The Buyers guide to...Best mirrorless cameras

Although its position was technically usurped by the Canon EOS R3, the Canon EOS R5 is Canon’s flagship mirrorless camera and it was the most exciting camera announced in 2020.

Its 8K video capability stole most of the headlines when it was revealed, but the Canon R5 is at heart a 45Mp stills camera with an incredible autofocus system. This Dual Pixel CMOS AF II system has 5,940 selectable AF points and superb eye detection AF for humans, animals and birds that works in both video and stills mode.

Like the Canon EOS R6 announced at the same time, the EOS R5 has 5-axis in-body image stabilisation. In the R5 it enables shutter speed compensation of up to 8EV.

Canon pitches the R5 at around the same level as the Canon EOS 5D Mark IV, which means it’s designed for use by experienced enthusiast and professional photographers. It combines a healthy collection of button and dial controls with an excellent touch-control interface on the 3.15-inch 2.1-million dot vari-angle screen.

While 8K video is of limited appeal, the R5 is capable of producing superb results with the 4K HQ (High Quality) mode especially impressing. The still image quality is also excellent all the way up to around ISO 25,600.

Find the latest deals on the Canon EOS R5 at Amazon UK and Amazon US.

Read our Canon EOS R5 Review

Canon is billing the EOS R6 as a mirrorless blend of the full-frame 26.2Mp EOS 6D Mark II and the APS-C format 20.2Mp EOS 7D Mark II. Some Canon 6D Mark II photographers might be a little disappointed in taking a 6Mp drop in resolution to switch the R6, but, the Canon R6 handles noise considerably better than the 6D Mark II.

It may not have a class-leading resolution but the Canon EOS R6 is a phenomenally good stills camera. Its autofocus system is fantastic and it can keep track of fast subjects moving in random directions with ease while shooting at 20 frames per second. In addition, the build quality and handling is extremely good, making it a delight to use.

Although it lacks the R5’s ability to shoot 8K video, the Canon R6 can record 4K UHD (3840 x 2160) at up to 59.94fps and Full HD video at up to 119.88fps. What’s more, its full-frame sensor has a similar design to that of the Canon EOS-1D X Mark III, and it can shoot completely silently at up to 20fps with continuous autofocusing and exposure metering. That’s pretty enticing.

Read our Canon EOS R6 Review

While the 45.7Mp Nikon Z7 II has a lot in common with the excellent Nikon Z7 and uses much of the same technology (including the same sensor), the mark II camera has a second memory card slot which means it addresses the main concern that photographers had about the original camera. One slot accepts XQD or CFexpress cards while the other is for SD-type cards and is UHS-II compliant

Nikon also doubled the Z7 II’s processing power in comparison with the Z7 II by giving it two Expeed 6 processing engines. This enabled a boost in the continuous shooting rate from 9fps to 10fps and enables 4K shooting at 60P.

That extra processing power also enables Eye-detection AF for humans and animals in video mode as well as stills, and enhances the low-light capability of the autofocus system.

The Nikon Z7 II has the same build and handling as the Z7, Z6 and Z6 II, and it’s the best interface available in a Nikon camera to date.

You can find the latest deals on the Nikon Z7 II at Amazon UK and Amazon US.

Read our Nikon Z7 II Review

While it has the same 24.5Mp backside-illuminated full-frame sensor as the original Nikon Z6, the Nikon Z6 II has two Expeed 6 processing engines instead of one. Nikon also added an SD/SDHC/SDXC (UHS-II) card slot alongside the XQD/CFexpress card slot of the original camera to address one of the concerns that many photographers raised about the original camera.

Thanks to the extra processing power, the Z6 II has a maximum continuous shooting rate of 14fps, 2 fps higher than the Z6, with full autofocus and metering capability. That rate can be maintained for 200 Jpegs or 124 uncompressed 12-Bit raw files.

Like the Z6, the Z6 II has a native sensitivity range as the Z6, ISO 100-51,200 (expandable to ISO 64-204,800) and a 273-point hybrid focusing system that covers 90% of the sensor.

However, the tracking and low-light AF performance of the Z6 II has been improved and the newer camera can focus at -6EV with an f/2 or faster lens.

In addition, the Z6 II’s human and animal eye AF operates in video mode as well as in stills mode.

