Looking for the perfect compact everyday shooter for travel or street photography? The brand-new OM System PEN could be a fantastic option for you. Preorders are now open for this affordable new rangefinder-style camera ahead of an October 1st release date, and several retailers have already updated their sites with listings.

Probably the best option for preorder today is over at Adorama, where you can get yourself a free wrist strap alongside both the body-only and kit-lens options. The strap in question is a black Clever Supply Skinny Wrist Strap worth $54, so it's definitely a nice little freebie that should complement your new camera nicely.

If you're in the UK (or USA but would prefer to order a camera elsewhere), I've attached a roundup of other options below. Major retailers like B&H Photo, Wex Video Photo, and Park Cameras are all stocking the camera today, so there should (hopefully) be plenty of stock available for early adopters.

Note that the OM System Pen starts at $999.99 / £849 for the body, with additional kit lens options. The lens kit, meanwhile, with the new M.Zuiko 14-42mm f/3.5-5.6 III, is just an additional $100 / £100, which could be a better value option if you're new to the system, and looks like a particularly good option for travel photography. Not only is this kit a bargain, but the lens is also weather-sealed (unlike previous iterations).

Where to buy the OM System PEN

What's new with the PEN?

• 2.36-million-dot OLED EVF
• IPX1-rated dust-and-splash resistance
• BLS-7 battery with USB-C charging

Much of the PEN's spec sheet will seem familiar to fans of the brand. As with most releases from OM System, the PEN is essentially re-using a lot of pre-existing tech in a new body at a lower price. However, its combination of a retro compact body, built-in viewfinder, image stabilization, weather resistance and accessible price makes it an attractive entry-level mirrorless camera, particularly for smartphone users.

Unlike the previous Olympus EP-7, the PEN now features a 2.36-million-dot OLED electronic viewfinder as well as IPX1-rated dust-and-splash resistance. Internally, you're still getting the familiar 20.4MP Micro Four Thirds sensor with 5-axis image stabilisation rated to 5.5EV, but the 121-point phase-detection autofocus with subject detection is a key upgrade.

Other upgrades include OM System's latest computational photography features, namely Live ND, new color profiles, and two Cinema picture modes aimed at 4K video. Like the higher-end OM-3, the PEN is designed from the ground up for JPEG customization thanks to a new color/monochrome switch which provides quick access to film-inspired looks.

Finally, it's worth mentioning that the PEN debuts a new BLS-7 battery, rated for an impressive 410 shots per charge, as well as support for USB-C charging - another massive boon for travel photography.

Is the PEN worth preordering?

We haven't fully reviewed the OM System PEN yet, but my initial impression of the camera is positive. It's 'nothing new', so to speak, but the rock-bottom price that the brand is aiming for has the potential to make this one a crowd favorite.

For one, I don't think any other brand is offering a package quite like this for $1,000. With inflation and various tariffs, we've become accustomed to spiralling costs, so it's refreshing to see a brand-new camera with a viewfinder, weather sealing, and a stylish design for this price.

Perhaps the closest competitor to the OM System PEN is the Fujifilm X-M5 - one of our favorite entry-level cameras here at TechRadar. Both cameras share a stunning rangefinder-style design and enticing price point, but the PEN looks like the better choice for photographers, in my opinion. The X-M5 has far superior video specs, but it lacks image stabilization, a viewfinder, and weather sealing.

With such features, the PEN looks like a very, very compelling budget option compared to the likes of the Fujifilm X-E5. That's another one of our favorite rangefinder-style bodies, but it comes in at an eye-watering $1,799 / £1,399 for the body-only. In comparison, the PEN is a more entry-level body, but it's definitely a good option if you're happy with 20MP.

• First new 'PEN' digital rangefinder with the OM System name unveiled
• It costs from $999.99 / £849 / AU$1,499
• New 14-42mm f/3.5-5.6 Mark III kit lens launched alongside the camera

Olympus fans, the day has finally come — OM System has relaunched the Olympus PEN series, and put its name on it, with the new OM System PEN.

The new PEN carries the torch of the iconic Olympus PEN-F, with a classic and compact retro form factor and a low-cost plastic body to keep costs down (rather than aluminum). I must say it looks every part the travel and everyday mirrorless camera, with an equally and surprisingly attractive entry-level price point more in line with the PEN E-P7's.

Whereas the (slightly pricier) five star-rated EM-5 Mark II has a viewfinder bump (which also looks great in my opinion), the OM System PEN is a rangefinder-style mirrorless camera, with the same 2.36m-dot OLED viewfinder that sits flush in the body instead.

And the specs are just as attractive as the IPX1-rated dust- and splash-proof body: the same 20.4MP micro four thirds sensor with 5-axis image stabilization rated up to 5.5EV, 121-point phase detection autofocus with subject detection AF for people and animals, plus a host of computational photography modes that are an absolute blast to play with — my OM-3 review paints a picture of how fun modes such as Live ND can be.

OM System has also added various color profiles, including two 'Cinema' picture modes designed for 4K video recording, and once again included a color/monochrome switch on the camera's front which packs numerous film-inspired looks.

The camera uses OM System's BLS-7 battery, which delivers a generous 410 shots on a full charge, while USB-C charging further enhances its travel-friendly credentials.

When you consider the retro IPX1-rated body, built-in viewfinder, and stabilized sensor, the PEN feels like exceptionally good value, even if it features a dated micro four thirds sensor which is smaller than APS-C and full-frame, and adds very little that is actually new.

For me, however, the format has always delivered a compelling mix of quality, power and features, and is an easy recommendation for people stepping up from a smartphone, who will find the computational modes addictively fun and familiar.

It was the PEN series that we have been waiting for OM System to refresh since it acquired the Olympus name, and now that day has come the new compact mirrorless model does not disappoint.

Pricing-wise, the new PEN becomes OM System's entry-level model — $999.99 / £849 / AU$1,499 bags you the camera body, in silver or black, or for an extra $100 / £100 / AU$300 the kit with the new mark III version of the 14-42mm f/3.5-5.6 lens, which was launched alongside the camera, with both due to go on sale from October 1.

I can't wait to get my hands-on the camera — if it's anything like the previous OM System cameras I've reviewed, it'll be a lot of fun to test. For me, the OM System PEN looks like a serious best beginner mirrorless camera of the year contender.

The annual Labor Day sales are traditionally more associated with grills than with price cuts on the latest cameras, but between you and me, it's often a great time to consider upgrading. Specialist retailers like Adorama and B&H Photo usually have great discounts around federal holidays, and this week is no exception, with several of our favorite models on sale.

• Check out today's sales at Adorama and B&H Photo

I've been scanning through the retail events today, and I've found some great deals on models like the Canon EOS R5 Mark II, the Nikon Z5 II, and the Sony A7R V — all of which are highly rated here at TechRadar. In some cases, we're even seeing record-low prices (or at least the best prices since most of the big brands hiked their prices).

Just below, you can see a list of 16 deals that I've picked out as particularly good value buys. I've started with Canon models, but you'll also find Nikon and Sony, as well as some great prices on OM System's latest models.

Where applicable, I've made sure to point out the various record-low prices — or some context around the various price hikes that have hit cameras recently.

Today's best Labor Day camera deals

• Caira is adding generative video editing powered by Google’s Gemini Omni 1.1 Flash and Runway’s Aleph 2.0
• The feature can relight, reframe and extend captured footage or add simulated camera movements using natural-language instructions
• Every edit must start with footage shot on Caira, while AI-generated results are saved separately and marked using Google’s SynthID

Camera Intelligence, the AI camera startup that created Caira, an AI-native Micro Four Thirds mirrorless camera, today announced Generative Video Editing is being added to the existing Caira camera system. Camera Intelligence claims it is the first company to integrate video-generation models into a mirrorless camera system.

Generative Video Editing works through the Caira app with footage captured on the existing Caira device — it can’t generate its own AI video. A private beta opens for current Caira customers, before becoming part of the paid Caira Studio software package in Autumn 2026. Pricing hasn’t been announced.

"Last year we were the first mirrorless camera to edit photographs with generative AI, and we learned a great deal from the conversation that followed," said Vishal Kumar, CEO and co-founder of Camera Intelligence. "This year, after shipping Caira a large majority of our surveyed backers said generative editing for video would be useful to them - a clear impetus to bring these ideas to life.”

Powered by Google’s Gemini Omni and Runway’s Aleph 2.0

Powered by Google's Gemini Omni 1.1 Flash and Runway's Aleph 2.0, Camera Intelligence is the first company to embed video generation models directly into a mirrorless camera system.

Through the Caira app, you can apply visual and camera-motion effects in-the-moment to footage you have already captured with Caira via a series of templates guided by natural language.

We first reviewed the Caira camera last year. It combined a proper Micro Four Thirds hardware with the simplicity of a smartphone (the Caira snaps onto your iPhone using MagSafe) into a weird but impressive hybrid.

Under the hood it’s running a proper Micro Four Thirds sensor, powered by Qualcomm and Google silicon but its real party trick is Google’s ‘Nano Banana’ generative AI — a powerful on-device editor paywalled for $7p/m, which also unleashes smart voice control, and edits are rapid and impressive, meaning you can edit on the camera, without ever needing to open a laptop.

Staying rooted in photography

Video editing will work through a curated library of templates which can perform color grading or simulate drone-style sweeps and other complex camera paths. At launch the new system will contain Relight, Reframe, Camera Motion and Set Extension template. You can further refine them with conversational editing. Output will be in 720p and 1080p with it taking one to three minutes to generate depending on the resolution.

Since there is no text-to-video functionality every edit has to begin with footage you’ve captured with Caira. When you generate a video it is saved as a separate file from the original and watermarked with Google’s SynthID so it is clearly marked as AI-generated content.

This new Generative Video Editing feature forms part of the Caira Studio app, launching in Autumn 2026. The app will contain the already existing Image Editing feature together with one more, as yet unannounced feature. The private beta opens today and existing Caira customers can register their interest to join.

With the new Generative Video Editing features if feels like Camera Intelligence wants to put generative AI as close as possible to the act of filming while reassuring filmmakers that it isn’t trying to make filming unnecessary. That requirement keeps Caira rooted in photography: whatever the AI adds afterwards, the creative process begins with someone behind a camera choosing what to shoot.

Almost all of the big names in cameras — Canon, Sony, Nikon, Fujifilm, Panasonic, OM System, Sigma, Ricoh, Pentax and others — hail from Japan, the home of modern digital photography.

Want one of the best mirrorless cameras? Unless it's a Leica or a Hasselblad, right now it'll come from Japan. But a new superpower is rising up in the camera industry, and that's China.

Take DJI, which is headquartered in Shenzhen. It has surpassed GoPro to lead action cam sales, and dominates numerous other sales charts with its pocket vlogging cameras and range of drones.

Insta360, meanwhile, leads the way in 360 cameras. And within interchangeable-lens camera ecosystems, Chinese lens manufacturer Viltrox is a growing force, producing lenses for Sony, Nikon and Fujifilm cameras and, more recently, L-mount.

A string of recent reports and rumors suggest that certain China-based manufacturers are about to break new ground by producing their first mirrorless cameras — and I think this could be the dramatic shake up that the industry needs.

What Chinese mirrorless cameras can we expect?

First, there are the concrete reports. Insta360 CEO Jingkang 'JK' Liu revealed the 360 camera specialist is making not one but two mirrorless cameras. He described one of these as being "a shape no one thought of" that has "the potential to completely change the way we take pictures", while leaked pictures of the other point to a minimalist Micro Four Thirds body.

Liu's reference to a new camera shape, along with the Insta360 CEO's recent post about replacing photographers with "intelligent photography robots" (remarks he clarified somewhat when I interviewed Insta360) has me thinking that a completely new kind of camera could be on the cards.

And it's not just Insta360. Viltrox, which makes superb lenses for multiple camera systems — many of which I have reviewed, most recently a superb 'pancake' optic — is in an excellent position to disrupt Canon and Sony's 70%-plus share of the digital camera market.

Viltrox makes top-quality lenses for a fraction of the price of proprietary optics, though it's yet to produce a zoom lens (I'm expecting one soon enough, though). If it could apply that same value principle to an equally high-quality camera body, it could potentially dominate the beginner segment of the market, with its own lenses already in production. For many, mirrorless cameras are simply unaffordable, and Viltrox could change that situation.

Think about it: Viltrox might have already made the lenses for a future Viltrox mirrorless camera. Currently, it makes optics for the full-frame and APS-C formats (we're yet to see a Micro Four Thirds lens, despite a teaser suggesting we should have some by now).

If I were a betting man, I'd put my money on a beginner-level Viltrox mirrorless camera in the APS-C format, with an L-mount. Why so? We've seen reports of two new Viltrox APS-C format prime lenses for L-mount.

Two new lenses don't mean much in isolation. But when you consider that there are no current APS-C format camera bodies using the L-mount, that begs up the question: why make lenses that no current camera can use, unless you're making that camera yourself?

I might be getting ahead of myself. But an industry that's long been dominated and shaped by the big three — Canon, Sony and Nikon, more recently joined by Fujifilm, which has wrestled third place from Nikon after it sparked a surge of interest in retro cameras — could do with a shake-up.

I don't mean another AI-powered shake-up, along the lines of the Nano banana-equipped Caira camera, which can make live edits to your photos in-camera based on word prompts, but a shake-up that makes mirrorless cameras more affordable, and in which the form factor / handling playbooks are ripped up. Those are the kind of changes I'd be excited to see.

• OM System has shared a YouTube teaser for upcoming camera launch
• The viewfinder experience is the teaser's key focus, and the camera's form is revealed
• The launch is set for September 9

Since Japan Industrial Partners acquired Olympus in 2021, creating OM Digital Solutions and rebranding new cameras as OM System, we've seen upgrades for every Olympus camera series except one: the PEN-F / PEN E-P7 line of digital rangefinders.

The Olympus PEN-F is a camera that's much admired for its stunning retro looks, described by some as the 'best looking camera ever made'. Olympus fans have been calling for a successor to the series for years — and they might finally be about to get their wish.

A YouTube video from OM System (below) just teased what could be the long-awaited successor to the PEN-F, and it's coming on September 9.

The teaser focuses on the experience of using the built-in 'rangefinder'-style viewfinder — a hallmark of PEN cameras — and then reveals the camera's form factor, with some detailing of the top plate.

Based on these low-key visuals, we could be looking at the spiritual successor to the beloved Olympus PEN-F — which inspired the design of the stunning OM-3 — or perhaps a re-imagining of the low-cost Olympus PEN EP-7.

Either way, the rangefinder-style camera is getting Olympus fans excited, if the comments section of the YouTube video are anything to go by. "Let's go!" chime several viewers.

Given the length of time between the original Olympus models — the Pen-F is 10 years old, and the Pen EP-7 five — there are a few upgrades that could find their way into this new camera, including a speedier stacked sensor, improved phase-detection autofocus, and additional computational photography modes.

All will be revealed on September 9, and you can follow the live event on the OM System site, which is advertising a five-day program of live discussions, all seemingly centered on the new camera.

The official Canon UK store has kicked off a limited-time-only sale as part of its celebrations for World Photography Day. While the big day itself is today, the sale will be running over the next few days until August 23 — in which time you can get your hands on some impressive bundle deals and discounts on refurbished models.

I've been scanning through the sale today, and you can check out my personal picks just down below, including discounts of up to £270 on the Canon R8, the Canon EOS R6 Mark II, and the Canon EOS R6 Mark III.

