 groups
• Weight: 534g
• Mount: Micro Four Thirds
• Street price: £1074 / $1335

A smart, lightweight evolution of Olympus’s original Four Thirds wide-angle zoom, the ED 7-14mm f/2.8 PRO is a slip of a thing in comparison. At 534g and 78.9×105.8, it’s larger than some options, but still highly portable, with the benefit of a fast f/2.8 aperture setting throughout, which makes a great choice for nightscapes.

The lens delivers splendid sharpness from its 14 element, 11 group construction, and its seven bladed aperture gives beautiful sunstars.

Weatherproofed, though with a protruding front element that needs a bit of caution in use, and an adapter to mount filters, one of this lens’s trump cards is its incredible minimum fосuѕing dіѕtаnсе of just 20сm from giving some superbly exaggerated foregrounds.

Pros:

• Excellent sharpness
• Seven-blade aperture
• Constant f/2.8

Cons:

• Vulnerable protruding front element
• Sharpness suffers in corners

Read our full review of the Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO lens

Best mirrorless APS-C landscape lens: Tamron 11-20mm f/2.8 Di III-A RXD

Tamron 11-20mm f/2.8 Di III-A RXD. Photo credit: Tamron/AP

At a glance:

• Construction: 12 elements, 10 groups
• Weight: 335g
• Mounts: Sony E, Fujifilm X
• Street price: £799 / $993

A premium lightweight wide-angle zoom designed for Sony E-Mount APS-C mirrorless cameras, and more recently made available for Fujifilm X, the Tamron 11-20mm f/2.8 Di III-A RXD offers a great mix of image quality image, portability and performance.

The constant f/2.8 keeps settings consistent throughout the zoom and is great for low-light work, while the lens uses two glass moulded aspherical elements, as well as one extra-low dispersion and two low dispersion elements for edge-to-edge sharpness.

Despite all this – and being weather sealed – it’s only 335g in weight while measuring 72х86.2mm. And for those who want closeups, there’s an impressive minimum focus of just 15cm at 11mm giving a magnification of 0.25x.

Pros:

• Very light and weather sealed
• Does well in low light
• Close focusing distance

Cons:

• No stabilisation
• Pricey for third party

Read the full spec of the Tamron 11-20mm f/2.8 Di III-A RXD

How to choose the best lens for landscape photography

Wide-angle zooms come in all shapes, sizes and prices, so it can be difficult to know which to choose. What’s also often important to landscapers is a combination of light weight, ease of use, and image sharpness. Light weight because you don’t want to lug it about, ease of use because you may be wearing gloves (a good control ring is your friend here), and image sharpness because you’ll often be stopping down to capture as much detail as possible.

It’s also worth looking out for weather sealing, so that a little rain doesn’t put a premature end to your whole shoot. Also, pay attention to the filter compatibility. Many ultra-wide lenses can’t take front-mounted filters at all because of their bulbous front element, while others will require ones with a sizeable filter thread. Filters can be hugely important in landscape work, so it’s worth thinking about the filter setup when you buy a lens. Check out our guide to the best filters for landscape photography to get an idea of the kinds you might use.

Wide-angle zooms don’t always have the widest maximum apertures, which generally isn’t a problem as you’ll likely be working at narrower apertures for landscapes anyway. However, if you’re prepared to pay extra, you can get large-aperture wide-angle zooms for working in low light. There are also a few features you probably don’t need to worry about, like image stabilisation, as landscape photographers tend to work on tripods.

Other uses for wide-angle zooms

While wide-angle zooms are often chiefly associated with landscape photography, they have plenty of other uses that can make them a worthy addition to a kit bag. Below are a few of the other key applications for wide-angle zooms.

Real estate photography

When photographing real estate, you need to be able to fit a lot into the frame. You want to be able to capture a room in its entirety, whether that room is extremely cramped or quite spacious. A wide-angle zoom will allow you to easily move between both scenarios and capture high-quality images of a property, both interior and exterior. The high optical quality and low distortion of rectilinear wide zooms also mean you should be able to capture relatively naturalistic images that don’t provide a misleading picture of a room’s actual proportions. It may seem like an expensive outlay for real estate photography – but if you’re going to be photographing property regularly, it’s one worth making.

Weddings / event photography

A good wide-angle zoom can be a lifesaver at a wedding. They’re hugely useful for those all-important group shots, meaning you can make sure you get every guest into the picture. For more general use, they’re a good way to create pictures that convey a sense of the scale of the event, cramming lots of guests into the frame to emphasise how many people are attending. Similarly, they work well for general events photography – and while a prime can do a similar job, a zoom will make you much more versatile on your feet.

Architecture

Wide-angles are terrific for architecture, whether you’re shooting interiors or exteriors of buildings. A good wide-angle will allow you to fit the entirety of a large building in the frame even when you’re relatively close, while also being handy if you’re shooting in a cramped room. Again, the rectilinear zoom should help to produce a reasonably naturalistic image that doesn’t require too much correction in software.

Astrophotography

As well as allowing you to capture magnificent wide vistas of the night sky, wide-angle zooms have another quite specific use when it comes to astrophotography. The wider focal length means you can use longer shutter speeds before the stars start to trail as they move across the sky. Many astrophotographers use what’s called the ‘500 rule’, which states that the maximum shutter speed you can use before stars start to trail is 500 divided by your lens’ focal length. So, a 50mm lens would allow for a maximum shutter speed of 10 seconds. If, however, you’re using the Canon EF 11-24mm at its widest focal length of 11mm, the 500 rule would allow for a maximum shutter speed of 45 seconds, which is a significant advantage. There’s more to it of course (see our guide to the best lenses for astrophotography), but as a general rule, wider lenses will give you an easier ride when it comes to astrophotography.

Text by Kingsley Singleton, with contributions from Jon Stapley & Michael Topham

Once you’ve found the best lens for your landscape photography, have a look at more guides in the latest buying advice.

Further reading

Best cameras for landscape photography

Top filters for landscape photography

Tripods for landscape photography

The top 20 best landscape photographs

Complete guide to landscape photography

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The post Best lens for landscape photography in 2024: our picks of wide-angle zooms appeared first on Amateur Photographer.

At AP, we test and review every major camera that is released, and a big part of our testing procedure involves shooting landscapes. As such, we’ve put together this list based on our own direct experience with the cameras featured. We haven’t just included the new releases either – we only recommend cameras we feel are worth the money, and that includes plenty of fantastic older models that can be picked up for a great price on the second-hand market.

If you want to know more about how we went about making our picks, scroll to the bottom of the page for our full explainer of which features are most important for a landscape photography camera. We’ve split our list into different camera types, including DSLRs, mirrorless cameras, medium format and compacts. Read on to see our picks and why we made them – and don’t forget to also check out our guide to the best lenses for landscapes.

The best cameras for landscape photography: our quick list

Cut straight to the chase with our quick list of cameras featured in this guide, along with links to get the best prices.

Best DSLRs for landscapes:

• Best budget/beginner: Nikon D3500 – check best price
• Best Canon: Canon EOS 90D – check best price
• Best Nikon: Nikon D850 – check best price
• Best Pentax: Pentax K-1 II – check best price
• Best second-hand: Nikon D5600 – check best price

Best mirrorless cameras for landscapes:

• Best under £1000 / $1000: Fujifilm X-S10 – check best price
• Best Nikon: Nikon Z7 II – check best price
• Best Panasonic: Panasonic Lumix S1R – check best price
• Best Canon: Canon EOS R5 – check best price
• Best Sony: Sony A7R V – check best price
• Best for hiking: OM System Olympus OM-1 – check best price
• Best APS-C: Fujifilm X-T5 – check best price

Best medium format cameras for landscapes:

• Best medium format: Fujifilm GFX100 II – check best price
• Best budget medium format: Fujifilm GFX50S II – check best price

Best compact cameras for landscapes:

• Best overall: Canon PowerShot G1 X Mark III – check best price

Read on to learn more about why we picked each of these cameras, including insights from our expert review team…

Best DSLRs for landscape photography

DSLRs have been used to shoot terrific landscape images for many years now, and they’ll continued to be used for plenty more. While mirrorless cameras are very much where the latest developments are happening, DSLRs continue to offer terrific value for money, and for some, an unbeatable handling experience. Many photographers simply prefer to compose with an optical viewfinder, while others appreciate the size and heft of top-end DSLRs. We’ve included options here from right the way across the price spectrum, including budget beginner DSLRs, enthusiast models and professional cameras.

Best budget camera for landscapes: Nikon D3500

At a glance:

• 24.2MP APS-C CMOS sensor
• ISO100-25,600
• FullHD video (60fps)
• 1550 shot battery life
• Price: $699 / £569 with 18-55mm VR lens

The Nikon D3500 features a 24.2MP APS-C CMOS sensor, with no optical low-pass filter, which means it’s designed to give as much detail as possible. Active D-Lighting helps with dynamic range in JPEG images, and the camera has traditional DSLR handling, making it a comfortable camera to use. You’ll also find incredible battery life, with the D3500 being CIPA rated to up to 1550 shots per charge. These estimates tend to be conservative, though bear in mind that battery life can also be affected by environmental factors like cold weather.

The 18-55mm kit lens that this camera was bundled with when sold new can give sharp results and is a great starting point, but it’s likely you’ll want to have a look at something else. We’d suggest the AF-P DX-Nikkor 10-20mm f/4.5-5.6G VR lens (£309), as it provides a wider angle of view that’s more suited to landscape shooting.

Pros:

• Great images for the price
• Useful beginner modes
• Excellent battery life

Cons:

• No weather sealing

Read our full Nikon D3500 review.

Best Canon DSLR for landscape photography: Canon EOS 90D

At a glance:

• 32MP APS-C CMOS sensor
• Canon EF-S lens support
• 1300-shot battery life
• 3inch vari-angle touchscreen
• $1,413 / $1,413 body only

The Canon EOS 90D offers a high-resolution APS-C sensor and gives you Canon’s great colour reproduction, and high levels of detail. It also offers an impressive battery life of 1300 shots. It handles well, it’s not too heavy, and it has been extensively weather sealed to protect the internal parts from a sudden downpour.

There is a good range of ultra-wide-angle Canon EF-S lenses, with the Canon EF-S 10-18mm f/4.5-5.6 IS STM being a great value budget choice at £245 (16-29mm equivalent). For those with more cash, there’s a 10-22mm available (£529, 16-35mm equivalent), or for those who want wide-angle and zoom, there is a 15-85mm IS USM lens available (£779, 24-136mm equivalent).

Pros:

• Great resolution for APS-C
• Comprehensive weather sealing
• High-stamina battery

Cons:

• Single card slot

Read our Canon EOS 90D review for the full lowdown on what we thought of this camera.

Best Nikon DSLR for landscape photography: Nikon D850

At a glance:

• 45.7MP Full-frame BSI CMOS sensor
• Low base ISO speed of ISO64
• 4K video, 8K time-lapse support
• 1840 shot battery life
• Weather-sealed
• $2,796 / £2,664 body only

The Nikon D850 is a high-resolution full-frame DSLR, with a 45.7MP sensor that is capable of producing images with high levels of detail, thanks in part to the lack of a low-pass filter. The camera also benefits from an ISO range that starts at ISO64, which is usefully lower than many cameras. This allows you to maximise detail in images when there’s enough light available.

For some, the handling of a DSLR will be of great importance, and for these people, the Nikon D850 certainly delivers great ergonomics, particularly if you’re a fan of larger cameras. You’ll also benefit from impressive battery life, with up to 1840 shots possible from one battery.

There’s a range of lenses including the Nikon 16-35mm F4 G AF-S VR lens at £1149, or you could look at these wide-angle prime lenses: Nikon 20mm F1.8G AF-S (£799) or the Nikon 24mm F1.8G AF-S (£749).

Pros:

• Superb resolving power
• Built for the outdoors
• Broad ISO range

Cons:

• Still quite expensive

See our full Nikon D850 review.

Best Pentax camera for landscape photography: Pentax K-1 II

At a glance:

• 36MP full-frame CMOS sensor
• Weather-sealed
• Innovative tilting screen
• Wide range of K-mount lenses
• In-body image stabilisation
• $1,799 / £1,899 body only

The Pentax K-1 II, and the original Pentax K-1, both offer a 36MP full-frame CMOS sensor, along with Pentax’s excellent build quality and ergonomics. The camera is weather-sealed and features an optical viewfinder and tilting screen on the back. Using the Pentax K-mount you can use a vast range of lenses, dating back to 1975.

Speaking of lenses, there are a number of comparatively new full-frame lenses from Pentax, including the Pentax-D FA HD 24-70mm f2.8 ED SDM WR (£1179). Care needs to be taken when choosing a lens, as many of Pentax’s lenses are designed for Pentax APS-C DSLRs. There’s also support from third parties, including Samyang, and Irix, who offer a number of different ultra-wide-angle lenses, although it’s worth noting that the majority of these are manual focus only.

Pros:

• Very good weather sealing
• Rich lens catalogue

Cons:

• Not as feature-rich as Canon/Nikon

Best second-hand landscape camera for beginners: Nikon D5600

At a glance:

• 24.2MP APS-C sensor
• ISO100-25,600
• 3.2inch 1.4m-dot full articulated touchscreen
• 820-shot battery life
• $920 / £749 with 18-140mm lens

The Nikon D5600 offers a 24.2MP APS-C CMOS sensor, and Nikon’s excellent colour management gives images with warm, saturated colour and plenty of detail. There may only be Full HD video, but if you don’t need 4K (and as a landscape photographer you probably don’t) then the camera gives everything else you need, including access to some great APS-C (DX) lenses.

Ultra-wide-angle lenses include the AF-P DX-Nikkor 10-20mm f/4.5-5.6G VR lens (£309), which gives a 15-30mm equivalent ultra-wide-angle zoom, as well as the Nikon 10-24mm f/3.5-4.5 G AF-S DX lens (£949). If the Nikon lenses available don’t take your fancy, then there are also lots of lens choices from Sigma, Samyang, Tamron and others.

Check second-hand dealers for used options if you’re looking for a better deal, as this camera has been discontinued.

Pros:

• Great ultra-wide lens selection
• Gorgeous colour and detail in images

Cons:

• JPEGs can be a touch dark

Read our full Nikon D5600 review.

Best mirrorless cameras for landscape photography

There are absolutely loads of fantastic mirrorless cameras for landscape shooting – to the point where we could easily have filled this whole guide with just mirrorless suggestions. With options across the price spectrum, we’ve aimed to provide a broad swathe of mirrorless cameras that’ll produce great options. So while you’ll find the ultra-high-resolution full-frame mirrorless cameras on this list, you’ll also find more affordable models that make for great beginner and intermediate options.

Best camera for landscapes under £1000 / $1000: Fujifilm X-S10

At a glance:

• 26MP APS-C CMOS sensor
• In-body image stabilisation
• PASM mode dial
• 4K video
• $999 / £899 body only

The Fujifilm X-S10 is a great handling mirrorless camera, with a large hand-grip and DSLR-like controls, with a PASM mode dial, making it easy to use. It also benefits from the same excellent 26MP APS-C X-Trans CMOS sensor as Fujifilm’s X-T4 model, giving you images with plenty of detail, and Fujifilm colour. In-body image stabilisation is built-in, and it offers 4K video.

The downside to this model, compared to the X-T4, is the lack of weather-sealing on the X-S10. The X-S10 uses X-mount lenses and there are a number of options available, although perhaps not as many budget lenses as you’d find with other cameras. It’s also worth noting that the X-S10 has, like a lot of cameras, been hit with stock issues lately, so availability may come and go.

Fujifilm has since announced a successor to this camera, the Fujifilm X-S20. These two cameras offer the same resolution – the improvements to the X-S20 are mostly concerned with its processing speed and video capabilities. Since the X-S10 is the more affordable choice (and keeps within our $1,000/£1,000 budget for this entry), we’re sticking with it as our pick for the time being – especially since Fujifilm still didn’t add weather-sealing to the X-S20.

Pros:

• Top-notch JPEG and RAW quality
• Great customisation possibilities
• Film Simulations modes

Cons:

• Recent stock issues
• No weather sealing

Find out more about this camera in our Fujifilm X-S10 review.

Best Nikon mirrorless camera for landscape photography: Nikon Z7 II

At a glance:

• 45.7MP full-frame BSI CMOS sensor
• ISO64-ISO25,600 (standard)
• In-body image stabilisation
• Weather-sealed
• $2,999 / £2,999 body only

The Nikon Z7 II is one of the second generation full-frame mirrorless cameras from Nikon and offers an impressive 45.7MP full-frame BSI CMOS sensor, along with Nikon’s Z-Mount series of lenses which have all been developed specifically for the new mirrorless camera range. This means they give exceptional image quality, in combination with Nikon’s excellent focus system.

There’s a growing range of lenses, but you’ll notice that many are at the more expensive end of the market, with ultra-wide-angle options being the 14-24mm f/2.8 S (£2499), and another being the 14-30mm f/4 S (£1349).

Pros:

• Dual card slots
• Top-notch handling

Cons:

• Lenses are pricey
• Middling viewfinder resolution

Read our full Nikon Z7 II review for more.

Best Panasonic camera for landscape photography: Panasonic Lumix S1R

At a glance:

• 47MP full-frame sensor
• ISO100 to ISO25,600 (standard)
• In-body image stabilisation
• High-res multi-shot mode (187MP)
• Weather-sealed
• $2,752 / £2,239 body only

The Panasonic Lumix S1R offers a high-resolution 47MP full-frame CMOS sensor, along with a high-resolution electronic viewfinder, 4K video recording, and in-body image stabilisation. There’s a multi-shot high-resolution mode that can produce 187MP images, and the camera has a mode to reduce motion blur so that it can be used for landscape photography. Despite being a mirrorless camera, the S1R is quite weighty and large.

As the Lumix S cameras are part of the L-Mount alliance, there is a wide range of lenses, available from Panasonic, Sigma, and Leica. Options include the Sigma 14-24mm F2.8 (£1299), Panasonic Lumix S Pro 16-35mm F4 (£1499), Leica 16-35mm F3.5-4.5 (£4850), and Panasonic Lumix S 20-60mm F3.5-5.6 (£619), to name a few ultra-wide zoom lens options. There are also a range of ultra-wide-angle prime lenses available.

Pros:

• Multi-shot 187MP mode
• Excellent lens range
• Very good stabilisation

Cons:

• Big, hefty body

Read our Panasonic Lumix S1R review.

Best Canon camera for landscape photography: Canon EOS R5

At a glance:

• 45MP full-frame sensor
• Sensor-shift IS
• ISO100 to ISO51,200 (standard)
• 8K/4K video recording
• Weather-sealed
• $3,899 / £4,299 body only

The Canon EOS R5 is one of Canon’s premium full-frame mirrorless cameras, offering a 45MP full-frame CMOS sensor, as well as in-body image stabilisation that works with any lens. There’s a high-resolution 5.76m-dot electronic viewfinder (EVF), and a 3.2inch fully articulated touchscreen with 2.1m dots. This makes framing and composing shots a real pleasure when using the camera. A top LCD display also lets you see camera settings at a glance.

The camera offers advanced video modes, including 8K (30fps) and 4K (120fps) video recording, however, you need some quite impressive hardware to edit this, and you’ll also need to be aware that the camera does have some limitations due to over-heating while recording. There’s also a relatively short battery life to be aware of, with 490 shots on offer when using the LCD, or a much shorter 320 shots when using the EVF.

If stills are your primary aim, then you don’t need to worry so much about video recording and overheating, and there is a growing range of Canon RF lenses available, with ultra-wide-angle lens options including the RF 14-35mm F4L IS USM (£1779), and RF 15-35mm F2.8L IS USM, plus the “standard” 24-70mm f2.8L IS USM (£2189). If you’re on a budget, there’s a compact RF 16mm f2.8 lens (£319).

Pros:

• Class-leading LCD and EVF
• Superior image quality

Cons:

• Short battery life

Read our full Canon EOS R5 review.

Nb. If you’re looking for a similar resolution in a DSLR, an option could be the Canon EOS 5DS R (50MP), which has been discontinued but is still available second-hand. 

Best Sony camera for landscape photography: Sony Alpha A7R V

At a glance:

• 61MP full-frame sensor
• ISO100-32,000 (expands to ISO50)
• 693-point AF with subject recognition
• 9.44m-dot, 0.9x OLED viewfinder (EVF)
• 3.2in, 2.1m-dot 4-way-articulated LCD
• $3,987 / £3,249 body only

The Sony Alpha A7R V features the same sensor and core imaging specs as its predecessor, the well-regarded Sony Alpha A7R IV, but almost everything else has been updated and improved. Key improvements include an enhanced subject-detection autofocus system that’s capable of recognising a wider range of subjects, powered by a new AI processing unit – so you can capture a wide range of subjects as well as static landscapes (fast-moving birds and animals, for instance).

The improved viewing experience will also come as good news to landscape photographers out in the field. The A7R V inherits the huge and detailed electronic viewfinder previously used by Alpha 7S III and Alpha 1. This is complemented by a new, much more versatile screen design, which combines an up/down tilting mechanism with a fully articulating side hinge.

The in-body image stabilisation has been uprated too – it now delivers up to 8 stops of shake reduction in CIPA standard tests, compared to 5.5 stops on the older model. Again, very useful for longer landscape exposures if you don’t have a tripod with you.

Sony has been making full-frame E-Mount cameras since 2013, so as you’d expect there’s a vast array of lenses available, with high-quality options available from Sony, as well as a number of other options from Sigma, Zeiss, Tamron, Tokina and others. You can choose from a number of ultra-wide-angle zoom lenses, such as the Sony FE 16-35mm F4 ZA OSS (£1049), or the newer more compact FE PZ 16-35mm F4 (£1300) as well as many prime lens options.

Pros:

• Proven 61MP sensor delivers superb image quality
• Remarkably reliable subject detection autofocus

Cons:

• Huge, complex, and often incomprehensible menus
• No in-camera raw conversion

Read our Sony Alpha A7R V review.