You can find the Nikon Z6 II on eBay, John Lewis & Partners, Wex Photographic and Amazon UK and Amazon US.

Read our Nikon Z6 II Review

The Sony A7 III is the ‘all-rounder’ in the third generation of Sony A7-series of full-frame cameras. It’s aimed at enthusiast photographers but it has features that will also keep many professional photographers happy. It also has a good collection of video specifications (including S-Log3 gamma and clean HDMI output), which means it can be used for professional shoots as well as for fun.

While the A7 III doesn’t have exactly the same autofocus system as the Sony A9, that requires the same sensor, it has the same number of autofocus points: 69 phase-detection points and 425 contrast AF points.

These points cover 93% of the imaging area. This makes it easier than with the A7 II to track moving subjects. In addition, the system is sensitive down to -3EV, which means it should be effective in low light.

There’s also Sony’s Eye AF mode that helps you target the most important part of a portrait subject.

In addition to its excellent autofocus performance, the Sony A7 III is capable of capturing a wide range of tones and images have plenty of detail while noise is controlled well throughout the native sensitivity (ISO) range.

Find the latest deals on the Sony A7 III at Amazon UK and Amazon US.

Read our Sony A7 III Review

The Sony A7R Mark IV’s 61-million-pixel 35mm sensor is a world first, which the company says delivers ‘medium format quality’.

The sensor is back-side illuminated, and it provides 15 stops of dynamic range. As well as 61-megapixel images, the Sony A7R Mark IV can also produce images with 26 million pixels in APS-C crop mode.

What’s more, its revampled Pixel Shift Multi-Shooting mode can produce images at 240-megapixel resolution. It does this by capturing 960 megapixels worth of data from 16 images, which it then composites together using Sony’s Imaging Edge software.

The A7R Mark IV boasts 567 phase-detection AF points in full-frame mode, which cover 74% of the frame. In the camera’s APS-C mode it has 325 AF points which then cover nearly the entire frame. There’s also Sony’s excellent AI-driven Real-time Eye AF (for humans and animals ins stills mode) and Real-time Tracking modes, which is invaluable for portrait, wedding, sport, pet and social photography.

Depsite its high resolution, the Sony A7R IV is also built for speed and can capture full-resolution 61-megapixel images in continuous shooting mode at up to 10fps, and up to 68 images per continuous burst.

Also among its key features is 5.5-stop, 5-axis in-body image stabilisation, wireless tethering capability, faster USB connection, 802.11ac Wi-Fi plus Bluetooth and studio lighting support.

It all adds up to make the Sony A7R IV one of the best cameras available right now.

Find the best deals on the Sony A7R IV at Amazon UK and Amazon US.

Read our Sony A7R IV Review

Panasonic decided to address some of the criticisms of its S1-series of full-frame mirrorless cameras with the S5 and made it significantly smaller and more affordable. In fact, the Panasonic S5 is smaller than the Micro Four Thirds Panasonic GH5.

Panasonic also completely reworked the S5’s autofocus algorithm to make it more responsive. That work paid off, making the S5 a good choice for general photography and videography, but it’s not quite as snappy as the phase-detection AF systems in cameras like the Canon EOS R6 and Sony A7 III.

The S5 is aimed at people who have started out as photographers and content creators and who want to create more video. Its headline video specification is that it can shoot 4K (3840×2160) footage in 4:2:2 and 10-bit LongGOP H.264 at 29.97/23.98p/25p. That’s when recording internally to an SD-type card.

It can shoot at that quality and resolution for up to 30 minutes, but if you drop to 4:2:0 8-bit 4K footage, it can record indefinitely until the memory cards are full.

In summary, the Panasonic Lumix S5 is a very nice all-rounder that captures attractive stills and video.

Read our Panasonic Lumix S5 Review

One of the big upgrades with the Fuji X-T30 over the X-T20 is that it enables a better AF system. For instance, there are 2.16 million pixels used for phase detection autofocusing rather than 0.5 million. This gives 100% coverage with AF points.

Each AF point also benefits from 4x as much data.

According to Fuji, this, the new processing engine, an improved algorithm and the BSI design of the sensor combine to make the AF system sensitive down to -3EV.

Fujifilm has also worked on the Face & Eye Tracking system. It’s now faster and more stable than the X-T20’s. The X-T30’s exposure is less likely to fluctuate when a face is detected.