- Check out the Canon World Photography Sale in full

Today's sale is particularly good if you're looking to get started in the Canon ecosystem, as there are some great value options. I'd particularly highlight the Canon R8 bundle as a fantastic buy, as you get the camera — which is a really nice lightweight full-frame body — with two very useful lenses. The R6 Mark II bundle is also worth a look, as this full-frame flagship still holds up great despite not being the latest model anymore.

Aside from bundle deals, today's sale at Canon places a heavy emphasis on refurbished listings. These are professionally refurbished models, so they're very much worth considering if you're looking to save a bit of cash. Note that most of the lenses on sale are for the older EF DSLR mount, however, so you'll need an adaptor if you're planning on using them with one of the brand's latest R-mount mirrorless cameras.

Canon World Photography Day: camera deals

Canon World Photography Day: lens deals

• Canon registered three cameras with the wireless certification agency, indicating three more cameras will come soon
• Rumors suggest we’ll see an EOS R7 Mark II, an EOS R10 Mark II and an EOS R8 Mark II
• The EOS R8 Mark II may well be a retro-styled tribute to the analog AE-1, which turns 50 this year

The first half of 2026 was pretty dry for camera releases, but as we enter the second half of the year, manufacturers have been making up for lost time. Canon in particular looks like it’s going to have a busy back half of the year, with not one, not two, but three new EOS R mirrorless cameras setting the rumor mill alight.

It should be stressed that currently this is all unconfirmed — we don’t know that Canon is going to release anything. But Canon has registered three new cameras with the wireless certification agency, which is generally the point that you know that something is coming very soon. And reporting by the oft reliable Canon Rumors indicates that Canon is updating three of its most popular EOS R cameras, and one in particular looks like a very exciting prospect indeed.

And if that weren’t enough, we’re also potentially due a new PowerShot compact, with Canon looking to capitalize on the success of its phenomenally popular PowerShot G7 X Mark III compact. But we’ve more details on the mirrorless side of things, so let’s take a closer look at what could be coming…

Canon EOS R8 II — could it be the digital AE-1 we’re all hoping for?

Rumors indicate that Canon’s lightweight full-frame EOS R8 is likely to get a successor in mid-September. As that camera is now more than three years old, this is about the time we might expect an update to come along. However, the really exciting news is that the new version may be an entirely new prospect — a retro-styled Canon AE-1 throwback that fans have been begging the company to make for years.

There have been rumors for quite some time that Canon is working on a retro-styled digital camera, just like Nikon did with its Zf, and given that this year marks the 50th anniversary of the AE-1, a legendary film SLR beloved by amateur photographers for its streamlined controls and ease of use, it makes sense that this could be the year.

The rumored specs for the EOS R8 II are that it’ll use a 32.5MP full-frame sensor, 40fps burst shooting via the electronic shutter, in-body image stabilization, oversampled 4K video and two UHS-II SD card slots. Pretty much what you’d expect for a mid-range full-frame camera.

I’ll be interested to see if the retro styling is purely cosmetic — it might even be the case that Canon releases a ‘standard’ EOS R8 Mark II version as well as the retro-tinged variant — or if it has any bearing on how the camera operates. There’s nothing in the rumor mill to suggest this, but personally, I think it would be smart for Canon to dip its toe into film-style looks for images, similar to Fujifilm’s Film Simulations or Panasonic’s in-camera Real Time LUTs.

Yes, Canon has its ‘Picture Styles’, but let’s be honest: nobody uses them, and they don’t have the cool factor of Fujifilm’s Film Simulations. I’d love to see Canon throw its weight into some really crisp, dynamic, analog-style looks for shooters who want great-looking JPEGs straight out of camera. And come on — there will never be a better opportunity to debut them than in a digital AE-1!

Canon EOS R7 II — let’s see a stacked APS-C sensor!

Also on the rumored docket is an update to the Canon EOS R7, a mid-range APS-C mirrorless camera that arrived in 2022. The original EOS R7 was something of a speedster, with burst speeds of 15fps with the mechanical shutter and up to 30fps with the electronic. And if rumors are correct, Canon might be doubling down on this by giving the EOS R7 II a stacked sensor design.

This would be the first stacked APS-C sensor for Canon’s lineup — indeed, currently the only APS-C camera with a stacked sensor is the Fujifilm X-H2S. A stacked sensor design moves the circuitry to the rear for faster readout, enabling higher burst speeds, superior autofocus tracking and blackout-free viewfinder shooting.

Considering that the EOS R7 was already an impressively speedy shooter, a stacked sensor design would push a mark II to pretty impressive heights — we could see autofocus and speed-shooting performance on par with professional or serious enthusiast cameras. Rumors also indicate that the sensor resolution might be upped to 39MP, from 32.5MP on the original EOS R7.

Canon EOS R10 II — the new beginner mirrorless to beat?

Rumors also indicate that we’ll see an update to Canon’s popular beginner model, the EOS R10, in the form of the EOS R10 Mark II. Details are very thin on the ground for this one, beyond the fact that it is on its way and due in the latter half of 2026. This is also likely to be the first of the new models we see.

The Canon EOS R10 has been a huge seller for Canon since its release in 2022 alongside the EOS R7. It’s not the cheapest in the EOS R lineup, with both the EOS R50 and the EOS R100 coming in under its price, but it’s a pretty affordable camera, with a lightweight build, intelligent autofocus and reliably solid image quality.

Personally, I doubt the boat will be rocked much here. Were I a betting person, I’d say that we’d expect to see improvements in the subject-recognition autofocus, more sustained burst speeds with a deeper buffer (the original EOS R10 could shoot at 15fps, but not for very long), and perhaps a nudge-up of resolution from 24.2MP to 32.5MP, so as to better distinguish the EOS R10 from its cheaper siblings.

What do you make of Canon's rumored upcoming models? Have your say in the comments below.

The annual 4th of July sales are more commonly associated with grills and appliances, but between you and me, it's also a great time to pick up tech. Right now, for example, Adorama and B&H Photo are featuring some of the lowest prices I've seen all year on cameras from well-known brands like Sony, Canon, and Nikon.

I've been scanning through the sale today to find the best price cuts, and in short, I've found some great options. Camera prices have really been hit in the past year, but I'm pleased to note that there are actually record-low prices available on some of our most highly rated bodies.

For example, right now you can get the excellent value Canon EOS R8 for $1,299 (was $1,649), the Nikon Z5 II for $1,596 (was $1,849), and the Sony Alpha A7R V for $3,298 (was $3,798). Some of these are discounts we've seen before, but in the case of some (like the R8), they're brand-new record lows. Just below you can see a full list of deals, including 15 models for all budgets.

According to Adorama's 4th of July sale page, customers who spend over $3,000 will also get $250 back in reward points, so it's definitely one of the better sales at the retailer this year. Note, however, it looks like the sales wrap up on Sunday, so you'll have to be quick if you're interested.

4th of July camera deals - Canon

4th of July camera deals - Nikon

4th of July camera deals - Sony

4th of July camera deals - OM System

Leica SL3-P: One-minute review

The Leica SL3-P is not a camera for everyone, and it knows it. There's no red dot logo on the front — that easy-to-spot symbol of prestige has been deliberately omitted in favor of a clean, all-black anonymity. Only the word 'LEICA' in white block capitals above the lens mount gives the game away. This is a camera built for photographers who'd rather be invisible than show off, and that philosophy runs all the way through it, with minimal controls, a stripped-back UI, and a design language that says a lot through everything it leaves out.

Getting to grips with it takes some patience if you're arriving from a more conventional mirrorless system. With only four labelled buttons on the body, a lot of control is handed off to the touchscreen, which is polished and logically organized once you learn its rhythms. The rear LCD tilts but doesn't swivel, which is an unusual limitation for a camera at this price — and with a serious L-mount lens fitted, the combined weight is considerable. But pick it up, hold it to your eye, and look through that large, crisp EVF, and something clicks. This is a camera that feels like it was made to be used, not admired.

Image quality is exceptional — unsurprising given the 44.7MP BSI sensor, which is of the same type used by the superb Panasonic Lumix S1R II — and battery life is impressive. The autofocus is competent and handles moving subjects well enough, though it won't trouble Sony or Canon on raw speed. At around £5,150 (US pricing TBC), it's an expensive proposition. But as a pure expression of what a modern Leica should be, the SL3-P makes a very strong case for itself.

Leica SL3-P: Price and availability

• Priced at $6,690 / £5,150 body-only
• Also available in three zoom lens kits

It's unlikely to come as a shock to you that the Leica SL3-P is a very expensive camera. Its launch price, for the body only, is $6,690 / £5,150 (Australia pricing is still TBC at the time of writing).

Leica is also releasing the camera in three kit bundles, each of which includes at least one Vario zoom lens. The SL3-P with a Leica 28-70mm lens is $7,790 / £6,100; with a Leica 24-70mm it's $8,390 / £6,480; and with both the 24-70mm and a 70-200mm it's $10,995 / £8,560.

Leica SL3-P: specs

Leica SL3-P: design

• All-black, badge-free design with minimalist controls
• Premium full-metal construction with IP54 weather sealing
• Large, comfortable EVF with twist-barrel diopter adjustment

The absence of Leica's red dot is the first thing you notice, and it sets the tone for everything that follows. The SL3-P is clad entirely in black, with only 'LEICA' in white block capitals on the EVF housing to identify it. Four buttons across the whole body are labelled (one of which is the power button). It's a stealthy, understated thing — clearly designed for people who want to use a Leica but aren't fussed about being seen with one.

The German-made full-metal body felt exactly as solid and premium as I'd expect from the brand, and comes with IP54 weather sealing for extra outdoors reassurance. There's a large grip covered with a textured material that provides a secure hold even when conditions aren't ideal, and the supplied neck strap is thick and well-padded, which I appreciated given how much weight a serious L-mount lens adds to the equation.

With so few physical controls, much of the camera's operation is routed through the touchscreen. The UI is stylish and well organized, with photo and video modes color coded distinctly in red and yellow respectively. And while the layout takes some adjusting too if you're used to a more button-heavy system, the logic is coherent, and settings are never difficult to locate. Touch-to-focus on the screen works exactly as expected, and custom button assignments help flatten the learning curve further.

The EVF is large, crisp and comfortable thanks to its 5.76-million dot resolution and 0.76x magnification, and as a glasses wearer I really liked the satisfying diopter mechanism that simply requires twisting the EVF barrel rather than hunting for a small dial.

The top-plate display is a genuinely useful feature, giving you a quick rundown of current settings without you having to lift the camera to your eye. The rear LCD, however, only tilts: up to 90 degrees upward and around 45 downward. That covers most tripod and arm's-length scenarios, but there's no forward-facing position for self-shooting, and no side-to-side articulation, which feels like an unusual limitation at this price.

On a practical note, I will say that the SL3-P is not a lightweight system, especially when teamed with some high-quality glass. The Summilux-SL 50mm f/1.4 lens I used with it added over a kilogram to the body, and while the grip is secure and comfortable, a long day of handheld shooting (covering a child's birthday party, in my case) does become fatiguing. That's less a criticism — after all, there are plenty of heavy cameras around — and more of a warning about how and when it can be used.

Leica SL3-P: Performance

• Exceptional image quality from a 44.7MP BSI full-frame sensor
• Competent hybrid autofocus with broad subject detection, including birds
• Impressive battery life and extensive video options including 8K and ProRes

The SL3-P shares its 44.7MP BSI full-frame CMOS sensor with the Panasonic Lumix S1R II — a camera I've tested and rate very highly — and the image quality is, predictably, exceptional.

Raw files processed in Lightroom offer tremendous latitude, with smooth tonal gradation, wide dynamic range and excellent high-ISO performance. JPEGs are very good straight from camera too, and five film-look presets — three color, two monochrome — add some welcome creative options. The high-contrast black-and-white preset is particularly striking, and feels authentically Leica in character.

Video capabilities are more extensive than the camera's photographer-first positioning might suggest: 8K Open Gate, ProRes to 5.8K, 4K at 120fps, L-Log, 12-bit RAW and 4:2:2 10-bit are all available. It's a serious toolkit, even if the handling feels more naturally attuned to stills.

The hybrid autofocus combines 315 contrast AF points with 819 phase detection points, with human, animal (including birds) and car detection. Tracking held up well in practice; testing on an active cat, the camera maintained focus through erratic movement without significant trouble.

Outright acquisition speed with the Summilux 50mm f/1.4 in AF-C is where it falls short of class leaders; it's capable rather than decisive, and anyone shooting fast action should look elsewhere. For portrait, street or documentary work, though, it certainly gets the job done.

Five-axis IBIS rated at up to five stops works quietly and effectively, and battery life is a genuine highlight. After a full charge I shot well over 100 frames across a lengthy session, and the indicator remained full. That seems in line with Leica's claimed 383 shots per CIPA standard cycle.

Should you buy the Leica SL3-P?

Buy it if...

Don't buy it if...

How I tested the Leica SL3-P

• Leica loaned me a sample for over a week, along with a 50mm prime lens
• I used it indoors and outdoors for several days, shooting photos and video
• All sample photos were shot in raw and processed in Adobe Lightroom

Leica loaned me a review sample of the SL3-P camera to test out in real-world use, a few weeks ahead of the official release.

I reviewed the Leica SL3-P over the course of a week, using it exclusively with the Leica Summilux-SL 50mm f/1.4 ASPH. prime lens. My shooting covered a wide range of scenarios: street photography and candids outdoors, landscape work, and indoor shooting in both natural daytime light and normal interior lighting at night — the latter without flash or studio lighting assistance of any kind.

All sample images were captured in raw format and processed in Adobe Lightroom.

First reviewed June 2026

If you’re thinking about buying your first proper mirrorless camera, or upgrading your current system, Amazon Prime Day is the time to do it. I’ve just found one of the best deals I’ve seen on a full-frame camera in a long time — but you might have to act fast to take advantage of it.

The Canon EOS RP was one of the first cameras in Canon’s EOS R series, released in 2019. Designed to be a lightweight alternative to the then-flagship EOS R, it puts a 26.2MP full-frame CMOS sensor into a lightweight SLR-styled body with ergonomic controls and excellent handling.

The EOS RP was designed to be the camera for everyone, a user-friendly and inexpensive route into what was then a new system. However, time marches on, and while the EOS RP hasn't been officially discontinued, Canon recently added the 'Sales Ended' tag to its page on its official Japanese store — which is a sign that a camera is about to ride off into the proverbial sunset.

Currently, you can get hold of this full-frame mirrorless camera for as little as $799 in the US, and an amazing £645 in the UK. For such a popular camera of such high quality — one that launched at a body-only asking price of $1,299/£1,399 — that is absolutely incredible.

But you might want to act fast. That 'Sales Ended' tag means no more Canon EOS RP models will be coming off the factory lines — once current stock gone, it's gone for good!

Today's best Canon EOS RP deals (US)

Today's best Canon EOS RP deals (UK)

The ideal gateway into full-frame

Shooting with a full-frame system camera feels like a tangible step up. The level of depth and dynamic range achievable with a physically larger sensor is immediately striking. If you've only ever been shooting with a smaller-sensor compact camera, or just your phone, you'll immediately notice the difference.

