The Buyers guide to...Top Cameras with In-Body Image Stabilization (IBIS) for 2024

With the increasing demand for in-body image stabilization (IBIS), Canon finally incorporated this feature into its flagship EOS R system camera, the EOS R5, in 2020. While Canon had relied on lens-based stabilization in the past, the EOS R5 boasts a 5-axis IBIS, surpassing their previous approach.

One remarkable feature of the EOS R5 is its impressive shutter speed compensation of 8Ev, outdoing other cameras in the market. To put it in perspective, it can compensate the difference between 1/500 sec and 1.3sec, making it a game-changer for photographers looking for a reliable and fast camera.

Furthermore, the IBIS works seamlessly with any lens stabilization to produce outstanding results. This is made possible by the RF mount’s 12-pin connection, which improves communication between the lens and camera body, allowing them to work together more efficiently.

Read our Canon EOS R5 Review

The Canon EOS R6 Mark II features an advanced built-in image stabilization system rated to provide up to 8.0 stops of shake reduction. This high degree of stabilization is beneficial for both photography and videography, particularly in low-light conditions or when using slower shutter speeds.

The system was very effective in our tests, reducing camera shake and blur across various shooting scenarios, making it versatile for different types of photography and videography.

Read our Canon EOS R6 Review

Like the EOS R5, the Canon EOS R6 also boasts in-body image stabilisation. The R6 is also Canon’s low-light maestro.

While the R5’s AF system is claimed to be sensitive down to -6EV, the R6’s AF system can function at down to -6.5EV. That’s incredibly low light and a new record for a Canon EOS camera.

Shooting in dim conditions can also necessitate slow shutter speeds, but that’s OK because the Canon R6 has 5-axis in-body image stabilisation built-in.

This works in harmony with the stabilisation in Canon’s IS lenses and is claimed to offer up to 8 stops of shutter speed compensation. That’s a new high for the photographic industry.

The autofocus and stabilisation specifications are extremely promising in this camera, and the Canon EOS R6 should prove extremely popular with photographers.

Read our Canon EOS R6 Review

The Canon EOS R3 has a 5-axis system that works in stills and movie mode. It can also work in harmony with stabilised Canon RF lenses to provide a shutter speed compensation of up to 8EV. That’s the difference between 1/250sec and 1sec.

Because the Canon R3’s image stabilisation system works in video mode as well as when shooting stills, it makes handheld footage rock-steady. In our tests, we found that our handheld footage looked like we had mounted the camera on a tripod.

Overall, the Canon EOS R3 is another significant stride forward in the development of mirrorless cameras, offering the type of features and build quality that will appeal to professional sports and news photographers. It’s expensive, but it’s a very powerful camera.

Read our Canon EOS R3 Review

Canon’s latest flagship APS-C mirrorless camera, the R7, comes equipped with a range of impressive features, including in-body image stabilisation (IBIS). This marks a continuation of the trend started by the EOS R5 and R6, which were the first Canon cameras to offer IBIS.

The R7’s IBIS system corrects camera shake across 5 axes, providing up to 8EV shutter speed compensation. Additionally, when paired with the new RF-S 18-150mm f3.5-6.3 IS STM kit lens, it offers up to 7EV compensation.

One unique feature of the R7’s IBIS is its ability to correct a sloping horizon through the horizon correction feature, which can be accessed through the menu. This feature utilizes the sensor’s movement to correct the horizon, with the impact visible in the viewfinder and on the camera’s screen.

Given that Canon is marketing the R7 as a hybrid camera, the ability to handhold while filming is a real advantage for vloggers and content creators. With IBIS built in, the R7 enables users to shoot stable and steady videos, further expanding its appeal.

Read our Canon EOS R7 Review

The Sony A7 IV represents a significant upgrade over the A7 III, making it a worthy successor in the Sony A7 camera series.

One of the key improvements Sony has made is in the area of shutter speed compensation, with the A7 IV boasting a 5.5 EV factor, a half-stop increase over the A7 III. In our tests, when using the Sony FE 24-70mm f/2.8GM lens at the 70mm end, we achieved around 20% sharp images at 100% on a computer screen when using a 1-second shutter speed, equivalent to a compensation factor of around 6EV.