Nb. A second-hand or value choice could be the Sony Alpha A7R III, with a 42MP sensor, it still offers high resolution, but is much more affordable. Prices will also be coming down on the Sony Alpha A7R IV. 

Best landscape camera for hiking: OM System Olympus OM-1

At a glance:

• 20MP Micro Four Thirds sensor
• Weather-sealed (IP53 rating*)
• In-body image stabilisation
• 5.76m dot electronic viewfinder (EVF)
• Compact body and lenses
• $2,199 / £1999 body only

The OM System Olympus OM-1 offers an impressive IP53 weather-sealed rating, when used with compatible lenses, giving this camera system some of the best weather-sealing of any current model. This feature, plus clever computational features make this camera more suited to landscape photography than it may appear on first glance.

You’ll find Live-ND built-in (up to ND64), which lets you use a slower shutter speed, without the need to attach an ND filter to the lens. There’s also in-camera focus stacking, in-camera high-res multi-shot (50MP handheld, up to 80MP with a tripod), HDR, timelapse, plus live composite/bulb modes for low-light shooting, as well as Starry Sky AF. As with other high-res multi-shot modes, it’s best for static scenes, but there is a handheld mode, and we had success shooting outdoors with the camera.

As the camera is part of the Micro Four Thirds system, introduced in 2008, alongside Panasonic, there is perhaps the widest range of lenses available for any mirrorless system, with ultra-wide-angle lenses available from both Olympus and Panasonic, with multiple zoom lens options, as well as primes. There are also third party lenses available from Sigma, Laowa, Tamron, Samyang, and many others. Have a look at some of the best Micro Four Thirds lenses.

Pros:

• Class-leading weather sealing
• Built-in Live ND filter
• 80MP high-res mode works handheld

Cons:

• Built around small sensor

Read our full OM-System OM-1 review to learn more about this clever camera.

Best APS-C camera for landscape photography: Fujifilm X-T5

At a glance

• 40.2MP APS-C X-Trans CMOS 5HR sensor
• ISO 125 – 12,800 (standard); ISO 64 – 51,200 (extended)
• 5-axis in-body image stabilisation
• 3in, 1.84m-dot 3-way tilt LCD
• $1,699 / £1,600 body only

The Fujifilm X-T5 is a great choice for someone who wants a lightweight body for landscape photography. Its 40MP sensor produces high-resolution images from a relatively compact camera that can be used with a range of APS-C lenses. If you’re not keen on editing your images, Fujifilm’s colour options mean that you can take your images straight out of the camera and post them on social media (which also means you don’t always need to shoot RAW).

The range of X-mount lenses includes a large number of landscape-friendly options, and the general control and handling experience of using the X-T5 is just sublime. It’s weather-sealed, well-balanced, and more affordable than Fujifilm’s premium X-H2, which offers the same resolution.

Pros:

• Robust weather-sealed construction
• Relatively compact size
• Wide range of X-mount lenses
• Effective in-body stabilisation

Cons:

• Ineffective hi-res multi-shot mode

Find out more in our full Fujifilm X-T5 review.

Best medium format cameras for landscape photography

Medium format, while more affordable and accessible than it used to be, is still a discipline that requires a significant cash investment. However, for some photographers it’s simply a non-negotiable, as you simply isn’t any other way to get that glorious depth and detail provided by the larger sensor. We’ve included the medium format option we feel is best overall right now, as well as a more comparatively affordable choice for those who don’t have quite such a high budget.

Best landscape camera for maximum resolution: Fujifilm GFX100 II

At a glance:

• 102MP medium-format sensor
• In-body image stabilisation
• ISO40 to ISO102,400 (extended)
• Top display screen
• Weather-sealed
• $7,499 / £6,999 body-only

The latest model in Fujifilm’s spectacular GFX range of mirrorless medium format cameras, the Fujifilm GFX100 II delivers the best image quality from the series yet. Like the previous GFX100S, it sports a 102MP medium-format sensor that’s capable of capturing images of simply absurd levels of detail and dynamic range. If you’re interested in making large prints, the GFX100 II is one of the best cameras you can buy right now.

The handling is excellent too – while it’s undeniably a big camera, the GFX 100 II doesn’t feel radically different to use than a large full-frame model. Advances in processing technology mean it’s relatively snappy in operation, with decent phase-detection autofocus and effective eight-stop stabilisation. As we said in our review, the GFX100 II really ‘delivers astonishing image quality shot after shot’. It’s expensive, sure, but it’s aimed at photographers who demand the absolute best.

There’s a range of GF mount lenses, and there’s a 0.79x crop factor, so the GF 23mm f4 ($2,599 / £2399) lens is equivalent to 18mm (in 35mm terms), and the GF 30mm F3.5 ($1,699 / £1649) is equivalent to 24mm. There’s also a GF 32-64mm F4 ($2,299 / £2149), equivalent to 25-51mm, though the widest zoom lens is the GF 20-35mm F/4 R WR ($2,499 / £2,349), which produces an equivalent range of 16-28mm.

Pros:

• Amazing image quality and resolution
• Relatively compact for medium format

Cons:

• Unavoidably expensive

Read our full, in-depth Fujifilm GFX 100 II review.

Best budget medium format camera for landscapes: Fujifilm GFX50S II

At a glance:

• 50MP medium-format sensor
• In-body image stabilisation
• ISO50-102,400 (extended)
• Top display screen
• Weather-sealed
• $3,999 / £3,499 body only

Medium format cameras used to cost an arm and a leg, so it’s incredible to think that you can purchase a brand-new medium format camera for £3500 body only in the form of the GFX50S II. In order to make the GFX system more affordable, the GFX50S II was introduced with a new budget lens, the GF 35-70mm F4.5-5.6 WR zoom lens (£849 lens only, or £3900 as GFX50S II kit with lens), which gives a 28-55mm equivalent.

Despite the lower price, it’s difficult to see where the camera is lacking, as the camera features a 51.4MP medium format sensor, in-body image stabilisation, a high-resolution electronic viewfinder (3.69m dots, 0.77x magnification), and a 3.2inch 2.35m dot tilting touchscreen. The price makes it competitive with high-resolution full-frame mirrorless cameras and really does make medium format an option.

However, one thing to be aware of is the price of wide-angle lenses, as most GF-mount lenses are more expensive than the 35-70mm lens designed for this camera model, particularly if you’re looking for a wide-angle lens, with the GF 30mm F3.5 being £1649, and equivalent to 24mm.

Pros:

• Effective in-body stabilisation
• High-res viewfinder
• Price competitive with full-frame

Cons:

• System lenses are pricey

Read our Fujifilm GFX50S II review.

Best compact cameras for landscape photography

Finally, we’re rounding out our list with a compact camera that’s a great choice for landscapes. Normally, fixed-lens compacts don’t come up too often in landscape conversations, in part because they tend to have smaller sensors than interchangeable-lens cameras. However, as we’ll see, this isn’t always the case, and if you simply want a self-contained camera/lens combination that’ll slip into a pocket and still capture great landscapes, this is the section for you…

Best compact camera for landscapes: Canon PowerShot G1 X Mark III

At a glance:

• 24MP APS-C CMOS sensor
• 24-70mm equivalent lens
• ISO100 to ISO25,600
• Weather-sealed
• Compact camera
• $999 / £1,139

If you’re looking for something pocketable, and don’t want to worry about changing lenses, then the Canon Powershot G1 X Mark III is a compact option, with a 24MP APS-C CMOS sensor, and a 24-72mm equivalent zoom lens, with an f/2.8-5.6 aperture, as well as optical image stabilisation. There are full manual controls, as well as raw shooting, although it’s worth noting that battery life is quite short, so a spare battery is highly recommended. Despite the fact that the G1 X Mark III is a compact camera, you’ll find a built-in electronic viewfinder (EVF), plus a full-articulated 3-inch touchscreen.

It’s certainly expensive for a compact, and there’s an argument to be made that you could get more for your money by investing in a system camera. However, the Powershot G1 X Mark III stands head and shoulders above other compacts in terms of sheer image quality, and you will absolutely be able to shoot brilliant landscapes with it.

Pros:

• Excellent image quality from APS-C sensor
• Slim, pocketable form factor
• SLR-style handling

Cons:

• Battery life isn’t great
• Somewhat limited zoom lens

Find out more in our full Canon PowerShot G1 X Mark III review.

How to choose the best camera for landscape photography

Landscape photography is a particular discipline with particular demands, and it pays to get a camera with strengths to match. There are features you should be concerned with when choosing a landscape camera, and features you can afford not to worry about too much.

Resolution

Ultimate resolution is often the aim in landscape photography, as it means that images can be printed in large format. And if you are into travelling and hiking, then you may not want something so large and heavy, so we’ve highlighted some other options as well.

High-resolution sensors help you capture more detail and can let you crop into your image, but it’s also worth pointing out that a high-quality 20MP image can be printed up to 18×12 inches at 300 dpi, roughly A3. Be aware too that a very high-resolution sensor will mercilessly reveal any flaws in your focussing or exposure technique, so sometimes, more is not always best.

Dynamic range and raw

Dynamic range is generally pushed to its limits when shooting landscape images, as you often have darker areas or shadows, along with a bright light in the scene, and you want to capture as much of this as possible. The human eye can normally cope with a much wider range than most cameras, so you’ll want to shoot raw or use other all available options to capture as much dynamic range as possible.

All of the cameras shown here shoot raw so you can process the images later when needed to get the best results. See our guide on how to maximise dynamic range.

ISO range

In landscape photography, you’re most likely going to want to use the lowest ISO speed possible*, in order to ensure your image is capturing as much fine detail as possible. There’s not a massive difference between using ISO100 and ISO200 on most cameras, however, some cameras have an even lower ISO speed, such as ISO50, which will allow a slower shutter speed when needed, helping you when you’re trying to capture blurred water, or blurred clouds etc.

*Be aware that some extended ISO speeds, marked as “Low” or “L” will show a reduced dynamic range, and are therefore best avoided. Sometimes, if you are shooting handheld in lower light, you might need to raise the ISO and while it’s best to try and avoid noise, remember the old adage: better a slighter noisy shot than a soft one. The higher ISO performance of modern cameras has come on in leaps and bounds – see our recent guide to ISO.

Image stabilisation

Image stabilisation (IS) can help, and we’re at a point in time where it’s more common for new cameras to have in-body image stabilisation (IBIS) than not. Not only does this feature let you expand your ability to shoot at slower shutter speeds, but it also allows manufacturers to add multi-shot high-resolution modes to some cameras.

If you can afford a model with image stabilisation built-in, then this is worthwhile, as it works with all lenses, letting you save money when buying a lens without IS built-in.

Weather-sealing

Weather sealing is likely to be a must-have, especially if you’re happy shooting in all weather conditions. You’ll also need to make sure the lens you use with the camera is weather-sealed, otherwise, you will have to find alternative methods of keeping your camera dry, which may not be as effective.

Lens choices

Lens range is another key factor to consider – are the lenses you want available for the camera you want to use? We run through some of the options available as we go through each camera. A wide-angle lens is an obvious choice for landscape, but sometimes it’s good to be able to zoom into the finer details too. A big trend in landscape photography at the moment is for more ‘intimate’ landscapes.

Further reading…

Starting out in landscape photography? Have a look at our beginner’s guide to landscape photography. For some inspiration, we also have the best landscape photographs, as well as landscape photography books.

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The post Best camera for landscape photography in 2024 appeared first on Amateur Photographer.

Value for money

In this guide we’ve picked a selection of cameras that we’ve reviewed and we feel they genuinely offer something worthwhile to new photographers. That doesn’t mean they’re all expensive, and there are plenty of choices here for those on a budget. However, rather than just picking the cheapest models possible, we’ve made sure to pick cameras we feel are actually worth the money.

We’ve included cameras you can buy new, and some that are available to buy second-hand. We’ve focused on interchangeable-lens models as we feel these give new shooters a better platform from which to learn. If you think you might prefer a camera with a fixed lens, check out our guide to the best compact cameras.

Mirrorless or DSLR?

Our list is reflective of the current state of the camera market, so you’ll see a lot more mirrorless cameras than DSLRs, as this is simply where all the latest and greatest developments are happening. Some photographers do prefer DSLRs, and you can see our rundown of DSLRs vs mirrorless for more on the key differences between the two. Also, if you’re unsure about all this technical terminology, you can scroll to the bottom of this page for a quick rundown of key specs to look out for when buying a beginner’s camera.

So, let’s get to the list!

The best cameras for beginners: our quick list

Looking to cut to the chase? Here’s a quick run-down of all the cameras we’ve selected for our beginners’ guide, along with links to get the best prices:

• Best camera for beginners overall: Canon EOS R50 – buy now
• Best camera for beginners on a budget: Olympus OM-D E-M10 Mark III – buy now
• Best DSLR for beginners: Canon EOS 250D / Rebel SL3 – buy now
• Best Fujifilm camera for beginners: Fujifilm X-T30 II – buy now
• Best mirrorless camera for beginners: Canon EOS R10 – buy now
• Best Micro Four Thirds for beginners: Olympus OM-D E-M10 Mark IV – buy now
• Best budget vlogging camera for beginners: Panasonic Lumix G100 – buy now
• Best vlogging camera for beginners: Sony ZV-E10 – buy now
• Best Nikon camera for beginners: Nikon Z30 – buy now
• Best Sony camera for beginners: Sony A6400 – buy now
• Best budget DSLR for beginners: Pentax K-70 – buy now

If you’re buying for a younger person, or child, have a look at our guide to the best cameras for kids and teenagers. We also have guides to the best DSLRs and the best mirrorless cameras if you already know which type you want. 

Best camera for beginners overall: Canon EOS R50

The rear screen on the Canon EOS R50 can face forwards for selfies or vlogging. Credit: Andy Westlake

At a glance:

• Mirrorless camera
• 24.2MP APS-C sensor
• Canon RF/RF-S lenses
• 4K video
• $936 / £739 body only, $1,076 / £849 with 18-45mm lens

Canon has been very busy increasing its range of affordable APS-C EOS RF mount mirrorless cameras. The EOS R50 is not the cheapest – that’s the Canon EOS R100 – but it’s the cheapest to use Canon’s most up to date sensor and autofocus technology. We also like the somewhat more advanced EOS R10, but the EOS R50 really hits the sweet spot for beginners, combining features, performance and value.

The only issue for new users right now is that Canon has been slow to bring out RF-S lenses for this new format, and in particular at the time of writing there is no wide-angle option, though by the time most beginners have reached the limitations of the standard 18-55mm kit lens, that situation may have changed.

The EOS R50 might be designed with an affordable price tag in mind, but it doesn’t stint on features, with a very good 24-megapixel sensor, excellent autofocus and terrific burst shooting capabilities for such an entry-level camera.

Pros:

• Very compact and lightweight
• Extremely capable autofocus
• Rapid continuous shooting for its class

Cons:

• Limited physical controls
• Small, dim viewfinder
• Very limited RF-S lens range

Read our Canon EOS R50 review

Best camera for beginners on a budget: Olympus OM-D E-M10 Mark III

The Olympus OM-D E-M10 Mark III with 45mm lens, 1/100s, f/4.5, ISO200, 45mm, Photo credit: Joshua Waller

At a glance:

• Mirrorless camera
• 16MP Four Thirds sensor
• Micro Four Thirds lens mount
• 4K video
• Around $429 / £339 used in excellent condition, body-only

Nowadays, if you’re looking for a budget-friendly camera, you’re unquestionably better off looking at the second-hand market. Cameras like the Olympus OM-D E-M10 Mark III, which in the grand scheme of things are barely a few years old, can be found with hundreds shaved off their initial asking price. And guess what? They still take excellent pictures.

The Olympus OM-D E-M10 Mark III isn’t the newest in its line – you’ll meet the Mark IV version a little later in this guide – but it still ticks plenty of boxes for beginning photographers and video shooters.

AP (Advanced Photography) mode

It captures 16MP images, which may sound a little low if you compare it to the latest releases from Sony, but realistically is plenty for most purposes. Images at this resolution will look great on screens, and can be printed to a decent size. The camera is oriented towards beginners, with a control layout and menu system that are intuitive and easy to understand. Something we particularly liked when we tested the camera in our full review was the AP (Advanced Photography) mode on the dial, which allows the user to easily put useful shooting modes on the touch menu, along with a handy explainer of each one. This is a fantastic way to learn new techniques like double-exposure, HDR, autoexposure bracketing and more.

As you’ll be buying this camera second-hand, you’ll likely be getting it body-only. This means you’ll also need a lens or two to go with it – the E-M10 Mark III uses the Micro Four Thirds lens mount, meaning you have plenty of affordable options. Our guide to the best Micro Four Thirds lenses includes some great cheap optics to get you started.

Pros:

• Fantastic value on the used market
• Lots of affordable lens options
• Beginner-friendly shooting modes

Cons:

• Smaller sensor and lower res than rivals
• Clunky in-camera RAW conversion

Read our full Olympus OM-D E-M10 Mark III review.

Find the Olympus OM-D E-M10 Mark III used on MPB

Best DSLR for beginners: Canon EOS 250D / Rebel SL3

Canon EOS 250D with 18-55mm lens.

At a glance:

• DSLR
• 24.2MP APS-C sensor
• Canon EF/EF-S lenses
• 4K video
• $784 / £619 body only, $974 / £769 with 18-55mm IS lens

If you prefer the good-old clunking shutter of a DSLR, then the Canon EOS 250D is one of the best entry points. Positioned between the entry-level EOS 2000D and mid-range EOS 850D models, the 24.2MP EOS 250D is Canon’s smallest DSLR and comes with some key features not found on the EOS 2000D.

These include Canon’s Dual Pixel AF technology that speeds up focus performance when the camera is in live view, 4K video recording, plus a vari-angle touchscreen LCD display. The intuitive control layout makes it easy to use, while Canon’s guided user interface helps beginners learn the main settings. If you’re considering the 1300D/2000D but have a little more to spend, the 250D is well worth a look.

Pros:

• Dependably excellent image quality
• Very lightweight
• Loads of lenses to choose from

Cons:

• No weatherproofing
• 9-point AF system has aged

Read our Canon EOS 250D / Rebel SL3 review.

If you’re new to photography, check out our Improve Your Photography series, which is designed to guide you from the very basics of photography, as well as improve your photography, with guides on:

• Different camera types
• Different lens choices
• Learn about exposure: shutter, aperture and ISO speed
• The art of photography and composition

You’ll also find guides to portrait, macro, street, landscape photography and more, so once you’ve had a look at what cameras are best for beginners, make sure you bookmark our Improve Your Photography series.

Best Fujifilm camera for beginners: Fujifilm X-T30 II

Fujifilm X-T30 Mark II in hand, body only

Fujifilm X-T30 II at a glance:

• Mirrorless camera
• 26MP APS-C X-Trans CMOS sensor
• Fujifilm X lenses
• 4K video
• $949 / £749 body only

Fujifilm’s X-T30 II updates the popular X-T30, and what’s impressive about the Fujifilm X-T30 II is that it features the same impressive 26MP APS-C X-Trans CMOS sensor that appears in several of Fujifilm’s flagship cameras (until they started sticking 40MP chips in the top models, anyway). This means you get excellent image quality, great noise performance, and for those that like manual controls, the camera gives direct access to camera settings. There’s also 4K video recording, and a range of Fujifilm X-Mount lenses available. You also get a metal camera body, and high-speed shooting, so that you’re not likely to be limited by this camera in any way.

Pros:

• Gorgeous JPEGs straight from camera
• Satisfying manual controls
• Stylish, high-quality construction

Cons:

• On the pricier end for entry-level
• Annoying Q button placement

Read our Fujifilm X-T30 II review.

Best mirrorless camera for beginners: Canon EOS R10

Photo: Andy Westlake

At a glance:

• Mirrorless camera
• 24.2MP APS-C sensor
• Canon RF/RF-S lenses
• 4K video
• $1,393 / £1,099 with 18-45mm lens

To help people jump into its fast-growing EOS R line of mirrorless cameras, Canon has introduced several smaller, more affordable models into the line. While the EOS R10 is on the expensive side for a beginner’s camera (and you’ll find plenty of more affordable options further down this list), it’s an excellent investment for anyone who wants to dive seriously into image-making.

It has an APS-C sensor, which is smaller than the full-frame sensor of the bigger EOS R cameras, but it uses the same lens mount. This means you can take advantage of all the excellent Canon RF lenses that it is currently pouring its R&D budget into – the range is small right now, but we can only expect it to grow as time goes on (which is not something we can say for the DSLR EF lenses, or for the poor, sad EF-M mirrorless range).

In our review, we praised the EOS R10 for its satisfying handling and reliably excellent image quality. We just have to hope that Canon has learned its lesson from the ill-fated EOS M series, and keeps introducing native RF-S lenses to suit this camera’s smaller sensor.

Pros:

• Lightweight, with great controls
• Fantastic upgrade path
• Can take EF/EF-S lenses with mount adapter

Cons:

• Limited native RF-S lens range
• Viewfinder a little small

Read our Canon EOS R10 review.

Best Micro Four Thirds for beginners: Olympus OM-D E-M10 Mark IV

Olympus OM-D E-M10 Mark IV

At a glance:

• Mirrorless camera
• 20MP Four Thirds sensor
• Micro Four Thirds lenses
• 4K video recording
• $822 / £649 body only

Based around a 20MP sensor, the Olympus OM-D E-M10 Mark IV mirrorless camera offers excellent JPEG image quality with extremely attractive colours. The design is stylish and the ergonomics are well laid-out, while extremely effective in-body stabilisation keeps pictures sharp. You also get a good set of useful advanced features and the camera is supported by a fine set of small, affordable Micro Four Thirds lenses. You’ll also find the camera offers Wi-Fi and Bluetooth connectivity, as well as 4K video recording. With In-Body Image Stabilisation, it offers great value for money.