The EOS RP is currently one of the most affordable routes into full-frame. It offers sumptuous image quality backed by Canon's excellent color science, and also benefits from advanced features like Canon's Dual Pixel CMOS autofocus, with 4779 selectable points. Long regarded as one of the best autofocus systems in the business, Dual PIxel CMOS continues working quickly and accurately even when the light gets low.

When Matt Golowczynski reviewed the Canon EOS RP back in 2019, one of his key criticisms was the lack of native lens options for the RF-mount. Well, seven years down the line that is categorically not a problem any more — Canon has been busy releasing RF-mount upgrades to all its major lens archetypes, from wide-angle zooms to telephoto primes.

There are loads of affordable options to pair the camera with, too — you can pick up the RF 50mm f/1.8 STM for as little as $199 / £189. That would still see you spending less than a grand for a complete full-frame setup — and believe me, that's not always an easy thing to achieve!

Or, if you prefer a zoom lens, Amazon will let you bundle up your EOS RP with an RF 24-105mm F4-7.1 lens, a lightweight travel-friendly optic designed for day-to-day photography, spanning wide-angle to telephoto. In the US, this combination will run you a still-respectable $1,099, while in the UK, it's a frankly mad £791.99

Also, if you already own a Canon DSLR and a couple of lenses — perhaps ones that have been sitting in a cupboard untouched for a few years — it's easy to adapt your EF-mount lenses to work with the EOS RP. Simply add the EF-EOS R adapter, and all of your DSLR lenses will work with full electronic functionality of autofocus and stabilization, if they have it.

Granted, the EOS RP is an older camera. This means you're not going to get some of the more exciting features we've seen in cameras from the past few years, such as AI-powered subject-recognition autofocus, which has even started to appear in more entry-level models.

But the best thing about the EOS RP, in my view, is that it's a gateway into one of the most comprehensive and exciting mirrorless camera systems in all of photography. If you get to a point where you think you've outgrown it, you have a broad range of fantastic EOS R cameras to upgrade into. You'll be able to offset some of the cost by trading in your EOS RP — and all your RF or EF lenses will still work with the next model.

So, if you're thinking of jumping into full-frame photography, this could well be your moment. But like I said — don't hang around for too long!

More of today's best Canon deals

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: sign up for a 30-day free trial
• Amazon Devices: Fire TV, Ring & Blink from £24.99
• Amazon Haul: up to 30% off
• Apple: AirPods Pro 3 for a record-low price
• Appliances: up to 45% off Ninja, Tefal & Sage
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from under £10
• Fashion: up to 50% off
• Father's Day: up to 50% off gifts & drinks
• Headphones: up to 50% off
• Laptops: from £149.99
• Tablets: Samsung & Lenovo from £125
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Eufy & Roborock
• Wearables: Garmin & Huawei from £36.99

Truly low-cost cameras that are actually worth buying are hard to come by, and that's what makes the Lumix G97 so special today in this unbeatable deal ahead of Prime Day.

In our Lumix G97 review of its 2025 release, we awarded this beginner mirrorless camera 4.5 stars out of 5, saying its "competitive price point makes it a very appealing camera for novice photographers and vloggers". And B&H Photo just slashed that already great price by $260 — you can grab Lumix G97 with 12-60mm f/3.5-5.6 lens kit for $597.99 at B&H Photo and other leading retailers.

I've included links to the best deals below, many of which include handy extras to get you started. For example, B&H Photo throws in a memory card and shoulder bag for no extra cost!

The deal is less impressive for shoppers in the UK — the Lumix G97 with 12-60mm lens costs £649 at Amazon (was £749). That's still excellent value, but if price is your main concern, then there are decent alternatives worth considering, such as the Canon EOS R50 for £659 at Amazon (was £900). Conversely, the deals for the Canon camera are less impressive in the US.

In its favor, the EOS R50 has a larger 24MP APS-C sensor and superb autofocus. However, lens choice is pretty limited. On the other hand, the Lumix G97 — despite being a refresh of the much older Lumix G95 / G90 — still very much packs a punch, with decent 20MP micro four thirds sensor, superb ergonomics and a huge choice of affordable lenses. Trust me, it's a fabulous first camera.

Whichever model you prefer, you are getting standout prices for one of the best beginner mirrorless cameras. I've included more deals below for other top models, including the Fujifilm X-M5 and Olympus OM-D E-M10 Mark IV.

Today's best Lumix G97 camera deal (US)

Today's best Lumix G97 camera deal (UK)

Best beginner mirrorless camera deals today — including Canon, Fujifilm, Lumix and more

In my in-depth Sony A7R VI review, I called it "the perfect camera"; but just how much better is it than its predecessor, the A7R V — and is it worth upgrading, or switching systems for, say from Canon and Nikon?

The previous A7R model launched in November 2022, so that makes three-and-a-half years between cameras, and gives me plenty to talk about. I'll cover the headline upgrades here, including the new sensor, design improvements and, notably, Sony’s first new battery for mirrorless cameras in nine years.

The answer to my 'upgrade or switch' question very much depends on what kind of photographer you are — so let’s dive straight into it…

1. Sensor

• A7R VI: 66.8MP stacked full-frame sensor
• A7R V: 61MP ‘standard’ full-frame sensor
• Canon and Nikon rivals have a 45MP stacked sensor

Sony’s ‘R’ nomenclature indicates resolution. If you buy an ‘R’ camera, you buy it for pixels — and lots of them — and images from both the A7R V and A7R VI are detail-rich.

With a stabilized 61MP full-frame sensor, the A7R V had the joint-most pixels in a full-frame camera, along with other Sony models including the A7C R and RX1R III, and some cameras from other brands, including Leica’s Q3 and the Sigma Fp L.

That 61MP sensor was debuted in the even older A7R IV, which is now seven years old (there's an updated A7R IVa still available for less than half the price of the A7R VI). Sony’s latest model has, however, upped the ante with a 66.8MP sensor, and it now leads the pack.

If it’s pixels alone that you’re concerned about, then that might seem like a small bump in resolution, especially when Sony rumors have regularly speculated about a 100MP sensor. A quick look at various Sony forums following the A7R VI's announcement makes it clear that some would-be upgraders are disappointed.

Is an extra 6MP worth upgrading for (read: spending a whole load more cash on)? On the surface, no. However, there’s more to a sensor than its pixels. The new sensor here is a ‘stacked’ type, which means it has a much faster readout speed, making it more capable for capturing fast-moving action and for video recording, with less rolling shutter distortion.

The A7R VI does, therefore, have the highest-resolution full-frame sensor, and it’s a speedy stacked type. It has stepped out of the ‘R’ series lane which prioritized quality, and into the speed and quality category occupied by Sony’s 50MP A1 II, which is slightly faster again but has less pixels.

In my book, the A7R VI’s sensor is the perfect marriage of speed and quality, and it's narrowed the market for the pricier A1 series to top sports photography pros. For everyone else, the A7R VI doesn’t miss a beat.

As for Sony and Canon rivals, their top cameras for detailed images include the Nikon Z8 and Canon EOS R5 Mark II, and those cameras max out at 45MP (as does the Lumix S1R II). Canon has a neat in-camera upscaling trick which quadruples resolution for pictures you’ve already captured to 180MP, but this is achieved by smart (and convincing I must add) upscaling.

2. Performance

• A7R VI: a stacked sensor and new Bionz XR 2 processor / combined AI chip
• A7R V: a regular sensor, Bionz XR processor and twin processor / AI chips
• Canon and Nikon rivals also feature a stacked sensor

The A7R VI’s stacked sensor has a faster readout speed than the A7R V, but Sony says the A1 II is even faster. Until lab testing is done, that’s as much detail as we have, because, unlike some other brands, Sony doesn’t divulge sensor readout-speed specifics.

A quicker sensor readout speed addresses rolling shutter distortion, making the A7R VI a better camera than its predecessor for video and fast-moving subjects when the electronic shutter is in play. Put simply, the A7R VI is more of an all-rounder than the A7R V, but there’s no advantage over the Nikon Z8 and Canon EOS R5 Mark II, which also have stacked sensors.

Following the lead of the Sony A7 V, the A7R VI has a combined Bionz XR 2 processor and AI chip, whereas in the A7R V the processor and AI chips are separate. Burst-shooting speeds are technically the same at 10fps using the mechanical shutter, and up to 30fps using the electronic shutter, but you should be able to squeeze out longer high-speed sequences with the mark VI versus its predecessor.

During my in-depth test of the A7R VI, I found that autofocus performance is marginally better too. It also adds an ‘auto’ subject-detection autofocus mode, meaning you don’t have to select a dedicated subject-detection mode, which is infinitely helpful when you’re regularly swapping between subject types.

The new processor and sensor combine for class-leading dynamic range, at least in theory, which is extended by one stop to 16 stops, with new dynamic range boost settings in the mix. Oh, and image stabilization performance has been marginally improved, measured at 8.5 stops to 8 stops (center) or up to 7 stops (periphery).

3. Battery

• A7R VI: New NP-SA100 battery with 2,670mAh capacity
• A7R V: The NP-FZ100 battery with 2,280mAh capacity
• Canon and Nikon rivals can't match the A7R VI’s battery life

Sony has introduced a completely new battery — the NP-SA100, which is physically bigger than the NP-FZ100 battery used in all of Sony’s full-frame mirrorless cameras for the last nine years. That battery was already legendary, delivering rival-beating capacity, and compatibility with a range of third party accessories such as external monitors.

The new battery is even better. How much better? It has 17% extra capacity at 2,670mAh compared to 2,280mAh. Battery life is one area where the A7R VI beats its predecessor, and indeed its rivals.

The bad news for existing Sony shooters is that the new battery is a different fit and physically larger, meaning there’s no forward or backwards compatibility with the older NP-FZ100 battery. If you’re looking at the A7R VI, your NP-FZ100 batteries are of no use, and additional batteries are going to be an extra cost to factor in.

4. Handling

• A7R VI: larger grip, illuminated buttons, brighter viewfinder, but otherwise much the same
• Both cameras feature a 3.2-inch 4-way vari-angle display and 9.44m-dot viewfinder

The larger battery is housed inside the camera’s grip, which is in turn physically larger than the one in the A7R V. I’m a fan of the larger grip, it’s even more comfortable to hold. Otherwise, the camera’s design is pretty similar to that of the A7R V’s — it’s a game of spot the difference.

Playing that game, I’ve found a few welcome tweaks. There’s a new lamp button on the top plate. Press it, and the control buttons around the body light up. I love this feature for low-light shooting, which makes locating buttons all the easier.

Speaking of lights, there’s also a tally lamp on the A7R VI, which is a handy visual aid letting you know the camera is recording, whereas the A7R V doesn't have one.

The displays are mostly the same. The 3.2-inch 2.1m-dot touchscreen has a four-way tilt hinge — you can tilt it up from the body, or pull it out to the side and rotate it for selfies, for vertical and horizontal shooting at just about any angle. The EVF is again a 9.44m-dot unit, but on the A7R VI it's 3x brighter, and I can attest that it’s an even nicer viewfinder to use — the best I’ve used on a camera this size, and up there with the very best of any camera I’ve used.

On the side of the new camera, each port has its own rigid door now, whereas some share a door in the A7R V. By the way, I much prefer this type of door to the soft doors found in most other cameras, which can get in the way.

5. Price

• A7R VI: Body-only: £4,500
• A7R V: Now £3,000 (launched at £4,000) while the A1 II is £6,200
• Nikon Z8: Now £3,000 (launched at £4,000)
• Canon EOS R5 Mark II: £4,500

Compared to the A7R V, the A7R VI is a pricier upgrade, especially since the A7R V is over three years old, and its price has dropped by about 25%. It started out at £4,000, but can now be had from Sony’s site and other leading retailers for around £3,000.

I’m not surprised by the bump in price, considering the time between the two cameras and the A7R VI's new sensor and battery.

The A1 II is much pricier than either, costing around £6,000, and making the A7R VI look like excellent value by comparison. That being said, Sony’s latest ‘R’ camera costs the same as the Canon EOS R5 Mark II, and is in turn pricier than the Nikon Z8 which is closer in price to the A7R V.

In summary, the A7R V costs significantly less, but the A7R VI gives you more camera, and offers decent value compared to rival models.

Conclusion

I already loved the Sony A7R V, with its 61MP full-frame sensor and speedy autofocus. The A7R VI is, however, better on both the quality and speed fronts, and even plants a foot on A1-series turf.

For me, as someone who shoots a wide range of photography genres, covering anything from landscapes to portraits and sports, the A7R VI is a dream camera, and it now tops my Sony camera wishlist.

Before the A7R VI was announced, I would have opted for Canon and Nikon rivals, given the various compromises in its predecessor, but the A7R VI changes the equation. It's a strong upgrade for a range of photo and video subjects, and could even be worth switching systems for. It also offers superior battery life, and a range of lenses for all budgets that Canon and Nikon owners wish they had. For me, the A7R VI is the professional camera to beat.

The stunning new Sony Alpha A7R VI has been one of the biggest camera launches of the past few months, and with good reason - our review has praised it as a near-perfect full-frame flagship.

The release of a new model, however, also means great price cuts on slightly older (but still great) iterations. Right now, for example, you can get a record-low price on both the Sony A7R V and the Sony A7R IV thanks to a 'Summer Sony Sale' at Adorama.

Currently, you can pick up the Sony A7R V for $3,298 (was $3,798), while the older A7R IV is retailing for $2,798 (was $3,698). While still pricey, you're potentially saving up to $900 versus the original price here on full-frame flagships with the extreme levels of resolution that the Sony R series is known for. An impressive 61MP, in fact!

Today's best Sony Alpha A7R deals

• See more: check out all of today's camera deals at Adorama

Is it still worth buying these with the release of the Sony A7R VI?

Absolutely! Both the A7R V and IV are still up there with some of the best mirrorless cameras you can buy if you're looking for a full-frame camera with heaps of resolution.

Of the two, the A7R V is the easiest to recommend. While it shares the same 61MP sensor as the IV, you get a very compelling set of upgrades. Alongside AI-assisted subject detection modes, the V features a better EVF, multi-angle screen, better IBIS, and support for 8K video. It's just a much more fully-featured and modern camera overall, although you will need a pricier CF-Express Type A card to fully utilize its full set of features.

Right now, the latest A7R VI is retailing for an eye-wateringly high $4,498 at Adorama, so the A7R V looks like a good middle-ground. Having personally used the A7R VI, I can attest that it's a fantastic camera - but there's no doubt it comes at a serious premium.

The Adorama Memorial Day sale has yielded quite a few gems this year, but my favorite deal is definitely the Nikon Z5 II for $1596 (was $1,849).

I highly recommend you snap up this excellent model before the sale draws to an end this Sunday, as it's not only a great discount, but a record-low price on a body that has to be one of the best value full-frame cameras on the market.

I was really impressed by the Nikon Z5 II when I reviewed it last year. Coming from the older Z-Mount bodies, I knew roughly what to expect, but the Z5 II's compelling mix of image quality, video specs, and price really stood out to me.

In particular, I thought the Z5 II's autofocus was a real highlight. It's an area that older Nikon models have struggled with, but the Z5 II is on par with the brand's latest higher-end cameras. In short, it's fantastic for everything from everyday shooting to action, now with excellent tracking and greatly improved subject detection.

As previously stated, Adorama's Memorial Day sale ends this Sunday, so you don't have long to secure the Z5 II at this price. While we'll surely see this deal crop up again, it's hard to say exactly when, so it's definitely a good time to consider picking one up.