By dropping the shutter speed to 1/2-second, our hit rate increased to about 40%, while at 1/4-sec, it was around 60-70%. These results demonstrate the impressive capabilities of the A7 IV’s shutter speed compensation system.

In addition to its improved compensation, the A7 IV also features an ‘Active Mode’ that is specifically designed for shooting video, and slightly crops the image. This feature enhances the camera’s versatility, making it ideal for capturing both stills and video footage.

Read our Sony A7 IV Review

The Sony A7 III is a versatile and impressive camera that offers a range of features that will appeal to photographers and videographers alike. One of its standout features is Sony’s 5-axis optical in-body image stabilisation system, which provides a 5EV extension to your hand-held shutter speed.

During our tests, we were extremely impressed with the A7 III’s stabilisation capabilities, which allowed us to capture handheld shots that would have otherwise been affected by camera shake.

In addition to its stabilisation, the A7 III also boasts impressive shooting speeds and autofocus capabilities, as well as 4K video recording capabilities. Its ability to produce high-quality results and its wide range of compatible lenses only add to its appeal. Overall, the Sony A7 III is an excellent all-rounder that will meet the needs of a broad range of users.

Read our Sony A7 III Review

Sony’s latest iteration of its Resolution line of A7 cameras retains the same pixel count, but makes some other important upgrades.

The latest camera offers a range of notable upgrades that cater to the needs of professional photographers and content creators. Its AI processing unit has boosted the subject detection autofocus system, while the tilting and articulating screen is now more versatile. The viewfinder has also been enlarged with a higher resolution. Another improvement is the in-body image stabilisation (IBIS), which provides exceptional shake compensation.

Furthermore, the A7R V also supports 8K video (with a 1.2x crop) and can capture full-frame 4K footage from 6.2K, making it an attractive choice for anyone looking to create high-quality visual content.

Read our Sony A7R V Review

The Sony A7R Mark IV boasts a 61-million-pixel 35mm sensor that Sony claims delivers ‘medium format quality’. Along with its 5.5-stop, 5-axis in-body image stabilisation, you can shoot handheld in many situations and capture impressive amounts of detail.

In addition to this, the A7R Mark IV also has a back-side illuminated sensor that provides 15 stops of dynamic range and can produce 26 million pixel images in APS-C crop mode. Its revamped Pixel Shift Multi-Shooting mode can even produce images at a whopping 240-megapixel resolution.

Other features include 567 phase-detection AF points in full-frame mode, up to 10fps continuous shooting mode for full-resolution 61-megapixel images, and Sony’s excellent AI-driven Real-time Eye AF and Real-time Tracking modes. Additionally, the camera has wireless tethering capability, faster USB connection, 802.11ac Wi-Fi, Bluetooth, and studio lighting support.

Read our Sony A7R IV Review

The Sony A7S III shares with its predecessor, the A7S II, a 5-axis in-body image stabilisation that can provide up to 5.5EV shutter speed compensation when shooting stills. Additionally, the camera also features SteadyShot Active, a digital stabilisation mode that applies a slight crop to the framing.

The A7S III’s handling and control arrangement is significantly better than that of its predecessor and any of Sony’s other cameras, making it a pleasure to use for videographers with experience.

It’s worth noting that the A7S III can produce excellent 4K video even without using some of its advanced features, making it a great option for those who are new to grading Log files or don’t have an external monitor/recording device.

Read our Sony A7S III Review

The Sony A6700 boasts a 5-axis IBIS system that provides up to 5 stops of shake correction. It compensates for movements along pitch, yaw, roll, horizontal, and vertical axes. The camera also features an Active Mode for video, which offers additional stabilization, albeit with a slightly narrower field of view.

In our tests, the Sony A6700’s IBIS system is particularly useful for handheld video recording and provided excellent quality footage.

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. With its 24.2MP Exmor CMOS image sensor, BIONZ X image processor, and front-end LSI, the A6600 boasts better still and video image quality, just like Sony’s full-frame cameras.