Pros:

• Bright, punchy images full of character
• Small and enjoyable to use
• Has advanced features to dig into

Cons:

• No mic socket for video
• Smaller sensor impacts raw image quality

Read our Olympus OM-D E-M10 Mark IV review.

Best budget vlogging camera for beginners: Panasonic Lumix G100

Panasonic Lumix G100 with 12-32mm Lens

At a glance:

• Mirrorless camera
• 20MP MFT sensor
• Micro Four Thirds lenses
• 4K video
• $431 / £340 used mint condition, body only

The Panasonic Lumix G100 is sometimes overlooked as a beginners camera, but it has a lot to offer. It’s very compact, but still packs in an electronic viewfinder and a vari-angle rear screen, and it uses the Micro Four Thirds lens mount, which means there is a wide lens choice from Panasonic, Olympus and independent makers.

It’s designed very much with vlogging in mind, with an advanced in-camera audio system, though most vloggers will probably swap to an external microphone at some point. The G100 does have a couple of limitations, however, including no in-body stabilisation and a 10-minute recording limit when filming in 4K

Having said that, its design and lens choice make it a terrific camera for stills photography too, and at today’s prices the Lumix G100 delivers an awful lot of camera for the money, especially beginners interested in hybrid content creation. It’s also undergone something of a price slash recently, and can currently be picked up with a lens very reasonably.

Pros:

• Impressive audio + vlogging features
• Comfortable to hold for a small body
• Impressive EVF
• Price has come down

Cons:

• Heavy Crop in 4K with electronic stabilisation
• 10min record time when shooting 4K

Read our Panasonic Lumix G100 review

Best vlogging camera for beginners: Sony ZV-E10

The Sony ZV-E10 with 16-50mm power zoom lens and clip-on wind shield.

At a glance:

• Mirrorless camera
• 24MP APS-C sensor
• Sony E lens mount
• 4K video
• $886 / £699 with 16-50mm PZ lens

The Sony ZV-E10 was the second of Sony’s ZV-series ‘vlogging’ cameras. It can be used for stills photography too, but the lack of a viewfinder and limited external controls could hold you back. It also uses technologies from Sony’s older A6000-series cameras, so while its autofocus system is right up to date, the sensor is a little prone to ‘rolling shutter’ effects.

There are two very appealing things about the ZV-E10 for beginners, however. One is that there is a wide range of E-mount lenses for this camera, including lenses designed specifically for its APS-C sensor format. The ZV-E10 has a clear advantage over its Canon and Nikon mirrorless rivals in this respect. The other advantage is the price, as this is the cheapest route into Sony’s E-mount camera system.

Other features included a full-articulating rear screen and a clip on wind shield to reduce buffeting in outdoor shots. It’s usually sold with a very compact 16-50mm power zoom kit lens which, while not the best optically, is perfect for newbie filmmakers.

Pros:

• Great value entry point in to Sony’s E-mount system
• Excellent features for vloggers and casual video users
• Excellent autofocus for its price
• Fully articulated 3inch touchscreen

Cons:

• Basic button control for photography use
• Uses older, lower capacity NP-FW50 Battery
• No electronic viewfinder

Read our Sony ZV-E10 review

Best Nikon camera for beginners: Nikon Z30

The Nikon Z30 is the smallest and lightest in the Z range.

At a glance:

• Mirrorless camera
• 20MP APS-C sensor
• Nikon Z lens mount
• 4K video
• $898 / £709 with 16-50mm lens

The Nikon Z30 is the cheapest Nikon Z camera so far. The lack of an electronic viewfinder might put off a lot of photographers, but it does have a fully-articulating rear screen, and anyone upgrading from a smartphone will be used to not having a viewfinder anyway. The Z30’s design certainly doesn’t rule it out for stills photography, but it is clearly designed with vloggers and content creators in mind.

Like Canon, Nikon has little bit slow to bring out lenses for its new APS-C mirrorless format, but has made great strides recently, notably with the release of a new 12-28mm power-zoom lens, a wide-angle zoom that offers an equivalent 18-36mm zoom range. This, and the power zoom lever, make it a great lens for vlogging.

There’s no image stabilisation built in, but many of Nikon’s Z DX lenses are equipped with VR, and you can use electronic stabilisation for video. The features are what we would expect from a mirrorless camera at this price, but the Z30’s build quality is impressive. It’s an affordable route into vlogging with the Nikon Z system, and a nice camera to use.

Pros:

• Comfortable grip
• Vari-angle touch screen works a treat
• USB-C connectivity
• Good value

Cons:

• No headphone jack
• No in-body stabilisation
• No viewfinder

Read our Nikon Z30 review

Best Sony camera for beginners: Sony A6400

Sony Alpha A6400 in hand, with optional 18-135mm lens, tested by Andy Westlake

At a glance:

• Mirrorless camera
• 24MP APS-C sensor
• Sony E lens mount
• 4K video
• $1,101 / £869 with 16-50mm PZ lens

The Sony A6400 has been around for some time and as the original A6000 has become unavailable, it’s more or less become the ‘base’ model. It’s a good camera for beginners who want to get serious about both photography and video, though if video is your main interest, the ZV-E10 is both more up to date and a good deal cheaper.

For beginner photographers, though, the Sony A6400 has a lot to offer. It has a compact, well-made body with a built in electronic viewfinder and features and controls that will satisfy many enthusiasts too. Like the ZV-E10, it has access to a wide range of APS-C Sony E-mount lenses, and you can also fit full frame Sony FE lenses too, though these are likely to prove quite heavy and cumbersome on the A6400’s compact body.

Image quality is excellent, as is the A6400’s autofocus system. It might be one of Sony’s older models, but you wouldn’t know it. The A6400 does hold its price well, though, so it’s no cheap option. It’s also not without its flaws, including a rather small rear screen and indifferent handling.

Pros:

• Astonishingly capable subject-tracking autofocus
• Excellent image quality in almost any shooting situation
• High level of control customisation available
• Compact size and decent build quality

Cons:

• Outdated body design less pleasant to use than rivals
• 16:9 LCD screen gives small display area for 3:2 stills
• No in-body image stabilisation

Read our Sony A6400 review

Best budget DSLR for beginners: Pentax K-70

Pentax K-70 in hand, as used by Jessica Miller, photo: Joshua Waller

At a glance:

• DSLR
• 24MP APS-C CMOS sensor
• Pentax K-mount lenses
• Full HD video
• $524 / £414 used good condition, body only

Pentax has gained a deserved reputation for producing cameras that provide great value for money, and the entry-level K-70 DSLR is no exception. Built around a 24.2MP APS-C CMOS sensor, notable highlights are a large, bright pentaprism viewfinder with 100% coverage, full weather sealing and an in-body image-stabilisation system – none of which you’ll find on the K-70’s direct rivals from Nikon and Canon. Other features include ISO sensitivity of ISO 100-102,400 and 6fps continuous shooting. For the price, it’s easy to recommend.

Pros:

• Gorgeously bright viewfinder
• Effective stabilisation
• Tactile handling experience

Cons:

• LCD screen not touch-sensitive
• Autofocus struggles with moving subjects

Read our Pentax K-70 review.

How to choose the best camera for beginners

A good beginner’s camera should offer a degree of manual control, so that you can understand how the different settings affect the final image. It’s important to think about sensor size as well; in this guide, we’re dealing with APS-C and Micro Four Thirds as these are generally the options beginners will go for. APS-C sensors are larger, which improves image quality, but they also require larger, pricier bodies to house.

Video features are also something you may want to look at. Do you want the option to shoot 4K video? Then there’s also the autofocus system the camera uses, as well as its maximum burst speed (measured in frames per second). Both of these are important if you want to shoot fast action or wildlife. If, however, you prefer to shoot landscapes or portraits, you may want to prioritise sensor resolution, measured in megapixels.

It’s a lot to take in, but don’t worry. Drawing on the expertise of our review team, we’ve clearly explained the strengths and weaknesses of every camera on our list. So, no matter what kind of subjects you want to capture, there should be the right beginner’s camera here for you.

Once you’ve chosen your camera from these options, you may want to look at some of the accessories that can help you get the most out of your kit, so make sure you have a look at the Top 10 Essential Camera Accessories for beginners.

Have a look at more buying guides here!

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The post The best cameras for beginners in 2024 appeared first on Amateur Photographer.

I’ve shot street pictures with smartphones, digital compacts, vintage film cameras, DSLRs and more. Like many of the AP team, pretty much every camera I’ve tested has at some point been used to engage in a little street photography – which was a big part of how we were able to put this list together. The cameras in this guide are a mix of ones I’ve tested, and models vouched for by other members of the team.

You can scroll to the bottom of this page for a more detailed breakdown of how the team and I made our choices, including explanations of the key criteria we used to make our picks. For now, keep on reading for our suggestions of the finest street photography cameras we’ve ever used.

Get straight to the point with our quick list of the best cameras for street photography:

• Panasonic Lumix DMC-GX9 – check best price
• Ricoh GR III – check best price
• Leica Q3 – check best price
• Fujifilm X100V – check best price
• Canon EOS M50 Mark II – check best price
• Olympus OM-D E-M10 Mark IV – check best price

Want to know more? Read on as we run through the full specs of every camera on our list…

Panasonic Lumix DMC-GX9

Panasonic Lumix GX9 with 12-32mm lens. Photo credit: Andy Westlake

Panasonic Lumix DMC-GX9 – at a glance

• Sensor: 20.3MP MOS Sensor
• Viewfinder: flip-up Live View EVF, 2,760k dot, 0.7x (equiv.), 100%
• Screen: 3-inch, 1,240k dot, tiltable TFT LCD
• ISO range: 100-25,600 (extended)
• Weight: 450g
• Price: from $500 inc. lens / £440

Launched at the beginning of 2018, the Panasonic Lumix GX9 may well be the oldest camera in this group, yet still holds its own with a number of special features. The rangefinder style trims off protruding parts, so it remains compact and easy to fit in a coat pocket or a small bag, and, despite a nice solid build that withstands drops and scrapes, it weighs only 450g.

Although not fitted with the same 20MP sensor as is used in the top-of-the-line Lumix G9, the Lumix GX9 produces excellent image quality, plenty of dynamic range, nice colour and is capable of recording a lot of fine detail. RAW files are excellent, and JPEG users will enjoy plenty of control.

The collapsible kit lens is handy and surprisingly sharp, but designed to a price that doesn’t make the most of the camera’s AF system. Street photographers might consider the Leica DG 25mm f/1.4 or the Leica DG 15mm f/1.7 as alternatives that will bring out the best in the camera and still keep it very small.

Built-in stabilisation helps in street photography – not so much for compensating for the wobble of long lenses as much as for controlling camera-shake in low light conditions without having to crank the ISO too far. The stabilisation is very effective (though the four stops of compensation is a little short of the very latest models) and when combined with a fast aperture lens, it’s surprising how good results can be achieved in very dim conditions.

The rear screen flips up and down, which is less useful for uprights than for horizontal compositions, but it is bright, clear and almost always easy to see. The EVF is housed in a hinged chimney affair that also flips up so we can look down into it while shooting at right angles – like a waist-level finder. The viewfinder experience though is only average, and I almost never use it.

Panasonic Lumix GX9, 1/2000sec, f/1.4, ISO 800, -0.7EV. © Damien Demolder

Standout feature: Touch Shutter

The highlight of this camera for street photographers is the quality of the touch screen and touch functions. Users can very quickly adjust the size and position of the AF area, and by touching the screen can focus and trigger the shutter at the same moment.

This feature is becoming more common in other cameras, but few I’ve used can compete for the speed of reaction that this little camera manages when fitted with a good lens. The quality of this feature is one of the main reasons I still use the GX9 as my principal street camera – it allows me to get pictures that would otherwise be impossible.

Read our Panasonic Lumix DC-GX9 Review

Also consider:

• Fujifilm X-Pro3
• Sony Alpha 7C

Ricoh GR III

The Ricoh GR III compact camera. Photo credit: Michael Topham

Ricoh GR III – at a glance

• Sensor: 24.2MP APS-C Sensor
• Viewfinder: optional GV-1 (£149), GV-2 (£199) available
• Screen: 3-inch, 1,037k-dot fixed LCD touchscreen
• ISO range: 100-102,400
• Weight: 257g
• Price: $967 / £949

I’m not alone being a big fan of the Ricoh GR series that followed the original GR1 film camera; one of which I still have. The series has been legendary in the street and travel photography communities for very good reasons: compact dimensions, rugged build and outstanding lens quality. For me the series went a little off the boil in the early digital days, but the GR III certainly recovers that lost ground, and is an excellent performer.

The key attraction has been the combination of a truly compact camera and first rate images; the latest version offers both of these qualities. The wide-angle lens (28mm equivalent) might seem a little tricky for street work, but the size of the camera allows us to use it in really close proximity to people in the street without drawing attention – ideal for crowded places. This model has an updated AF system that is very quick and accurate, and the combined efforts of the sensor and the optics mean we get very sharp and detailed images.

It’s worth noting that there is no viewfinder at all with this camera; and that the rear screen, necessary for live view, is fixed in position. This rather limits the range of angles we can shoot from easily, but the screen is of good quality and offers a clear view even when not directly in front of your face. A couple of accessory viewfinders are available, including one that matches a wide-angle converter. They may look cool, but are hefty kit and are, frankly, unnecessary.

Also, don’t forget that in 2021 Ricoh added the GR IIIx, which has a 40mm equivalent f/2.8 lens: that model is perhaps better than suited for macro and portraits than the wide angle GR III.

Ricoh GR III, 1/60sec, f/2.8, ISO 400. © Damien Demolder

Standout feature: Snap Focus

I don’t usually encourage people to take “snaps”. Serious photographers may twitch when their pictures are referred to by that word… But Snap Focus in the Ricoh GR series is a different kettle of fish: a very basic idea that allows us to set a focus distance manually for the camera to work to. This allows for a reduction in the delay between pressing the shutter and picture capture.

A neat depth-of-field scale on-screen shows how the aperture in use combines with the Snap Focus distance to show the distance range of what will appear sharp in the final image. With these parameters set we can shoot anything within that range and know it will be focused. This makes off-centre subjects much easier to shoot as the camera’s AF system doesn’t need to find them and then focus – it just shoots.

Read our Ricoh GR III Review

Also consider:

• Ricoh GR II
• Ricoh GR IIIx

Leica Q3

The Leica Q3 is a premium compact camera with a fixed 28mm f/1.7 lens. Credit: Andy Westlake

Leica Q3 – at a glance

• Sensor: 60.3MP full-frame sensor
• Viewfinder: 5.76m-dot, 0.76x EVF
• Screen: 3in, 1.84m-dot tilting screen
• ISO range: ISO 50-100,000
• Weight: 743g
• Price: $5,995 / £5,300

This is, of course, not a viable option for everybody. Leica are firmly in the business of premium, high-end luxury cameras, and $5,995 / £5,300 is a huge investment for any camera, never mind a fixed-lens compact. However, by combining a full-frame sensor with a fixed prime lens, the Leica Q series represents something unique on the camera market (Sony and Zeiss have tried this combination, but only Leica has been able to stick it out).

The Leica Q2 was an utterly sublime compact, to the point where we wondered if Leica would even bother making a successor – the formula was so perfectly distilled there didn’t seem to be much room for improvement. But the Leica Q3, when it did arrive, put the kibosh on that notion.

With a higher-resolution 60.3MP full-frame sensor, a new tilting screen and an upgraded autofocus system, it’s a much more potent and versatile camera than any previous Q model – and all its various strengths make it a perfect tool for street photography.

Once again, the fixed Summilux 28mm f/1.7 ASPH lens is optically stabilised, and in a clever touch, the camera will only activate it when it detects a slow enough shutter speed is being used to warrant its use. It’s effective enough to allow for sharp shots at shutter speeds as slow as 1/6sec.

This combines beautifully with the large aperture and the Q3’s excellent high-ISO performance to make it a fearsome proposition for low-light shooting. Street photographers looking to get moody evening and night-time shots will be in heaven with this camera.

Then there’s the sensor. The 60MP full-frame BSI-CMOS sensor is one we previously saw introduced on the Leica M11 rangefinder. The headline resolution is certainly nice, but you probably won’t actually want to be shooting 60MP files all the time, particularly if you’re working in RAW (where the Q3 really shows its strength). Instead, you’ll likely want to make use of the 36MP and 18MP modes (both of which are more than enough to make a good print), as well as the Digital Zoom that makes use of in-camera cropping, with 35mm, 50mm, 75mm and 90mm equivalent options.

The Leica Q3 is quiet and unobtrusive, which is great for street shooting. Credit: Andy Westlake

Standout feature: Premium focusing experience

As mentioned, the autofocus on the Leica Q3 has received a serious upgrade. The sensor now has phase-detection pixels, making the system much faster to acquire focus. There are multiple focus area options to play with, as well as conventional tracking modes. However, there’s also the AI-powered subject-recognition system. The Leica Q3 is capable of recognising human subjects and locking focus onto them, which is a tremendous boon for street photography and lessens the chance of a fleeting moment slipping through your fingers due to slow focusing.

For those who keep things old-school, the manual focusing system is a genuine delight. It’s quick to activate, and the response of the focusing ring feels just right, despite the fact that it operates electronically rather than manually. With an option for magnified view and a focus peaking display, the Q3 makes it pretty much as easy as it could possibly be to nail focusing accuracy when shooting manually.

The Leica Q3 is a sublime camera – and it commands a dizzying price. For the even more hardcore, consider the Leica Q2 Monochrom, a variant of the previous model in this serious that only shoots black & white images (a Q3 Monochrom is likely on the cards, but hasn’t appeared yet).

Also consider:

• Leica Q2 Monochrom
• Any Leica rangefinder, such as the Leica M11

Fujifilm X100V

Fujifilm X100V. Photo credit: Michael Topham

Fujifilm X100V – at a glance

• Sensor: 26.1MP APS-C X-Trans CMOS 4 sensor
• Hybrid viewfinder – Optical 0.52x magnification, 95% coverage; Electronic, 0.5-inch, 3.69m-dot OLED EVF
• Screen: 3-inch, 1.62-million-dot tilting touchscreen
• ISO range: 160-12,800 (extendable to 80-51,200)
• Weight: 478g (including battery and memory card)
• Price: $1399 / £1349

The whole Fujifilm X100 series has been a favourite with street photographers looking for a properly advanced compact camera. What you get in essence is a lot of the controls of the X-Pro and X-T cameras in a smallish body with a fixed lens. It’s not just any lens either, but a highly regarded lens with a nice wide aperture.

While the focal length of this lens is the same 35mm equivalent as that in the X100F it is definitely sharper across the frame and offers quite a lot more contrast – which makes it an even better choice than the, already very good, previous model.

Understandably, people are attracted to the way this camera looks, but it’s equally beautiful within. This model has both practical handling and good performance in abundance. Physical dials and buttons give the camera an air of simple operation, which it indeed has. But dive into the menu and you’ll see a host of controls, features and functions, as well as Fujifilm’s extensive collection of film simulation presets for JPEG shooters. Fuji is famous for its colour and monochrome looks, and consequently plenty of Fuji users don’t bother to shoot in RAW.

Fujifilm X100V, 1/1000sec, f/8, ISO 100, -1.3EV. © Damien Demolder

Standout feature: Hybrid viewfinder

One of the highlights of the X100 series is the hybrid viewfinder that the cameras share with the X-Pro series. This comprises what looks like a regular optical viewfinder, which can be turned into a full digital electronic viewfinder at the flick of a switch. I say ‘looks like a regular optical viewfinder’ because it actually isn’t – the optical viewfinder has an information display overlaid on the scene, so we can see all the settings we’d see with an EVF but dropped onto a real-life view. This means you can combine the digital level with an optical view, which is important in the street as we want to get those buildings straight.

The optical viewfinder is great, but when you want to preview your exposure, white balance, depth-of-field and film simulation the lever on the front of the camera switches the finder to EVF mode and displays exactly all of those things. It’s not a new genius idea, but it is still thrilling – and no one else has thought to copy it. As someone who generally doesn’t use a viewfinder unless I have to, I am surprised by how enthused I am by this one.

If you can’t find the Fujifilm X100V, make sure you check out some of the X100V alternatives.

Read our Fujifilm X100V review

Also consider:

• Panasonic Lumix LX100 II
• Sony Cybershot RX100 VII

Canon EOS M50 Mark II

Canon EOS M50 Mark II. Photo credit: Andy Westlake

Canon EOS M50 Mark II – at a glance

• Sensor: 24.1MP APS-C Dual Pixel CMOS sensor
• Viewfinder: 2.36m-dot OLED EVF
• Screen: 3-in fully articulated touchscreen
• ISO range: 100-25,600 (ISO 51,200 extended)
• Weight: 387g
• Price: $695 (generally with a lens) / £529 body only

The Canon EOS M cameras are not as stylish as many other models on this list – nor, for that matter, as capable. But the series remains enduringly popular for the simple reason that these APS-C mirrorless cameras get the job done well at an affordable price, and are easy to carry everywhere thanks to their lightweight construction.

The Canon EOS M50 II is the best one that’s ever been made – possibly the best one that ever will be made, considering how aggressively Canon is pushing the EOS R series as its mirrorless one-stop shop. Still, for now, the EOS M50 II is available, and cheap, and a solid choice for street photographers. It also features in our roundup of Best Canon mirrorless cameras.

A relatively cheap camera that’s designed to be good at a bit of everything, the EOS M50 Mark II manages to pack a lot into a body weighing just 387g. It handles nicely, with a generously sized EVF and a fully articulating touchscreen that can be set to any angle. And while EF-M lenses aren’t exactly numerous, they are at least compact, and you can build yourself a relatively slim setup that won’t attract attention on the street.

Image quality is generally very good, making the most of the APS-C sensor, and the snappy 7.4fps burst rate should stand you in good stead to capture fleeting moments. You can up that to 10fps with fixed focus if you’re feeling brave or have set up a shot. ISO-wise, the camera can manage up to 51,200, though you’re probably going to want to stick to 12,800 or so to make sure you get useable results.