Today's record-low Nikon Z5 II price

Note, if you're interested in comparing the above Nikon Z5 II deal to other models from the brand, I've attached a few more discounts just below. Adorama's Memorial Day sale also includes some fantastic deals on the Nikon Z6 III and the Nikon Z8.

Arguably, these models aren't quite as good bang-for-the-buck as the Z5 II, but they're still great value compared to some rival brands. And, they're great options if you're looking for a more fully-featured camera for video or action photography.

More Nikon camera deals to consider today

Now the big day itself has passed, this year's Memorial Day sales will gradually start to wind down. That means there are only a few days left to score a discount over at the specialist retailer Adorama.

Right now, the retailer's deals include record-low prices on many of our favorite models from Sony, Canon, Nikon, Fujifilm, and many others. I've been scanning through the sales, and I've found quite a few noteworthy listings - which you can check out just below.

Admittedly, most of these discounts are essentially 're-runs' of record-low prices we've seen before over the past few months, but they're still great discounts. In fact, today's deals include the Canon R5 Mark II, the Nikon Z6 III, and the Sony a7CR, which are very popular models (and highly reviewed on TechRadar). You can also get a fantastic discount on the Nikon Z5 II right now, which might just be the best value full-frame camera on the market currently.

As previously mentioned, the Memorial Day sales are very much winding down now, but you do have a few days to consider. Adorama's sale specifically is set to end this Sunday, after which I anticipate most of these deals will vanish accordingly.

Memorial day camera deals - Canon

Memorial day camera deals - Nikon

Memorial day camera deals - Sony

Memorial day camera deals - other brands

The Sony A7R VI is, without question, one of the most impressive cameras ever made. Our Cameras Editor Tim Coleman called it the first perfect mirrorless camera he's used after 15 years in the business, and I'm not about to argue with that.

But its arrival last week has had a great side effect for anyone who doesn't want to spend flagship money on their next mirrorless camera. The Sony A7R V, its 61MP predecessor, has just hit its lowest-ever price of $3,298 at both Amazon and Adorama, down $500 from its previous price — and I think that makes it one of the more compelling camera deals you'll find in the Memorial Day sales.

• See more: check out all of today's deals at Adorama

The Adorama deal in particular is worth a closer look, because on top of that price drop it comes with three free items bundled in: a 256GB memory card, a spare battery, and a camera bag. These extras have a combined value of almost $400; pretty generous additions in my book.

So why is the A7R V worth your attention when its superior replacement is already out there? The short answer is that the gap between these two cameras is narrower than the gulf in their prices (now more than $1000) suggests.

The A7R VI's headline upgrade is its new 66.8MP stacked sensor, which brings faster readout speeds, reduced rolling shutter and up to 30fps burst shooting. Those are major improvements, but they're also improvements that many A7R buyers simply don't need. The 'R' series has always been aimed at photographers who value resolution above all else: landscape shooters, portrait and studio photographers, and anyone producing large-scale prints or requiring extensive cropping latitude. For that audience, the A7R V's 61MP sensor remains outstanding. You're talking about a measly 6MP difference between the two cameras; in practice, that's barely visible even at 100% magnification.

• View Amazon's full Memorial Day sale

The A7R V is still a rock-solid premium camera

The resolution story goes deeper than raw megapixel count, too. The A7R V even has a trick up its sleeve that the VI doesn't vastly improve upon: a multi-shot high-resolution mode that combines 16 frames into a single 241MP composite image (complete with automatic compensation for minor subject movement). It's a feature that could offer real professional applications in commercial, architectural and fine-art photography, and one of those things that tends to make you feel slightly silly for thinking you needed more pixels.

Elsewhere, the A7R V's autofocus system — which was a major overhaul over the A7R IV when it launched — holds up extremely well today. Its AI-powered subject recognition covers humans, animals, birds, insects, vehicles and aircraft, with eye, face and body-shape detection. Yes, the A7R VI refines this further, but the V is no slouch, and it remains capable of serious wildlife and portrait work.

Dynamic range checks in at 15 stops — the VI adds one more, but a one-stop difference is negligible in most real-world situations. Eight stops of in-body stabilization, a 9.44M-dot OLED EVF and a 4-axis fully articulating touchscreen LCD round out a spec sheet that was class-leading at launch and remains highly competitive today.

There's also one practical consideration that's easy to overlook: the A7R VI introduces a brand-new NP-SA100 battery that's incompatible with Sony's existing NP-FZ100 battery ecosystem. So, if you already own Sony batteries, the A7R V may slot straight into your existing kit better than its successor.

One caveat that need mentioning is that the A7R V's conventional (non-stacked) sensor means it's more susceptible to rolling shutter, and its modest burst shooting buffer won't satisfy sports or action photographers. But those shooters were never the A7R V's target audience — and at $3,298, with three free accessories thrown in at Adorama, I believe this camera is an extraordinary deal for the type of photographer it was built for.

• View Amazon's full Memorial Day sale

More of today's best Memorial Day sales

• Amazon: 45% off TVs, AirPods, air fryers & vacuums
• Apple: iPads, AirPods & MacBooks from $99
• Best Buy: 60% off appliances, TVs, laptops & more
• Casper: up to 30% off mattresses
• Dell: laptop deals from $249.99
• DreamCloud: up to 60% off mattresses, 66% off bundles
• Home Depot: 40% off appliances, furniture, grills & tools
• Lowe's: $1,000 off appliances, patio & tools
• Nectar: up to 50% off mattresses, deals from $369
• Saatva: up to $550 off luxury mattresses
• Samsung: up to $1,600 off appliances
• Target: 30% off clothing, patio & furniture
• Walmart: furniture, cheap TVs & vacs from $69
• Wayfair: 50% off furniture, grills, rugs & more

Like many photographers, filmmakers and tech journalists, I’ve picked up a Lumix camera at various times in the 25 years since Panasonic started making cameras.

I’ve reviewed countless Lumix cameras and lenses down the years, and decided to part with my own cash for a Lumix GH5 to level up my video quality just before moving to East Africa in 2015.

I've used that camera for multiple video projects, and 10 years on, paired with a 12-60mm f/2.8-4 Leica lens, it’s still my go-to camera for my product photos, which you can see in my reviews and other articles on TechRadar.

To commemorate 25 years of Lumix cameras in my own small way, I decided to buy another model, the Lumix G1, which was in fact the very first mirrorless camera ever made — at 18 years old, it even predates TechRadar, and this is our first proper write-up about it!

The Lumix G1 was a true innovation, marking a new era of cameras that would eventually replace the best DSLRs, and which dominate the market today. Was it easy to find one? Surprisingly enough, it was.

A vintage bargain

My original idea to mark 25 years of Lumix was to buy the very first Lumix camera, the DMC-LC5 compact. However, after many hours of fruitless searching I diverted my attention to the OG mirrorless camera.

I quickly found a secondhand Lumix G1 for just £41 at MBP (about $50 / AU$90), or double that with an original 14-45mm kit lens. If I was willing to pay a little extra, I could get the camera in what I’d describe as a dark shade of red instead of the original black.

Given that these cameras are 18 years old, there are very few excellent-condition models still available, so I settled for a ‘well-loved’ version.

I wanted the authentic experience rather than using my own 12-60mm Leica lens, so I bought the camera with the original kit lens. A few days later, the gear arrived in an original box with all the original accessories — there was even the user manual on a CD.

Back when the Lumix G1 was launched, proper plug-in battery chargers came as standard — and the original charger was in the box too, which was a novelty, because these days you don’t typically get a charger with USB-C-ready cameras. And I got all of this — camera, lens, charger and all original items — for just £80. Bargain.

Once the battery was charged and inserted, I connected the camera and lens, and got a feel for the DSLR-style body. The immediate downside to a camera of this age and design is that the exterior was sticky and peeling in parts — not a particularly pleasant experience.

On turning the camera on, I was greeted with an old-school white background menu with vintage typeface and a time / date set page, with the year set to 2008 — yes, the Lumix G1 is a full 18 years old! Numerous hits of the D-pad later, with the correct time and date set, I was ready to go.

Despite its age, there’s a familiarity about the way the Lumix G1 feels and handles, though there are exterior controls that feel somewhat quirky 18 years later, but which offer an insight into what features were all the rage of that time — for example, there's a 'film mode' button for color profiles aped today by Fujifilm, and an autofocus mode dial. That said, camera design really hasn’t moved on that much, and I felt immediately at home handling the G1.

They don’t make ‘em like they used to

So what about the technology inside?

What Panasonic did well when it started out making micro four thirds mirrorless cameras was to give us compact-sized models that made the most of the ‘half-size’ sensor format.

With its DSLR-style design (read: viewfinder hump), the Lumix G1 was larger than other Lumix models such as the GF series and legendary GM1, but nonetheless it feels small, and the pronounced grip fits in the hand comfortably.

The range evolved over the years, and quite literally grew in size as more features were added, and the Lumix G1 better realizes the micro four thirds concept than, say the Lumix GH7.

The electronic viewfinder is understandably quite small and basic, but it’s still what I like to use to compose images in bright light. The vari-angle screen is not touch-sensitive, which certainly makes the Lumix G1 feel somewhat primitive in 2026.

Menus, therefore, need to be navigated using the camera’s buttons, including the function button for the quick menu. I might have missed a trick, but by my reckoning it takes a four-step process of tapping different buttons to access exposure compensation, which became tedious after prolonged use.

Thankfully, for the most part, the menus in the Lumix G1 are refreshingly simple. I suppose that’s because it has less going on versus the feature-rich Lumix cameras of recent years. But in a way, it’s feature set is not so different.

You might expect autofocus speed to be archaic, but honestly the contrast detection-based AF still felt pretty snappy in good light, easily latching on to most subjects, and it was decent enough even in low light.

Sure, there are fewer autofocus points, and the percentage coverage across the frame is smaller compared to today’s models, but autofocus was generally reliable.

And get this: there’s human subject-detection autofocus, and it works pretty well. Leading brands are still tinkering with advanced subject-detection autofocus 18 years later, throwing ‘AI’ into the mix covering pose recognition for humans, animals, and more, but the truth is that the foundation for this tech has been around for many years — and the Lumix G1 is proof of that. It's autofocus is simpler than today's mirrorless cameras, but sufficient for everyday photography.

Enough for the everyday

The camera packs a 12MP micro four thirds sensor (aka MFT / M43), a megapixel count which 18 years later is more than doubled by flagship cameras in this format — the top micro four thirds cameras like the Lumix G9 II offer 26MP, and a high-res mode that can quadruple that resolution.

Picture quality isn’t just about pixels, though, and the Lumix G1’s sensor is also pretty dated in terms of low-light performance, with an ISO sensitivity range of just ISO 100-3200 — yes, it tops out at ISO 3200.

Low-light quality is the main drawback of the micro four thirds format versus full-frame mirrorless models which came several years later (but were predated by full-frame DSLRs), especially in earlier models such as the Lumix G1.

Still, a pop-up flash is handy at a pinch for party portraits, with manual exposure control for attractive fill-flash effects. And I dig the overall quality — many of today’s cameras recreate vintage effects with various color profiles, whereas here every photo as a dated look to it.

Burst-shooting speeds are understandably much slower than the latest cameras, and I’m not about to take the Lumix G1 to my kid’s sports day. Its top speed is just 3fps, a rate that the camera can sustain when shooting JPEGs until the card is full. Add RAW format into the mix, however, and the camera slows up after just a couple of seconds.

After using the 14-45mm lens exclusively, I decided to throw my cheap Olympus 45mm f/1.8 portrait lens into the mix — after all, lens choice and cross-brand compatibility was and is the beauty of the micro four thirds system, even if you don’t always get the full suite of features when mixing and matching brands.

The 45mm f/1.8 was typically the second lens that Olympus (now OM System) users would purchase, and it leveled up the quality of my portraits and other shots with its improved light-gathering capabilities. Aesthetically, the camera and lens pairing still look the part too.

Are old cameras worth it?

For me, cameras are a bit like cars. Vintage models, such as the Lumix G1, have a certain rough-around-the-edges charm about them that has been lost with modern design and increased capabilities.

Sure, the Lumix G1's capabilities pale in comparison to, say, the Lumix G9 II, which is the latest version in the series. That camera has an incredible suite of features, including Panasonic’s hybrid phase-detection autofocus and blazing-fast performance.

For all the Lumix G9 II’s excellence, however, I’m charmed by the original model. Of course, I wouldn’t use it for serious work or once-in-a-lifetime trips like I would the current day model. But for photographing the everyday, I’ve enjoyed reaching for the Lumix G1, and I’ve been loving taking photos just for the fun of it.

The Lumix G1 is still a decent beginner camera all these years later — and it's available secondhand for a ridiculously low price. So, in the spirit of celebrating 25 years of Lumix, I toast Panasonic for producing the mirrorless camera that started it all, and for all the cameras it has given us down the years.

Preorders on the stunning Panasonic Lumix L10 are currently open, and the brand's new model looks like a fantastic choice for those on the hunt for a premium compact camera.

I can't help but think, though, it's still a little on the pricey end. Sure, the premium design, lens, and LUTs arguably make it a compelling alternative pick to the likes of the Fujifilm X100VI. But, it's $1,499 — that's still a significant outlay.

And, when I look at L10, I can't help but think that the Micro Four Thirds system already has some fantastic compact options.

For example, the Olympus OM-D E-M10 Mark IV can be scored for just $699 (was $899) right now with the excellent 14-42mm F3.5-5.6 kit lens thanks to the Adorama Memorial Day sale.

The EM-10 Mark IV is an older camera now, and more budget-oriented than the L10, but I think it's a great value alternative. For example, with the kit lens here, you're getting a very similar range in terms of focal length, a comparable 20MP sensor in the camera, and you're still getting that small, compact retro look.

A fantastic camera for not a lot of cash

• See more: check out all of today's deals at Adorama

Is the Olympus EM-10 still worth it in 2026?

The Lumix L10 does have quite a few advantages over the Olympus. For one, the L10's in-built lens features a f/1.7 aperture at its widest, which means you'll get a bit more bokeh and light-gathering capability. The L10 is also a much more modern camera in terms of autofocus, menus, and the various in-built JPEG settings, meaning it will probably be easier to nail that 'film-like' look straight out of camera.

The EM-10 is a great little camera, however. That's especially the case if you're willing to put in a bit of post-processing legwork in Lightroom or the like. You can simply shoot in RAW, then apply one of hundreds of film-like presets that are readily available online. It's an extra step, but you can definitely still get that vintage, retro look easily with the Olympus.

I also think the bundled M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ is a really great deal here. You can opt for the body-only listing for just $599, but I think it's worth getting the kit lens here for an extra $100. It's a very, very small pancake zoom that's actually quite impressive at the wider end, and I've taken some great travel shots with it over the years. The downside of this lens is that it's not weather-sealed, but then again, neither is the Lumix L10!

This time of year isn't traditionally known for camera deals, but Adorama has just launched a Memorial Day sale ahead of next week, offering a range of great discounts.

I've been scanning the retailer's sale to find the best deals today, and while there aren't many new record-low prices, there are quite a few deals that match previous records. That includes bodies from Canon, Nikon, Sony, and many other leading brands.

I've rounded up all of today's best prices below, including models we've personally tested and reviewed here at TechRadar. In fact, quite a few of our favorites are included here, such as the Canon R5 Mark II, the Nikon Z6 III, and the Sony a7CR. I've also spotted discounts on Fujifilm, Panasonic, and OM System bodies, which are fantastic if you're looking for alternatives to the 'big three'.

