The Buyers guide to...The most popular cameras you can buy right now

The Fuji X-S10 starts a new line of Fujifilm X-series mirrorless cameras. It doesn’t replace an existing camera or mark the end of another line. As a mid-range model, it sits below the Fuji X-T4 but above the Fuji X-T200.

Enticingly, inside the Fuji X-S10 is the same 26.1MP APS-C format X-Trans CMOS sensor and X-Processor 4 as is in the top-end X-T4. That means it should capture the same high-quality images.

Giving the X-S10 the same sensor and processing engine as the X-T4 means that the new camera has the same autofocusing hardware and it’s armed with the same algorithm. This means that there are up to 425 individually selectable AF points and the system uses both phase and contrast detection. However, the AF point selection options have changed to Single-point, Zone and Wide. Tracking has gone, but the camera can track the subject within the selected area.

Fujifilm is aiming the X-S10 at people who create stills and video, it’s not specifically aimed at one or the other. As such, the Fuji X-S10 has an attractive video specification without some of the complications of cameras aimed primarily at video creators.

The Fujifilm X-S10’s maximum video resolution is 4096 x 2160 (AKA DCI 4K) at 29.97/25/24/23.98fps. That’s uncropped (nice). 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.

The X-S10 can record in any of the Film Simulation modes but there’s also F-Log recording for more scope for grading.

Read our Fujifilm X-S10 Review

Inside the flagship Canon EOS R5 is a new full-frame sensor with 45million effective pixels. Canon has introduced a new version of its Dual Pixel CMOS AF sensor design, called Dual Pixel CMOS AF II and this helps deliver some impressive autofocus functionality in the EOS R5.

For example, 100% of the vertical and horizontal space of the sensor is covered by the autofocus (AF) system and there are 5,940 selectable AF points. In addition, the detection and tracking is said to be improved with better eye-detection performance and it’s capable of detecting human heads and animals including dogs, cats and birds.

The animal detection, combined with the maximum continuous shooting rates of 12fps (frames per second) with the mechanical shutter and 20fps with the electronic shutter should be a major bonus for anyone shooting birds in flight.

According to Canon, the EOS R5 can focus in 0.05 seconds, which is a new world record, and in light as low as -6EV.

Further good news is that all the autofocus functionality is available in all of the video modes.

In-body images stabilisation (IBIS) is now an expected feature and although Canon has previously relied upon lens-based stabilisation, the EOS R5 has 5 axis IBIS. It also steals the IS crown with a claimed shutter speed compensation of 8Ev. That’s the difference between 1/500 sec and 1.3sec!

With the exceptions of the Canon RF 800mm f/11 IS STM and RF600mm f/11 IS STM, the IBIS works in tandem with lens stabilisation to deliver the best result possible. This is facilitated by the improved communication between the lens and camera body which is made possible by the RF mount’s 12-pin connection.

For video, the main headline for the Canon R5 is that it can shoot raw 8K 12-bit video at up to 29.97fps. It’s also possible to shoot in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265).

In lay terms, an 8K video frame is equivalent to a 35Mp image and shooting in 4:2:2 10-bit with Canon Log means there should be plenty of scope for adjusting/grading footage post-capture. It also means that the EOS R5 can be used alongside other cameras, including Canon’s cine range, and the footage can be made to match.

Alternatively, 4K video can be recorded at up to 119.88fps in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265) 4:2:2 10-bit in Canon Log or 4:2:2 10-bit HDR PQ. That should be great news for slow motion video fans.

Read our Canon EOS R5 Review

The Canon EOS R6 combines the speed of the Canon EOS 7D Mark II with the full-frame sensor appeal of the Canon EOS 6D Mark II in a mirrorless body. And while the 45Mp Canon EOS R5 is the camera that’s grabbing the headlines, the 20Mp Canon EOS R6 is likely to sell in bigger numbers.

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.

The R5 is aimed at professional photographers and videographers, but enthusiast photographers and videographers are the target market for the Canon EOS R6.

Inside the Canon EOS R6 is a 20Mp full-frame sensor that’s said to be very similar to the one in the company’s flagship DSLR, the EOS-1D X Mark III. The key difference is thought to be a change to the design of the low pass filter.

The Canon EOS R6 also has a Dual Pixel CMOS AF II sensor which means that there’s phase-detection autofocusing available whether you’re shooting stills or video.

Although it doesn’t have the class-leading video resolution of the Canon R5, the Canon EOS R6 is no slouch when it comes to video credentials.

It can record 4K (3840 x 2160) video at up to 59.94fps, however, there is a slight crop (1.07x) as only 94% of the horizontal area of the sensor is used. This 4K video is produced by oversampling from 5.1K for better quality. If you shoot 4K video at 60p, the crop gets a bit tighter at 1.52x.

Read our Canon EOS R6 Review

The Panasonic Lumix S5 is a full-frame mirrorless camera and the most affordable model in the Panasonic Lumix S range.

However, Panasonic hasn’t just used the same bodyshell and reduced the number of features of the Lumix S5. It’s taken a look at what people love about the Micro Four Thirds Lumix GH5 and considered the pros and cons of the S-series to deliver something more affordable and very attractive to enthusiast photographers looking to shoot video more seriously and frequently.

