Best mirrorless camera 2022

If you’re shopping for a mirrorless camera, you’ve come to the right place! Mirrorless is the most exciting development in cameras since the birth of digital photography, and on this page I’ll highlight my favourite models! Mirrorless cameras can pack the quality, control and flexibility of a DSLR with their large sensors, exposure adjustment and interchangeable lenses, but by dispensing with the mirror, have the potential to be smaller, lighter, quieter and faster. Since they use their main imaging sensor for focusing, they also have the potential to track and focus subjects right into the corners while also exploiting face and eye-detection, sometimes even for animal subjects. With 100% electronic composition, you’ll also be able to use a viewfinder for everything you’d see on the screen, including playing images, assisting focus, previewing effects, white balance and colour adjustments, as well as filming and playing movies, and even navigating menus – all much easier in bright conditions than using the screen, not to mention more comfortable for those who are longer-sighted.

The best mirrorless cameras have also banished performance issues of early models and now boast viewfinders with large, detailed images, not to mention focusing and burst shooting capabilities that most DSLRs can only dream of. Compared to a DSLR there’s inevitably greater power consumption, so batteries won’t last as long, but the latest models are certainly catching-up. For me, mirrorless cameras are more compelling than DSLRs in almost every category and price-point, and I personally made the switch ten years ago when Panasonic and Olympus launched Micro Four Thirds, later supplementing my collection with Fujifilm and Sony gear. Here are my recommendations!

Mirrorless systems

Like DSLRs, most manufacturers have developed their own mirrorless system with a lens mount that’s not compatible with rival systems. There’s Sony’s e-mount which is designed for APS-C or full-frame bodies. There’s Fujifilm’s X-mount, designed for APS-C bodies only. Canon has RF for APS-C or full-frame, as well as the older EF-M mount for APS-C. Nikon has the Z-mount for APS-C or full-frame bodies.

The exceptions are two alliances: Micro Four Thirds and L-mount. The former employs a Four thirds sensor that’s a little smaller than APS-C and was co-developed by Panasonic and Olympus who share the same mount, allowing them to use each other’s lenses, as well as third party models designed for the system. The second alliance is L-mount, based on Leica’s full-frame system, but now partnered with Panasonic and Sigma who have both released full-frame bodies and lenses, all of which are compatible with each other. I’ll be recommending a mix of all formats in each category.

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Best budget mirrorless cameras

New mirrorless cameras start around the $500 price, for which you’ll get a camera with an APS-C or Four Thirds sensor, a basic kit zoom lens and manual control; most will also have wifi to connect to your phone, but at this price you won’t generally get a viewfinder, so you’ll be composing with your screen only. If your budget is lower than $500, look for a second hand model or an entry-level DSLR instead. One of the cheapest budget mirrorless cameras worth having is the Canon EOS M200 which sports a 24 Megapixel APS-C sensor, confident focusing, Wifi and a tilting touchscreen which can tilt-up to face you – not only is it a solid all-rounder, but it’s also an ideal entry-point for vlogging; see my Canon EOS M200 review for more details.


Above: The Canon EOS M200 is one of my favourite budget mirrorless camera, but if you can stretch a little higher, the EOS M50 is a much more capable camera.

If your budget can stretch to around $650, one of my favourite mirrorless cameras is the Canon EOS M50 which packs a 24 Megapixel APS-C sensor with great autofocus, a fully-articulated touchscreen, built-in viewfinder, Wifi and microphone input into a very compact body – a great all-rounder that’s ideal for vlogging and YouTube videos, although think of its video quality as being 1080 only as its 4k mode is too cropped to be useful; see my Canon EOS M50 review for more details. Note the more recent Mark II version is a very mild update, so go for whichever is cheapest.

Note: now that Canon has EOS R cameras in both full-frame and APS-C versions, it’s unlikely we’ll see any new EOS M cameras or EF-M lenses added to the existing collection – this is in turn why you can often find them discounted. But you can still adapt any EF DSLR lens to EOS M cameras if desired.


Above: Canon’s EOS M50 is still one of the best affordable mirrorless cameras around.

Priced a little higher still is the Fujifilm X-T200 which packs a 24 Megapixel APS-C sensor with good autofocus, a large touchscreen which angles-out to face you, as well as being one of the cheapest models you’ll find with a built-in viewfinder and a microphone input (albeit one which will need an adapter plug for most microphones). As a Fujifilm X camera, you’ll also enjoy their lovely photo processing as well as access to a wide selection of native lenses.

Best Mid-range mirrorless cameras

The mid-range category, starting at around $800 for a body without a lens, is where things start to get more interesting as they normally include tougher bodies with a larger and more detailed viewfinder, faster shooting, better quality movies, more controls and improved connectivity including microphone inputs and sometimes headphone outputs which can greatly improve your audio quality for movies. Interestingly, the actual still photo quality may not be significantly improved over budget models though.