One of the most impressive features of the A6600 is its 5-axis in-body image stabilisation system that provides a 5.0-step shutter speed advantage, giving users the freedom to shoot in low light conditions.

The A6600 offers an autofocus acquisition time of just 0.02 seconds, with 425 phase-detection AF points that cover approximately 84% of the image area and 425 contrast-detection AF points.

With Sony’s Real-time Tracking and Real-time Eye AF technology, which includes AI-based object recognition to detect and process eye data in real-time, the A6600 promises improved accuracy, speed, and tracking performance of Eye AF for humans and animals, making it an ideal choice for portrait and pet photography.

The camera also features high-resolution internal 4K movie recording with full-pixel readout in Super 35mm format and built-in interval shooting for time-lapse videos. Additionally, the 180-degree tiltable, 3.0-type 921k-dot (approx.) LCD touch screen offers flexibility and convenience for photographers.

While the A6600 may not look like Sony’s A7 series of full-frame cameras, it packs similar technology that allows it to produce impressive results with a wide range of subjects.

Read our Sony A6600 Review

The Nikon Z9 is a beast of a camera, and among its many features is a sensor-shifting 5-axis in-body image stabilisation (IBIS) system that offers up to 6EV shutter speed compensation. And this is just one of its many, many capabilities.

Despite being a bit heavy for a mirrorless camera, it features twin grips, a weather-sealed body, and is relatively lightweight compared to the Nikon D6.

The camera’s 45.7Mp sensor produces exceptional images with a high level of detail and good noise control. Additionally, the Z9 can shoot at 20fps in full resolution for raw files, 30fps for JPEGs, and 120fps at 11Mp. Its advanced autofocus system with Eye-detection is also impressive.

At £5,299/€6,299, the Z9 is a competitive alternative to the Sony A1 and Canon EOS R3, surpassing the capabilities of the Nikon D6 and costing around £1,000 less than its competitors.

Read our Nikon Z9 Review

The Nikon Z8’s IBIS system provides 5.5 stops of 5-axis image stabilization, which works  in tandem with Nikon’s lens-based stabilization (VR). Shooting with the Z8’s IBIS enabled, we were able to get sharp images handheld at shutter speeds as slow as 1/5sec. In fact, with the Z 24-70mm f/4 S at the 70mm end of the lens, our reviews editor was able to get around 50-60% of her images sharp when handholding the Z8 with a shutter speed of 1/4sec.

Read our Nikon Z8 Review

Nikon’s 5-axis in-body stabilisation (VR) was first introduced when the full-frame mirrorless Z6 and Z7 debuted in 2018, while their DSLRs have traditionally used lens-based stabilisation (VR). The Z6 II continues with this feature, offering up to 5EV shutter speed compensation.

With a lower resolution than the Z7 II, the Z6 II’s pixels gather more light, making it an excellent performer in low light conditions, which is further aided by its in-body image stabilisation.

While existing Nikon Z6 users may not be convinced to upgrade, the Z6 II’s features such as dual card slots, dual processors, 14fps shooting and eye AF for humans and animals in video mode keep Nikon competitive in the mirrorless camera market. With its solid build and well-designed control arrangement, the Z6 II is a highly enjoyable camera to use and an excellent all-rounder.

Read our Nikon Z6 II Review

Nikon’s first full-frame mirrorless cameras introduced a new in-camera stabilisation system for the company.

It provides 5-axis correction for accidental movement and can offer up to 5EV of shutter speed compensation. This system can also work with VR (vibration reduction) systems in Nikon F-mount lenses that are mounted through an adapter.

In addition to the Z6 II, the Nikon Z7 II has the same 5-axis in-body VR, which is highly effective in practice. In our review, we were able to achieve sharp hand-held images with the Nikkor Z 24-70mm f/4 S mounted and the VR set to ‘Normal’ rather than ‘Sport’ at shutter speeds about 5EV slower than normal with a hit rate of approximately 50%. This is a major advantage for anyone who wants to capture sharp landscape or low-light images without having to carry a tripod.