Canon EOS M50 Mark II, EF-M 18-150mm, 1/200sec, f/6.3, ISO 125. Photo credit: Andy Westlake

Standout feature: Dual Pixel autofocus

Tried and tested, Canon’s Dual Pixel autofocus really is excellent. Using a combination of phase detection pixels on the sensor and a contrast-detect system, the EOS M50 II is set up to give you the best of both worlds. It also pairs will with the touch AF function on the LCD screen. Tot up the total number of AF points available, and you’ve got a whopping 3975 positions at your literal fingertips. That’s… yeah, it’s a lot.

It’s not going to match the AF systems on professional cameras, but for something at this price point, the EOS M50 II’s Dual Pixel autofocus excels. Any burgeoning street photographer will almost certainly be very happy with its performance.

As we mentioned the future of the EOS M series is uncertain, and we may not see much more from the series as the EOS R cameras eat up more and more of the limelight. But, while still available, this is an excellent, great-value camera for anyone in the early stages of their street photography journey.

Read our Canon EOS M50 Mark II review

Also consider:

• Canon EOS R10
• Canon EOS R7
• Nikon Z50

Olympus OM-D E-M10 Mark IV

Olympus OM-D E-M10 Mark IV in hand. Photo credit: Andy Westlake

Olympus OM-D E-M10 Mark IV – at a glance

• Sensor: 20.3MP Four Thirds sensor
• Viewfinder: 2.36m-dot, 0.62x magnification
• Screen: 3-inch, flip up/down, tilting touchscreen
• ISO range: 200-6400, ISO 80-25,600 (extended)
• Weight: 383g
• Price: $700 / £504 (used, body only) – £650

The E-M10 series is officially the beginner’s entry into the Olympus OM-D camera system, but as this model is now on its fourth incarnation, and has improved each time, there isn’t too much it doesn’t do. The build is perhaps not as rugged as the OM System OM-1 / OM-5 series bodies, but with the care most enthusiasts take of their kit I don’t suppose that will matter too much.

For the street photographer, the E-M10 IV provides a nice flip-up screen that slides away from the body when in the waist-level position, so there’s a very good angle of view without the viewfinder housing obscuring the display. The screen also flips down and below the camera so you can do selfies – though you might prefer to use this to take pictures over your shoulder.

The screen provides responsive touch-shutter, and a silent mode with electronic shutter gives us shutter speeds as short as 1/16,000sec. In-body image stabilisation steadies current as well as vintage and third party lenses, and high-drive settings make shooting at 15 frames a seconds possible for action sequences. The camera’s AF system is snappy for still and slower moving subjects where tracking isn’t a priority, and image quality is very nice indeed – it delivers sharp pictures, good colour and plenty of dynamic range.

Aside from the quality of the body-build and the absolute sophistication of the AF system, the E-M10 IV doesn’t differ from the E-M5 and E-M1 series bodies in many ways of significant importance when it comes to street photography, so using this body instead of one higher up the range shouldn’t disadvantage you very much at all.

Olympus OM-D E-M10 IV, 1/16,000sec, f/1.4, ISO 200, -1EV. © Damien Demolder

Standout feature: DSLR styling

Many photographers brought up on SLRs find it hard to shift away from that familiar body shape, and struggle to get to grips with compact cameras and smaller mirrorless models. The E-M10 IV offers something of a compromise, with its small and lightweight body, but at the same time it provides a traditional right-hand grip and a viewfinder in the ‘right’ place. With your eye to the finder, which is electronic rather than optical (you can’t have everything the old way), all the main controls can be accessed with the fingers and thumbs of the shooting hand.

The gripped body makes working with longer lenses more comfortable if you are the sniping sort of street photographer, and the viewfinder makes seeing what is going on clearer for those who can’t get on with shooting via the rear screen. Even if you aren’t going to hold it to your eye, you will appreciate the new deeper grip that will make you feel more secure in your grasp of the camera.

Read our Olympus OM-D E-M10 Mark IV Review

Also consider:

• Panasonic Lumix G90
• Nikon Z fc
• Fujifilm X-T30

How to choose a camera for street photography

So what’s the trick for a good street camera? Well, there isn’t a rule that encompasses everything, as evidenced by the thousands of terrific street pictures taken on cameras that these days would be considered impossibly slow and unwieldy. But all the same, a good modern camera will increase your reaction speed, your versatility and the sharpness of your shots.

Key factors to consider when choosing

A good street camera should be comfortable to hold, easy to use, and not so large that it’s a drag to spend a day shooting with. A big and heavy camera won’t only put you off the idea of lugging it about town, it’ll also attract the attention of your potential subjects, which is not something you want when shooting the street. Small cameras help you blend in with the surroundings, which is a big plus.

Nailing the shot requires a fast and accurate autofocus system, and having a camera that’s quick to power up and shoot (better known as the startup time) will be no bad thing either. Many mirrorless and compact cameras – which we’ve concentrated on in this list – also have silent shooting modes, which can be helpful in being discreet.

Also, having good JPEG output can be helpful if you don’t want to spend too much time editing. See our guide to the best camera brands for JPEGs if you need more suggestions.

Text by Damien Demolder, with contributions from Jon Stapley and Michael Topham

Discover other options…

For more options, have a look at the best compact cameras, the best lenses for street photography, or if you’re interested in documentary-style street photography take a look at the Best cameras for photojournalism and documentary. Plus, why not have a look at the latest camera and equipment reviews?

Further reading

• Beginners guide to Street Photography
• Street photography and the law (2023 update)
• How the pandemic changed street photography
• Using smartphones for street photography

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The post Best camera for street photography appeared first on Amateur Photographer.

There are several manufacturers in the mirrorless space now – we encompass Canon, Nikon, Sony, Fujifilm, Panasonic and Olympus / OM-System in this guide. It is split into sections for ease of navigation – first we run through the best mirrorless cameras for beginners – and perhaps those who’ve been shooting on a smartphone and have decided to upgrade.

This is also where you’ll find the cheapest options. For those, also check out our dedicated guide to the best second-hand cameras and lenses.

Then, we deal with the best mirrorless cameras for enthusiasts, which provide superior image quality, handling and a greater degree of control. Many of these cameras are also good enough for professional work, and have excellent capabilities for shooting video as well as stills.

For those who need the best of the best, however, our final section details the best mirrorless cameras for professionals. Naturally, these are the most expensive cameras on the list, and are of superb image quality and class-leading features. There are some great deals on these right now, as those interested will see.

For a primer on how to choose the best mirrorless camera, you can scroll to the bottom of the page where we’ve put together a quick explainer section – our DSLR vs mirrorless guide may be useful if you’re not all that sure what a mirrorless camera is or why you might choose one. Conversely, if you’re looking for something more advanced, we have a dedicated guide to the best full-frame mirrorless cameras.

The best mirrorless cameras – our quick list

Want to cut to the chase? Here’s the quick list of all our picks of the best mirrorless cameras you can buy, from beginner options to top-end pro shooters…

The best mirrorless cameras for beginners:

• Canon EOS R7 – Buy now
• Olympus OM-D E-M10 Mark IV – Buy now
• Fujifilm X-T30 II – Buy now
• Nikon Z50 – Buy now

The best mirrorless cameras for enthusiasts:

• Fujifilm X-T5 – Buy now
• Panasonic Lumix G9 II – Buy now
• OM System OM-5 – Buy now
• Panasonic Lumix GH6 – Buy now
• OM System ‘Olympus’ OM-1 – Buy now
• Fujifilm X-H2S – Buy now
• Nikon Z6 II – Buy now
• Sony A7 IV – Buy now
• Nikon Z7 II – Buy now
• Canon EOS R6 Mark II – Buy now

Best mirrorless cameras for professionals:

• Nikon Z8 – Buy now
• Sony A7R V – Buy now
• Canon EOS R5 – Buy now
• Nikon Z9 – Buy now
• Fujifilm GFX100s – Buy now
• Canon EOS R3 – Buy now
• Sony Alpha 1 – Buy now

In this essential buyer’s guide we take a closer look at some of the best mirrorless cameras that you can buy currently. We give our expert recommendations about the merits of each to help you to make an informed choice that suits your needs and budget…

The best mirrorless cameras for beginners

If you’re just getting started with photography or videography, mirrorless systems are an excellent choice. In this first section, we’ve picked out the mirrorless cameras that offer a solid foundation for any beginner. They’re lightweight enough to take everywhere (which is the best way to learn to use a camera), are affordable enough that most users can pick them up and learn how they work – and, for progression, they offer a very tempting upgrade path.

It’s worth giving an honourable mention to some cheaper models that are perhaps too basic to make our list, but could still be great options if money is tight. These include the vlogging focused Nikon Z30 and retro-styled Nikon Z fc, together with the new Canon EOS R100 and EOS R50 models. And if you’re keen to get started in content creation with a camera that has a solid lens line-up behind it, it’s hard to do better than the Sony ZV-E10 or the Panasonic Lumix G100.

Canon EOS R7

Canon EOS R7 with its 32MP APS-C sensor – visible here with a green tint. Photo credit: Joshua Waller

At a glance:

• $1,499 / £1,299 body-only
• 32.5MP APS-C sensor
• Canon RF lens mount
• 30 fps shooting
• 4K 60p video

The Canon EOS R7 was a long-expected addition to the flagship EOS R line-up, pairing the RF lens mount with an APS-C sensor. This is the more sophisticated model than its release partner, the EOS R10. With 32.5MP of resolution, it’s ambitious. On paper, it out-specs all of Canon’s APS-C DSLRs, as well as the entire EOS M mirrorless line, with up to 30fps continuous shooting, 5,915 AF points, and dual UHS-II SD card slots.

In our review, we were highly impressed with the EOS R7’s capabilities. Its extensive feature-set has been packed into a body that’s pleasingly light and handles well. The 2.36m-dot electronic viewfinder and a 3in, 1.62m-dot vari-angle touchscreen are both excellent, and the weather sealing is equivalent to the EOS 90D, which is highly welcome.

Canon RF-S lenses

Really, the only strike we had against the EOS R7 is something that should correct itself with time – the limited selection of native RF-S lenses. So far, we’ve only seen three dedicated RF-S lenses. It started with the RF-S 18-150mm F3.5-6.3 IS STM and RF-S 18-45mm F4.5-6.3 IS STM and was followed by the RF-S 55-210mm F5-7.1 IS STM. Full-frame RF lenses are fully compatible with the camera, but their size and price don’t balance well with it.

Canon’s entry-level stable for the EOS R system includes several models that sit beneath this one – the aforementioned EOS R10, EOS R50 and the ultra-cheap EOS R100. We reckon the EOS R7 provides the best bang-for-buck for beginners, but if your budget is limited, these cameras are also well worth considering.

Pros:

• Impressive resolution for the price
• Weather sealing
• High-res LCD and EVF

Cons:

• Limited lens selection (so far)
• Beginners may prefer cheaper EOS R10

Best for: enthusiasts who want to try the R system

Read our Canon EOS R7 review

Olympus OM-D E-M10 Mark IV

The Olympus OM-D E-M10 Mark IV is a tiny, entry-level camera. Photo credit: Andy Westlake

At a glance:

• $800 / £649 body-only
• 20MP Four Thirds sensor
• Micro Four Thirds lens mount
• 15fps shooting
• 4K 30p video

Based around a 20MP sensor, this attractive compact mirrorless model offers excellent JPEG image quality with extremely attractive colours. Paired with the TruePic VIII processor, it provides a sensitivity range of ISO 200-6400 as standard, with extended settings equivalent to ISO 80-25,600 available.

The design is stylish and the ergonomics are well laid-out, while extremely effective in-body stabilisation keeps pictures sharp. One of Olympus’s key technologies is its 5-axis in-body image stabilisation, which works with practically any lens you can fit onto the camera, aside perhaps from very long telephotos. The E-M10 IV promises 4.5 stops benefit when shooting hand-held. This allows you to keep your ISO setting down in low light, offsetting the noise disadvantage of the smaller sensor, or to use slow shutter speeds hand-held for creative motion-blur effects.

JPEG output

The camera’s automated systems work very well. Metering, auto white balance and colour rendition all come together here to give consistently attractive JPEG output. It’s also easy to judge in the viewfinder when you might want to lighten or darken an image for aesthetic effect, and apply the requisite level of exposure compensation.

You also get a good set of useful advanced features and the camera is supported by a fine set of small, affordable Micro Four Thirds lenses. You’ll also find the camera offers Wi-Fi and Bluetooth connectivity, as well as 4K video recording. With In-Body Image Stabilisation, it offers great value for money.

Pros:

• Tidy, well-packed body
• Excellent auto modes
• Well-designed viewfinder

Cons:

• No mic socket
• Raw quality lags behind APS-C peers

Best for: travel photographers

Read our Olympus OM-D E-M10 Mark IV Review

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Fujifilm X-T30 II

Fujifilm X-T30 Mark II in hand, body only. Photo credit: Joshua Waller

At a glance:

• $899 / £749 body-only
• 26.1MP APS-C X-Trans CMOS IV sensor
• Fujifilm X lens mount
• Up to 30fps with electronic shutter (cropped), 20fps uncropped
• 4K CINE/UHD 30p video

The Fujifilm X-T30 II is an update to what was previously Fujifilm’s best selling and most popular camera in its X-series range, the X-T30 (and before that, the X-T20). The X-T30 came out in 2019, with an RRP of $899 / £849 body only. The X-T30 II was introduced in 2021 with an improved specification, at a price of $899 / £769 body only. This makes it very competitively priced, considering what is on offer.

You get the same 26.1MP APS-C X-Trans 4 CMOS sensor, as used in the flagship X-T4, which is roughly twice the price, as well as the same image processor. The X-T30 II also features 4K CINE video recording, a 3-inch 1.62M dot screen, and an electronic viewfinder (EVF).

Improvements over the X-T30

The improvements compared to the X-T30 are the X-T30 II’s 1.62M-dot 3-inch touchscreen, its Classic Neg and Eterna Bleach Bypass film simulation modes, an improved multi-exposure mode (up to 9 shots), High-speed video recording (FullHD, 240fps), an improved autofocus system inherited from the X-T4, an improved buffer memory and a refreshed menu system that splits stills/movie menus.

The Fujifilm X-T30 Mark II is an excellent camera. The X-T30 was (and still is) a great camera, and similarly, the X-T30 II is also a great camera. Improved over the original, but at a lower price point, the X-T30 II is a great mirrorless camera for those who are looking for excellent image quality, in a compact and portable camera.

Pros:

• Priced under the X-T30
• High-speed video options
• Excellent autofocus

Cons:

• Badly placed Q button
• No in-body stabilisation

Best for: mirrorless beginners

Read our Fujifilm X-T30 II Review

 

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Nikon Z50

The Nikon Z50 is light enough to use one-handed. Photo credit: Michael Topham

At a glance:

• $856 / £759 body-only
• 20.9MP APS-C sensor
• Nikon Z-mount
• 11fps continuous shooting
• 4K 30p video

Nikon’s entry-level mirrorless model produces fine images and is a delight to use. The Nikon Z50 was Nikon’s first shot at creating a DX-format mirrorless camera with an APS-C sensor. It shares the large Z mount and, as well as accepting new DX-format Z mount lenses, it can be used with Nikon’s ever-growing range of full-frame Z mount optics. Nikon F-mount lenses can also be paired via the FTZ mount adapter.

It has a purposeful design, good-sized handgrip and well thought through layout of controls. Part of the Z 50’s excellent feel comes down to the fact it has a magnesium-alloy top and front chassis that gives it added strength and robustness. Handling is impressive, as you would expect from Nikon, with the camera having excellent ergonomics.

Shooting experience

The excellent electronic viewfinder and responsive touchscreen enhance the enjoyable shooting experience, and with 11fps continuous shooting and a responsive autofocus system, the Z50 rarely feels out of its depth when challenged by fast paced subjects. Whether it’s used to capture stills or snippets of video, the Z50 produces satisfying results.

Overall, it’s a marvellous little APS-C format camera that offers great value for money. You can’t fail to fall in love with when you’re using it and if you’re considering shooting within Nikon’s DX-format mirrorless system the Z50 is worth a long, hard look.

Pros:

• Well-designed handgrip
• Good for stills and video
• Fast, reliable autofocus

Cons:

• Few native DX-format Z lenses
• Single card slot

Best for: beginners and travel photographers

Read our Nikon Z50 Review

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The best mirrorless cameras for enthusiasts

This is where the fun begins. Here, we’ve compiled some of our favourite mirrorless cameras for enthusiasts, intermediate users; those with some experience and know-how. These cameras offer a level of depth and control exceeding that of most mirrorless models, without the huge price tags of the pro cameras (they’re next up). These cameras can be a great upgrade for anyone already invested in a particular system or brand, but sometimes they are good enough to tempt users to switch brands altogether.

Fujifilm X-T5

The Fujifilm X-T5 in black, paired with a standard 18-55mm Fuji kit lens. Image credit: Andy Westlake

At a glance:

• $1,699 / £1,699 body-only
• 40.2MP APS-C X-Trans CMOS 5 HR sensor
• Fujifilm X lens mount
• 15fps shooting (mechanical shutter); 20fps (electronic shutter, 1.3x 24MP crop)
• 6.2K 30p / 4K 60p video

With the X-T5, it felt like Fujifilm was returning to its roots. A succession of video-leaning cameras for hybrid shooters had left purist stills photographers feeling a little left out; so it came as a thrill when the firmly stills-oriented X-T5 made its debut in 2022. While everyone was pleased to see it sport the classic top-dial control system that has been wowing X-T enthusiasts since 2014, the real headline feature was the sensor.

The X-T5 arrived with the same 40MP sensor as the Fujifilm X-H2, providing a serious resolution upgrade over the 26.1MP X-T4. Along with this, it gained sophisticated subject-detection autofocus, capable of picking out and locking onto specific subjects like humans, animals and vehicles.

A true enthusiasts camera

Like many Fujifilm models, the X-T5 is just a downright enjoyable camera to use. Its 3-way tilting screen and high-quality viewfinder provide plenty of image composition options, and image quality is terrific both in raw and JPEG formats. Fuji’s excellent Film Simulation modes are present and correct, allowing you to imbue your images with the specific character of analogue stocks like Velvia and Astia. For producing great images straight out of camera – that are ready to share without serious editing, no one does it better than Fujifilm.

More reasonably priced than either of the X-H2 cameras, the Fujifilm X-T5 is an exceptional enthusiast’s camera. It’s fully featured across the board, with fast burst rates, plenty of resolution and… well, we could go on. A resounding home run by Fujifilm.

Panasonic Lumix G9 II

The introduction of the Panasonic Lumix G9 II shows the brand is still fully behind the Micro Four Thirds format. Credit: Andy Westlake

At a glance:

• $1,897 / £1,549 body-only
• 25.2MP Four Thirds sensor
• Micro Four Thirds lens mount
• Up to 75 fps shooting (AFS + electronic shutter)
• 5.7K 60p and 4K 120p video recording

One of Panasonic’s newest releases, the Lumix G9 II came as welcome assurance that the manufacturer is still committed to the Micro Four Thirds format, even with the increased focus on its newer line of full-frame Lumix S cameras. Indeed, it appears that some developments made in the full-frame line are finding their way into the Lumix G series. The Lumix G9 II inherits significant DNA from the Lumix S5 II, which debuted at the start of 2023.

For a start, there’s the body design; the Lumix G9 II looks a lot more like the Lumix S5 II than it does the previous Lumix G9 from five years ago. There’s no cooling fan, and the smaller mount allows the design to squeeze in an extra function button, but otherwise this model handles pretty much exactly like its full-frame sibling. The placement of the 8-way AF joystick is well-chosen, making for intuitive operation. There’s a lovely big 3.68m-dot OLED viewfinder, and a 3in, 1.84-dot vari-angle touchscreen, providing additional options for composition.

Phase-detection autofocus

Probably the most significant addition to the Lumix G9 II is the phase hybrid autofocus. It is the first Panasonic-made Micro Four Thirds camera to have this, finally replacing the ageing, contrast-based Depth from Defocus system the firm had stuck by for years.

Boasting 779 phase-detect focus points that cover the entire frame, this system promises to be faster and more accurate. It also benefits from AI-powered subject-detection system that’s able to recognise and lock onto specific subjects like humans, animals and vehicles.

While we’re still working on our full review of the Lumix G9 II, we were able to test out the camera at Port Lympne Safari Park. We came away impressed, especially by the phase-detection autofocus and the subject-recognition system. The Lumix G9 II is looking like a tremendous boost for Micro Four Thirds as a system for serious enthusiasts, and a compelling alternative to cameras like the OM-System OM-1. It’s built for speed, with 8-stop stabilisation and burst mode that can reach speeds of 75fps.

Pros:

• Great design with sensible control layout
• Fast autofocus and up to 75fps burst
• Extensive range of MFT lenses

Cons:

• Lack of cooling fan limits recording times
• Full-frame Lumix S5 II isn’t that much more expensive

Best for: Wildlife, action photography

Read our initial Panasonic Lumix G9 II review with first impressions

OM System OM-5

The OM System OM-5 in use. Photo credit: Jeremy Waller

At a glance:

• $999 / £1,199 body-only
• 20.4MP Four Thirds sensor
• Micro Four Thirds lens mount
• 30fps shooting (10fps with C-AF)
• 4K 30p video

The second camera out of the gate in OM-System’s regeneration of the Olympus brand (we’ll meet the first shortly), The OM-System OM-5 can be seen as a replacement for the enthusiast-focused Olympus OM-D E-M5 Mark III, with a few replacements and updates that make it especially appealing as a travel camera.

For a start, it’s got the feature that is fast becoming ubiquitous on all OM-System cameras and lenses – IP53 weather sealing. This is some of the most comprehensive weather sealing you can get on any camera in this class, and means you can take the OM-5 into basically any shooting situation without worry.