The first model to mention is the Sony A6100, sporting a 24 Megapixel APSC sensor, 4k video, 11fps shooting, viewfinder and tilting touchscreen. Indeed it may also make potential A6400 buyers question if they really need weather-sealing, an XGA viewfinder and S-Log profiles, or if they should save around $150. If you like Sony but your focus is on vlogging, consider the ZV-E10 instead.


Another compelling model in this category is the Fujifilm X-T30, a classy-looking retro-styled model with a 26 Megapixel APS-C sensor, excellent autofocus, a built-in viewfinder and Wifi; there’s also a mic input although you’ll need an adapter for it to work with popular models. There’s no built-in stabilisation, the screen won’t flip to face you, but you do get Fujifilm’s lovely photo processing, most of the video and AF capabilities of the flagship X-T4, as well as access to the best selection of native APS-C lenses – it’s a great choice for someone who wants to start building a serious system without breaking the bank; see my Fujifilm X-T30 review for more details. Note the more recent Mark II version represents a mild update so go for whichever is cheapest.


Above: Fujifilm’s X-T30 is a compact but powerful camera that’s ideal to start building a system. Also consider the X-S10 which trades the retro styling and slimmest body for built-in stabilisation and a flip screen.

If you love the quality and features of the X-T30 but wish it had built-in stabilisation, a flip-screen and more modern PASM exposure control, look no further than the Fujifilm X-S10, a newer model that’s already a popular choice in the mid-range category.

For much the same price as the two Fujifilms, you could alternatively get the Sony A6400 with a 24 Megapixel APS-C sensor. The body is essentially the same as the earlier A6300, so sadly there’s still no built-in stabilisation, but the screen can angle up by 180 degrees to face you for vlogging or selfies. Video shooters will also appreciate the unlimited recording time, as the A6400 was one of the first models to allow clips longer than half an hour even in 4k. There’s also a mic input, although if you mount it on the hotshoe, you’ll block the flip-up screen. Check out my Sony A6400 review for more details. Do remember though, if you don’t need the weather-sealed body or picture profiles for grading video, and can put up with a lower resolution viewfinder, you can save a bit of cash and go for the Sony A6100 instead, which is otherwise identical.

Canon’s EOS R10 is another good option around this price point, with a 24 Megapixel APS-C sensor, great autofocus, side-hinged flip-screen, mic input and built-in stabilisation.

An older favourite that i’m still very fond of is the Olympus OMD EM5 III which brings confident autofocus to a compact but ergonomic body that also features fantastic built-in stabilisation, a fully-articulated touchscreen, weatherproof body and a raft of cunning image processing and long exposure modes. Sure, the sensor remains smaller than APSC, but it remains a very well-featured and attractive camera overall, especially if you can get a good deal on one. See my Olympus OMD EM5 III review for more details.

Also keep an eye open for deals on the Canon EOS M6 II  which offers uncropped 4k video with decent autofocus, albeit with an optional removable viewfinder and a screen that only tilts vertically. See my Canon EOS M6 II review for more details.

Best high-end mirrorless cameras

Spend over $1000 on a body and you’ve entered the high-end category where cameras with Four Thirds or APS-C sensors become tougher and faster, targeting sports and action, or at least very active kids and pets. Built-in stabilisation becomes more common, video features become better too with less cropped footage and higher frame rates. You can also expect twin card slots on many models, and also begin to see older models with larger full-frame sensors, discounted to clear stocks. Most notably, keep an eye on the Canon EOS RP, essentially a full-frame version of the EOS M50 with the 6D Mark II’s sensor – a good option for existing Canon owners looking to go full-frame or mirrorless, albeit only sporting a single card slot and cropped 4k; see my Canon EOS RP review for more details.


For around the same price as the RP you could get the Panasonic Lumix G9, an older camera which may have a much smaller 20 Megapixel Four Thirds sensor, but still manages to deliver decent quality at all but the highest sensitivities. The continuous focusing isn’t quite as confident as its rivals, but it sports a bunch of modes which can capture action before you fully depress the shutter, not to mention a fully-articulated screen, built-in stabilisation, twin card slots, an enormous viewfinder image and 4k up to 60p, now in 10-bit internal thanks to a firmware update – indeed it’s one of the cheapest cameras to offer 4k 60p, making it a tempting choice for film-makers who can’t stretch to the GH series, or who like having the greater photo capabilities. See my Lumix G9 review for more details.


Above: Panasonic’s Lumix G9 is an older but powerful option for photo and video – one of the cheapest with 10 bit 4k 60p.

If your focus is pro video around this price point, consider the Panasonic Lumix GH5 II, costing a little more than the G9, but delivering more professional movie capabilities to high-end film-makers. It’s arguably the best pro video camera at its price, although the G9’s firmware updates make it good enough for most.

Also look out for deals on the Olympus OMD EM1 III, another camera with a 20 Megapixel Four Thirds sensor and fully-articulated screen, but this time with more confident autofocusing for sports and wildlife, as well as excellent weather-sealing. While the video isn’t quite as good as the Panasonics at this price, the EM1 III still captures very respectable footage and still has the one of the best built-in stabilisation systems around.