Read our Nikon Z7 II Review

The Nikon Z6 breaks from tradition with its built-in 5-axis stabilisation system, providing 5EV of shutter speed compensation. This in-body image stabilisation (IBIS) eliminates the need for Nikon’s VR system in lenses, reducing size, weight, and price. Alongside the Sony A7 III, the Z6 is an excellent all-around camera, with IBIS being just one of its signature features. Nikon has even released a firmware update enabling the camera to shoot raw video since its launch.

The Z6 offers exceptional value for a full-frame camera with many features and is the camera many Nikon photographers have been waiting for.

With the handling of a Nikon DSLR and the advantages of a mirrorless camera, the Z6 offers a superb electronic viewfinder that rivals an optical viewfinder.

Read our Nikon Z6 Review

Nikon’s Z-series mirrorless cameras feature a 5-axis built-in stabilisation system that is designed to work with VR lenses mounted via an adapter. Unlike Nikon’s DSLRs that rely on lens-based stabilisation, the in-body stabilisation system provides more freedom to photographers to shoot in situations where a tripod is not practical.

Our tests on both the Z7 and Z6 cameras showed that the in-body image stabilisation system performed exceptionally well. We were able to get consistently sharp images while hand-holding the camera at around 1/8-1/6sec at the 70mm end of the Nikkor Z 24-70mm f/4 S lens. Some images were even sharp at 1/5sec when examining them at 100% on-screen. This feature provides photographers with more creative freedom in their shooting and is a significant advantage of the Z-series mirrorless cameras.

With its hybrid autofocus system, the Nikon Z5 offers 273 user-selectable autofocus (AF) points and has phase detection pixels on its sensor.

One of the camera’s standout features is the Eye-Detection AF, which can identify and focus on human eyes, as well as Animal-Detection AF that can lock onto cats’ and dogs’ eyes for sharp and accurate focus.

Read our Nikon Z5 Review

The Nikon Z f is equipped with Nikon’s most advanced IBIS system to date, offering up to 8.0 stops of stabilization which, again, works in tandem with Nikon’s lens-based stabilization.

Nikon also introduced a new Focus Point VR feature in the Zf. This feature tells the camera to prioritise the area under the focus point for stabilisation, and it works with both still or moving subjects. The Nikon Zf also debuts some improvements to Nikon’s the VR system performance

Overall, it stands out as potentially one of the best vibration reduction systems available in a mirrorless camera.

The Lumix GH6 comes with a new and improved 5-axis gyro sensor that uses an advanced algorithm to provide 7.5 stops of stabilisation on its own, called Body I.S. Additionally, the camera has Dual I.S. 2 that detects the type of movement and applies compensation accordingly, whether it’s panning, tilting or hand-shake.

The camera’s Body I.S. feature works even when a lens without stabilisation is mounted. The GH6 also has digital stabilisation for video recording, albeit with a slight crop applied to the framing. Furthermore, the stabilisation system enables a High Resolution mode that captures 8 images while the sensor is shifted using the Image Stabiliser mechanism, resulting in a 100Mp-equivalent image. This mode can be used without a tripod, and the images can be saved in raw and Jpeg format.

Read our Panasonic Lumix GH6 Review

The Lumix GH5 Mark II comes with in-body image stabilisation (IBIS) like its predecessor, the Panasonic GH5, but the IBIS has been improved to offer a shutter speed compensation of up to 6.5EV.

Panasonic has adapted the stabilisation algorithm used by the S1H for better video stability, and the GH5 II can now record C4K or 4K video at 60p 4:2:0 10-bit to a compatible SD card, while simultaneously outputting 4K 4:2:2 10-bit video to an HDMI connected device.

The GH5M2 can record internal footage up to 4K 60p and 4:2:2 10-bit 30p, and it features 4K/6K Anamorphic modes. Unlike its predecessor, the GH5M2 uses the entire sensor area for capturing video, so the footage is uncropped.

In addition, the GH5M2 offers wireless Full HD 60p video live streaming via the Lumix Sync smartphone app or direct connection to a Wi-Fi router. A firmware update expected later in the year will add RTP/RTSP wired IP streaming.