In addition to a full review, we also had our editor Nigel Atherton conduct an OM-System OM-5 field test on an extended trip to Cape Town in South Africa to see how it fares as a travel camera. With features like Starry Sky AF for night-time photography, as well as intuitive touchscreen AF-point selection and 10fps shooting with continuous autofocus, it proved itself adept in numerous shooting situations. The only sticking point was the battery life – while Nigel never quite hit the 300-shot stated limit in a day’s shooting, he still felt obliged to carry a spare.

A real all-rounder

The selection of Micro Four Thirds lenses is one of the most expansive in the business, and will allow you to kit yourself out for any situation. With excellent stabilisation, beefed-up video features and superb JPEG output straight out of camera, the OM-System OM-5 is a camera for doing a bit of everything, and doing it well.

Pros:

• Class-leading weather sealing
• Huge array of lens options
• Images look great straight out of camera

Cons:

• Relatively short battery life
• Buffer fills up fast at 30fps

Best for: travel and outdoor photography and video

Read our full OM-System OM-5 review.

Panasonic Lumix GH6

The Panasonic Lumix GH6 puts cinema first. Photo credit: Jon Devo

At a glance:

• $1,700 / £1,400 body-only
• 25.2MP Four Thirds sensor
• Micro Four Thirds lens mount
• 75fps shooting (electronic shutter, fixed AF), 8fps (with C-AF)
• 5.7K 60p video

Rumours of the death of Micro Four Thirds proved greatly exaggerated when Panasonic dropped this rip-roaring update to the video-focused GH series. The Panasonic Lumix GH6 builds on the legacy of the GH4, which was one of the first consumer cameras to offer 4K video, and is one of the best vlogging and filmmaking cameras you can buy right now.

Filmmaking codecs

The big upgrade here is codecs – the Lumix GH6 offers pretty much every filmmaking codec that anyone could desire, including Apple ProRes, as well as the V-Log colour profile. You can shoot Full HD at up to 300fps, and 5.7K video at up to 60fps, and really, do just about anything else you want to do, video-wise.

It’s such a full featured cine camera that it’s incredible it only comes with a price tag of $1,698 / £1,399 body-only, just now. It goes toe-to-toe with full-frame cameras of twice the price.

In our review, we found little to criticise. It’s slightly disappointing that Panasonic stuck with the dated contrast-based Depth From Defocus autofocus system, and maybe 6K Photo Mode would have been nice. But this is a hell of a camera, especially for filmmakers.

Pros:

• Incredible suite of video options
• Excellent value for money
• Superb stabilisation

Cons:

• Dated autofocus system
• Smaller sensor won’t appeal to everyone

Best for: filmmakers

Read our Panasonic Lumix GH6 review

OM System – Olympus OM-1

The OM System OM-1 is the beginning of a new chapter. Photo credit: Joshua Waller

At a glance:

• $1,999 / £1,949 body-only
• 20MP Four Thirds Stacked BSI Live MOS sensor
• Micro Four Thirds lens mount
• 50fps with C-AF, up to 120fps fixed AF
• Cine 4K 60p video

The OM System ‘Olympus’ OM-1′ is OM Digital Solutions’ 2022-launched E-M1 III update, with a brand-new, never before seen 20MP Stacked BSI Live MOS sensor, updated body design, high-resolution OLED EVF, updated vari-angle touch-screen and a completely redesigned menu system.

The new sensor, along with a new image processor, allows for high-speed continuous shooting, at 120fps at full-resolution, an improved ISO range, (up to ISO 102,400), which OMDS say will give up to 2 stops noise improvement, as well as one extra stop of dynamic range. In-body image stabilisation (IBIS) has long been a feature of Olympus cameras, and using 5-axis Sync IS with a compatible lens will give up to 8 stops of correction. When using a non-sync lens, you can expect up to 7 stops of IS.

Intuitive button layout

The controls are all neatly positioned to make them easy to reach, and you have direct access to the most important settings, with dedicated ISO, Exposure compensation, and AF-ON buttons. There’s a dedicated video record button, and the majority of buttons and controls can be customised to your own personal preferences. The ISO button also doubles as image rating button in playback, so you can quickly give images a star rating out of 5.

The camera body has a solid metal construction, and with multiple seals it offers improved weather-sealing than other Olympus cameras, being the first to offer an IP53 rating being both dust- and splash-proof when used with specific PRO lenses.

If you enjoy shooting with Olympus cameras, then the refinements made with the OM-1, along with the improved image quality, features, and improved video options, makes this camera a real joy to use, with the updated menu systems another welcome change. Without doubt, the OM System OM-1 is the best Micro Four Thirds camera currently available (as of June 2022), and goes beyond what you would expect from a $2,000 / £2,000 camera in terms of subject detection AF, high-speed performance, and the sheer number of useful shooting features available.

Pros:

• Highly effective stabilisation
• Rugged weatherproofing
• Exceptional autofocus

Cons:

• Menus not touch-sensitive
• ‘Only’ 20MP

Best for: outdoor photographers, especially bird photographers

Read our OM System ‘Olympus’ OM-1 Review

Fujifilm X-H2S

The Fujifilm X-H2S is compatible with a battery grip to extend its shooting time. Photo credit: Andy Westlake

At a glance:

• $2,499 / £1,899 body only
• 26.2MP APS-C stacked BSI CMOS sensor
• Fujifilm X lens mount
• 40fps shooting
• 6K 30p video recording

The high-spec, high-performance Fujifilm X-H2S absolutely shows off what’s best about APS-C. It’s great for sports, great for wildlife and great for action, with a stacked 26.2MP X-Trans CMOS sensor that enables super-fast readout speeds. It’s an incredibly ambitious camera, capable of shooting at up to 40fps in full-resolution Raw format, and boasting AI-powered subject-recognition autofocus.

As noted in our review, the Fujifilm X-H2S eclipses other APS-C models with its control layout. Immensely customisable, and robust-feeling in the hand, it’s streets ahead of APS-C contemporaries like the Sony A6000 series for handling. The move away from the dial-led controls of other Fujifilm cameras also makes it handle more like a professional model from Canon or Nikon. It really comes into its own when paired with a good telephoto lens like the XF 100-400mm f/4.5-5.6 – you get shooting speeds and real reach in an incredibly lightweight package.

Hefty price

The Fujifilm X-H2S is gunning all-around for a professional user, or at least a serious enthusiast, and this is reflected in the price. At $2,299 / £1,879 body only just now, it’s among the most expensive APS-C cameras ever released. The price is justifiable in terms of what the camera offers – stacked sensors are just expensive to make – but how many people are going to pay it?

Pros:

• Impressive shooting speeds
• Lightweight but powerful setup
• AI-powered autofocus

Cons:

• Intimidating price for APS-C

Best for: action shooters who want a light setup

Read our Fujifilm X-H2S review

Nikon Z6 II

The Nikon Z6 II has a tilting screen for different composition angles. Photo credit: Richard Sibley

At a glance:

• $1,596 / £1,799 body-only
• 24.5MP full-frame BSI-CMOS sensor
• Nikon Z lens mount
• 14fps shooting
• 4K video

This remarkably versatile full-frame mirrorless camera boasts a 24.5MP sensor, a 273-point phase detection AF system and fast burst shooting up to 14fps. Users will be bowled over by the excellent electronic viewfinder, as well as the quality of the images produced.

On the outside, the Z6 II looks almost identical to its Z6 predecessor, and uses the same image sensor too. But, crucially, it gains a second card slot that accepts the cheaper and widely compatible SD format. The cards can be used in backup, overflow or segregated recording modes. The Z6 II also boasts dual Expeed 6 processors, which provide improved autofocus, meaning that face and eye tracking is now available during video recording for both humans and animals.

Superb control layout

DSLR users will find all the key buttons and dials that they expect, including twin electronic controls dials for changing exposure settings (one each under the forefinger and thumb), a well-placed AF-area joystick and AF-ON button, and top-plate ISO and exposure compensation buttons.

Key features include a dust and drip resistant body design for use in demanding conditions, and 5-axis in-body image stabilisation to help keep both still images and video footage sharp, no matter what lens you use. This includes both native Z-mount optics, and the huge range of F-mount SLR lenses that can be used via the FTZ mount adapter. You also benefit from 5-axis in-body image stabilisation, and 4K video recording.

Pros:

• Dual card slots
• Improved tracking AF
• Rapid continuous shooting

Cons:

• Not a huge jump over Z6
• Non-articulating screen

Best for: enthusiasts

Read our Nikon Z6 II review

Sony A7 IV

The Sony A7 IV boasts 33MP resolution, an impressive ISO performance and a capable but overly complex AF system. Photo credit: Andy Westlake

At a glance:

• $2,498 / £2,299 body-only
• 33MP full-frame sensor
• Sony FE lens mount
• 10fps shooting
• 4K 30p video

While many of Sony’s full-frame Alpha mirrorless cameras are specialists, the A7 models are good at a bit of everything. And the A7 IV is really, really good at a bit of everything. Its 33MP sensor captures a generous level of detail; its 10fps burst-rate, while not class-leading, is more than enough for a lot of users. ISO performance is generally very good, with even images at 25,600 being usable with a bit of processing. Good work across the board.

There’s plenty more we could heap praise on here, and it’s worth reading our full review to get a detailed understanding of this camera, as you start to get a sense of how it comes together. That 10fps burst rate, for instance, is paired with a buffer depth that’s effectively unlimited if you’re using a memory card that’s fast enough to keep up.

Really, our only bugbear with the A7 IV is something that’s common to pretty much all Sony cameras – the convoluted, unintuitive menu systems that make it needlessly hard to navigate. It’s just something you’ll need to get used to.

Pros:

• Does everything well
• Good high-ISO performance
• Huge buffer depth

Cons:

• Complicated autofocus system
• Menus are hard to navigate

Best for: hybrid photo/video content creators

Read our Sony A7 IV review

Nikon Z7 II

The Nikon Z7 II, seen here with a 24-70mm f/2.8 lens. Photo credit: Michael Topham

At a glance:

• $2,596 / £2,399 body-only
• 45.7MP full-frame BSI CMOS sensor
• Nikon Z lens mount
• 10fps shooting (Single AF)
• 4K 60p video

The Nikon Z7 II improves over the original Nikon Z7 in a number of subtle but important ways, making an already very good camera, even better. The camera now features improved continuous shooting, dual card slots, and face/eye/animal detection AF.

There’s a 45.7MP full-frame sensor that provides stunning image quality, backed up by 5-axis in-body image stabilisation and fast, accurate autofocus. The viewfinder is superb, and F-mount SLR lenses can be used via the FTZ adapter. The high-resolution sensor will be appealing to landscape photographers or anyone that craves a serious amount of detail. It’s also useful for cropping if you want to shoot from a distance, too.

A sheer delight to use

You get up to 10fps shooting which, while not superb for action, isn’t too bad if it’s not something you shoot relatively often. But if you’re frequently shooting action, the Z6 II and certainly the Z9 cameras are probably better choices within Nikon’s mirrorless range. It can also shoot 4K video, albeit with a crop.

The Z7 II feels fantastic in the hand and is a delight to pick up and use. Then there’s its fabulous image quality, which is remarkably impressive and offers magnificent latitude when processing Raw files. This is a fantastic all-rounder, which works well for professionals and dedicated enthusiasts who perhaps don’t have the need or the budget for a Z9.

Pros:

• Well-designed body
• Second card slot
• Excellent viewfinder

Cons:

• Minor refresh on Z7
• Crop on 4K 60p video

Best for: wedding and event photographers

Read our Nikon Z7 II Review

Canon EOS R6 Mark II

Canon’s EOS R6 Mark II is a supremely accomplished all-rounder that handle almost any subject with ease. Image credit: Andy Westlake

At a glance:

• $2,499 / £2,779 body-only
• 24.2MP full-frame sensor
• Canon RF lens mount
• 40fps shooting
• 4K 60p video

The original Canon EOS R6 was already a superb full-frame all-rounder, one that scooped our Product of the Year award back in 2021. As such, you can hardly blame Canon for not exactly reinventing the wheel when it came time to bring out the EOS R6 Mark II. This version makes relatively few changes to what was already a superb camera, but the ones it does make are well-chosen, making it one of the best all-around cameras for enthusiasts and professionals.

For a start, while the previous model had a 20MP sensor, this one ups it to a 24.2MP full-frame chip. That may not sound like much, but it makes a real difference when it comes to cropping and printing, and should satisfy the stills shooters who felt that 20MP was perhaps a little on the stingy side.

Subject-detection autofocus

Elsewhere, the EOS R6 II gets what was the must-have feature of the year 2022: subject-detection autofocus, powered by AI to lock onto specific subjects with unerring accuracy. This combines beautifully with the increased burst rates – the EOS R6 Mark II can rack up to 40fps with its electronic shutter, or a still-respectable 12fps full-resolution raw with the mechanical shutter if you don’t want to run the risk of rolling shutter distortion (which can happen).

DSLR holdouts will likely find themselves mightily tempted by the EOS R6 Mark II. It’s handling is excellent, with a large, deep handgrip and loads of external physical controls. The viewfinder is lively and responsive with a 120fps refresh rate, while the LCD screen can be set to face almost any angle.

In terms of its ability to shoot, well, anything, the EOS R6 Mark II. It’s on the expensive side for an enthusiast’s camera, but at the same time, it’s difficult to think of another camera at this price point that’s this good at everything. Build up a solid set of RF lenses and you’ve get a setup to tackle all situations.

Pros:

• Excellent design and handling
• Shoots and focuses like a demon
• Very impressive image quality

Cons:

• RF mount lacks third-party AF lenses
• Some shutter distortion with electronic shutter

Best for:

Read our Canon EOS R6 Mark II review

Best mirrorless cameras for professionals

And at last, here we are at the best of the best. In this section, you’ll find mirrorless cameras commanding pretty serious prices – but that makes sense given that these are designed for professional photographers and videographers. Here you’ll find dazzlingly high megapixel counts, full-frame sensors (and larger), super-fast burst rate and AI-powered autofocus systems intelligent enough to recognise specific subjects.

Nikon Z8

Nikon’s new Z8 is effectively a smaller, less expensive version of the Z9. Credit: Andy Westlake

At a glance:

• $3,796 / £3,999 body-only
• 45.7MP full-frame stacked CMOS sensor
• ISO 64-25,600 (standard)
• 20 frames per second shooting in raw
• 3.69m-dot, 0.8x viewfinder
• 3.2in, 2.1m-dot 3-way tilting LCD
• 8K 30p video recording

The first in our list of the best professional full frame mirrorless cameras is also the newest, and perhaps the one that has impressed us the most. The Nikon Z8 is effectively a Nikon Z9, but in a smaller, more normal-sized body. The Z9 has impressed us as a professional sports/action camera and its integrated grip is typical of cameras in this very specialized sector. But that makes the Z9 a little unwieldy for normal use and packing in regular camera bags.

It’s also quite expensive, and that’s what makes the Z8 even more extraordinary. Somehow, Nikon has managed to pack much of the technology that makes the Z9 so remarkable into a much smaller body, but without any great sacrifices in performance.

All-round capabilities

In short, the Z8 is a consummate all-round performer, specialising in three areas that would once have needed three different cameras. Its 45.7MP sensor delivers high resolution images, while its stacked CMOS sensor also allows burst rates of 20fps with full resolution raw files, 30fps with JPEGs and up to 120fps with smaller 11MP. Nikon’s latest AI subject detection is remarkably effective too, so here’s a high-resolution camera that can be used like a high speed sports camera too.

And as if that wasn’t enough, the Z8 can also capture 8K video. That’s probably too much for most videographers’ workflows right now, and if you swap to 4K instead, the Z8 can go right up to 120fps.

The Nikon Z8’s amazing all-round capabilities remind us of the Sony A1, the first pro powerhouse to combine resolution, speed and 8K video (the Canon EOS R5 too), but the Z8 is a lot cheaper, and its AI autofocus is just as good as it gets right now.

Sony A7R V

Sony has added a range of significant updates to the A7R V, but at a price. Image: Andy Westlake

At a glance:

• $3,898/ £3,999 body-only
• 61MP full-frame CMOS sensor
• Sony FE-mount
• 10fps continuous shooting
• 8K 24fps video

Sony’s A7R cameras have long led the way in terms of resolution for full-frame mirrorless, and right now if you want megapixels, the A7R V is your port of call. It sports a full-frame chip with 61MP of resolution to play with – currently only the Sigma fp L has it tied, and nobody at all in the world of full-frame has it beat.

Of course, this was also true of the previous A7R IV / A7R IVA – the Mark V version uses the same sensor as its predecessor. So, as someone staring down the barrel of that $4K price tag might reasonably ask, what exactly is new?

The short answer is everything else. Sony has sensibly decided that most people probably didn’t need many more than 61 megapixels (for now, at least), and instead set about upgrading all other aspects of the camera. As such, the A7R V benefits from such up-to-the-minute features as subject-detect autofocus, which we’ve already seen a few times in this guide. The A7R V isn’t exactly a speedster, but with this system and 10fps burst shooting, it does reasonably well with fast subjects, and certainly makes itself credible for more than stately landscapes.

What else is new?

There are external improvements too. The A7R V gets a nice big viewfinder with buckets of resolution, as well as a redesigned screen that combines an up/down tilting mechanism with a fully articulating side hinge. More? Sony also beefed up the in-body stabilisation, which is now rated up to eight effective stops, and can be used in a multi-shot composite mode to produce images up to 240MP in resolution.

The catch is, of course, the price. Sony’s line used to be made up of quite specialised models with different functions, but these days all its cameras seem to be good at everything – and come with a price tag that reflects that. Only time will tell whether this is a savvy strategy on Sony’s part – and only you can tell whether all the features of the A7R V are worth its intimidating price tag.

Pros:

• Highest-resolution full-frame
• Reliable subject-detection autofocus
• Variable resolution raw recording

Cons:

• Sony’s menus are still a mess
• No in-camera raw conversion

Best for: landscape shooters and print makers

Read our Sony Alpha A7R V full review

Canon EOS R5

The Canon EOS R5 is the highest-resolution EOS R camera. Photo credit: Michael Topham

At a glance:

• $3,399 / £3,999 body-only
• 45MP Dual Pixel CMOS AF sensor
• Canon RF lens mount
• 20fps continuous shooting
• 8K 30p video

An incredibly impressive stills camera, the EOS R5 is one of the very best mirrorless cameras ever launched by Canon to date. The combination of a multi-controller (joystick), a rear thumb dial and dual card slots help make the R5 seem like a mirrorless version of the EOS 5D Mark IV, but with the added benefit of a vari-angle touchscreen.

The EOS R5 has the ability to shoot 45MP files at a staggering 20fps in silence with full AE and AF tracking using its electronic shutter. Switch over to the mechanical shutter and the EOS R5 rattles out a burst at a brisk 12fps. It has a deep buffer to handle the high volumes of data, and records to a CFexpress B card that allows maximum transfer speeds of up to 1.97GB per second and up to 180 uncompressed Raw files to be recorded continuously at 20fps. A second UHS-II compatible SD card slot is added for backup purposes, or separating still images and video between cards but you won’t get such amazing continuous shooting capacity.

In-body image stabilisation (IBIS)

A breakthrough on the EOS R5 was the introduction of in-body image stabilisation (IBIS), which was lacking on both the EOS R and EOS RP. Canon claims it offers up to 8 stops effectiveness when paired with certain RF mount lenses, such as the RF 24-70mm F2.8L and RF 28-70mm F2L. In instances where the EOS R5 is used with Canon lenses that feature optical image stabilisation (IS), the lens corrects yaw and pitch while the body compensates for roll around the lens axis along with vertical and lateral movements.

It also has a superb AF system and, overall, is a remarkably accomplished stills camera. It’s only the much-reported overheating issue when shooting long 8K (30fps) and 4K (up to 120fps) video clips that prevented it from getting a maximum five stars in our review.

Pros:

• Exceptional autofocus
• 8K video
• Silent 20fps shooting

Cons:

• Much-publicised overheating issue
• Expensive

Best for: getting the most video resolution

Read our Canon EOS R5 Review

Nikon Z9

The Nikon Z9 in hand. Photo credit: Andy Westlake

At a glance:

• $5,496 / £5,299 body only
• 45.7MP full-frame stacked CMOS sensor
• Nikon Z lens mount
• 120fps continuous at 11MP
• 8K 30p video

The Z9 is Nikon’s new flagship professional full-frame mirrorless camera. It’s capable of shooting 45.7MP images at 20 frames per second in raw (for more than 1,000 frames in a row), or 30fps in JPEG, with continuous autofocus tracking. A new AI subject detection AF system is capable of recognising multiple kinds of subjects, and the camera can also record 8K video for several hours without overheating.

In fact, the Nikon Z9 offers a combination of high-end specifications and professional-level build that simply hasn’t been seen before. Drop the resolution to 11MP, and the Z9 will run at an astonishing 120fps. Crucially, it promises the pro-level control setup and extreme durability that’s essential for photographers who make a living from their cameras.

Low-distortion electronic shutter

Technically, the Z9 breaks new ground in being the first camera of its type to eliminate the mechanical shutter completely. Instead, it relies entirely on a high-speed, low-distortion electronic shutter that’s enabled by its use of a stacked CMOS sensor. Both the Sony Alpha 1 and Canon EOS R3 employ similar technology, but only Nikon has been brave enough to take it to its logical conclusion.

Previously, Nikon split its pro DSLR lines between high-speed sports and action models and high-resolution cameras for wedding, portrait and studio work. But with the Z9, Nikon has aimed to produce a single camera that can do anything a professional photographer might need. It is, arguably, the first mirrorless model to put itself forward as a complete replacement for any professional full-frame DSLR.

You could argue that the Z9 doesn’t actually do very much that the Sony Alpha 1 doesn’t already offer, but the big difference is its chunky, robust build, integrated vertical grip for shooting with large lenses, and the familiar design and handling for long-term Nikon users. It’ll also work with their F-mount DSLR lenses via the FTZ2 adapter.