Finally, If you're interested in other products, we'd also highly recommend bookmarking our main Memorial Day sales page. That's being updated ahead of the big day itself next week with not just cameras, but staff-picked deals on TVs, laptops, and other tech.

Memorial day camera deals - Canon

Memorial day camera deals - Nikon

Memorial day camera deals - Sony

Memorial day camera deals - other brands

There's an open nature reserve with a wetland, encircled by woodland, about a 10-minute drive from my house, and it’s one of my favorite places to go running. Sunrise on a cold morning here can be magical for photography too — the sun-kissed mist hovering over the water makes for dreamy conditions.

Throughout the year, the nature reserve attracts a range of migratory and rare species of birds, making it a popular spot for birding — people will drive a good hour or more to visit with their long lenses, spotting scopes and binoculars.

I've never tried serious bird photography myself, chiefly because I'm way too young for that (joking), but also because the longest lens I've ever owned is a 70-200mm, which doesn't get me nearly close enough.

Recently, however, I had the chance to test Sony's longest lens, the FE 400-800mm F6.3-8 G OSS, and the idea of trying bird photography suddenly became very appealing.

I paired the super-telephoto zoom lens with the new Sony A7R VI. My logic was that the camera’s stellar bird-detection autofocus skills, blazing-fast shooting speeds of up to 30fps, and 66.8MP stacked sensor were perfect for bird photography when armed with the 400-800mm focal length.

One visit led to another, and before I knew it, I was out the door at 5am every morning, gear in hand.

I had just found my new hobby. It happened a few years earlier than I care to admit, but why resist the inevitable? Yes, I'm now into birding, and I have this incredible Sony camera gear to blame.

The super-supertelephoto lens

When I first saw Sony’s 400-800mm lens in 2024, I thought it was a peculiar focal length. But after my bird photography testing, it feels like the perfect range for this genre.

For most bird photography — in the wild at least — you’ll want a focal length of at least 600mm to get close enough, but I found that even longer, at 800mm, was my most-used setting.

I wouldn’t want an 800mm prime lens, mind you, even if that meant benefitting from a slightly faster aperture. When you're locked in on a bird at 800mm, and it moves, which it will, it can be tricky to locate them again. That’s why quickly zooming out to 400mm is handy.

With a wider perspective at 400mm, you can locate the subject more easily, and then zoom back in again. In any case, about 10% of the time, the 400mm focal length was actually the better pick when I was lucky enough to get physically close.

Optical image stabilization is handy, smoothing out camera shake and consequently making this lens totally usable handheld. The focus range limiter is neat too, but I tended to keep the focus range set to 'full' given the birds could be located any distance from me at any point — in one spot, there are gauze bushes next to a boardwalk.

The one thing against the lens is its maximum aperture, which is f/6.3 at 400mm and reduced to f/8 at 800mm. I usually opted for a 1/1000sec shutter speed at 800mm to freeze action, and at f/8 in anything but good light, you’ll find ISO needs to be bumped up, which impacts image quality.

Depth of field is not an issue, though. At 800mm and f/8, backgrounds are delightfully blurred, just about all of the bird is in sharp focus, and the photos looks great.

An upshot of the limited maximum aperture is that the lens is much lighter than Sony’s professional fast-aperture telephoto primes, such as the 600mm F4, and it’s much, much cheaper, too. For amateur bird photography, I think the 400-800mm F6.3-8 is the practically perfect lens.

The speedy, highly detailed camera

If the 400-800mm F6.3-8 is the ideal lens for bird photography, the A7R VI proved to be its perfect partner. Like its predecessor, the camera features subject-detection autofocus with a dedicated option for birds, but it adds an auto option, which is handy when you’re regularly switching between subjects.

For bird photography, however, I selected the dedicated AF mode on the assumption that this could help improve the camera’s scan rate, with less in the scene for it to be looking for — after trying both options, I would advise you to do the same.

I also tried bird photography with the 400-800mm lens and the older Sony A7R V, and it felt like autofocus was slightly slower compared to the new camera. I don’t have numbers to back this up or give a measurable difference, just my experience.

I was impressed by how the camera could latch onto birds even when they filled just a small portion of the frame. Check out the example below — the A7R VI easily located the distant male stonechat.

With continuous burst shooting set to 10fps using the mechanical shutter, bird-detection autofocus in play, camera and lens image stabilization active, I had a dream setup, on the foundation of a high-resolution stacked sensor and extreme dynamic range.

Sony says the A7R VI has a 16-stop dynamic range, which is 1-stop more than the A7R V and most other professional cameras. It also has the most pixels in a full-frame sensor — all 66.8MP of them.

What I appreciated about the high-resolution sensor was the ability to crop into images where the subject filled a small portion of the frame, even when shooting at 800mm.

Just how much can you crop? Well, the camera's APS-C crop mode (1.5x) is still 28MP, and in that mode the 800mm setting of the lens effectively looks like a 1200mm lens (see the sequence above at 400mm, 800mm, and 800mm with the 1.5x crop mode). It's possible to crop in much more than that and still get a detail-rich image, especially for images displayed on mobile devices. You might not need such big files in terms of output, but for bird photography, being able to crop is supremely helpful.

The birdlife

That’s the gear covered — but how was my experience itself? I had an absolute blast — in the space of a week, I went from a complete novice to confidently identifying a range of bird species for inquisitive passersby impressed by the camera gear in my hand. Yep, I had become one of those guys.

The nature reserve is home to a wide range of birdlife. My very first snaps were of Canada geese on the water, mainly because the light and mist were magical. But venturing further along the boardwalk, I saw ground-nesting birds and more.

There were Chats, Finches, Woodlarks, and I even saw a family of Dartford Warblers. I tuned in my ear for birds; the car alarm-like shrill of a Lapwing and the peculiar call of a Curlew — I was told that I was looking at the only nesting pair in this county. Common Cuckoos were present too, though I never got the camera tracked onto one of those.

I photographed European Stonechats who had caught dragonflies and grubs, and watched a Reed Bunting go back and forth gathering nest-building material. The delightful contrast of a (European) Goldfinch amidst the pale green leaves of a birch was spectacular.

Seemingly, it was my time — I was becoming a bird enthusiast. I had given in to the inevitable. I was hunting for birds, enjoying the thrill of getting the shot, but with a camera and not a rifle.

And honestly, it was the most fun I'd had with the camera in ages. This didn't feel like work, but something that fed me. And, yes, I did ask Sony to extend the loan of the lens, because I wasn’t ready to give it back. Once I bid farewell, I’ll be looking into buying a super telephoto zoom lens of my own (but I'm not quite ready for a bird spotting journal...yet).

Interested in trying bird photography out for yourself? Check out our selection of the best wildlife photography cameras.

Sony A7R VI: Two-minute review

Highly-detailed images or blazing-fast performance — historically, you'd have to pick one or the other when choosing a camera. However, Sony has now given us both in one model — the A7R VI — and for me, it's the perfect mirrorless camera.

I've shot everything from detail-rich landscapes to fast-moving wildlife photography while testing the A7R VI, and it hasn't missed a beat. I've really appreciated the huge number of pixels I have to play with, which means that heavily cropping into images is entirely possible.

Its new 66.8MP stacked full-frame sensor resolves more detail than the sensor in the 50MP A1 II — Sony's previous flagship camera for quality and performance — and most of that camera's speed in terms of sensor readout.

I say 'most', because its readout speed is half that of the A1 II, and able to support autofocus up to 60fps, but it has certainly been sufficiently speedy for just about every scenario I've used it in. And rolling shutter distortion is minimized compared to the A7R VI's predecessor, the A7R V — I shot with both cameras at the same time in order to make direct performance comparisons.

Even better, the A7R VI costs £4,500 / AU$6,999, which seriously undercuts the pricier A1 II. Considering what the A7R VI can do, the A1 II feels somewhat redundant, especially when the speed-specialist A9 III is also on the scene for the likes of pro sports photographers who demand the absolute fastest performance.

Of course, that's still a decent chunk of anyone's money, and the A7R VI costs a lot more than the still-incredible A7R V, which has fallen in price since its launch in 2022, and is probably the better value pick if detail is all that matters to you.

However, given the upgrades here, which also include a new and higher-capacity battery type, the A7R VI's starting price feels justified. I've been reviewing cameras for 15 years, and I think Sony just made the first one that's perfect. I could happily dine out on its skills for many years to come.

Sony A7R VI: price and release date

• Announced on May 13 2026
• The body-only price is £4,500 / AU$6,999

Yes, the A7R VI'S £4,500 / AU$6,999 launch price is higher than that of the A7R V, which cost £4,000 / AU$5,499 on its announcement late in 2022, and which can now be had for around £3,000 / AU$4,799. That said, the A7R VI is more camera — it's not just a resolution king, but a speed demon too.

When you consider what the A7R VI is capable of versus the Sony A1 II, which costs more than £6,000 / AU$9,999, it feels like excellent value.

• Price score: 4.5/5

Sony A7R VI specs

Sony A7R VI: Design

• Still lightweight and small versus rival high-resolution full-frame cameras
• Rugged design and excellent ergonomics
• Touchscreen features a 4-way axis, the detailed EVF detail packs 9.44m dots

For recent models, Sony has made great strides in improving how its cameras handle, and how easy the menus and controls are to navigate. It's no longer the case that rival Canon and Nikon cameras are simply easier and more intuitive to use.

For starters, Sony has improved the design of the grip — on the A7R VI it's even bigger and more pronounced than before, no doubt to house the upgraded and physically larger new battery type which debuts here (more on this in the performance section).

The new bulb button on the camera's top plate illuminates key buttons in low light, making them easier to find in the dark, and there's a tally lamp for video recording. Each port sits behind its own rigid door, which when in use sits neatly out of the way. These are all lovely additions to what is otherwise a very similar design to the A7R V.

Like before, we get three control wheels for exposure adjustments (one of which is lockable), four custom buttons (though not one on the front of the camera, sadly), a grippy AF joystick and a four-way control dial which also includes drive mode and ISO shortcuts.

There's a neat 3.2-inch touchscreen with 4-way articulation, meaning the screen can be flipped out to the side and viewed at awkward angles, whether you're shooting in vertical or horizontal format. There's a highly detailed 9.44m-dot EVF, too, but this time it's a HDR DCI PW display which Sony says is 3x brighter than the one in the A7R V.

We get twin card slots again, and each slot accepts either an SD card or one of Sony's CFexpress Type A cards. Per gigabyte, CFexpress Type A cards are among the most expensive, more so than CFexpress Type B used in rival cameras. Of course you can use cheaper SD cards, but you'll want a CFexpress card to get the A7R VI's speediest performance for burst shooting and so on.

Naturally, with this being a pro body, the A7R VI is weather-resistant. I'm not in the habit of wrecking cameras, and certainly not review samples that I have to send back, but you can feel that the A7R VI is rugged too. The back-right control dial has a tiny bit of give, and could be a weak point, but it performed fine during my review.

If I was to have one criticism, it's that the camera body still feels a little cramped — many of the controls are small and tightly packed together. You'll also want a vertical grip when pairing the A7R VI with big lenses for better balance, such is its compact design. But overall, the A7R VI is as good a camera body as Sony has ever made.

• Design score: 5/5

Sony A7R VI: Performance

• The sensor is stacked with rapid readout speed, minimizing rolling shutter distortion
• A new higher-capacity NP-SA100 battery makes its debut
• Subject tracking autofocus performance further boosted with new chip

While the A7R VI's design is a minor upgrade, its performance reaches new levels thanks to a new 66.8MP stacked sensor, new Bionz XR 2 processor, combined processing and AI chip (as in the Sony A7 V), and an entirely new battery. Let's look at each of these in more detail, starting with the sensor.

Not only is the sensor the highest-resolution for the full-frame format at 66.8MP, it's a stacked sensor, which means a faster readout speeds, and a half-stop boost in image stabilization performance, now up to 8.5 stops.

Stacked sensors power everything from rapid autofocus speed to minimizing rolling shutter distortion. The A7R VI's is faster than the A7R V's regular 61MP sensor, but not quite as quick as the A1 II's 50MP stacked sensor, nor the A9 III's 24MP global shutter.

We also get a next-gen processor, the Bionz XR 2. Top features include 10fps burst shooting (mechanical shutter) for up to 535 frames in compressed RAW, and up to 30fps blackout-free (electronic shutter) for up to 150 shots — the latter is a three-second burst.

One of the buttons can be assigned as a burst-shooting boost, meaning you can tick over at, say, 10fps in using the electronic shutter and up this to 30fps when a key moment occurs.

Burst shooting is also supported by the pre-capture feature, where up to one second of shots can be buffered with the shutter half-pressed, before you fully press the shutter to engage a sequence.

Like in the A7 V, the A7R V combines the processing chip with the dedicated AI chip — the setup found in previous-generation cameras like the A7R V — into a single chip, for greater efficiency and power conservation, and for smarter autofocus and accurate auto white balance and color rendition.

In addition to a boost in the maximum possible length of burst shooting sequences before the camera slows up, there's an auto subject-detection mode this time around, which is very handy if you regularly switch between subject types, plus dedicated subject-tracking modes for as humans, birds, animals and vehicles, with the camera able to recognize head, eyes and even body shape (human pose), to intelligently understand where exactly to focus on, with a super impressive hit ratio of sharp shots.

I photographed a lot of birdlife, and found the bird detection autofocus super reliable, and even able to pick out subjects when they only took up a small portion of the frame. Those who like to use spot focusing will enjoy seeing the size options expanded, with new XL and XS options for wider or even more precise focusing.

And then there's the new battery, a NP-SA100 unit with 2,670mAh capacity. For Sony photographers, this one is a big deal — the first new battery for Sony mirrorless cameras in nine years, since the legendary NP-FZ100.

The new battery is physically larger and has a 17% bigger capacity than the NP-FZ100's 2,280mAh, which already delivered rival-beating power, so that's the good news.

The bad news is that the batteries are not forwards / backwards compatible. You can't use your stock of NP-FZ100 batteries in the A7R VI, nor can you use the new NP-SA100 in an older Sony camera.

Batteries, along with the continued use of Sony's own CFexpress Type A cards, are another potential costly extra, which will no doubt irritate some Sony fans keen on the A7R VI. I certainly enjoyed having two NP-SA100 batteries and a charging dock for long weekends of heavy shooting, and would personally factor that into a purchase. The bottom line, though, is that the new battery's life is better — and who wouldn't want that?

• Performance score: 5/5

Sony A7R VI: Image and video quality

• The highest-resolution full-frame sensor in a mirrorless camera, and it's a stacked type
• 66.8MP equates to 28MP with a 1.5x (APS-C) crop
• Dynamic range boosted by one stop to a class-leading 16 stops

The 'R' series of A7 cameras have always been about detail — delivering the highest-resolution stills that Sony cameras are capable of. And the A7R VI boosts the series further, from 61MP to 66.8MP, and this is achieved with a substantial boost in performance thanks to the stacked sensor.

There are some who would have preferred an even bigger boost in resolution over a boost in speed — there was a time when the A7R VI was rumored to come with a (regular) 100MP sensor. For me, however, as someone who photographs everything from landscapes to portraits and wildlife, I prefer the versatility of the A7R VI's sensor. It's basically perfect for my needs.