Impressively, the Lumix engineers have managed to make the Panasonic S5 smaller than the Lumix GH5. That’s quite a feat given the difference in the sensor and mount sizes of the two cameras.

As it’s a full-frame S-series mirrorless camera, the Panasonic S5 has the L mount, which is also used by Leica and Sigma.

One of the most exciting features of the Panasonic S5 is that it has the same 24.2Mp full-frame sensor as the S1H. That’s a camera that has garnered many plaudits for its video quality.

Consequently, Panasonic is pitching the S5 at people who have started out as photographers and content creators 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 30minutes. Alternatively, if you’re happy to 4:2:0 8-bit 4K footage, you can shoot indefinitely until your memory cards are full.

In some respects, the Panasonic S5 appears to be the camera that many people were expecting when the development of the full-frame Lumix S1 and S1R was announced at Photokina in September 2018.

Read our Panasonic Lumix S5 Review

Read our Nikon Z6 II Review

Although the Z6 and Z7 were Nikon’s first full-frame mirrorless cameras, and some might argue the company’s first serious mirrorless cameras, they avoided that ‘first generation’ feel. They are both excellent cameras. However, there’s one aspect that many photographers feel is a mistake for a high-end digital camera, they each only have one card slot. Happily, the mark II cameras correct this and the Nikon Z7II has two memory card slots: one that can accept CFexpress or XQD cards and the other that’s designed for SD-type UHS-II media.

Inside the Nikon Z7II is the same full-frame 45.7MP backside-illuminated (BSI) sensor as is in the original Z7. This is a similar, but not identical sensor to the one that’s in the Nikon D850.

Nikon has paired the Z7II’s sensor with two Expeed 6 processing engines. That’s a first for Nikon, even its flagship DSLR, the Nikon D6, has a single Expeed 6 engine. However, the extra processing power is required to drive the Eye Detection and focusing in video mode. It also boosts the Z7II’s maximum continuous shooting rate from 9fps with the original camera to 10fps.

Further good news is that the Z7II can be used with external flashguns when shooting at the fastest frame rates. There’s also a new Wireless Remote WR-R11b to control a wireless flash set-up.

Like the Nikon Z7, and unlike the D850, the Z7II has a hybrid autofocus system that uses both contrast and phase detection. This has 493 AF points which cover approximately 90% of the image sensor, enabling subjects to be tracked close to the edge of the frame.

Like the Z7, the Nikon Z7II can record 4K UHD (3840 x 2160) video. However, the maximum frame rate is boosted from 30P to 60P, which is great news for slow-motion fans.

The Nikon Z7II looks set to entice more DSLR photographers to mirrorless full-frame photography.

Read our Nikon Z7 II Review

Almost two years after announcing its first full-frame mirrorless cameras, the Z6 and Z7, Nikon revealed the Nikon Z5. It sits below the 24Mp Z6 (and the 45Mp Z7) in the company’s line-up of full-frame mirrorless cameras. It’s designed to be the entry-point for full-frame mirrorless photography and it’s aimed at existing Nikon DSLR users as well as new photographers.

Enticingly, there’s also Eye-Detection AF that is programmed to lock on to human eyes and Animal-Detection AF for getting cats’ and dogs’ eyes sharp.

Naturally, the Z5 has Nikon’s relatively new Z mount, which was launched with the Z6 and Z7 in November 2018. This mount has a much wider mouth than the older F-mount and therefore has greater scope for fast lens development.

While Nikon may be pitching the Z5 as a first full-frame mirrorless camera, it hasn’t omitted one of the most prized features – in-body image stabilisation (IBIS). This operates over 5 axes and is claimed to give up to 5EV shutter speed compensation.

As you’d expect, the Nikon Z5 is capable of shooting 4K video. However, there’s a 1.7x magnification factor to take into account. That means that the Nikkor 24-50mm f/4-6.3 lens gives framing comparable with a 41-85mm. That’s a bit disappointing, but as the screen doesn’t flip around to the front, it’s unlikely that the Z5 will be used for hand-held arm’s-length vlogging.

Despite its entry-level billing, Nikon has included mic and headphone ports on the Z5, and there’s an HDMI connection that is thought to provide a clean feed.

If you’re looking for a full-frame camera to carry everywhere, the Nikon Z5 24-50mm kit makes a great choice.

Although the 24.3Mp Nikon Z5 has a similar pixel count to the 24.5Mp Z6, the two cameras don’t have the same sensor. While the Z6 has a back-side illuminated sensor design, the Z5’s sensor is a standard CMOS chip. That helps to keep the price down a little.

However, Nikon has still embedded phase detection pixels on the Z5’s sensor and the hybrid AF system has a total of 273 user-selectable autofocus (AF) points.

Read our Nikon Z5 Review

Sitting between the high-resolution Sony A7R III and the video-centric A7S II as the more affordable option, the Sony A7 III’s price tag is also half that of the A9, the company’s pro-level all-rounder. However, it has quite a lot in common with the A9, not least the autofocusing system. In this review, I’ll take a detailed look at all the key aspects of the A7 III’s performance.

Sony has improved the handling of the A7 III over the A7 II’s by the addition of the joystick control and touchscreen, as well as the better placement of the video record button.  Overall, it feels more refined than its predecessor. It’s an excellent choice of camera for enthusiast photographers, perhaps even some pros.

Read our Sony A7 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

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