Pros:

• Integrated vertical grip
• Up to 120fps
• And 20fps full-res RAW

Cons:

• Overkill for most people

Best for: sports professionals

Read our Nikon Z9 Review

Fujifilm GFX100s

The Fujifilm GFX100S is the largest-sensor camera in this round-up. Photo credit: Andy Westlake

At a glance:

• $4,399 / £4,449 or less, used, body-only
• 102MP medium-format CMOS sensor
• Fujifilm G lens mount
• 5fps continuous shooting
• 4K 30p video

Before the introduction of the Fujifilm GFX100S, you would have had to spend £10,000 on the Fujifilm GFX100 in order to buy a 100MP medium format camera. Now, with the GFX100S, Fujifilm has made high-resolution medium format much more accessible, and what’s impressive is that the camera is similar in size to a full-frame DSLR.

In terms of imaging hardware, the GFX100S employs the same 102MP back-illuminated sensor and X-Processor 4 combination as the GFX100. This impressive pixel count allows you to make prints almost a metre wide at a critically-sharp 300-ppi output resolution, and considerably larger if they’re not going to be examined so closely.

Colour science

One of the biggest attractions of Fujifilm cameras lies with the firm’s peerless colour science, as delivered through its Film simulation modes. These deliver a broad array of attractive colour looks that each have their uses for different subjects. New on the GFX100S is Nostalgic Neg, which is supposed to hark back to colour negative film; think Kodak Gold and you won’t be far wrong. But there’s also the punchy, saturated Velvia for landscapes, two ProNeg options for subtle, muted portraits, the superb Acros for black & white or Astia for everyday shooting.

With built-in 5-axis image stabilisation, you can also shoot the camera handheld, and get impressive results, without the normal post-processing required from more traditional medium format camera. On-chip phase detection provides rapid autofocus, and there is a growing range of GF-mount lenses.

For photographers who need to shoot in the field without compromising on image quality, there’s nothing else like it. This camera delivers sumptuous image quality in a remarkably easy-to-use package, which takes up no more space in your bag than a high-end full-frame DSLR.

Pros:

• Incredible resolving power
• Affordable for medium-format
• Gorgeous film-simulation modes

Cons:

• Slower than full-frame cameras

Best for: resolution above all else

Read our Fujifilm GFX100S Review

Canon EOS R3

Canon EOS R3 in hand with lens, as tested by AP’s Technical Editor. Photo credit: Andy Westlake

At a glance:

• $4,999 / £5,499 body-only
• 24.1MP full-frame stacked CMOS sensor
• Canon RF lens mount
• 30fps shooting (electronic shutter)
• 6K 60p video

The EOS R3 is Canon’s new super-fast, action-focused, professional full-frame mirrorless camera. Indeed, the firm says this is the fastest and most capable camera it has ever made, being capable of shooting at 30 frames per second in full resolution 24MP raw. It can also record 6K raw video at 60 frames per second.

The EOS R3 is built around an all-new 24.1MP full-frame stacked CMOS sensor, which offers a standard sensitivity range of ISO 100-102,400 (expandable to ISO 50-204,800). The stacked architecture brings remarkable speed, including a world-record top shutter speed of 1/64,000sec, and the ability to combine flash with the silent electronic shutter at a sync speed of 1/180sec. The shutter lag is just 20ms, which is so short that Canon offers a menu option to lengthen it to match its DSLRs.

But arguably its most exciting feature is a new twist on an old Canon technology, eye-control focus. This means the camera can detect what the user is looking at in the viewfinder, and then autofocus on it. This futuristic-sounding feature was found on several of Canon’s 35mm film SLRs in the 1990s, but the big difference lies in the way it now works in concert with subject recognition technology.

Eye control AF

Eye Control AF employs an array of infrared LEDs to determine where you’re looking in the viewfinder, which is indicated by a circular blue cursor. The camera then uses this information to select a subject for tracking when the shutter button is held half-pressed. The system must be calibrated to each photographer’s eye, but this is straightforward.

As is becoming increasingly standard, 5-axis in-body image stabilisation (IBIS) is built in. This works together with optically stabilised lenses to provide up to 8 stops of stabilisation (according to CIPA standard ratings). There’s no IBIS-based high-resolution multi-shot mode, but given the camera’s target audience, that’s no great surprise (or loss).

The Canon EOS R3 is an intoxicatingly brilliant camera to shoot with. It boasts one of the most sophisticated autofocus systems around, but makes it remarkably easy to use, allowing you to change settings quickly to suit the situation. You can buy the brilliant EOS R6 II for less than half the price, and spend the money saved on some very nice lenses. But for Canon users who demand the ultimate speed and autofocus performance, the EOS R3 is the camera to get.

Pros:

• Versatile in all situations
• Eye-control focus
• Superb stabilisation

Cons:

• May not be enough pixels for some

Best for: sports-shooting speedsters

Read our Canon EOS R3 Review

Sony Alpha 1

The Sony Alpha A1 is a highly sophisticated camera. Photo credit: Andy Westlake

At a glance:

• $6,498 / £5,879 body only
• 50.1MP Exmor RS CMOS full-frame sensor
• Sony FE lens mount
• 30fps continuous shooting
• 8K 30p video

Sony’s latest flagship model, the Alpha 1, boasts the kind of spec sheet that photographers could only dream of before. Previously we’ve had to choose between resolution or speed, but it delivers both in spades. In terms of pixel count, its 50.1MP full-frame sensor is surpassed in a similar price bracket only by the firm’s own 61MP Alpha 7R IV and Fujifilm’s 102MP medium-format GFX100S…

However, this is combined with the ability to shoot at a startling 30 frames per second, which can be matched by very few other cameras, and all at considerably lower resolutions. The fact that the Alpha 1 can shoot at 50MP and 30fps while adjusting focus and exposure between frames is unprecedented. Oh, and it records 8K video at 30fps and 4K video recording at 120fps.

Stacked CMOS sensor

Sony built the Alpha 1 around an all-new Exmor RS stacked CMOS sensor, in which three chips are effectively sandwiched on top of each other, with the light-sensitive photodiodes connected first to a memory layer, with a processing layer underneath. In principle, this maximises light capturing efficiency, and enables rapid pixel readout, while keeping electronic read noise to a minimum. As a result, the sensor promises an impressive 15 stops of dynamic range, while providing a standard sensitivity range up to ISO 32,000 (expandable up to ISO 102,400).

You also get an impressively quick autofocus system and 5-axis in-body image stabilisation. With the Alpha 1, Sony rewrote the rule book for what we can expect a camera to do. It offers higher resolution than almost anything else, combined with astonishing shooting speeds. This is backed up by an extraordinary AF system that can track moving subjects with unerring accuracy. The obvious people who will benefit from the ability to shoot 50MP images at 30fps are professional sports photographers. Designed to be the ultimate sports and video camera, the only thing you need to decide is if it meets your needs and is worth the price!

Pros:

• Next-generation autofocus
• Amazing dynamic range
• Superb shooting speeds

Cons:

• Price, obviously

Best for: high-end professional users who need the best of the best

Read our Sony Alpha 1 review

How to choose the best mirrorless cameras

When looking at mirrorless cameras, you want to weigh up their various specs with your shooting priorities. Having more resolution makes sense if you want to make high-quality prints of your images, but if you’re only going to be sharing images online, all those pixels will just slow down your process.

If you want to capture fast action, then a fast burst rate is a must. For low light work, a broad ISO range will help, and you may also want to consider a camera with in-body image stabilisation (IBIS) as this allows for the use of slower shutter speeds (thus gaining more light) without blurring the image. Most camera systems offer lens-based optical image stabilisation (OIS) and the two, OIS and IBIS, can work collaboratively for even greater benefit.

Also, different mirrorless cameras will use a different lens mount, so you may want to look at what lenses are available for a camera before committing.

Sensor size

There are a range of different sensor sizes available for mirrorless cameras – the ones we’ll be dealing with are (from smallest to largest): Four Thirds, APS-C, full-frame and medium format. Larger sensors provide better image quality, but cost more, and require bigger cameras. On that subject, mirrorless cameras come in a wide range of different sizes and weights, so have a think about how much weight you’re comfortable lugging around. If you need to get your head around sensor sizes, see our guide to APS-C vs full-frame.

Finally, there’s video, which is fast becoming the driving force behind new camera development. 4K video capture has become a basic expectation, but some cameras can shoot 6K, even 8K video. Faster frame rates can offer powerful slow-motion effects, and the best cameras can achieve this even at 4K resolution.

Text by Geoff Harris, with contributions from Joshua Waller, Jon Stapley & Michael Topham.

Further reading

• Best lenses for mirrorless camera systems
• Why it’s time to change to mirrorless
• Best Nikon mirrorless cameras
• Best Canon mirrorless cameras
• Best second-hand full-frame mirrorless cameras

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The post The best mirrorless cameras you can buy right now appeared first on Amateur Photographer.

Recently, we’ve seen the Z series shaken up by the arrival of the gorgeously retro Nikon Zf, a throwback to Nikon’s heritage in the world of film SLRs, but one that still packs in cutting-edge features like 8-stop stabilisation and AI-powered autofocus that can recognise and lock onto specific subjects. Before that, we saw the release of a speedster wildlife specialist, the Nikon Z8 – though if you’re looking for something more affordable, there are plenty of beginner cameras in the series. The Nikon Z50 is a great place to start.

If you’re new to the world of mirrorless cameras and aren’t sure where to start, there is an explainer section at the bottom of this page with FAQs that will help (as will our guide to DSLR vs mirrorless where the general concepts are explained). Once you pick your Nikon mirrorless camera, you’ll also want to acquire one of the best Nikon Z-mount lenses (unless one comes bundled in). For more options, check out our guide to the best Nikon DSLRs.

The best Nikon mirrorless cameras – here is our quick list:

• Best high-speed Nikon mirrorless: Nikon Z9 – Buy now
• Best Nikon mirrorless for beginners: Nikon Z50 – Buy now
• Best Nikon mirrorless for low light: Nikon Zf – Buy now
• Best budget full-frame Nikon mirrorless: Nikon Z5 – Buy now
• Best high-resolution Nikon mirrorless: Nikon Z7 II – Buy now
• Best all-round Nikon mirrorless: Nikon Z6 II – Buy now
• Best professional Nikon mirrorless: Nikon Z8 – Buy now
• Best second-hand Nikon mirrorless: Nikon Z7 – Buy now
• Best Nikon mirrorless for vlogging: Nikon Z30 – Buy now
• Best Nikon mirrorless for style: Nikon Z fc – Buy now

Read on to learn more about each camera’s strengths and weaknesses, based on the findings of our review team. Once you’ve chosen a Nikon mirrorless camera, don’t forget to pick up some of the best Z-mount lenses for Nikon to go with it. But for now, let’s get to the list of the best Nikon mirrorless cameras you can buy…

Best high-speed Nikon mirrorless: Nikon Z9

The Nikon Z9 is one of the most sophisticated and capable cameras on the market. Photo credit: Andy Westlake

At a glance:

• Price $5,496 / £5,299 body-only
• 45.7 megapixel full-frame sensor
• 30fps shooting (120fps at 11 megapixels)
• 6-stop in-body image stabiliser
• 8K video
• AI subject-detect autofocus
• 3.69-million-dot electronic viewfinder

What a camera this is. The Nikon Z9 is the firm’s mirrorless professional flagship, a spiritual successor to its single-digit DSLRs like the D5 and D6. For years these cameras were a mainstay of professional sports shooters, and the incredible speedster that is the Z9 continues in that grand tradition,

Let’s get the headline specs out of the way. The Nikon Z9 is capable of shooting 45.7MP full-resolution raws at 20 frames per second, and can do so for more than 1,000 frames. Switch to JPEGs and it’ll manage 30 fps – drop the resolution down to a still-useable 11MP, and it’ll shoot at a staggering 120fps. And this is all paired with an intelligent, class-leading subject-detection autofocus system that’s capable of recognising specific things like faces, animals, cars, birds and more. What’s more, unlike Canon and Sony’s system, you don’t have to pre-select what it’s hunting for beforehand. Whether the subject is moving, or in the corner of the frame, this system seems to hit it with almost unerring accuracy.

We speak with some authority here, having put the Nikon Z9 through an extensive testing procedure. The Nikon Z9 is an incredible camera that just works – it powers up in seconds, and keeps going for ages on a single battery charge. It can shoot completely silently, and also has a high-efficiency raw format that keeps file sizes down with no noticeable impact on image quality. Incredibly useful for those fast burst speeds! In some situations the autofocus landed on the wrong subject, or saw a face where there wasn’t one, but these incidences were few and far between.

Of course, it all comes at a cost. The Nikon Z9 is a high-end pro camera and is priced as such. For many users it will simply be out of reach. If it’s within your budget, however, it is quite simply one of the best cameras we’ve ever tested.

What we like:

• Best-in-class autofocus
• Super-fast burst rate
• High-resolution sensor

What we don’t like:

• Hugely expensive, obviously

Best for: action, wildlife and sport photography, professional photographers

Read our Nikon Z9 review

Best Nikon mirrorless for beginners: Nikon Z50

Nikon Z50 in hand with 16-50mm lens. Photo credit: Michael Topham

At a glance:

• Price $649 / £789 body-only
• 20.9 megapixel APS-C sensor
• Tilting touch screen
• 11fps shooting
• 4K video
• 2.36-million-dot electronic viewfinder

Completely new to Nikon mirrorless cameras? Start here. The Nikon Z50 is one of the cheapest models in the line-up, and is a solid all-rounder that’s ideal for getting to grips with the system. It was the first in the series to use an APS-C sensor (or DX-format, as Nikon calls it), and while it’s not quite as outwardly stylish as, say, the Fujifilm X series of APS-C cameras, the Nikon Z50 has a lot going for it.

With 11fps burst shooting, this is a nippy little camera, and the hybrid autofocus system does a great job of keeping up with the action. Its 209 phase detection AF points cover the vast majority of the frame, and both Eye and Face Detection AF are on board. The viewfinder and touchscreen are also first-rate for a camera of this class, providing an immersive handling experience.

At the time of the Nikon Z50’s release, there weren’t very many natively DX-format lenses for Z-mount. Four years down the line, there still aren’t very many natively DX-format lenses for Z-mount, which is annoying if you’ve invested in a camera like the Z50. The full-frame lenses will still work on the Z50, but they tend to be both bulky and expensive, which sort of negates the point of buying a cheaper APS-C camera.

What we like:

• Excellent viewfinder and touchscreen
• 11fps shooting and responsive AF
• Deep handgrip

What we don’t like:

• Limited DX-format Z lenses

Best for: travel, entry-level photographers

Read our Nikon Z50 review

Best Nikon mirrorless for low light: Nikon Zf

The retro-style Nikon Zf with 40mm f/2 SE lens. Photo credit: Andy Westlake

At a glance:

• Price $1,996 / £2,199 body-only
• 24.5MP full-frame sensor
• 14fps shooting
• 4K video
• 3.69-million-dot electronic viewfinder

Nikon’s newest entry on the block, the fabulous Nikon Zf is a successor to a number of different cameras at once. On the surface, it’s the latest entry in the Z series, and can be seen as a bigger brother to the similarly retro-styled Nikon Z fc, which has an APS-C sensor rather than a full-frame (see further down for more on that camera).

However, the Zf is a number of other things too. It’s a throwback to Nikon’s immensely admirable heritage in film SLRs, with a bodied styled after famous analogue cameras like the Nikon FM2. It’s also something of a re-try of the Nikon Df DSLR; a retro throwback that was rather overpriced at launch (and can be picked up more reasonably second-hand now) – a concept that was interesting, but missed the mark.

The Nikon Zf is more than just an aesthetic gimmick, though. It’s a comprehensively featured full-frame mirrorless camera. And, thanks to advancements in Nikon’s latest Expeed 7 processor, it’s shaping up to be one of the best low-light shooters on the market. The Zf offers a native ISO sensitivity up to 64,000, expandable to 204,600; and with a full-frame sensor of fairly low resolution of 24.5MP, it produces ultra-clean images even at higher sensitivities. Having eight stops of in-body stabilisation is helpful too.

Read our full review of the Nikon Zf to see how it performs.

What we like:

• Gorgeous retro styling with dial-led controls
• Excels in low light
• Zippy burst shooting with AI-powered autofocus

What we don’t like:

• Second card slot is micro SD, which could limit speeds

Read our Nikon Zf review.

Best budget full-frame Nikon mirrorless: Nikon Z5

The Nikon Z5 is a compelling entry-level full-frame option. Photo credit: Andy Westlake

At a glance:

• Price $996 / £1,029 body-only
• 24.3 megapixel full-frame sensor
• 4.5fps shooting
• 4K video
• 3.69-million-dot electronic viewfinder

For a full-frame mirrorless on a limited budget, you could try the Nikon Z5. With this, you get a well-performing full-frame sensor and similar great handling as the more expensive Z6 II, but with some key compromises.

Although the resolution of the sensor is similar to that of the Z6 II, the Z5’s is not back-side illuminated, so it doesn’t perform quite so well in lower light conditions. It’s also not quite as quick, especially when it comes to frame rates – so if action, sports or wildlife is your thing, it’s not the optimum model for you.

What you do get is a good performer for static subjects, and access to the full-frame system without spending a fortune – which makes it ideal for beginners and those upgrading to full-frame for the first time.

What we like:

• Excellent build quality
• Dual card slots
• Good entry point for full frame

What we don’t like:

• 1.7x crop on 4K
• Only 4.5fps burst

Best for: beginners, those new to full frame

Read our Nikon Z5 review

Best high-resolution Nikon mirrorless: Nikon Z7 II

The Z7 II fixes a few issues with the original Z7 to deliver a spectacular high-resolution camera. Photo credit: Michael Topham

At a glance:

• Price $2,296 / £2,399 body-only
• 45.7 megapixel full-frame sensor
• Up to 10fps shooting
• 4K video
• 5-stop in-body image stabiliser
• Eye-detection autofocus
• 3.69-million-dot electronic viewfinder

A high-resolution full-frame model for serious enthusiasts and professionals, the Nikon Z7 II delivers a comprehensive shooting experience while fixing some of the flaws of the first version. It’s got two card slots now, with a second UHS-II SD slot in addition to the CFExpress B/XQD slot from the original Z7.

In testing, we found the Nikon Z7 II to deliver exactly the kind of sublime quality we’ve come to expect from the series, thanks to its 45.7MP back-illuminated full-frame sensor. The camera performs beautifully at all its standard ISO settings, and while noise starts to creep in at ISO 12,800 and 25,600, results are still perfectly acceptable.

The electronic viewfinder is big and beautiful enough to give pause to even the most die-hard DSLR enthusiast (though its raw resolution lags behind that of rivals from the likes of Canon and Sony). Plus, the Z7 II can achieve a decent burst speed of 10fps, with a deep shot buffer.

It’s not the biggest upgrade over the original Z7, and isn’t supposed to be; the original camera is still on sale as a compelling, cheaper alternative. In either case, you get an exceptional mirrorless camera, with perfectly pitched handling, and the ability to produce superb images. It’s hard to ask for more than that.

What we like:

• Dual fast card slots
• Deep shooting buffer
• Excellent handling

What we don’t like:

• Nasty crop on 4K video
• Viewfinder lower-res than rivals

Best for: landscape photographers, macro photographers, portrait photographers

Read our Nikon Z7 II review

Best all-round Nikon mirrorless: Nikon Z6 II

After a long time spent with the Nikon Z6 II, we’ve been left hugely impressed. Photo credit: Andy Westlake

At a glance:

• Price $1,596 / £1,549 body-only
• 24.5 megapixel full-frame sensor
• 14fps shooting
• 5-stop in-body image stabilisation
• 4K video
• 3.69-million-dot electronic viewfinder

The Z6 II is a solid all-rounder that for many Nikon mirrorless photographers is likely to be the sensible choice. While it doesn’t have the sky-high megapixel count of the Z7 II, keeping things rather more low-key at 24.5MP, it’s still a highly effective camera with a lot going for it – and having a less pixel-crowded sensor does offer a few advantages of its own.

The Nikon Z6 II does an excellent job in low light, focusing accurately and producing clean, low-noise images in dim conditions. You can nudge the ISO levels up to 12,800 and still get perfectly usable images.

While the autofocus system offers the same 273 phase detection AF points as the previous Z6, it boasts an improved algorithm. In use, the system is reliably accurate and generally seems to intuit your intentions much better than the Z6 ever did. Having Face- and Eye-detection is also handy, especially for street and portrait work.

We have completed a Nikon Z6 II long-term test in addition to our full review, and it really is an impressive camera. The lack of a fully articulating touchscreen may annoy some, but otherwise, it really is a camera that’ll do just about everything.

What we like:

• Robust 14fps burst
• Focuses well in low light
• All-around good at everything, for decent price

What we don’t like:

• Not a huge jump from cheaper Z6
• Screen not fully articulated

Best for: All-rounder photographers without a huge budget

Read our Nikon Z6 II review

Best professional full-frame Nikon mirrorless: Nikon Z8

Nikon Z8 front view with 35mm f/1.8 lens. Credit: Andy Westlake

At a glance:

• Price $3,696 / £3,999 body-only
• 45.7 megapixel full-frame sensor
• 20fps shooting (120fps at 11 megapixels)
• 8K video
• AI subject-detect autofocus
• 3.69-million-dot electronic viewfinder

The Nikon Z8 is a serious camera for serious shooters. On its release, Nikon explicitly drew comparisons with the D850, one of the most popular DSLRs of all time. The D850’s combination of high resolution and high-speed shooting made it a particular hit with wildlife photographers – the Nikon Z8 is a continuation of that tradition.