With a stacked sensor, there's a risk of some compromises in image quality, especially in low light. Thankfully, in the case of the A7R VI, the opposite is true, and dynamic range is further boosted from 15 stops to 16 stops.

I don't usually need 66.8MP stills, but being able to crop into such large files can be super handy. For example, I took a lot of bird photos, and even with Sony's 400-800mm lens, which is its longest telephoto lens, the tiny, distant subjects at times appeared small in the frame.

No problem: I could crop right in and still enjoy super-sharp detail. To give you an idea, the 1.5x (APS-C) crop mode is still 28MP, which is a huge file size. Employing that crop with the 400-800mm lens is effectively like having a 1200mm lens! This is where high-resolution cameras can be particularly helpful.

Color is also improved, with the subject-detection AI chip analyzing the scene for better auto white balance (AWB). For example, where older AWB systems might look at a lush green woodland scene and compensate with the opposing tone, resulting in an overly magenta hue, the A7R VI knows it's a woodland, or a person in the shade, and will select the right tone for the scene.

Video recording looks similar to the A7R V's going by the numbers: 8K up to 30fps and 4K up to 120fps, and still no open-gate recording, but the new stacked sensor minimizes rolling shutter distortion, making the A7R VI a better option for video than its predecessor. It's also equipped with more filmic color profiles.

• Image and video quality score: 5/5

Sony A7R VI: testing scorecard

Should I buy the Sony A7R VI?

Buy it if...

Don't buy it if...

Sony A7R VI: also consider

How I tested the Sony A7R VI

• Sony loaned me the A7R VI four weeks before it was announced
• I had four lenses to use with it, plus twin batteries and a charging dock
• I've taken photos and videos of a wide range of subjects to test key feature

I had the chance to test the Sony A7R VI for four weeks ahead of its announcement, and used it with four lenses: a small 24mm f/2.8 prime, the 28-70mm F2 GM, 70-200mm F4 G OSS II Macro and 400-800mm F6.3-8 telephoto zoom. I was also supplied with two batteries and the twin charging dock.

Given the camera's high-resolution stacked sensor and latest processor, which incorporates the previously separate AI chip, I wanted to test the camera's image quality and performance in a wide range of scenarios, which included landscape photography, wildlife photography, portraiture and more.

I also tested its burst-shooting skills, shooting in both the mechanical and electronic shutter modes, and noting how many photos the camera could capture before slowing up.

Sony also loaned me the A7R VI's predecessor, the A7R V, so I was able to make various performance comparisons, especially around high-speed photography.

• First reviewed: May 2026
• Read more about how we test

In case you didn’t know it, there’s an "explosive growth in video-first products". That’s according to Canon, which just unveiled another 'V' mirrorless camera, the EOS R6 V.

With this latest arrival, Canon now has 22 EOS R mirrorless cameras in its arsenal, and the range caters for every niche and need, even if its naming convention can get a little confusing.

It was telling that, during a video briefing ahead of the EOS R6 V's launch, Canon showed several slides explaining who its various cameras are for, yet one attendee was still compelled to ask “why did you call it the EOS R6 V?”

So let’s unpack what the new camera is, where it sits in Canon's range, and which type of user it's aimed at. Here are 5 things you need to know…

1. Who’s the EOS R6 V for?

Canon started its ‘V’ series of cameras with the EOS R50 V, with the ‘V’ denoting video. Or perhaps it’s vlogging; I’m actually not sure. Either way, photography is a secondary function of the range.

You see, Canon believes that video-first products are where the market is going, and now it's given the ‘V’ series the full-frame treatment with the EOS R6 V, which rivals the Sony ZV-E1 and Nikon Zr — cameras with serious video skills, but pared back design when compared to pro cinema cameras.

In Canon’s range, the EOS R6 V sits above the EOS R50 V which is a vlogging-style version of the EOS R50 with an APS-C sensor. Both omit a viewfinder in favor of a host of video-friendly features and design touches, including a tally lamp, vertical and horizontal tripod mounts, auto-rotating menus (for video), and long record times.

If the EOS R50 V is a starter camera for vlogging and video creators, then the EOS R6 V is a supercharged version for upgraders, or those with pro-level skills who are looking to dive straight in. But things get more complicated — the R6 V inherits a sensor found in two other Canon cameras; the EOS R6 III and EOS C50.

The EOS R6 III is a photography-first camera which can also shoot great video, while the EOS C50 is a cinema camera with pro-level connectivity that happens to take photos; the EOS R6 V is somewhere in the middle.

Those three cameras share many of the same features, but are designed differently, and the EOS R6 V targets the same market as the Sony ZV-E1 and Nikon Zr. That should hopefully clear some things up, but let’s dig a bit deeper…

2. Sensor

Logically, the main reason that the new camera is called the EOS R6 V is because it features the same sensor as the EOS R6 III (but not previous EOS R6 models). However, not even the Canon spokesperson could confirm the reasoning behind the naming when presenting the product. The EOS C50 cinema camera also has the same sensor — it’s a 32.5MP full-frame sensor rated for 7.5 stops of image stabilization.

Each of the three cameras are capable of recording 7K video up to 60fps, internal RAW recording with Canon’s C-Log color profiles, the option for open-gate recording (from the full height and width of the 3:2 aspect ratio sensor), oversampled 4K up to 60fps, 4K /120fps and 2K up to 180fps. By comparison, the cheaper and smaller EOS R50 V’s video skills are very limited.

The EOS R6 V can shoot superb stills too, like the EOS R6 III — that's 32.5MP stills up to 40fps, with pre-capture. Not bad at all. Where the cameras differ the most is in their design.

3. Design

The EOS R6 V is a much bigger camera than the EOS R50 V — you can see the differences between the various cameras in the images above. However, it's similarly styled, with a similar control layout and shape.

Neither camera has a viewfinder — a growing trend that we’ve seen in new cameras, and one that isn't going down well with TechRadar readers. You'll be composing images using the camera’s 3-inch 1.62m-dot vari-angle touchscreen (which pales in comparison to the Nikon Zr’s gorgeous 4-inch display).

The bulkier body of the EOS R6 V packs the larger sensor, and features cooling vents, adding to the camera’s depth but equipping it with what are effectively unlimited record times. Canon told me that with the fan enabled, record times at any resolution, including 7K, are over two hours. In reality, you’ll run out of battery or space on your memory cards before the camera needs a break.

The EOS R6 V is a highly customizable camera, too, with 12 buttons that can be assigned your choice of function. It offers live streaming through full-size HDMI, a vertical tripod mount, and a zoom lever which can be used for a digital zoom, but also with 'power zoom' lenses. Speaking of ‘PZ’ lenses…

4. A new ‘kit’ lens

Alongside the camera, Canon announced the RF 20-50mm F4L IS USM PZ lens, and the two are designed to work together. The ‘PZ’ stands for power zoom, which is a smooth zoom function via a control on the lens, plus the camera itself also has a zoom lever.

By contrast, standard RF lenses paired with the EOS R6 III and other photography-first mirrorless cameras are manual-zoom only, and that jerky motion is not particularly something you’ll want during recording, or to be evident in your videos.

The lens itself weighs 420g, and coupled with the EOS R6 V, which weighs 688g with battery and card (598g without), balances well on a gimbal. It's equipped with 24cm close focusing and a decent 0.33x maximum magnification. Given it’s an L-series lens, build and optical quality are top drawer, and it costs a fair whack. How much? Here are the prices for the camera and lens…

5. Pricing

The EOS R6 V costs £2,400 / AU$3,599 (I’m rounding up UK prices by a penny because all those 99s are tedious), and will be available from June 24. You’ll be able to buy the camera in a kit with the RF 20-50mm F4L IS USM PZ lens, and together they’ll set you back £3,550 / AU$5,399 — that’s a saving of almost £300 / AU$400 versus buying the two separately. The lens will be available separately for £1,440 / AU$2,199, but I don’t have details on the launch date of the lens on its own yet, which I believe will be later than that of the kit. I'll also update this article with US pricing as soon as I can.

That pricing means the EOS R6 V is the most cost-effective way to bag Canon’s 32.5MP sensor — it’s cheaper than the EOS R6 III, and much less than the EOS C50. It’s the same story with the Sony ZV-E1 — it packs the same 12MP full-frame sensor and 4K recording as other pricier Sony cameras, including the A7S III and FX3.

Say what you will about these vlogging-style cameras — they do cost less versus other designs. I’ve had some brief hands-on time with the EOS R6 V, but not nearly enough time to form any meaningful conclusions. Stay tuned for our full review further down the line.

• Sony teaser announces new 'R' camera next week
• No details confirmed, but it's likely part of the high-res 'A7R' series
• Has potential to be the highest-resolution full-frame camera yet

Next week is going to be a big one for camera fans. After a drought of major releases in 2026, we've now seen the second of two teaser announcements from big manufacturers. Canon was first out of the gates, teasing an all-new camera with a full announcement date of May 13th — based on clues in the teaser, we predict it'll be a full-frame vlogging model. And now, it's Sony's turn.

On its YouTube channel, Sony has posted a short 40-second clip heralding a new camera announcement. There's no imagery in the clip, just a single line of text, reading 'Ready for the next R', with the announcement time and date listed below. And that date? You guessed it: May 13th, the same day as Canon. The precise timing will be 06:30 PT / 09:30 EDT / 14:30 BST / 23:30 AEST.

So, what is it? If you're not familiar, 'R' refers to Sony's Alpha 7R line — its range of full-frame mirrorless cameras that place the focus on high resolution (the nomenclature has been afforded to the travel-friendly A7C R, too). The A7 cameras are all-rounders, the A7S cameras are made for low-light sensitivities, the A1 cameras are top-end pro models, the A9 cameras are sports-focused speedsters. Whereas if you buy an A7R camera, it's because you want pixels, and lots of them.

The most recent in the series is the Sony A7R V, which was originally released in 2022, and is still one of our best full-frame camera picks. Equipped with a 61MP full-frame CMOS sensor, it was and still is the highest-resolution full-frame camera available, though this is a title it shares with a few other models in the Sony range, including the travel-friendly Sony A7C R and the previous model in the mainline series, the Sony A7R IV, which came out in 2019.

It's that last stat that makes me think that Sony could be cooking up something special here — and makes me much more excited to see what the new Sony camera is than I am about Canon's offering. That 61MP sensor has now been in play since 2019 – seven years ago. If Sony is bringing out a new camera in the A7R series, surely we're getting something new. The question is: what?

Why this might be the highest-resolution full-frame camera yet

You might reasonably be wondering — if Sony already holds the title of the highest-resolution full-frame camera, why does it need to go bigger? But the game has changed considerably since 2019. Mirrorless medium format cameras like Fujifilm's GFX 100S II and Hasselblad's X2D II 100C have brought 100MP sensors within the reach of the same photographers who are buying A7R cameras, since the prices aren't that different, and the operational speeds of these cameras have been improved enough to shake off the stereotype of 'cumbersome medium-format'. They can't shoot and focus as quickly or reliably as full-frame models — but they're not that far off.

And there have been interesting advances from other quarters. Canon's full-frame EOS R5 Mark II has a native resolution of 45MP — on paper, that lags behind Sony's 61MP. However, the EOS R5 Mark II uses clever in-camera upscaling technology to enhance an image's quality by up to 4x — spitting out 180MP files. The results are hugely impressive, and if I were looking for maximum resolution to deliver gigantic prints, I know which camera I'd go for.

That's why, in my view, there's no way Sony can be planning to just stick the same 61MP sensor in a refreshed camera body and keep calling it the highest-resolution full-frame camera. Things have changed too much, and the new A7R VI — assuming that's what we're getting — is going to have to do better than that to make a splash. Will Sony up the pixel count on its full-frame sensor? Will it ape Canon's in-camera upscaling? Or, are we about to see something completely new?

Make no mistake, this new camera is not going to be cheap. But I do think it's going to be interesting, and that's why I'll be tuning into Sony's announcement next week with a lot more interest than Canon's. Another full-frame vlogging model? Sorry, but I'm not blown away with excitement.

• The Fujifilm X-T6 is tipped for a September release date
• There's no word yet on what upgrades it could have
• However, the X-T5 is still in many ways the best APS-C camera ever made

We reviewed the Fujifilm X-T5 back in November 2022 and described the stills-focused mirrorless camera as 'the best full-frame alternative around'. Three-and-a-half years later, and with just a smattering of major new APS-C cameras released — including the Sony A6700 and Nikon Z50 II — it's the same story.

The X-T5 still has an unrivalled 40MP sensor with in-body image stabilization, which is tidily packaged into a lightweight retro body that's a joy to use, and is supported with a wide range of X-mount lenses.

And despite its age, the X-T5 remains the 'best overall' in my best Fujifilm cameras guide and I absolutely still recommend it in 2026 — even if its price is practically the same at is was at launch, and even with the rumored Canon EOS R7 II and the X-T5's successor (presumably called the X-T6) potentially on the horizon.

That being said, a successor to the X-T5 will undoubtedly get Fujifilm fans excited, and the current model can be improved upon. I believe that with the following upgrades, the rumored X-T6 could be a crop-sensor masterpiece.

1. The next generation processor

Since the X-T5, Fujifilm has gone about putting the X-Processor 5 chip it introduced into consequent models, such as the X-E5, X100VI, X-T30 III and X-M5. We're now due a next generation processor.

What benefits a new processor will bring, we can't know for sure, but typically we can expect improved power efficiency (read: better battery life) and a boost in burst shooting speed and length. Indeed, while the X-T5 is very quick — it can shoot at 15fps with the mechanical shutter, or up to 20fps with the electronic shutter (but with a 1.29x crop) — its buffer is limited.

That 15fps speed can be maintained for 119 JPEGs or just 19 raw files, which is pretty modest, while the 20fps rate lasts for 168 JPEGs / 23 raw. I'd expect the X-T6 to shoot for longer, making those top speeds more useable. Adding pre-capture for burst shooting would go down well with me, too.

Another way to improve burst shooting performance would be to adopt the faster CFexpress Type B card type, saving one of the two slots for that type of card, rather than twin SDs.

2. Improved autofocus

The X-T5's subject detection autofocus is really good, but rival systems from Canon, Sony and even Nikon are better overall. So, if you shoot a wide range of subjects and rely on autofocus, then a step up in autofocus performance will be appreciated in the X-T6.

For example, the very best autofocus systems today don't just recognize subject type, be it people, birds, animals or vehicles, but also body shape and even detect the type of action to determine which subject to focus on and where. Some such as Canon's EOS R1 and EOS R5 II even offer face registration so you can prioritize specific people — handy for scenarios such as weddings and team sports.

Should the X-T6 introduce any of the above and indeed provide reliable and accurate autofocus, then it'll be a notable step up in autofocus performance from the X-T5.

3. A new sensor

The X-T5 already has a fantastic 40MP sensor. No other APS-C camera can beat it for resolution, plus it's stabilized which helps for sharp shots when shooting handheld. So what could Fujifilm do with a next-gen sensor?

I suspect in the X-T6, we could be looking for a stacked sensor for faster readout speeds, though if Fujifilm goes down this route, it places the high-speed X-H series in question. A stacked sensor would level up the X-T series hybrid skills and make it an even better camera for action photography and video. However, if there's still life in the X-H series yet, then perhaps a partially stacked sensor would make for a sensible middle ground.

Combined with a new processor, a new sensor could also deliver improved dynamic range and better low light quality, bringing the X-T series closer to full-frame quality.