Read our Panasonic Lumix GH5 II Review

Panasonic’s Lumix S5II is an updated version of the Lumix S5, a full-frame mirrorless camera that was introduced as Panasonic’s smallest and most affordable option. The Lumix S5II features a hybrid autofocus (AF) system that combines phase detection with contrast detection, and offers extended video features such as internal 4:2:0 10-bit 6K (3:2) and 5.9K (16:9) footage at 30fps, as well as 4:2:2 C4K and 4K footage at up to 60fps.

In addition, the updated 5-axis in-body image stabilisation system does an excellent job of eliminating camera shake, compensating up to 5EV, or 6.5 with Dual IS. All in all, the Lumix S5II is an appealing option for anyone looking to get more serious about video on a full-frame camera, thanks to its improved AF system, advanced video features, and excellent stabilisation.

The Panasonic S5 provides up to 5 stops of shutter speed compensation across 5 axes, but it can also go up to 6.5EV with lens-based IS.

Aside from its impressive stabilisation and video features, the Lumix S5 is also packed with a host of stills features. For instance, there’s a 96Mp High Resolution mode for raw and Jpeg images and Live View Composite mode, which can help capture stunning long exposure images.

One of the most remarkable things about the S5 is that it’s smaller than the Lumix GH5, despite having a larger sensor and mount. This is a testament to the engineers at Panasonic and their dedication to delivering a compact, yet powerful camera.

Read our Panasonic Lumix S5 Review

The Lumix S1 is a high-end camera designed for professionals and enthusiasts who want a customisable camera that delivers exceptional results. Its dual-tilting screen, first-rate viewfinder, fast autofocus system, and impressive video capabilities make it a versatile tool for photographers and videographers. One standout feature is its High Resolution mode, which produces 96Mp images by taking a sequence of shots with tiny sensor movements between each shot, merged into a single raw file.

The Panasonic S1 has a 24.2Mp full-frame sensor, with a native aspect ratio of 3:2 and the ability to shoot in multiple aspect ratios. It can shoot at a maximum of 6fps with continuous autofocus, or 9fps without C-AF, and in 4K/6K Photo mode, it can shoot at 60fps or 30fps, respectively. It’s a camera that takes some getting used to, but it’s worth it for those who want a versatile and customisable tool for both stills and video.

Its dual IS system also does a superb job stabilising both images and videos.

The Panasonic Lumix G9 II is equipped with a sensor-shift IBIS system that has a CIPA image stabilization rating of 8 stops. This places it among the best you can buy. However, this drops to 7.5-stops with longer lenses. What’s more, the G9 II offers Dual I.S. 2, and advanced Active I.S.

Micro Four Thirds cameras have a strong legacy of solid IBIS systems, and the G9 II carries on this tradition.

The Panasonic G9 is a versatile camera that offers a range of features to satisfy both stills and video shooters. One of its key features is the Dual IS system which combines 5-axis sensor shifting-stabilisation with lens-based stabilisation to produce stable shots. With Dual IS, the G9 can achieve a correction of 6.5EV at all focal lengths, which is comparable to the Olympus OM-D E-M1 Mark II.

In addition to its stabilisation capabilities, the G9 boasts an impressive autofocus system that quickly and accurately locks on to subjects, even in low-light and low-contrast situations. This is particularly useful for wildlife photography, especially when shooting in difficult lighting conditions or when the subject is heavily camouflaged.

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.

Like most Panasonic cameras, it features built-in sensor-shifting image stabilisation across five axes, making it one of the best cameras for street photography.

Read our Panasonic Lumix GX9 Review

The Fujifilm X-H2S packs a powerful 26.1MP X-Trans CMOS 5 HS sensor, marking the 5th generation of Fujifilm’s renowned X-Trans CMOS sensor technology. Unlike its predecessors, this sensor features a stacked design that enables lightning-fast readout times. According to Fujifilm, the new sensor is four times faster than its predecessor and standard backside-illuminated sensors.