In addition, smaller or more distant faces can be detected. Previously a face needed to occupy at least 10% of the vertical space. The X-T30 can detect faces that take-up just 7% of the space.

As before, there’s a menu section dedicated to customising the continuous Autofocus (AF-C) settings. This doesn’t offer quite as much control as the X-T3, but it’s a nice feature to have. There are 5 preset options that let you tailor the camera’s AF response.

Read our full Fujifilm X-T30 review

Read our Fujifilm X-T30 Review: Updated with Firmware Ver.1.01

The Fujifilm X-S10 is the first in a new line of X-series cameras from Fujifilm. It’s aimed at experienced DSLR users who are looking to switch to a mirrorless camera but who don’t fancy the traditional exposure controls of models like the Fujifilm X-T4 and X-T3.

Consequently, the X-S10 has an exposure mode dial on its top-plate and although it’s compatible with Fujifilm lenses with an aperture ring, it has dual control dials to adjust exposure via the camera.

Inside the X-S10 there’s the same 26.1Mp APS-C format X-Trans CMOS 4 sensor as X-Processor 4 as is in the Fujifilm X-T4, which means it can capture the same quality images. It also means that the X-S10 has 425 individually selectable AF points available for use with its hybrid autofocus system – and it’s a snappy performer.

The X-S10 has in-body image stabilisation (IBIS) on board and it can deliver up to 6EV shutter speed compensation.

Naturally, Fujifilm’s Film Simulations modes are available for use, in fact, there are 18 on the X-S10, so you should always find an image style to suit your mood and the subject.

Further good news about the X-S10 is that its touchscreen is mounted on a vari-angle hinge, which makes it ideal for vlogging and shooting selfies. It can also shoot good-quality uncropped DCI 4K video (4096 x 2160) at 29.97/25/24/23.98fps. Internal recording maxes out at 8-bit 4:2:,0 but if there’s an external storage unit connected via HDMI it’s possible to record in 4:2:2 10-bit. A 3.5mm microphone port is built in and a USB-C adapter is included in the box to connect headphones.

You can find the Fujifilm X-S10 on Amazon UK and Amazon USA

Read our Fujifilm X-S10 Review

The Nikon Z6 and Z7 are great, but not all photographers want a full-frame camera. The Nikon Z50 offers that alternative for Nikon users wanting a mirrorless camera, and it has plenty to offer experienced photographers thanks to a solid build and a comprehensive feature set.

Its autofocus system is excellent and is capable of capturing fast-moving subjects in pin-sharp focus, even in gloomy conditions. Further good news is that the Z50 has both Subject Tracking and Eye AF modes. Eye AF is a must-have feature at the moment and it’s incredibly useful for portraits and social event photography.

Subject Tracking works in Auto-area AF mode and it’s useful for subjects that move erratically. Pressing the OK button in Auto-area AF mode activates a tracking point which is visible on the screen and in the viewfinder.

You then position this box over the subject and press the OK button again to start the tracking. As the subject moves, the Z50 tracks it around the frame, keeping it sharp in Continuous AF mode.

Inside the Nikon Z50 is a new 20.88Mp APS-C format sensor which is paired with the Expeed 6 processing engine. Together, these enable a native sensitivity range for stills of ISO 100-51,200 with expansion settings going all the way up to ISO 204,800. Meanwhile, the video range is ISO 100-25,600.

Thanks to the Expeed 6 processing engine, the Z50 can shoot at up to 11 frames per second with continuous autofocusing and exposure metering. This rate is achieved in Continuous High Plus mode while the maximum rate in Continuous High mode is 5fps.

The Nikon Z50 also delivers great video, capturing 4K at 30fps and Full HD at a range of frame rates.

Find the best deals on the Nikon Z50 at Amazon UK and Amazon US.

Read our Nikon Z50 Review: updated for Vlogging

The Nikon Z fc is an APS-C or DX-format mirrorless camera that has much of the same technology and specification as the Nikon Z50 combined with the design and controls of the popular Nikon FM2. It’s aimed at existing Nikon photographers who want a small light mirrorless camera that they can take everywhere.