4. Design tweaks

The X-T5 is a treat in the hand, but a few design tweaks could make the X-T6 even better.

Starting with displays, the tilt screen could be swapped out for a versatile vari-angle display. I personally don't mind a tilt-only screen which can feel more robust and doesn't interfere with side ports, but I can appreciate the clamor from would-be upgraders for the vari-angle type which can be seen from more angles.

I would, however, like to see a boost in EVF quality and performance. A brighter, higher-resolution display with a faster refresh rate feels like a sensible upgrade.

5. New lenses and kits

OK, so this isn't camera-specific and would also apply to the X-T5, but Fujifilm built up a lot of excitement when it hosted a live event in March, asking viewers to vote for their favorite of 14 Fujifilm lens concepts.

Two weeks later the results were confirmed, and the XF 16-80mm F2.8 concept (24-120mm effective) proved most popular, followed closely by the XF 18-50mm F1.4.

I bring the top lens up here because it could conceivably be part of an X-T6 lens kit, while the current kits for the X-T5 aren't quite as exciting.

Now to be clear, this is a concept and Fujifilm hasn't said if it will indeed make any of the concept lenses it presented to fans. But if it were to — and Fujifilm Rumors has also suggested there could be two lenses coming alongside the X-T6 in September this year — then it could be one of the best camera kits available.

Overall, I don't think there will be great strides in outright image quality improvements, but I predict an X-T6 will be a more rounded camera that cements Fujifilm's place at the top of the APS-C tree.

• Teaser shows new camera ahead of May 13 launch
• Camera body has tally lamp and no viewfinder bulge
• Appears to be a larger variant of the EOS R50 V body shape

Canon has taken to social media to tease an all-new camera, and we don't have long to wait, with an official reveal set for May 13. The teaser, posted across Canon's social channels, is accompanied by the tagline "One camera, many stories" in the UK (and the slightly more flowery "Every moment has a story waiting to be told. One camera. Endless possibilities." for US audiences), and promises a 6am PT / 9am EDT / 2pm BST / 11pm AEST reveal next Wednesday morning.

That messaging isn't exactly subtle. Between the storytelling language and the teaser footage — which shows someone holding the camera at arm's length and shooting using the rear screen — it's pretty clear this is a video-centric, creator-focused device. The teaser also appears to conclude with two red triangles forming a "V" shape, which would suggest this new camera is set to join Canon's existing line of "V" series models.

Look closely at the camera's silhouette in the teaser and a few more details emerge. There's no viewfinder hump and a tally lamp is just about visible — two features associated with Canon's video-first offerings. Most intriguingly, the body appears to be noticeably larger than the current entry-level member of the V family.

That camera is the Canon EOS R50 V, which I reviewed for TechRadar in May of last year. It's a compact, APS-C-sensor mirrorless model aimed squarely at beginner content creators, priced at around $650 / £630 body only. Based on the silhouette in the teaser, whatever Canon is about to announce looks like a beefed-up version of that same design language — and "beefed up" in camera terms often means a bigger sensor.

Why a full-frame EOS R50 V makes sense

The EOS R50 V is a solid starter camera. In my testing, I found it lightweight, easy to use and capable of producing lovely-looking video and stills thanks to Canon's reliably excellent color science. Its Dual Pixel CMOS AF II autofocus system is also class-leading for the price. But the APS-C sensor does impose some limitations — particularly in low light, where the relatively slow kit lens doesn't help matters — and the lack of in-body image stabilization means you're relying entirely on whatever stabilization the attached lens offers.

A full-frame variant would address several of those issues at once. A larger sensor gathers more light, which means better performance in tricky conditions and more natural background separation — both of which matter enormously for the YouTube-and-Instagram crowd this camera would presumably target. Done right, it could sit neatly above the R50 V in Canon's lineup as an aspirational step-up for creators who've outgrown their beginner gear but still want something approachable.

The big question is price. If Canon can keep it genuinely affordable, it could make a serious dent in the full-frame vlogging market. A more premium price tag, though, and it'll have some stiff competition from Sony and Nikon — specifically the ZV-E1 and Zr — to contend with. We'll find out next Wednesday.

• OM System rumored to be launching a monochrome-only OM-3 variant
• Leica, Pentax and Ricoh currently offer monochrome cameras
• With no color filter, monochrome-only sensors can provide sharper images

There's an interesting pattern emerging in the camera industry. At a time when the mass-market camera segment is shrinking (you can blame the excellence of smartphone cameras for that), camera manufacturers are doubling down on the niche (or dare I say weird?) stuff. Retro-styled bodies. Fixed lenses. Film simulations. And increasingly, cameras limited to shooting only in black and white. It may seem like a counter-intuitive trend, but it's happening all the same.

The latest evidence comes courtesy of 43Rumors, a site that deals in Micro Four Thirds gossip. According to a new tip (which, to be clear, is labeled as a "super wild rumor"), OM System may be planning a monochrome version of its OM-3 mirrorless camera, potentially to arrive as soon as this autumn. Nothing is official, of course; OM System hasn't said a word. But the idea is less out there than it might first appear.

For the uninitiated: a monochrome camera captures images in black and white and nothing else — there's no color mode to fall back on. What makes this more than just an affectation is what happens at the sensor level. Standard color sensors use a Bayer filter array that assigns red, green or blue data to each pixel, requiring software interpolation to produce a final image. Remove that filter and every single pixel captures pure luminance data, which should result in sharper images, cleaner high-ISO performance and a tonal richness that color-to-mono conversions can't match.

It's a concept Leica essentially invented by launching the original M Monochrom back in 2012. The company has since expanded the idea across two major lines: the M11 Monochrom rangefinder and, more recently, the Leica Q3 Monochrom, a 60MP full-frame fixed-lens compact that launched in November 2025 for an eye-watering $7,790. At the (slightly) more affordable end of the spectrum, Pentax released its K-3 Mark III Monochrome (a 26MP APS-C DSLR) in 2023 for a little over $2,000, and Ricoh followed in January 2026 with the pocketable premium point-and-shoot GR IV Monochrome at a similar price. That's three major manufacturers that have already gone down the monochrome route.

Which brings us back to OM System. The brand has form when it comes to niche OM-3 variants; the OM-3 Astro, optimized for night-sky photography, proved the company isn't shy about tinkering with a sensor for a specialist audience. The standard OM-3 already ships with a dedicated monochrome profile and a creative dial for toggling between color and mono modes; it's one of the camera's most celebrated features, in fact. Building a dedicated mono version would require relatively minimal additional engineering. The business case, in other words, isn't outlandish at all.

Is limitation the new luxury?

The broader story here may be what this rumor says about the camera market. We're in an era where technical perfection is basically a given — every modern sensor can resolve extraordinary detail, handle high ISO with aplomb and track a moving subject with wizard-like accuracy. With that settled, photography enthusiasts are actively seeking cameras that impose creative constraints to force a particular way of seeing. Monochrome-only cameras are perhaps the most extreme expression of that impulse

If that trend has a problem, it's accessibility. The Leica Q3 Monochrom is a stunning piece of kit but its sky-high price puts it far out of most users' reach. Even the Ricoh GR IV Monochrome, impressive as it is, carries a price premium significant enough that it's hard to justify over the standard GR IV. A mirrorless, interchangeable-lens monochrome camera priced below $2,000, which an OM-3 variant could conceivably be, would be a real first. It would open the dedicated monochrome experience to photographers who are serious about black and white, but don't have the money for a Leica.

There is one elephant in the room worth acknowledging, and it's a four-thirds-sized one. The gains from a monochrome sensor are real at any size, but they're amplified most dramatically on larger sensors, where the increased pixel area captures more light and the absence of the Bayer filter's light-sapping effect is most pronounced. A Micro Four Thirds monochrome sensor would still outperform its color equivalent, but it wouldn't hold a candle to the Leica Q3 Monochrom's full-frame output.

Whether that matters depends entirely on who's buying it. For photographers who want the purity of a dedicated mono without remortgaging the house, a small-sensor trade-off sounds like an entirely reasonable bargain. And if OM System can pair it with the OM-3's superb IBIS and weather sealing, the result could be a truly compelling camera, even if it's unlikely to trouble Leica's gilded corner of the market.

Adorama has had some fantastic deals on Sony and Canon cameras in the past few weeks, but now, it's Nikon's turn. At the specialist retailer this week, you'll find discounts of up to $900 across a number of bodies and lenses - including some of our favorite models here at TechRadar.

The highlight, for me at least, is the excellent Nikon Z5 II for a record-low price of $1,596 (was $1,849). This isn't the brand's highest-end body, but it's one that really impressed me when I reviewed it last year. The combination of image quality, autofocus, and rugged ergonomics makes the Z5 II a fantastic choice for most people - and, at this price, it's an absolute steal considering how much camera you get for the money.

If you're a serious videographer, however, then you could also consider the excellent Nikon Z6 III for $1,996 (was $2,696). The Z6 III isn't quite as good a value as the Z5 II (in my opinion), but you get support for 6K video up to 60fps, which makes it a fantastic choice for professional work.

Finally, another highlight has to be the superb Nikon Z8 for $3,396 (was $4,296). If you want a stunning high-end camera that melds a 45.7MP stacked sensor with 8K video capabilities and rugged ergonomics, this is our top recommendation. Of course, it's not cheap, but today's discount brings this one down to the lowest price for the year so far.

Today's best Nikon camera deals

By now, we've seen dozens of incredible and inspiring Artemis II mission images, all taken with a range of cameras, including something similar to the iPhone you have in your pocket. Some of the best, though, were captured with pro-level, mirrorless cameras like the Nikon Z9, a powerful, behemoth of a 45.7MP shooter equipped with a 400mm lens.

For the past few weeks, I've been shooting with that very same kit, though, in my case, Nikon loaned me a massive 180 mm to 600 mm lens (Nikon told me it's like the newer version of the 400mm lens the astronauts used) and added a 2x teleconverter for good measure. It's inarguably the most camera I've ever used.

The Nikon Z9 is a robust (and at $4,996.95 expensive) camera that NASA chose because it can work in some pretty extreme environments. In addition to its most recent work on the Artemis II mission, it's currently on the International Space Station and is scheduled to join the Artemis III mission, which should land astronauts on the surface of the moon in 2027. The camera should, with a special enclosure, join the astronauts for space and moon walks.

When we reviewed the Nikon Z9 in 2022, we called it Nikon's "most powerful camera" yet, and I have to say it can be both powerful and complex. There are auto shooting modes, including nearly 500 points of auto focus capabilities, but the more I shot with the camera, the more I took control of the aperture, shutter, speed, and ISO, all in an effort to take the best moon shots of my life.

I mostly succeeded while also failing, largely because of my own fault.

The weight of the moment

When the full kit arrived, I realized how much I'd underestimated the size and scale of this equipment. Without a lens, the Nikon Z9 weighs almost three pounds. Part of that is to accommodate one of the largest batteries I have ever encountered in a mirrorless camera (it lasts for days). Even the storage media is larger: the camera uses a pair (one is for instant backup) of pricey Compact Flash Express cards (slightly smaller than classic compact flash).

Even though the Nikkor 180 mm to 600 mm lens ($2,095.96) features an internal zoom mechanism, it's still a foot long. Add the TC-2.0x teleconverter ($280), and it sticks out almost two more inches. The overall weight had to be close to 10 pounds, and I was glad I had a sturdy unipod, which came in handy during my first few days of trying to shoot the moon and various birds.

Let me start with a warning: if you don't have a pro-level, industry-grade tripod, keep walking. The Nikon Nikkor lens arrives with a collar that lets you attach the camera to your tripod with the weight properly balanced between the lens and the camera. That was a huge help for my unipod, but my tripod, which had been more than effective for my Sony Alpha a6000 and 200MM lens, was totally overmatched by this kit. It was barely strong enough to hold the thing still for long exposures.

A lot of my star or astrophotography was ruined by imperceptible vibrations. The other issue, I do blame on Nikon: No matter how hard I tried, I could not connect the camera via Bluetooth or WiFi to the SnapBridge app on my iPhone 17 Pro Max. With it, I could've used a remote shutter. At least I figured out how to gently touch the display to trigger a photo. When I did that, the camera would pause for a second and then snap the shot.

While the camera does not default to this setting, I chose to take every photo in both the highest resolution RAW and JPEG compressed. The former meant I could take all the information the sensor captured for every photo and pour it into Adobe Lightroom, where I would apply maximum adjustments to perfect each image.

Getting hooked

Yes, the Nikon Z9 with that massive lens is expensive and a bit overwhelming, but all it takes is one great photo to hook you, and let me tell you, I got hooked.

My first few days were spent taking some backyard bird photography. I had installed the 2X teleconverter, which essentially doubles your zoom but also amplifies any lens issues and removes a couple of lower f-stops (bigger aperture for more light), meaning you either need to increase the ISO or slow down the shutter.

The first bird photos I took on a cloudy day were grainy, even with some work in Lightroom; I didn't love them. So I opted to remove the teleconverter. After all, the birds weren't that far away (closer than the moon, at least), and with 45MP of sensor to work with, I could crop in quite a bit.

I saw instant improvement, and really appreciate the clarity and speed of the lens. The level of detail I was capturing, say, of local cardinals was stunning.

The big moment

Standing outside with the Nikon Z9 resting on my unipod, I scanned the sky for distant objects. The day was clear, and I noticed a fast-moving jet thousands of feet overhead. Mostly, I could see it's chemtrails, but I pointed the long lens at it and, for this shot, let auto settings (and autofocus do its work).

In the preview on the touch-screen viewfinder, I could see the plane, but I also thought I noticed a faint crescent nearby. Quickly, I opened Lightroom on my MacBook Pro and used the Nikon-supplied card reader and a USB-3-to-USB-C adapter to import the NEF file. That's when I saw it.

Not only had I captured the airplane, but the thin crescent moon; to have them both in frame like that was an incredibly lucky shot. In Lightroom, I did some adjustments to correct the sky color and help bring the moon and jet plane into dual focus.

You can see the photo above.

The moon and stars

I need to make something clear. The Artemis II astronaut's moon photos with the Nikon Z9 and other cameras are even more amazing when you realize that they captured these detailed views with relatively modest lenses. The Nikon Z9 they had was equipped with a 400mm lens. Nothing to sneeze at, but you look at what I captured with the Nikkor 600mm lens and then with the doubling 2x converter (akin to 1,200mm) and realize that my view is still not even remotely as close and clear as NASA's Integrity spaceship astronauts were.

It's humbling, really.

Even so, I did my level best to capture sharp, clear images of the moon and stars. As I noted above, the astrophotography was something of a bust. To do it well, you need not only to change all your settings to manual (including focus), but also to use the Nikon Z9's nifty Starlight setting on the large display viewfinder. It's an ultra-low-light view that helps immensely when you want to view the stars in your frame during what can be a challenging situation: outside, at night, in the dark.

I also had to adjust my ISO far higher to capture more light (I tried everything from 400 to 1250) and slow down the shutter speed, anywhere from 1 second to 30. My problem was the tripod, which, when I tried pointing the camera almost vertically at the stars, could not hold still. Most of my star shots have some starlight squiggles (not the tech term). Ultimately, I captured a couple of semi-usable images of Jupiter and its moons. One is super tight, and you can just make out some moons very nearby.