The sensor works in tandem with the X-Processor 5, which is twice as fast as the previous engine, to deliver stunning performance. The X-H2S boasts an impressive maximum continuous shooting rate of 40fps at full-resolution with full autofocus capability, 6.2K video at 30p, 4K video at 120p, 120fps Live View, and enhanced rolling shutter control.

What’s more, the five-axis in-body image stabilisation (IBIS) mechanism has been updated with a new processor and sensing control function, delivering up to 7.0-stop shutter speed compensation.

Read our Fujifilm X-H2S Review

The Fujifilm X-H2 shares a feature with its counterpart, the X-H2S, as it also includes 5-axis in-body image stabilisation that can compensate for up to 7 stops of shutter speed. This enables photographers and videographers to capture steady shots even when shooting handheld, regardless of the shooting conditions.

Fujifilm has also improved the shake detection of the X-H2’s IBIS, which is available for both stills and video mode.

Read our Fujifilm X-H2 Review

Similar to its predecessor, the X-T4, the Fujifilm X-T5 incorporates an in-body image stabilisation system that compensates for up to 7 stops of shutter speed when using stabilised lenses. Additionally, the X-T5 now includes the Pixel Shift Multi-Shot mode, previously featured in the X-H2, which allows the camera’s IBIS system to shift the sensor between frames shot at 20fps. Combining these images using Fujifilm’s Pixel Shift Combiner software produces a 160-megapixel image.

The X-T3 lacked IBIS, unlike the X-H1, but the X-T4 rectified this by including a 5-axis IBIS system providing up to 6.5EV of shutter speed compensation, reduced in size by 30%. However, the X-T5 improves on its predecessor with an even better IBIS system.

Read our Fujifilm X-T5 Review

Although it’s positioned lower in Fujifilm’s camera range, the X-S10 comes with impressive in-body image stabilisation (IBIS) capabilities. The smaller IBIS unit is a significant achievement by Fuji’s engineers and offers up to 6EV of shutter speed compensation, surpassing the maximum compensation of 5EV by the Fujifilm X-H1. However, the X-S10 falls just 0.5EV short of the X-T4’s impressive 6.5EV compensation capability, which is possible with certain lenses.

According to Fujifilm, the X-S10 can compensate for shutter speeds that are up to 6EV slower than usual when hand-held, though the amount of compensation may vary from person to person and depending on the lens used.

During testing with the XF18-55mmF2.8-4 R LM OIS kit lens (which has a built-in stabilisation system) at 55mm, around 50% of the shots taken at a shutter speed of 1/2-second were perfectly sharp, resulting in a compensation factor of over 5EV.

The IBIS system also works during video recording, helping to reduce fine tremors caused by hand-held shooting.

Read our Fujifilm X-S10 Review

The Fujifilm GFX100 Mark II employs an effective in-body image stabilization system, which provides up to 8 stops of shake reduction. The camera also offers Digital IS and IS Boost for video.

In our tests, we were able to get sharp handheld images at shutter speeds as slow as 1sec, ub the found a shutter speed of 1/4sec provided more reliable results. Very impressive!

The Fujifilm GFX50R may have the same 51.4Mp (43.8 x 32.9mm) sensor as the GFX50S, but it uses the X Processor 4, a newer processing engine, which provides improved low-light performance and higher dynamic range. Additionally, the GFX50R features in-body image stabilization (IBIS) that can compensate for up to 6.5EV of shutter speed and a high-resolution Pixel Shift Multi Shot mode.

The Pixel Shift Multi Shot mode works by taking 16 images in rapid succession with the sensor moving slightly between each shot. The resulting images can be combined into a single 205Mp image using Fujifilm’s Pixel Shift Combiner software. Users can adjust the interval between shots to the shortest possible time or choose from 1, 2, 5, or 15 seconds.

Although the Fujifilm GFX50R may be priced at over £3,000, Fujifilm has simplified the camera’s features to make it more accessible to a broader audience. With this camera, digital medium format photography is becoming an increasingly viable option for more photographers who previously only considered full-frame shooting.

Read our Fujifilm GFX 50S II Review

We haven’t included all cameras with IBIS in this guide; namely, we haven’t included all past iterations of cameras, such as Fujifilm’s X-T series. The post would be too long, plus some of these legacy cameras with IBIS are no longer available to purchase, at least not new.