Inside the new Nikon Z fc is the same 20.88Mp APS-C (DX) format sensor and Expeed 6 processing engine as is in the Nikon Z50. Unsurprisingly then, the Z fc has the same sensitivity range of ISO 100-51,200 (expandable to ISO 204,600) for stills and ISO 100-25,600 for video, plus the same maximum continuous shooting rate of 11fps.

As it’s almost identical to the Nikon Z50 internally, it’s very likely that the Nikon Z fc will produce the same excellent image quality. However, its handling is quite different as, with the exception of using a camera dial to adjust the aperture setting, it uses traditional exposure controls.

Read our Nikon Z fc Review

The Sony A6600 is Sony’s flagship APS-C format mirrorless camera and it’s aimed at enthusiast photographers and videographers who want to shoot in a variety of conditions. It features a 24.2MP Exmor CMOS image sensor, the BIONZ X image processor and a front-end LSI as is implemented in Sony’s full-frame cameras for better enhancements in still and video image quality.

Among the A6600’s impressive feature set is Sony’s innovative 5-axis in-body image stabilisation system that provides a 5.0-step shutter speed advantage.

The Alpha 6600 also delivers an autofocus acquisition time of just 0.02 seconds, with 425 phase-detection AF points covering approximately 84% of the image area and 425 contrast-detection AF points.

Also on-board is Sony’s ‘Real-time Tracking’ and ‘Real-time Eye AF’, the latest version of Sony’s Eye AF technology, which employs AI-based object recognition to detect and process eye data in real-time.

Real-time Eye AF promises improved accuracy, speed and tracking performance of Eye AF for both humans and animals, and allows the photographer to concentrate exclusively on composition. It’s a significant bonus for pet and portrait photography.

High-resolution internal 4K movie recording with full-pixel readout without pixel binning in Super 35mm format is also on-board. You’ll also find built-in interval shooting for time-lapse videos and a 180-degree tiltable, 3.0-type 921k-dot (approx.) LCD touch screen.

It may not have the same shape as the Sony A7 series of full-frame cameras, but the A 6600 has much of the same technology, enabling it to deliver impressive results with a wide range of subjects.

Read our Sony A6600 Review

Inside the Sony A6500 is an APS-C format CMOS sensor with 24.2 million effective pixels. This is coupled with a front-end LSI and a BIONZ X processing engine that enable a maximum continuous shooting rate of 11fps with continuous autofocusing.

In addition there’s a fast autofocusing system that is able to keep up with moving subjects so it’s possible to shoot sport and action.

The A6500 has a built-in electronic viewfinder which is capable of displaying a lot of detail. There’s also a tilting touch-screen that gives a clear view and can be used for setting AF point or zoom in to check image sharpness.

Generally, the A6500 produces high quality images that have plenty of detail and noise that’s controlled well up to around ISO 25,600. Video quality is also high and can be recorded at up to 4K (3840x2160p) resolution in Super 35mm format.

The Canon EOS M50 Mark II makes a relatively modest update on one of Canon’s most popular mirrorless cameras. Inside it has the same 24Mp APS-C format sensor paired with the same Digic 8 processing engine.

Like its predecessor, the Canon EOS M50 Mark II can shoot 4K video at up to 24p but there’s an additional 1.5x crop applied to the framing and the autofocus system relies on contrast detection. Switch to Full HD or stills shooting and the phase detection system that is enabled by the Dual Pixel sensor design becomes active.

The key upgrades made for the Mark II are eye tracking in both stills and video mode, vertical video recording and the ability to stream live to YouTube video a smartphone hotspot.

Find the best deals on the Canon EOS M50 Mark II at Amazon UK and Amazon US.

Read our Canon EOS M50 Mark II Review

As well as stills the GH5 is designed to shoot 4K video and it has an extensive range of features to give it appeal to professional videographers. Aspects such as the variable frame rates and 10-bit recording will be of particular interest along with the ability to add V-LogL recording via an optional software key.

The GH5 offers videographers the kind of specification and video quality that is normally only made possible by a much larger, more expensive cinematic camera. It’s even possible to connect XLR mic via an optional adaptor.

In addition to the extensive range of video quality, format and frame rate options, the GH5 has a high-quality viewfinder, excellent vari-angle touch-screen and both 4K Photo and 6K Photo mode to simplify capturing fleeting moments. It’s also dust and weatherproof so you can use it without concern outdoors.