Fly me to the moon

I had better luck with the moon. It's a lot closer than constellations and planets, and far brighter, which meant I could lower my ISO (for less grainy shots), close down my aperture a bit, and use faster shutter speeds (usually 125th of a second).

I did not have the benefit of a full moon during most of my shooting window, but the 3/4 moon I saw the other night was still impressive. As before, I put the shots in Lightroom and did some adjustments to reduce the exposure and increase the contrast. I didn't adjust sharpness, and therefore the level of detail I can show you here (yes, I did crop the image) is still impressive. Since I didn't travel with the Artemis II crew, my photos still only represent the side of the moon we all see. They used the Nikon Z9 to show us the dark side in ways we had never seen before (and to capture views of our home looming in the distance).

There's no frustration that I could not fully match Team Artemis II's photographic accomplishments. Instead, holding that camera in my hand, I imagined what it must have felt like to look through the viewfinder and see the weathered face of our Moon in such impressive, almost touchable detail.

For the briefest moment, I felt a kinship with those astronauts, and while I'm aware that the onboard iPhone 17 Pro Max also captured some inspiring images, I know there's no substitute for a pro camera and big lens when it comes to capturing unforgettable, lucky, and sometimes historic astro and nature images.

The specialist retailer Adorama is hosting a huge 'Sony Alpha April sale' this week, with price cuts of up to $900 across a wide range of the brand's popular mirrorless cameras. If you were thinking about that next upgrade, or perhaps picking up a new camera as the weather improves, now's a great opportunity to score a record-low price.

I've been scanning through the listings today, and I've spotted great discounts on the A7R V, the A7 IV, and the a7C II — all favorite models here at TechRadar.

Editor's note: the a7C II was orginally $1,998 at the time of this article's publication. It's now $2,099, which is no longer a record-low price for this model.

Just below, you can check out today's best Sony deals at Adorama, starting at $849 for the still-great (and affordable) a6400. Where applicable, I've made sure to point out the record-low prices for these models. In general, most of these are prices we've seen before, and they match previous prices from Black Friday and other sales events.

Note that the Adorama Sony sale is due to end on April 26, so there are a few days to consider these deals. We'll probably see similar price cuts over the upcoming Memorial Day sales, but those are still a few weeks away at time of writing.

Today's best Sony camera deals

When Panasonic launched its full-frame Lumix S9 mirrorless camera, I remember thinking that we needed more tiny lenses to complement its compact form factor, besides the collapsible 18-40mm kit lens and the oddball 26mm f/8 pancake. A full two years later, and the dinky S 40mm F2 has arrived.

I had a few days testing the fast prime ahead of its announcement, fitting it to the shiny new 'Black Titanium' special edition of the Lumix S9 — which is a sharp-looking colorway, I must say (it's pictured below) — and the lens is a perfect match, with the fast-aperture versatility that many Lumix photographers have been crying out for from such a small lens.

The Lumix S 40mm F2 lens costs $399 / £349 / AU$699 and is available in black and silver versions, while the new 'Black Titanium' special- edition Lumix S9 costs $1,899 / £1,299 (it won't be available in Australia), adding to what I count are at least 10 other color variants, including another special-edition 'Titanium Gold' version. There really is a color for every taste, and the latest is particularly classy.

Panasonic also revealed its latest lens road map alongside the 40mm F2, and two future lenses have been added: a wide-angle prime that sits somewhere between the 18mm and 24mm focal lengths, plus a large-aperture telephoto zoom, spanning somewhere 50-200mm, which could potentially go wider than Panasonic's two existing 70-200mm lenses.

My short review period has given me enough time to get a feel for the 40mm F2 lens when paired with the Lumix S9, and for its image-quality potential — here are my first impressions.

Finally… a tiny and high-quality L-mount Lumix prime

This is one tiny lens. Yes, the Lumix S 26mm f/8 pancake is an even smaller lens, but it's little more than a glorified body cap. What the new S 40mm F2 possesses that the pancake lens lacks is proper optics and the versatility of a fast f/2 aperture — in a size that I'd typically expect for a f/2.8 of f/4 prime lens.

And it's not that much bigger than the pancake lens – being similar in size to the 18-40mm F4.5-6.3 zoom (when that lens is collapsed), measuring just 1.6 inches / 40.9mm in length, and tipping the scales at 5.1oz / 144g. For full-frame, that's miniscule.

There are alternative optics, mind you — full-frame Lumix cameras are part of the L-mount alliance, which has 11 members and counting, including Sigma, other third-party lens makers and, most recently, Freefly, an American company specializing in drones, gimbals and cameras for commercial use.

Perhaps the closest lens in size and specification is the TT Artisans 40mm f/2, which costs around half the price, measures 1.7 inches / 43mm in length and weighs 5.9oz / 166g — those are negligible differences. I prefer the look of the TT Artisans lens, though I can't speak of it's optical quality.

Sigma's pricier Contemporary 45mm F2.8 DG DN is a high-quality alternative that's heavier at 7.6oz / 215g and a fraction longer at 1.8 inches / 46mm. Again, I prefer the look of the Sigma lens — and looks matter when we're talking lenses for the Lumix S9.

I think the rather conventional design of the Lumix S 40mm F2, which is consistent with other Lumix L-mount lenses, is its biggest drawback, especially if you're pairing it with attractive cameras such as the Lumix S9.

As you can see from the pictures above, however, the 40mm F2 is truly an ideal match with the Lumix S9 for size, and it would be equally at home on larger bodies too, such as the Lumix S5 II.

Build quality is solid — the lens is dust- and splash-resistant and features a proper metal lens mount, while autofocus speed is rapid.

The control ring operates smoothly, and its function can be customized — deep within a Lumix camera's menu is the Custom > Lens/Others > Focus Ring Setting During AF option. I started off with it controlling aperture, and the adjustments are precise, being ideal for smooth exposure control during video recording. There are nine other options to choose from, such as shutter speed, exposure compensation, and Photo Style.

Naturally, the same control ring operates focus when the lens is set to manual focus — there's an AF/MF control for switching between manual and autofocus — with helpful assist tools available for precise manual focusing, such as magnification.

Focus breathing is suppressed, making the lens a valid option for video as well as photography. Overall, I have no complaints with how the lens handles, and really enjoyed its compact size and lightweight design.

Image quality is impressive, too

Considering its size and weight, the 40mm F2 lens shoots sharp images, paired with that versatile f/2 aperture which is ideal for low light and blurring backgrounds.

It close focuses down to 11.8 inches / 30cm, which delivers a magnification of around 0.15x. That's fairly flexible for photographing small details, but this is no macro lens. The aforementioned TT Artisans lens can only focus down to 15.7 inches / 40cm, making the Lumix option the more versatile of the two.

I was able to give the lens a proper test during sunset in an idyllic setting surrounded by bluebells (it's that time of year in the UK). Taking portraits and close-up pictures of bluebells in bright light allowed me to test optical clarity, potential lens flare and distortions, and bokeh characteristics — I tested the latter by taking the same picture in a sequence, stopping the aperture down in full stops from f/2 to f/8.

For reference, I turn off in-camera lens corrections and shoot in RAW and JPEG format, which allows me to see the extent of lens distortion in uncorrected raw files versus processed JPEGs.

When shooting at f/2 away from sunlight, bokeh is gorgeous, being round and smooth. You can really see the difference in bokeh size between f/2.8 and f/4, which highlights how useful the f/2 aperture is, especially for portraiture. I took self portraits remotely using the free Lumix Lab app on my phone (which easily paired with the camera and worked flawlessly, by the way — this is one of the better camera apps I've used).

I then turned the lens to shoot towards the sun, backlighting the bluebells, and to shoot more portraits. This approach provided the most difficult of tests for this (and any) lens, and as you can see in the images above, there are instances of lens flare, a little fringing in bluebell silhouettes at f/2 (chromatic aberration), and bokeh fringing (LoCA).

I'd hardly call these lens distortions problematic, though, and with lens corrections applied in JPEGs most of the fringing is gone, though nothing can be done about lens flare.

There's only minor vignetting at f/2, which is basically gone by f/4, which is also the aperture at which you first get the sharpest detail the lens is capable of — and it really does look sharp. Overall, optical quality is impressive, especially for such a small lens with such a big f/2 aperture, and I wouldn't hesitate to call upon this lens for everyday photography.

I'd say the rather conventional styling better suits Panasonic's DSLR-style mirrorless cameras such as the Lumix S5 II. Nonetheless, and certainly with regards to its size, this is the lens that Panasonic's small full-frame cameras like the Lumix S9, and future compact Panasonic mirrorless cameras, have been crying out for, and I can easily recommend it.

• An intriguing new Insta360 camera has just leaked
• It looks like a traditional Micro Four Thirds mirrorless model
• The camera has been spotted once before

Just days after GoPro introduced a new action camera with a Micro Four Thirds lens mount — making it compatible with hundreds of external lenses — a new camera from Insta360 has leaked that promises to keep the Micro Four Thirds trend going.

The leak comes from Reddit (via 4/3 Rumors), and we get a decent look at the design of the device. There's no viewfinder here, but Insta360 seems to have kept everything relatively compact, and we get the white finish that Insta360 is keen on for its cameras.

We have actually seen a leak for this camera before, back in January when Insta360 CEO Jingkang Liu posted a mysterious shot to social media: it showed this camera in action, with the rear screen on display while a photo was being framed.

That previous leak pointed to 20MP photo capture and a fixed or interchangeable f/1.8 lens, but it now seems a Micro Four Thirds mount could be on board. The software interface looks to be similar to the one we're already familiar with from the Insta360 Ace Pro action camera.

Either 'hideous' or 'fresh'

While plenty of questions remain around this camera — such as whether the mount will come with autofocus and aperture control for existing MFT lenses — it's likely to be welcomed by those who have been missing new models in this specific category.

Reactions online have been somewhat mixed, with various commentators describing it as "hideous", "fresh", and "infinitely more useful... than whatever GoPro just released". Another more positive reaction was "this is amazing for mft [Micro Four Thirds]", with the argument being that it could fill a gap left by both OM System and Panasonic in the system for a truly compact mirrorless camera. We're going to reserve judgment until it's actually been made official.

Given Insta360's track record, this is likely to be beginner-friendly, while also trying to do enough to tempt the more professional crowd as well. Vloggers will no doubt be interested, as they will in the upcoming Insta360 Luna that's already been previewed.

With Micro Four Thirds camera launches few and far between in recent years, it's interesting that both GoPro and Insta360 are now investing in the technology again — but we'll have to wait and see what the demand for these models is like.

I spent an entire month last year using the Xiaomi 15 Ultra as my primary camera. It ticked a lot of boxes for me as a long-time photographer, and has become my favorite camera phone, not least for the natural photo quality from its large 1-inch sensor.

That phone was recently updated with the Xiaomi 17 Ultra, which appears to be a relatively minor upgrade, but which shares the same hardware as Leica's first globally available phone (other than in the US), the co-branded Leitzphone. (There was no Xiaomi 16 series, as Xiaomi hopes to "directly [compete] with the iPhone in the same generation.")

Both phones pack a triple-camera unit comprising the main 1-inch sensor camera, a 3-4x optical-zoom telephoto camera, and an ultra-wide camera, and which is powered by Qualcomm's latest and most powerful mobile chip, the Snapdragon 8 Elite Gen 5.

Leica has added its own design twist on the phone's exterior and it's a characteristically classy one, with a black finish and a knurled silver trim, plus a unique mechanical control ring that surrounds the circular camera unit and which can control zoom, but which be assigned to another control instead, such as exposure compensation.

There's also a nod to Leica's camera UI, with the camera app UI sharing the same style and typeface, which will be familiar to folks who have used a digital Leica camera such as the D-Lux 8. And, perhaps inevitably, when it comes to price there's also the 'Leica tax': the Leitzphone costs £1,700 / AU$2,299 (around $2,000), which is around 20% more than the Xiaomi 17 Ultra.

I approached my time with the Leica Leitzphone effectively treating it as an upgrade of my favorite camera phone, and so I couldn't resist comparing its image quality to that of my pro mirrorless camera in a few tests.

I'll soon share a deep dive on my experience with the Leitzphone as a photographer, based on using it every day over two weeks, but here I'm going to highlight one aspect of that experience: comparing the same portrait taken with the Leitzphone's telephoto camera and with my Nikon Z6 series camera paired with the superb Viltrox 85mm f//1.4 Pro lens.

Leitzphone vs full-frame mirrorless

Before I take you through how I shoot and edit portraits with the Leica Leitzphone, let's take a look at the two photos together, and see if you can spot which one is which.

One photo is taken with the Leica Leitzphone's telephoto camera, the other with a Nikon Z6 II and Viltrox 85mm f/1.4 Pro. For context, the kind of quality that my camera and lens pairing is capable of is equivalent to camera gear costing in the region of $5,000 / £4,500 / AU$8,000.

Reckon you know which photo was taken with which camera?

How I shoot portrait photos with the Leitzphone

You might have an idea already, but before I reveal which photo is taken with which camera, allow me to unpack how I came to the final edit of the portrait shot with the Leitzphone.

I used the Leitzphone's 3-4x telephoto camera to get a similar perspective to the stunning Viltrox 85mm f/1.4 lens used in this comparison. However, the 1/1.4-inch sensor of the phone (for the 3-4x camera), while bigger than the sensors in most other phones and able to blur backgrounds nicely, is dwarfed by my full-frame mirrorless camera's, and therefore the background blur, or bokeh, needs an additional helping hand.

For portraits, the Leitzphone offers a 'portrait' mode. It utilizes the 3-4x telephoto camera, and the captured photo looks the same as if you'd used the camera's regular photo mode. However, there's one key difference: the edit.

Selecting portrait mode enables a bokeh effect option — you can use a slider to dial in (fake it) a wider aperture effect. I selected f/1.4 to match my mirrorless camera's aperture setting (see the screen recording below).

It's also possible to select a bokeh shape — I opted for the natural (and desirable for purists) circular bokeh shape, while the Viltrox's bokeh is a little more cat's-eye in places, so now it might be a little more obvious which image is which.

Another tell is that the Leitzphone captures a greater depth of field than a full-frame 85mm lens at f/1.4, so the detail in the subject is sharper throughout, whereas the Nikon mirrorless camera portrait's depth is shallow — see the end of the beard, which is out of focus.

If you haven’t already worked it out, the top image was taken with the Leitzphone, and the bottom one with my Nikon Z6 II and Viltrox 85mm f/1.4 lens. I don't blame you if you struggled to tell the difference, especially if you're reading this feature on mobile — the differences between the two are minor, and proof of just how smart smartphone cameras have become.

In a way, the Leitzphone offers the best of both worlds in this scenario – big bokeh (albeit achieved computationally) with more depth in the subject. At a pinch, you could stop the mirrorless lens aperture down for more depth in the subject and go through the same edit process to increase bokeh size.

While I was at it, I did a light edit on the brightness, sharpness and tones of the Leitzphone portrait to get the look I liked. The preview makes the bokeh effect look ugly when you view the edit close up, but once the image is saved, most of those artifacts around the subject are gone (see before and after, below).

Honestly, when you look at the end result from the Leitzphone's portrait mode, it's mind-blowingly good.

I don't know about you, but the effect is so convincing, especially when viewed on a smart device, that I would happily use the Leitzphone for portraiture. It's not about to replace my mirrorless camera, but it might just make me think twice about packing it.

I've added a few more photo comparisons below. I hope you enjoy — and let me know what you think about the Leitzphone in the comments below.