However, we’ve included the Fujifilm X-H1 because one of the most widely anticipated introductions in this camera was the debut of Fujifilm’s 5-axis in-body image stabilisation system.

This was a first for the Fujifilm X-Series and it used three axial accelerometers, three axial Gyro sensors, and a dual-processor arrangement to enable the hand-held shutter speed to be extended by up to 5.5 stops.

And it performed very well!

The X-H1 is a little harder to find these days, but if you can, you can often get it for a bargain. It still offers superb image quality and wonderful stabilisation.

Read our Fujifilm X-H1 Review

The Fujifilm GFX 100S also features in-body image stabilisation (IBIS) across 5 axes, providing up to 6EV of shutter speed compensation. The Pixel Shift Multi Shot mode, which allows for the creation of a 400Mp image by combining 16 images with slight sensor movements between each capture, is available on both the GFX 100 and the new GFX 100S.

To composite the images, Fujifilm’s Pixel Shift Combiner software is required, and the process takes place on a computer rather than in-camera. In handheld shooting tests, the GFX100 produced a hit rate of about 40% with the mechanical shutter at 1/8sec using the GF 63mm f/2.8 R WR lens, increasing to almost 100% at 1/15sec.

Although medium format cameras are typically used on tripods, the smaller IBIS unit in the GFX100S can provide up to 6EV of shutter speed compensation. While the Fujinon GF 32-64mm f/4 R LM WR lens consistently produced sharp results at shutter speeds of 1/6 and 1/7sec, the Fujinon GF 120mm F4 R LM OIS WR Macro lens (equivalent to 95mm) proved too challenging at 1/9sec.

Read our Fujifilm GFX100S Review

The Fujifilm GFX 100, a mirrorless medium format camera with the Fujifilm G mount, sets a new standard by being the first digital medium format camera to incorporate in-body image stabilization (IBIS). This innovative feature, however, necessitates a larger size and a vertical grip, which makes the GFX 100 the first medium format mirrorless digital camera to have an integrated double grip design.

The GFX 100’s 5-axis image stabilization system is powered by a three-axis accelerometer, three-axis gyro sensor, and a dedicated dual processor. It provides up to 5.5EV of shutter speed compensation when the camera is handheld, giving the user greater flexibility and stability in capturing images.

In her review, Angela achieved an impressive 40% hit rate with the GFX 100’s mechanical shutter and the GF 63mm f/2.8 R WR lens at a shutter speed of 1/8sec, which rose to almost 100% at 1/15sec.

Read our Fujifilm GFX 100 Review

The Pentax K-1 II and K-1 share many similarities, but the K-1 II has some notable improvements, including an updated version of the Pixel Shift Resolution System called Pixel Shift Resolution System II. One of the key features of the upgraded system is the Dynamic Pixel Shift Resolution mode, which is designed to enhance color accuracy and definition.

This mode works by shifting the sensor by a single pixel width between four shots, which are then combined to create a single image. There are now two modes available: the first is recommended for use with a tripod and stationary subjects, while the second is designed to handle moving subjects and handheld shooting, although Pentax still suggests using a tripod for the best results.

According to Pentax, the Pixel Shift Resolution II system captures RGB color data for each pixel, resulting in higher resolution images with more accurate colors and finer details than traditional full-frame sensors can produce.

Additionally, the Dynamic Pixel Shift Resolution mode can be used in conjunction with the camera’s shake-reduction mechanism to compensate for subject movement during continuous shooting.

The OM System OM-1 boasts several cutting-edge features and technologies developed by Olympus, one of which is Live Composite mode. This mode is particularly useful for capturing images of traffic trails, light painting, and fireworks. By capturing a sequence of images, with the first image setting the ambient exposure and only the new, brighter areas being recorded from then on, Live Composite mode produces stunning results.