What’s more, Panasonic has shown real commitment to this camera. The company has continually issued new firmware releases that add relevant new technology. In particular, firmware version 2.0 added:

• 4K 4:2:2 10-bit 400Mbps ALL-Intra
• FHD 4:2:2 10-bit 200Mbps ALL-Intra
• 4K HDR video in Hybrid Log Gamma
• 6K anamorphic mode
• 4K anamorphic 4:2:2 10-bit 400Mbps ALL-Intra
• De-squeeze assist viewing mode
• Improved AF and IS in video modes

Find the best deals on the Panasonic GH5 and accessories at Amazon UK and Amazon US.

Read our Panasonic GH5 review

Panasonic introduced the GX9 to sit in the middle of its range as a “premium street photography camera”. With its small body size and flat rangefinder type design, it’s also ideally suited as a travel camera – especially if you already own another Micro Four Thirds camera.

It houses a 20.3 megapixel Four Thirds sensor, without an anti-aliasing filter for increased detail resolution.

It has a host of other appealing specifications, including a high-resolution tilting viewfinder, a tilting touch-sensitive LCD screen, 4K Photo and Video modes, and compatibility with the huge range of Micro Four Thirds lenses.

The look of the camera is also very stylish, without attracting too much attention when using it out and about, which is ideal. There’s a good mixture of buttons and dials on the camera, while the tilting screen is very handy for composing from awkward angles – I’m personally not too bothered about articulation for a camera like this (others may feel differently).

Overall image quality is very good, particularly in good or bright light. In lower light, watch out for a little loss of detail in places, and try to stick to as wide an aperture as possible. Colours are nicely reproduced, being natural while also vibrant, while focusing is generally quick and accurate.

Read our Panasonic Lumix GX9 Review

We’ve seen an escalation in continuous shooting rates recently with electronic shutters also allowing silent shooting. When the electronic shutter is in use, the G9 can shoot at up to 20fps (frames per second) with continuous autofocusing (AFC), that puts it level with the full-frame Sony A9. That’s good news for wildlife photographers who don’t want a clicking shutter to disturb their prey.

If you want to shoot faster still, the G9 can shoot full-resolution images at an incredible 60fps in single-AF mode, that is, with the focus set at the start of the sequence. That’s good news for shooting static action like water splashes or fleeting facial expressions.

At full-pelt, the G9’s buffer enables up to 50 raw files to be captured. If you switch to use the mechanical shutter, the maximum shooting rates drop to 9fps with AFC and 12fps with AFS, but the burst depth expands to 60 raw files.

In addition, Panasonic’s 4K Photo and 6K Photo modes are on hand with their convenient modes to help with capturing brief bursts of action. These modes use video technology to capture sequences of images which can then be extracted to create 8Mp (4K) or 18Mp (6K) still images.

The G9 can shoot 6K Photo images at 30fps for up to 10minutes. Alternatively, 4K Photo mode can be used at 60fps for 10 minutes or 30fps for a maximum of 30 minutes. Shooting for 10 minutes at 60fps produces a lot of 8Mp images!

Read our full Panasonic G9 review

Some of the new features in the E-M1 III come as a result of the uprated processing engine. Live ND mode, for example, uses similar technology to Live Composite mode, but it enables you to preview the impact of a long exposure.

That demands a lot of processing power, but it’s a useful feature for landscape and creative photography. It also means that you don’t need to carry any ND filters with you as the exposure can be extended by up to 32x using the camera’s inbuilt system.

Olympus has given the OM-D E-M1 III’s sensor a new coating, which was introduced with the E-M1X. This reduces the likelihood of dust sticking, making the advanced SSWF (Super Sonic Wave Filter) technology, which vibrates the filter over the image sensor filter 30,000 times per second, even better at keeping the sensor clean.

In some respects the Olympus OM-D E-M1 Mark III might look like a fairly modest upgrade from the OM-D E-M1 Mark II. However, it feels more refined and has some great features that make shooting in tricky conditions a little easier.

It also enables photographers to travel lighter, not just by being relatively small and light itself, but by allowing tripods and ND filters to be left behind in many situations.