Of course, the Nikon Z9 already did that, so in practice, the Nikon Z8 is basically just a slimmed-down, cheaper version. This is no bad thing; the Z9 is spectacular, but expensive and bulky, so the Z8 makes more sense for a lot of users. You still get to shoot 45.7MP images at high frame rates, and take advantage of Nikon’s AI-powered subject-detection autofocus. The fastest shutter speed is a lightning-fast 1/32,000sec, and you even get the Z9’s 11MP 120fps shooting mode for those times you need to be faster than fast. 8K video is on board, too.

There aren’t many things to criticise about this camera, as we discovered in our in-depth Nikon Z8 review. It’s a pricier prospect than the Z7 II, which sports the same resolution, so is only really worth the money if you really need the speed. Some photographers may have also preferred two UHS-II SD slots rather than one SD and one CFexpress (or XQD) as this necessitates a more expensive card – but that’s a nitpick. If the Z8 fits your budget, and you want the speed it’s offering, there’s no reason not to snap it up.

What we like:

• Almost all the power of the Nikon Z9 in a regular size body
• 45.7MP resolution
• 8K video capability but also 4K up to 120p
• Handling and build quality

What we don’t like:

• Two different card types (though that can be useful)
• More expensive than the 45.7MP Z7 II

Best for: Professionals needing a powerful, durable and compact camera

Read our Nikon Z8 review

Best second-hand Nikon mirrorless: Nikon Z7

The original Z7 has its quirks, but is excellent value for money on the used market. Photo credit: Andy Westlake

At a glance:

• Used price $1,395 / £799 body-only
• 45.7MP full-frame BSI CMOS sensor
• 9fps shooting
• Single XQD card slot
• 4K 30p video
• 5-axis stabilisation

The original Nikon Z7 was one of the first cameras out of the gate for the Z system. As such, it’s something of an interesting object to look back on, exemplifying all the great things about the series as well as displaying a few of the mis-steps Nikon made on its first go.

So, let’s get that out of the way, because we’re sure Nikon is heartily sick of people talking about it: the Nikon Z7 only has one memory card slot. Booooo. This is a bit of a head-scratcher as it instantly makes the camera a non-starter for any photographer who needs to use an extra card to provide backup insurance against data corruption – wedding photographers, event photographers, photojournalists, folks of that nature.

Then, to make matters worse, the single slot in question was designed to only accept the expensive and increasingly irrelevant XQD card format (it has since been patched to accept CFexpress, which is still expensive, but is at least widely used).

However, if you can get over this, the Nikon Z7 delivers the exact same full-frame resolution as its successor, the Z7 II, and does it for about half the price if you buy it on the second-hand market. This kind of full-frame quality for about $1,600 / £1,500 is a hell of a deal, storage quirks notwithstanding, and the handling of this camera is wonderful. It’s nicer to use than its Sony contemporaries, sitting comfortably in the hand, and its viewfinder is gorgeous.

The image quality is simply stunning in pretty much any lighting conditions, and the 5-axis stabilisation is highly effective – even more so when paired with stabilised Z-mount lens. While it doesn’t boast the kind of futuristic AI-powered subject-detection autofocus we’d later see on the likes of the Z9, it still does an excellent job of locking onto and tracking moving subjects. Like all the best Nikon cameras, it just works.

What we like:

• Excellent value on second-hand market
• Good ergonomics
• Beautiful viewfinder
• High-res image quality

What we don’t like:

• Single card slot that requires expensive cards
• Screen just tilting, not vari-angle

Read our full Nikon Z7 review.

Check out second-hand prices for the Nikon Z7 on MPB.

Best Nikon mirrorless for vlogging: Nikon Z30

With a flip-around rear-screen and no viewfinder, the Nikon Z30 is pitched towards vloggers. Photo credit: Tim Coleman

At a glance:

• Price $607 / £599 body-only
• 20.9 megapixel APS-C sensor
• 11fps shooting
• Single card slot
• No viewfinder
• Uncropped 4K video

Aimed squarely at vloggers, the Nikon Z30 shapes up as a natural rival to similarly priced vlogging cameras like the Sony ZV-E10, with the same APS-C sensor. But as the Z system is much younger than Sony’s E-mount, you won’t have such a gargantuan selection of optics to choose from.

Still, on its own terms, the Nikon Z30 is an impressive camera. As we found in our full test and review, its comfortable grip makes for solid handling. The camera is easy to use one-handed, with the flip-around screen handy for self-taping. There’s no viewfinder, but a vlogging camera does not really need one, and it help keeps the weight down to a slender 405g. Not bad!

Video footage looks excellent, with uncropped 4K available at up to 30p, and a Flat colour profile that is is ideal for grading (it’s not quite a Log profile, but it’s close). Full HD is also available at up to 120p, bringing slow-motion into play.

There are a couple of omissions. We found that the lack of a headphone jack compromises the Z30’s usefulness somewhat when it comes to video, as having no way to accurately monitor your audio mid-shoot could cause real problems. Also, while the lack of in-body stabilisation was presumably a sacrifice to keep the cost and weight down, it does make it harder to use the Z30 for run-and-gun shooting (and the cost-savings are somewhat negated anyway if you end up having to buy a gimbal).

What we like:

• Very lightweight
• Excellent, uncropped 4K
• Well priced

What we don’t like:

• No headphone jack
• No in-body stabilisation

Best for: vloggers on a budget

Read our Nikon Z30 review

Best Nikon mirrorless for style: Nikon Z fc

With its retro good looks and decent spec, the Nikon Z fc is worth a serious look. Here, pictured with the 28mm SE lens. Photo credit: Andy Westlake

At a glance:

• Price $856 / £789 body-only
• 20.9 megapixel APS-C format sensor
• 11fps shooting
• 4K video
• Vari-angle screen
• Retro-styled body
• 2.36-million-dot electronic viewfinder

Using the same base specifications as the Z 50, the Z fc should appeal to all of those that want something that not only performs well, but also looks the part too.

With its attractive retro styling, it’s quite possibly the best looking Nikon Z camera – or at least, it was before the Nikon Zf arrived. But it’s not just a looker – another advantage is the use of a vari-angle screen, which is a bit more flexible and useful than the tilting version found on the Z50.

Which you opt for may also come down to price – sometimes the Z50 is cheaper, sometimes its the Z fc – so it’s worth shopping around to make sure you get the best deal.

What we like:

• Stylish, well-designed body
• Vari-angle screen
• Good image quality at high ISOs

What we don’t like:

• Somewhat bulky
• Basically the same as Z50

Best for: vloggers, travel, entry-level photographers

Read our Nikon Z fc review

How to choose a Nikon mirrorless camera – key specs explained

What is a mirrorless camera anyway? As the name implies, a mirrorless camera lacks a mirror in the camera body, unlike a DSLR, which uses a reflex mirror system to reflect an image into an optical viewfinder. There are plenty of other camera types that don’t use mirrors, like compacts and action cameras, but the term ‘mirrorless’ has come to refer specifically to interchangeable-lens cameras. See our piece on DSLR vs mirrorless for a more detailed explanation.

Focusing specifically on Nikon mirrorless cameras, here are the key specs you’ll want to pay attention to when choosing the right model for you.

Sensor: Sensor size is an important consideration when choosing any camera. In the Nikon mirrorless system you have two choices: full-frame, or a smaller APS-C sensor (Nikon calls them FX and DX, respectively). The larger full-frame sensors are better for image quality, especially in low light. However, APS-C cameras are not only more affordable, but also provide you with a lighter system that’s great for travel. We have a full outline of the key pros and cons of sensor sizes in our guide to full-frame vs APS-C.

Resolution: This refers to how many pixels the sensor has, expressed in megapixels (MP). The more megapixels, the more detail in images. This is great for printing, but demands more storage space and does increase the cost of the camera.

Screen & viewfinder: Almost all of Nikon’s mirrorless cameras have electronic viewfinders – only the vlogger-focused Z30 leaves it off. Size and resolution are the key specs to pay attention to here; the bigger the EVF, the better the shooting experience. Screen-wise, all Nikon mirrorless cameras have LCD screens that offer some kind of movement, either tilting or fully articulating. The latter is useful for video, especially recording pieces to camera, though photographers can also make use of it to explore unusual shooting angles.

Image stabilisation: All of Nikon’s full-frame cameras include in-body image stabilisation (IBIS). None of Nikon’s APS-C models offer it, which is something to think about – particularly if you’re likely to be using them with long lenses or in low light with slow shutter speeds. That said, you can mitigate for the lack of IBIS by always using lenses with stabilisation (Nikon calls it VR, or ‘Vibration Reduction’), or by using a tripod.

Frame rate: Also referred to as burst speed or continuous shooting speed, this is how fast the camera can fire off shots sequentially. A high burst rate is useful for capturing fast action – though it’s also worth checking a camera’s buffer depth, i.e. how many shots it can capture in a burst before it has to slow down and catch up.

Video: All Nikon mirrorless cameras can shoot 4K video, and the flagship Z9 and Z8 even offer 8K for high-end users.

Lens options: You might be thinking this is a redundant category, given that all the cameras on this list use the Z mount. However, things work slightly different with the APS-C DX-format models in the series (currently the Z50, the Z30 and the Z fc), as their smaller sensor incurs a 1.5x crop factor on the focal length of the lens. This means, for example, a lens that provides a 35mm focal length on the Nikon Z7 II will provide a 52mm equivalent focal length when mounted to the Z50. There are a few Z-mount lenses specifically designed for DX-format cameras, though admittedly not very many so far.

Best Nikon mirrorless cameras: frequently asked questions

Which is the best Nikon mirrorless for wildlife?

There is a straightforward answer to this question, albeit one that a lot of people aren’t going to like – the best Nikon mirrorless camera for wildlife is the Nikon Z9. It just is. The out-of-this-world burst shooting capabilities, the intelligent subject-detect autofocus that can lock onto animals and birds, the sublime 45.7MP image quality – it all works seamlessly in tandem, and makes the Nikon Z9 not just one of the best Nikon mirrorless cameras for wildlife, but one of the all-around best wildlife cameras you can buy, full-stop.

Of course, with a price tag of $5,496 / £5,299 for just the body, the Nikon Z9 is not going to be a realistic option for a lot of people. The Nikon Z8 is essentially a slimmed-down version of the Z9 with a lot of the same internals; however, at $3,696 / £3,999, it’s still not what you’d call budget-friendly.

Taken with the Nikon Z9. Photo credit: Andy Westlake

For a more modestly priced option, we’d say the Nikon Z6 II is a good choice for wildlife. Its focusing system is reliable and accurate, and it keeps on going when the light gets low. Its full-frame sensor produces great-looking 24.5MP images, and wildlife photographers can take advantage of the 14fps burst mode. It costs around $1,596 / £1,799.

If this is also too high a price, then an APS-C model could be a good choice. The Nikon Z50 ticks a lot of boxes for wildlife photographers, with a compact, portable body and 11fps burst shooting. It’s a reliable little all-rounder, and it’s hard to argue with the street price of around $756 / £789. Plus, the small sensor size means the effective focal length of your lenses will be extended by 1.5x – so, for example, a 50mm lens will behave like a 75mm lens. This can be immensely useful when hunting for images of shy wildlife subjects.

Can you use Nikon mirrorless cameras with F-mount DSLR lenses?

Yes, you can mount Nikon F-mount lenses to your Nikon Z-mount camera, and in many cases still enjoy full functionality of features like autofocus and stabilisation. All you need is a Nikon FTZ adapter, which slots between the camera and lens. There’s also an FTZ II adapter at $250 / £249, which is basically the same but has a redesigned construction that keeps out of the way of some of the function buttons on the Z9. Adapters are easy to find; you can get the FTZ adapter from MPB for around $160-170 / £170-180.

Be aware that this process only works in one direction – you can’t adapt mirrorless Z lenses onto F-mount DSLRs. This is because DSLRs have a thicker body to allow room for the mirror, so any Nikon Z lens would be mounted too far from the sensor to focus.

Nikon FTZ adapter

Which Nikon mirrorless cameras have an articulating screen?

The Nikon Zf and the Nikon Z fc have fully articulating screens, as does the vlogging-focused Nikon Z30. The Nikon Z9 and Z8 receive half points here, as they have two-way tilting screens that are pretty close to fully articulating.

Other Nikon mirrorless cameras, including the Z5, Z50, Z6 II, Z7 II, Z6 and Z7, use various types of tilting screens, rather than fully articulating.

Text by Amy Davies, with contributions from Jon Stapley.

Once you’ve found the perfect camera for you, have a look at some of the best Nikon Z-mount lenses. Or have a look at more buying guides, and our latest reviews. 

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The post Best Nikon mirrorless cameras to buy right now appeared first on Amateur Photographer.

This guide aims to help you find the right camera bag for your kit, based on our extensive experience testing and reviewing camera accessories. Anything equal in size or bigger than an average mirrorless or DSLR camera and a few spare lenses ought to be transported in a dedicated camera bag. See it as a worthy investment for your equipment – making do with any old rucksack will prove falsely economic if something breaks in it.

[ For smaller set-ups than these, consider a small bag or pouch, as the backpacks cited here will likely offer much more space than you need ].

Camera bags come with padded interior dividers that can be rearranged and secured with Velcro, allowing you to mould the bag’s interior around the particular contours of your gear. This is crucial to protect fragile items like lenses from impact in transit. Camera bags also often have tripod holders, laptop sleeves, pull-out rain covers and more, providing plenty of scope out in the field.

Choosing a suitable camera bag

There are different types of camera bag. As camera backpacks suit most photographers’ needs, they make for the majority of our picks. Sling bags and messenger bags are also included. Whichever type you choose, a good photographer’s bag should offer enough interior space, be comfortable to carry for long periods, and tough enough to withstand adverse conditions and the odd mishap.

Many camera bags have quick-access options, with extra flaps and zips that allow you to swing the bag around and grab kit without having to completely remove it. You may also want to think about weatherproofing – some camera backpacks are made from water-repellent fabric, and/or have pull-out rain covers.

Those already in the market for a backpack and are security-conscious about your gear should check out our Best rear-loading backpack guide to find out why they’re a good idea and the ones we rate highly.

There are great affordable options in our guide to the best second-hand messenger bags.

Other considerations

For extra items like a water bottle, charging bank, notebook etc., you may want to pick up a bag with external pockets. Some camera backpacks also have tripod attachments. Also, if you’re carrying a lot of weight (like a DSLR and multiple lenses), consider a bag with a waist belt or harness, to alleviate some of the weight from the shoulders. In either case, padded straps are a good idea. It’s also common for camera backpacks to have laptop sleeves for safely storing a portable computer – useful for editing your images on the go.

Taking your camera with you on a trip? Have a quick look at our top five carry-on cabin bags for flying with camera kit.

For more kit guides, check out our rundowns of the best tripods to buy and the best kit for wildlife photography.
Now here are our picks of the best camera bags currently available:

Get straight to the point with our quick list of the best camera bags:

• Best backpack for photographers: Manfrotto Pro Light Multiloader Backpack M – check best price
• Best camera sling bag: Think Tank Urban Access Sling 8 – check best price
• Best weatherproof camera bag: Langly Weekender Backpack – check best price
• Best camera bag for hiking: Gitzo Adventury 30L – check best price
• Best roll-top camera backpack: Wandrd Prvke 31 Backpack V3 – check best price
• Best professional camera backpack: Lowepro ProTactic BP 450 AW II – check best price
• Best camera bag for mirrorless: Manfrotto Street Slim Backpack – check best price
• Best camera bag with laptop sleeve: Peak Design Everyday Backpack 20L – check best price
• Best camera bag for DSLRs: Tenba DNA 16 DSLR Backpack – check best price
• Best cheap camera backpack: Vanguard Veo Active 42M – check best price
• Best large camera backpack: Vanguard Alta Sky 68 – check best price
• Best small camera backpack: F-Stop Kashmir UL 30L – check best price
• Best messenger bag for photographers: Billingham 307 – check best price

Want to know more? Read on as we run through the full specs of every camera bag on our list…

Best backpack for photographers: Manfrotto Pro Light Multiloader Backpack M

Manfrotto Pro Light Multiloader review. Image credit: Andy Westlake

At a glance:

• 35.5 x 26 x 54 cm external dimensions
• Holds 2 cameras and 8 lenses
• 15in laptop compartment
• Price: $250 / £165

This exceptional backpack earned the full five stars in our recent review. For serious photographers, it is pretty much perfect. There’s plenty of room, with dimensions of 35.5 x 26 x 54 cm, but what sets the Multiloader apart is its quick-access functionality. The single zip running along the outside can be opened in numerous different ways thanks to four zip pulls, giving flexible access to the side panels and front section.

It’s a sizeable bag – it would be a hefty prospect full up – but the top-notch harness distributes the weight well and makes it easy to carry. If your equipment justifies its size, the Manfrotto Pro Light Multiloader Backpack M is a compelling choice.

Pros:

• Holds loads of gear
• Premium material and construction
• Multiple access points

Cons:

• Will be very heavy if you fill it

Read our Manfrotto Pro Light Multiloader Backpack M review.

Best camera sling bag: Think Tank Urban Access Sling 8

Think Tank Urban Access Sling 8

At a glance:

• 37 x 20 x 13 cm external dimensions
• Holds 1 camera and 2-3 lenses
• 8-inch tablet sleeve
• Price: $120 / £99

A good sling bag can be ideal for urban street shooting. Lightweight and manoeuvrable, these can be worn on either shoulder, and slung around the body for quick access to gear without needing to remove it. The Think Tank Urban Access Sling 8 is one of our favourites. It’s designed to hold a mirrorless setup and two or three lenses, to suit the light-travelling street photographer, and it offers camera access from either side.

There’s a useful tripod attachment on the front of the bag, and the Urban Access 8 also offers an 8-inch sleeve for a small tablet. A removable webbing waist belt affords some extra security and stability, if needed, and a well-sealed rain cover is included. While space is limited, it’s pitched about right for the type of user who’ll want a sling bag – if your gear is much bigger than this, a backpack will be a better fit.

Pros:

• Dual side access
• Sleek, understated design
• Includes waist belt and rain cover

Cons:

• 8-inch tablet sleeve has limited usefulness
• Limited overall capacity

Best weatherproof camera bag: Langly Weekender Backpack

Langly Weekender Backpack review. Image credit: Andy Westlake

At a glance:

• 46 x 30 x 18 cm external dimensions
• Holds 1 camera and 4-6 lenses
• 13in laptop compartment
• Price: $275 / £228

This useful backpack by Langly is constructed from Rugged Twill cotton fabric with a water-resistant coating. Not only does this ably protect your gear from the elements, but it also looks pretty stylish too – the bag has a classic, subdued appearance that exudes cool without drawing attention to itself.

Practically, the Langly Weekender Backpack acquits itself well. Kit is protected by a removable padded camera cube, and you’ll easily it in a camera and four lenses. Probably more, unless your glass collection is mostly big telephotos. There’s also a padded laptop sleeve, as well as large pockets on the front and sides. We would have liked to see these pockets be expandable, but otherwise this is an excellent backpack all-around.

Pros:

• Lots of well-sized pockets
• Stylish trim
• Durable materials

Cons:

• Outer pockets don’t expand
• Top section isn’t fully enclosed when back is opened

Read our Langly Weekender Backpack review.

Best camera bag for hiking: Gitzo Adventury 30L

Best camera backpacks for photographers Gitzo Adventury 30L

At a glance:

• 31 x 19 x 48 cm external dimensions
• Holds 2 cameras and 4 lenses
• 15in laptop compartment
• Price: $200 / £239

Gitzo also makes a 45L version (£299) of this high-quality rear-entry backpack for outdoor lovers, but the 30L bag has enough space for a twin-gripped DSLR with a 400mm lens, plus additional lenses, a second body, accessories, and a laptop in its own dedicated section.

There are mounting points to attach a tripod. Alternatively, there are also the side pockets which open at the top and bottom to slip a tripod in. The Adventury is comfortable to carry, is made from water-resistant fabric and comes with a shower-cap style rain cover. This Gitzo backpack also features in our Best rear-loading backpack guide.

Pros:

• Sturdy for hiking
• Lots of storage room
• Tripod mounting points

Cons:

• On the bulky side
• Comparatively pricey

Best roll-top camera backpack: Wandrd Prvke 31 Backpack V3

Wandrd Prvke 31 1000px

At a glance:

• 48 x 30 x18cm external dimensions
• Holds 1 camera and 2-4 lenses
• 16in laptop sleeve
• Price: $324 / £199

Wandrd makes a range of wipe-clean Prvke backpacks and the 31L sits between the 21L and 41L capacity versions. Thanks to its roll-closed top section with a large hooked-fastener, its capacity can vary between 31 and 36L, and you always seem to be able to squeeze in just one more thing.

The Prvke has two sections with the lower section accepting Wandrd’s Camera Cubes, one of which comes in the ‘Photography Bundle’ that retails for £251.

As it’s a rear-opening bag, you need to remove the Wandrd Prvke 31 from your back before you can access all your gear, making it more secure. However, there’s a small side opening that gives you quick access to a section of the lower part of the bag, which is perfect when you want to swap lenses.

Pros:

• Roll-top design adds flexibility
• Lots of spare pockets
• Premium materials

Cons:

• Less capacious than rivals
• Must be taken off to access all gear

Read our Wandrd Prvke 31 Backpack V3 review.

Best professional camera backpack: Lowepro ProTactic BP 450 AW II

The Lowepro ProTactic BP 450 AW II allows you to get at your camera from the top. Photo credit: Lowepro

At a glance:

• 36 x 22 x 52 cm external dimensions
• Holds 2 cameras and 6-8 lenses
• 15in laptop sleeve
• Price: $230 / £269 (new version)

This 25L pro-level backpack is very well padded and is highly customisable. It has a semi-rigid lid, a thick base and the usual collection of foam-core re-positionable dividers inside its 30x16x44cm main compartment. It’s suitable for housing a large camera with a 70-200mm f/2.8 lens attached and several other lenses and accessories.

The main access is via the back of the bag, but there are also access points on both sides and the top flips open to give a route to smaller items or a camera with along lens when the centre section of the main compartment is cleared of dividers.