Furthermore, the OM-1’s 5-axis IBIS is one of the best image stabilization systems available and provides up to 7EV of shutter speed compensation. When combined with lens IS, this compensation increases to 8EV, enabling handheld long exposure photography. The Olympus M.Zuiko ED 12-45mm Pro lens mounted on the OM-1 produced sharp images at 1 second or longer exposures, even when hand-held. Additionally, the OM-1’s image stabilization system works flawlessly in video mode.

Read our OM System OM-1 Review

The OM System OM-5 takes the popular OM-D E-M5 Mark III and amplifies its processing capabilities, leading to an improved image stabilisation and autofocus performance. Additionally, the Focus Stacking system is now able to composite the final image.

The OM-5 introduces the Hand-held High Res Shot mode, which is a significant improvement over the E-M5 III. By utilizing the sensor-shifting capability of the stabilisation system, the camera captures a series of 8 images in quick succession, which are then composited into a single larger image. In Standard or Tripod High Res Shot mode, the OM-5 can produce 80MP, 50MP, or 25MP images when shooting Jpegs, and the output is equivalent to an 80MP image when shooting raw files. However, in Hand-held mode, the maximum output size drops to 50MP for either file type and 25MP when shooting Jpegs.

OM System claims that the image stabilisation system in the OM-5 is 15% better than the system in the E-M5 Mark III, enabling up to 6.5EV of shutter speed compensation. Moreover, when used with a compatible stabilised lens, it can provide up to 7.5EV shutter speed compensation, making it convenient for travelers who prefer not to carry a tripod.

Read our OM System OM-5 Review

The E-M1 Mark III from Olympus boasts exceptional image stabilisation (IS) and has been enhanced to provide up to 7.5Ev of shutter speed compensation across 5 axes when used with a stabilised lens. When used with a non-stabilised lens, it still provides up to 7EV compensation, thanks to the use of the same gyro found in the E-M1X.

The IBIS system in the E-M1 III facilitates the High Res Shot mode, which produces high-resolution images thanks to sensor-shifting technology. The 80Mp Tripod High Res Shot mode is not the only option; the camera also features a 50Mp HandHeld version. Simply select either Handheld or Tripod mode from the menu, then activate High Res Shot via the drive settings. The camera then takes a series of images with the sensor slightly shifted each time, which are composited in-camera to produce a single, highly detailed picture in raw and/or JPEG format.

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

It’s no secret that Olympus’s 5-axis Image Stabilizer is among the best available. In fact, with older models such as the OM-D E-M1 II and a wide-angle lens, we were able to achieve hand-held exposures of 2 to 3 seconds thanks to this technology.

But with the OM-D E-M1X, Olympus went one step further, introducing a new gyro sensor that significantly improved the IS performance. At a focal length of 100mm (35mm equivalent: 200mm) with the M.Zuiko Digital ED 12-100mm F4.0 IS PRO lens, the camera boasts up to 7.5EV of shutter speed compensation.

And it’s not just for stills. The IS works just as effectively in video mode, and users have the option to adjust the level of stabilisation according to their needs.

Read our Olympus OM-D E-M1X Review

Still one of the best cameras for beginners, the E-M10 IV from what was then-Olympus features in-body image stabilisation (IBIS) that allows you to shoot at shutter speeds up to 4.5EV slower than usual, resulting in sharp images. Video mode also benefits from this system, although digital stabilisation can lead to a slight crop in the frame.

Olympus has a long-standing reputation for producing excellent image stabilisation, and our reviews editor, Angela, was able to capture around 50% of images perfectly sharp with the Olympus M.Zuiko Digital ED 60mm f/2.8 Macro lens mounted, which has an effective focal length of 120mm, even at a low shutter speed of 1/13sec.

When using the 14-42mm kit lens at the 42mm end (84mm effective), she was able to get around 80% hit rate at a shutter speed of 1/10sec and 50% at 1/5sec, and even 2 or 3 completely sharp images out of 10 at 1sec. You don’t need a tripod for these results; hand holding the camera at waist-level is sufficient, and using the viewfinder can provide more stability by bracing it against your face.

If you want a camera that delivers excellent results, and can shoot without a tripod most of the time, the Olympus OM-D E-M10 Mark IV is an ideal choice to carry with you everywhere.

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