Olympus also offers an extensive array of superb lenses and the 2x focal length magnification factor is especially useful for sport and wildlife photographers. While existing OM-D E-M1 Mark II may not want to upgrade, the OM-D E-M1 Mark III makes a very attractive option for enthusiast photographers looking to switch to a mirrorless camera.

• Read our Olympus OM-D E-M1 Mark III review

Read our Olympus OM-D E-M1 Mark III Review

The Olympus OM-D E-M5 Mark III sits below the OM-D E-M1 Mark III in Olympus’s interchangeable lens camera lineup. It has a smaller body, which makes it a great choice for travel. It also produces nice images and the stabilisation system is incredible, enabling you to hand-hold the camera and get sharp images with exposures measured in whole seconds. In addition, it does a good job with video; although if you’re really serious about shooting moving images you might want to look at the Panasonic Lumix G90 which has a true Log mode.

Olympus has given the E-M5 Mark III the same 20.4Mp Live MOS sensor as the OM-D E-M1 Mark II. The processor is also listed as the same TruePic VIII engine, but Olympus tells us it’s been updated for a bit more oomph.

Like the OM-D E-M1 II, the OM-D E-M5 III has a 121-point (all cross-type) phase-detection autofocus (AF) system. There are also clever shooting options such as Live Composite, Live Time, Live Bulb, Focus Bracketing, Focus Stacking and a 50Mp High Res Shot mode.

As with its predecessor, the OM-D E-M5 II, the High-Res Shot mode is a tripod-only option. When this mode is activated, the E-M5 III shifts the imaging sensor by 0.5-pixel movements between 8 shots. These are then merged into one image that’s equivalent to 50Mp.

Olympus has upgraded the video capability of the OM-D E-M5 Mark III in comparison with the Mark II model. The new camera is capable of shooting C4K 24p video at up to 237Mbps or 4K 30p, 25p, 24p video at 30p 102Mbps.

What’s more, Full-HD video can be shot at up to 120p for slow-motion playback.

Read our buyer’s guide to the best Olympus cameras

Read our Olympus OM-D E-M5 Mark III Review

Although the Olympus OM-D E-M10 Mark IV can hide amongst compact cameras with smaller sensors, it’s a mirrorless camera that accepts lenses with the Micro Four Thirds mount.

Like other Olympus OM-D camera such as the Olympus OM-D E-M5 Mark III, it has mini-DSLR styling with its 2,360,000-dot electronic viewfinder at the centre of the top plate. There’s also a 3-inch 1,037,000-dot touch-sensitive LCD on the back of the camera that can be tilted up or down for easier composition of landscape orientation images from above or below head height. This can be flipped down through 180° to make it visible from in front of the camera, making it ideal for shooting selfies or vlogging.

Mounting the camera on a tripod obscures the screen when it’s forward-facing, but thanks to the in-body stabilisation, you don’t need to use a tripod very often.

Despite its ‘entry-level’ status, the OM-D E-M10 IV has some advanced features such as Olympus’s excellent Live Composite and Live Time modes that make shooting long exposure images and light painting much easier than normal.

You can find the best deals on the Olympus OM-D E-M10 Mark IV at Amazon UK and Amazon US.

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

The Fujifilm GFX100S is a medium format camera that doesn’t feel like a medium format camera. With the right lens, it can blend in with full-frame DSLR and mirrorless camera yet it has a sensor that’s 1.7x the size.

It has the same 102Mp back-illuminated CMOS sensor as the Fujifilm GFX100, which means it can produce images that measure 98.62 x 73.96cm or 38.8 x 29.1-inch when printed at 300ppi. And there’s Fujifilm’s Pixel Shift Multi Shot mode that enables it to produce 400Mp images with a little help from a computer running Fujifilm’s Pixel Shift Combiner software.

If you look at images shot at the top native sensitivity setting of ISO 12,800 at 100% on screen, you’ll see a fair amount of luminance noise in the raw files, but as you zoom out, it disappears and there’s a long way to zoom out! Of course it depends what you want to do with your images, the the Fujifilm GFX100S is one of the few cameras that we’d feel reasonably happy about using the upper sensitivity expansions settings.

While the GFX100S’s AF system is a bit fidgety, it’s responsive and can get moving subjects sharp. The Eye AF isn’t the best around, but it’s useful for portraits and the level of detail captured in low to mid-range ISO images is fantastic.

Read our Fujifilm GFX100S Review