Pros:

• Lots of recycled materials in construction
• Multiple access points
• Loads of kit space

Cons:

• Overkill unless you have lots of kit

Read our Lowepro ProTactic BP 450 AW II review.

Best camera bag for mirrorless: Manfrotto Street Slim Backpack

The Manfrotto Street Slim Backpack will hold a camera and three or four lenses in its lower padded section. Photo credit: Andy Westlake.

At a glance:

• • 43 x 29 x 18cm external dimensions
  • Holds 1 camera and 3-4 lenses
  • 13in laptop sleeve

• Price: $110 / £87

This smart and affordable backpack is a great choice for a day trip with a mirrorless camera. Split into two sections, the top half is for personal effects and the bottom half for camera gear. The camera section has enough room for a body and three lenses up to 19cm long.

The unpadded top section is perfect for carrying an extra layer or two, a packed lunch or overnight essentials. There’s also a collection of internal pockets for personal effects and spare batteries. In addition, there are external pockets on either side to hold a drink or compact tripod.

Pros:

• Very light
• Camera and laptop inserts are removable
• Front and back access

Cons:

• We found this to be uncomfortable when full

Read our Manfrotto Street Slim Backpack review.

Best camera bag with laptop sleeve: Peak Design Everyday Backpack 20L

Best camera backpacks for photographers Peak Design Everyday Backpack 20L

At a glance:

• 46 x 30 x 17 cm external dimensions
• Holds 1 cameras and 3-4 lenses
• 15in laptop sleeve
  • Price: $280 / £209

Peak Design makes a 20L and 30L version of this backpack and while their price seems comparatively high, their quality is excellent.

Unlike most backpacks, the primary access to the main compartment of the Peak Design Everyday Backpacks is from the side. Both sides have full length zips, so they work well for left or right-handers.

The 20L backpack comes with 3 FlexFold dividers that can be positioned within the bag to create ‘shelves’ for your camera gear to rest on. There are also stretchy internal side pockets for small items like memory cards and batteries. Both sides also have an external pocket that can be used to carry a drink or tripod – although these will get in the way of the side opening.

In addition, there’s a roomy top section that is accessed by a neat MagLatch that’s quick and easy to use.

Pros:

• Dual side-access points
• Useful top section
• Extra-stretchy pockets

Cons:

• Tripod pocket interferes with side opening

Best camera bag for DSLRs: Tenba DNA 16 DSLR Backpack

Tenba DNA 16 DSLR backpack

At a glance:

• 28 x 51 x 20 cm external dimensions
• Holds 1 camera body and 3 lenses
• 16in laptop sleeve
• Price: $230 / £199

The two-section DNA 16 DSLR Backpack can accommodate a mirrorless or DSLR camera and 2 or 3 lenses including a 70-200mm f/2.8. It also has a laptop section that can house computers up to 16 inches in size.

The camera compartment is at the bottom of the bag and when the padded insert is removed, it can turn the bag into a regular backpack. When the insert is in place, however, it can tip forward when the zip is opened to give easier access to your kit. Tenba plumped for a roll-close top section for this bag, which gives some flexibility in capacity.

Pros:

• Water-repellent materials
• Rolltop expands
• Removable camera insert

Cons:

• On the pricey side
• Straps could be more padded

Best cheap camera backpack: Vanguard Veo Active 42M

Vanguard VEO Active 42M

At a glance:

• 27 x 19 x 44 cm external dimensions
• Holds 1 camera and 3-4 lenses
• 13in laptop sleeve
• Price: $200 / £159

This 17L rear-access backpack is designed for carrying a mirrorless camera with 3 or 4 lenses including a 70-200mm in its removable camera insert. Meanwhile, the top section is available to hold accessories and personal items. There are also mounting points, which allow for carrying a tripod on the front or side of the bag. Additionally, there are dedicated pockets for a 13-inch laptop and 10-inch tablet, and a sealed pocket for a 1L hydration pouch.

The outer fabric is tough ripstop nylon while the bright yellow interior makes it easy to see your kit in low light. There’s also a pass-through for a USB cable from a pocket that can hold a power bank – perfect for charging your phone on the move.

Pros:

• Multiple tripod mounting points
• Useful USB pass-through for charging
• Tough outer material

Cons:

• Other bags are more capacious

Read our Vanguard VEO Active 42M review.

Best large camera backpack: Vanguard Alta Sky 68

Vanguard Alta SKY 68 1000px

At a glance:

• 36 x 23 x 59.5 cm external dimensions
• Holds 1 camera body and 8 lenses
• 16in laptop sleeve
• Price: $300 / £270

Vanguard’s Alta Sky 68 backpack is designed for people who want to carry a larger camera with a lot of hefty lenses. As such, it’s big enough to cope with an 800mm f/5.6 lens attached to a pro-level DSLR or mirrorless camera. And it can carry up to around 7 other lenses.

With weight in mind, the Sky Alta 68 has well-padded and contoured shoulder straps with sternum and load-lifter straps. It is possible to adjust the padded and breathable 3D back panel, with extra padding against the shoulder blades and the lower back, across three settings according to the height of the person carrying the backpack.

Pros:

• Can take super-telephoto lenses
• Well padded for good weight distribution
• Highly adjustable

Cons:

• Big and bulky

Best small camera backpack: F-Stop Kashmir UL 30L

F-Stop Kashmir UL 30L

At a glance:

• 52 x 32 x 28 cm external dimensions
• Holds 1 camera and 3-4 lenses
• 13in laptop sleeve
• Price: around $220 / £160

F-Stop specialises in modular bags. It offers the Kashmir UL 30L by itself for around £182 ($221) or in an ‘Essential Bundle’ for around £270. This includes its shallow medium camera bag insert and a rain cover. There’s also a more expensive ‘Elite Bundle’; this adds a small camera bag insert and some nice extras to the mix.

The Kashmir UL 30L is designed for female photographers. It has a shorter torso and harness system than some other bags in F-Stop’s range. It’s a lightweight but durable-feeling bag that’s very comfortable to carry, even when fully laden with a large camera and 3 or 4 lenses including a 70-200mm f/2.8.

Pros:

• Designed for smaller bodies
• Strong internal aluminium frame
• Water-resistant base

Cons:

• Only 13in laptop sleeve

Best messenger bag for photographers: Billingham 307

Billingham 307

At a glance:

• Designed to hold a laptop
• Holds a large DSLR, several lenses plus flash
• No laptop sleeve
• Price: $528 / £460

Every Billingham bag is instantly recognisable, and the 307 displays the same traditional styling consistent throughout the Billingham range. It may be one of the most expensive bags in this roundup, by a long way, but the 307 is made to a high standard, with an exterior made of durable FibreNyte – a lightweight synthetic alternative to canvas. The bag can be carried comfortably using the padded shoulder strap or the large top handle, with the top flap secured by a quick-access buckle.

A top zip acts as a secondary seal, and easily glides open. Inside is space for a DSLR with lens attached, and a further four lens or flash units within the well padded dividers. However, there is no dedicated pocket for small accessories, or for a laptop/tablet.

You’ll be able to find this bag for up to half the price if you settle for a used option.

Pros

• Built to last
• Classic and timeless style

Cons

• Relatively high price
• No sleeve for laptop or tablet

Text by Angela Nicholson, with contributions from Jon Stapley, Michael Topham and AP Staff.

Related articles:

• Best second-hand messenger bags
• Best rear-loading backpacks
• The best cameras for photography 2023
• Best cameras for video, vlogging, and videography in 2023
• Best camera phones for photography in 2023

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The post Best camera bags to buy in 2024 appeared first on Amateur Photographer.

The quality of photo and video in smartphones has accelerated beyond belief. Their sensors have reached the 200MP mark, and there is now more choice than ever. With computational processing power in today’s flagship phones second to none, it’s no surprise that many professional content creators now depend on smartphones to get the job done. A corresponding ecosystem of excellent accessories has sprung up to help.

For those serious about producing high-quality stills and video, one of the best investments you can make is a solid tripod – and there are plenty out there for smartphone users. From miniature sets of legs that can be quickly deployed on a tabletop, to flexible mounts that can be wrapped around branches and poles for an unusual perspective.

Alternatively, there are also mounts that can be used to clamp a smartphone securely on a standard, full-size photo or video tripod, as well as stabilising gimbals that help create smooth footage on the move – ideal for run-and-gun vlogging.

Below, we round up our picks for the best smartphone accessories for photography, but first, let’s take a close look at these different types of accessories you can buy for your camera phone. If you’re still looking for your ideal phone for photos and videos, check out our guides to the best camera phones for photography and the best budget camera phones.

Here’s a quick glance at the best smartphone tripods and mounts in this article: 

• Best gimbal for smartphones: DJI Osmo Mobile 6 – buy now
• Best smartphone tripod: Benro Tablepod Flex Kit – buy now
• Best smartphone mini tripod: Manfrotto Pixi EVO 2 mini tripod – buy now
• Best smartphone quick-release plate: Benro ArcaSmart 70 – buy now
• DJI OM 5 – buy now
• Zhiyun Smooth 5S – buy now
• JOBY Smart Stabilizer – buy now
• Best smartphone slider: JOBY Swing Phone Mount – buy now
• Zhiyun Smooth Q4 – buy now
• Mini smartphone tripod: Manfrotto Pixi Mini Tripod – buy now
• Flexible smartphone tripod: GorillaPod Stand PRO – buy now
• Smartphone LED light: JOBY Beamo Mini LED light  – buy now

What are some accessories you can buy for your smartphone?

Mini tripods – best for long exposures and video

Just as when using a mirrorless camera to capture long exposures, there are times when a tripod is equally advantageous to shooting with a smartphone. Now, because they weigh much less than bigger cameras, mini tripods are an excellent solution to provide stability and keep your smartphone still, while remaining small, portable and convenient.

Along with being important when shooting long exposures, mini tripods can be used to hold the camera while capturing selfies or group pictures. And they are essential for capturing time lapse video footage where it’s critical the smartphone stays still.

Stabilisers – why would you need one?

A stabiliser (or “gimbals” as they are also known) are powerful and very useful accessories that bring a host of big benefits to smartphone users shooting stills or video. Most come with built-in extension rods to capture wider fields of view or shoot stills from an aerial viewpoint.

However, it’s moving video footage that really benefits from a gimbal as most offer a three-axis system to correct for any pitch, tilt or yaw, enabling you to move around while still capturing smooth footage. Most gimbals also pair up with a companion app to unlock further features and functions such as follow focus and tracking.

Lights – what are they for?

Any smartphone photographer who has shot in low light conditions will tell you that darkness can compromise image quality. The solution is to invest in a light, but with smartphone photography, you want to keep your kit lightweight and convenient. The trick is to source small, power LED lights that can illuminate your subject with flattering light without creating a heavy payload. While this is predominantly a list of tripods and mounts, we also recommended a solid, affordable smartphone LED light that will give you a little illumination at a pinch.

Read on as we count off the best camera phone tripods and mounts you can buy right now.

Best phone tripods and mounts

Best gimbal for smartphones: DJI Osmo Mobile 6

At a glance:

• Type: Gimbal / selfie stick
• Price: $149 / £135

Most photographers will be familiar with DJI for its range of industry-leading drones, but the brand also makes amazing accessories for smartphones. The Osmo Mobile 6 is the latest to be available to smartphone photographers. Best described as a handheld stabiliser gimbal, it folds down to a portable, travel-friendly package that can be opened up and used when the right photo moment presents itself.

Featuring a built -in extension rod to increase the distance between user and smartphone when capturing wider selfie shots, there’s a lot of tech built-in to this three-axis stabiliser – take the DJI’s Active Track 5.0 technology, which allows you to follow a subject around for smoother video footage. For all this, the Osmo Mobile 6 tips the scales at just 309g.

Pros:

• Packed with high tech features
• Lightweight package

Cons:

• More expensive than rivals

Best smartphone tripod: Benro Tablepod Flex Kit

This kit includes both rigid and flexible legs, as well as a phone clamp and a neoprene carry case. Photo credit: Andy Westlake

At a glance:

• Type: Mini / flexible tripod
• Price: $159 / £120

To be prepared for a range of situations, the Benro Tablepod Flex Kit is a great way to cover your bases. It’s effectively two tripods in one, featuring both rigid carbon fibre legs and flexible Gorilla-pod style legs that can be manipulated to rest on uneven surfaces, or grip protruding objects like branches or poles. Both sets of legs can be used simultaneously: the flexible legs holding extra accessories like lights, while the rigid legs support the whole setup. Alternatively, you can reconfigure the kit to turn it into a selfie stick.

While this kit is one of the more expensive accessories for a smartphone, we concluded in our review that it justifies its asking price. The bendy legs are a little fiddly to use in practice, but once you get used to their quirks you effectively have a little portable studio setup on your hands. The lightweight but sturdy carbon fibre legs are easy to carry everywhere with you, for shooting at a moment’s notice.

Pros:

• Incredibly versatile
• Light but strong carbon fibre
• Kit includes phone clamp

Cons:

• Relatively pricey
• Flexible legs can be fiddly

Read our Benro Tablepod Flex Kit review.

Best smartphone mini tripod: Manfrotto Pixi EVO 2 mini tripod

The Manfrotto Pixi EVO 2 mini tripod is an affordable option

At a glance:

• Type: Mini tripod
• Price: $33 / £42

While photographers using mirrorless cameras need to cart around big, heavier tripods, smartphone photographers can do things the easier way. The EVO 2 is one of the best mini tripods around to pair with your phone device. Capable of supporting up to a whopping 2.5kg, the mini tripod offers two different leg angles to give stability on uneven ground.

With a choice of three colour combinations, the aluminium build is lightweight yet robust and the EVO 2 even offers the ability to tilt the device a full 90 degrees, so smartphone photographers have the choice to shoot in landscape or portrait modes.

Pros:

• Rugged design
• Two leg angle options

Cons:

• Additional phone clamp needed.

Best smartphone quick-release plate: Benro ArcaSmart 70

Mount your smartphone to your regular tripod – and add accessories like an LED light. Photo credit: Andy Westlake

At a glance:

• Type: Arca-swiss compatible clamp
• Price: $62 / £37

If you already have a decent amount of photography kit but find yourself increasingly using your smartphone for serious shooting, this clever gadget from Benro could allow you to use it for a bargain. It’s a smartphone clamp attached to a mounting plate that’s compatible with standard Arca Swiss tripod heads – essentially, it lets you use your phone on one of the standard best tripods for photography – which you may already have.

Additional accessories such as LED lights can also be affixed to the top of the clamp via the cold shoe. If you already own a perfectly good Gitzo for your camera, this device is a cost-effective adaptor that will allow you to use it with your smartphone, too. In our review, we found it to be beautifully made and highly effective for its intended function – with the quick-release functionality making it possible to quickly swap between phone and camera if so desired.

Pros:

• Excellent build quality
• Broad phone compatibility (up to 85mm wide)
• Cold shoe attachment

Cons:

• Pricey for what it is
• Fairly niche use case

Read our full Benro ArcaSmart 70 review.

DJI OM 5

DJI OM 5

At a glance:

• Type: Selfie stick / gimbal
• Price: $129 / £95

Now that it has been superseded by the Osmo Mobile 6, the OM 5 (note the different way DJI names its smartphone gimbals) is now a much more budget-friendly route into smartphone supports.

Offering a three-axis stabilising gimbal to allow capture of smooth video footage or sharp long exposure stills, the OM 5 features an innovative magnetic design, enabling the smartphone to be clipped in and out of the gimbal at lightning speed – important if you are racing to capture a special movement.

Despite a 215mm extension rod that turns the gimbal into a selfie stick, the OM 5 folds down to just 174.7×74.6×37mm – perfect for those who are travelling and have limited space for equipment. Thanks to a USB-C charging port, it takes just 1.5 hours to charge to full and offers an operating time of 6.4 hours.

Pros:

• Useful extension rod
• More affordable than newer models

Cons:

• Magnetic design may not suit all

Read our DJI OM 5 Smartphone Gimbal review.

Zhiyun Smooth 5S

Zhiyun Smooth 5S. Image: Zhiyun

At a glance:

• Type: Gimbal / selfie stick
• Price: $169 / £154

If you are looking for a bells and whistles accessory for your smartphone photography, this could well be it. The Smooth 5s is a three-axis smartphone gimbal that takes things to a new level.

Not only does it keep a smartphone steady when shooting stills and video, but it also features a powerful built-in 650 Lux luminance LED light to illuminate subjects close to the gimbal. Along with the built in light, the 5S can also accommodate two more additional lights, essentially enabling creators to film single-crewed.

Other features include an integrated joystick to help you manoeuvre the smartphone at your leisure, and dials and mode buttons to quickly access different features. The 5S has a number of built-in creative modes so you can get creative; including a panorama option that will move the camera automatically to shoot multiple frames before merging them together.

Pros:

• Innovative LED lights
• Built-in creative modes

Cons:

• May be overkill for some users

JOBY Smart Stabilizer

JOBY Smart Stabilizer

At a glance:

• Type: Gimbal / selfie stick
• Price: $138 / £85

JOBY is better known for its range of mini tripods, but did you know the brand also makes a gimbal for smartphones too? Priced at the entry-level point of the market, the JOBY gimbal comes with a mini tripod, carry bag and features a telescopic handle that extends out to 7 inches to help provide wider-angle compositions.

The battery lasts up to 10 hours and you can even charge up your smartphone from the gimbal using the included cable, allowing you to continue with your smartphone photography. Weighing 428g, more features can be unlocked by accessing the free Smart Stabilizer app, including focus tracking options.

Pros:

• Affordably priced
• Companion app

Cons:

• Heavier than rivals

Best smartphone slider: JOBY Swing Phone Mount

JOBY Swing Phone Mount

At a glance:

• Type: Smartphone slider
• Price: $139 / £139

Here’s a clever accessory that will appeal to smartphone content creators who wish to capture professional-looking time-lapses, videos and B-roll. Designed in partnership with Syrp, the device connects via the JOBY motion app and can be programmed to move, adding motion to your time-lapse creations.

A battery life of up to three hours, the Swing mount offers a linear travel distance of 38cm and can support a payload of 600g, which should cover all but the heaviest of smartphones. Other features include a built-in bubble level to ensure straight horizons, and there’s also a Ballhead 1K and GripTight phone mount accessory bubbled into the package.

Pros:

• Innovative design
• Companion app

Cons:

• Limited appeal or stills shooters

Zhiyun Smooth Q4

The Zhiyun SMOOTH-Q4 COMBO kit with its light

At a glance:

• Type: Gimbal / selfie stick
• Price: $99 / £85

Smartphone gimbals don’t need to be big or bulky. The Q4 is one of the smallest packages on the market. Tipping the scales at just 370g and measuring just 181x107x56mm, this is a gimbal you can fold down and carry around in your jacket pocket. Despite being small, the Q4 offers a max operating time of 15 hours – more than enough for most photographers who are heading into the city to capture some fun content.

The design is far more simplified than the more pro Zhiyun Smooth 5S but the Q4 does boast a 215mm extension rod to shoot from a wider angle and a multi-functional control wheel enables quick operation and switching between modes.

Pros:

• Folding design
• Long battery life

Cons:

• No built-in LED

Zhiyun Smooth Q4

Mini smartphone tripod: Manfrotto Pixi Mini Tripod

Manfrotto Pixi Mini Tripod with Smartphone clamp

At a glance:

• Type: Mini tripod
• Price: $39 / £48

When you need a tripod to keep things steady, but are restricted to travelling light, the Pixi Mini from Manfrotto be your solution. Small enough to fit in the pocket of your jeans and highly affordable, the lightweight build of this mini tripod disguises a robust build that will stand up to standard knocks and bumps.

The Pixi Mini features a push-button mechanism that enables the small ballhead to be manoeuvred to whichever composition you need. And there’s a 1/4 thread to pair up with the phone clamp attachment to hold your smartphone in place. Weighing just 170g, this mini tripod can hold up to a whopping 1kg – in case you need to start adding to the rig with accessories such as lights.

Pros:

• Tiny design for portability
• Robust and lightweight

Cons:

• No extension rod for wider angles

Flexible smartphone tripod: GorillaPod Stand PRO

GorillaPod Stand PRO

At a glance:

• Type: Flexible tripod
• Price: From $45 / £64

If there’s a more versatile support for smartphone photography out there than the GorillaPod then I don’t think we will find it. This innovative tripod features malleable legs that can be flexed into positions to make use of supports you didn’t think would be possible. Wrap the lens around a tree, a fence post or even the frame of a bike – the possibilities are endless.

Built with premium ABS plastic and stainless steel and weighing 244g to keep it light and portable, the GorillaPod PRO measures just 5.5×7.5x31cm and is best described as the swiss army knife of smartphone supports. There are bigger versions of the GorillaPod available but this model hits the sweet spot on both price and design for smartphone photography.

Pros:

• Innovative design
• Affordable price-point

Cons:

• Some may not like the design

Smartphone LED light: JOBY Beamo Mini LED light

JOBY Beamo Mini LED light

At a glance:

• Type: LED light
• Price: $53 / £60

As the saying goes; let there be light, and the solution to this is to invest in a Beamo Mini length for your smartphone photography. Designed to minimise flaws and produce flattering skin tones, the lights feature not one but two cold shoe mounts so they can be added to smartphone rigs and they even have a magnetic backing.

The great thing about these flights is their robust build; in fact they are both waterproof and rugged so you should have no qualms about using them in harsh weather conditions. At full power, the light offers 1000 lumens and power can be ramped up in five steps. JOBY offers these clever lights as single items, two-light kits and bundled with its mini tripods.

Pros:

• Waterproof and rugged design
• Bright output

Cons:

• Better suited to smartphone rigs

Text by Matty Graham, with contributions from Jon Stapley.

Related articles:

• Best camera phone accessories for photography and video in
• The ultimate guide to tripods
• Best camera phones for photography
• Best smartphones for video
• Best used smartphones to buy

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