Another model to consider is the Sony A6600, the flagship in the company’s APSC series, which takes the great autofocus, burst shooting and movie capabilities of the A6400, but adds built-in stabilisation, a much longer life battery, headphone jack and eye detection in movies. The stabilisation may not be as effective as the Micro Four Thirds bodies in this category and there’s only one card slot, but the bigger battery gives the A6600 the longest lifespan of its rivals which is great when coupled with unlimited recording times. See my Sony A6600 review for more details.


Above: Fujifilm’s X-T5 combines retro aesthetic with cutting-edge technology.

Arguably the best-featured camera with an APS-C sensor is the Fujifilm X-T5, which takes the already desirable X-T3 but adds the 40 Megapixel sensor with built-in stabilisation and larger battery from the X-H2, but packs it into the vintage-styled body many Fujifilm owners love. It may be priced uncomfortably close to the cheaper full-framers out there, but provides a higher-end feature-set that would cost considerably more on bodies with bigger sensors, coupled with a design aesthetic that will win many over. See my Fujifilm X-T5 review for more details. If you want all the bells and whistles from Fujifilm, consider the flagship X-H2 or X-H2S.

As you approach a body price of $2000, the full-frame market really opens-up. Arguably the most capable full-framer without breaking the bank is the Panasonic Lumix S5 which delivers a lot of the higher-end S1H at a much more affordable price. Budget film-makers will love the quality for the money, and it also has arguably the best ‘affordable’ kit zoom of any in this category with the 20-60mm. See my Lumix S5 review for more details.

Also look out for deals on the now-replaced Sony A7 III, the previous winner in this category, packing a 24 Megapixel full-frame sensor with excellent autofocus, built-in stabilisation, fast burst shooting, great quality 4k video, eye-detection, twin card slots, decent battery life and a tilting touchscreen. It’s no longer the newest model around which has resulted in discounts maintaining its desirability; see my Sony A7 III review for more details. Note if you have an existing collection of Nikon F-mount lenses though, you will prefer the Nikon Z6 which, for roughly the same money, also has a 24 Megapixel full-frame sensor, decent 4k (now with support for 10-bit) and built-in stabilisation. Firmware updates from Nikon are steadily improving its Z-series to become a serious rival to Sony, and they’ll focus adapted Nikon DSLR lenses better too.

The two big players at around the $2500 mark are the Canon EOS R6 and Sony A7 IV, both offering pretty much everything anyone could ask for without becoming too specialist or pricey. The EOS R6 delivers a lot of bang for the buck too, over-shadowed by the more expensive R5 at launch but becoming one of the more compelling models in the series – so long as you’re happy with the 20 Megapixel sensor (which you should be given it’s inherited from the 1Dx III flagship DSLR). The R6 gives you built-in stabilisation, a flip screen, 12fps bursts, excellent autofocus, good controls, excellent 4k video (albeit limited to 30 minute clips) and low noise images. See my Canon EOS R6 review for more details.


Above: Canon’s EOS R6 offers a compelling combination of features.

Meanwhile the newer Sony A7 IV may be classified as the entry-level model in Sony’s full-frame lineup, but like its predecessors, will more than satisfy the majority of photographers, videographers and hybrid shooters. The Mark IV boosts the resolution to 33 Megapixels without compromising noise levels, enhances an already excellent autofocus system, sports 10 bit, 4k at 50 or 60p (albeit with a 1.5x crop), a flip screen, improved stabilisation and the ability to record clips longer than 30mins without overheating. It’ll even work as a standard USB webcam. The top burst speed of 10fps reduces to 8 when shooting RAW or even 6fps depending on compression and there’s still no focus bracketing or bulb timers, but it remains one of the most feature-packed and capable cameras at this price. See my Sony A7 IV review for more details.


Above: Sony’s A7 IV is one of the most capable cameras at its price point, but watch for deals on the A7 III.

Beyond here we hit the $3000-plus mark with full-frame models like the Canon EOS R5, Sony A7r IV and Nikon Z7 which all capture stills with over 40 Megapixel resolution, plus are packed with other features I’ve detailed in my reviews – see my Canon EOS R5 review, Sony A7r IV review and Nikon Z7 review for more details. All are extremely powerful cameras.


Above: Sony’s A7R IV is one of the best high-end mirrorless cameras if you desire very high resolution photos. Compare with the newest A7R V.

Finally at the very top-end of the market are the Canon EOS R3 and Sony Alpha 1, the former aimed at pro sports and the latter aimed at pretty much anything you care to throw at it. They’re the most expensive full-frame mirrorless cameras to date, but extremely capable, especially the Alpha 1 which combines high res photo and video with pro-sports level burst speeds. See my Canon EOS R3 review and Sony Alpha 1 review for more details. PS – if you’re a sports or wildlife shooter who can’t stretch to either of these flagship models, consider the Sony A9 II or look for deals on the Olympus OMD E-M1X, which may use a smaller Four Thirds sensor, but packs it in a tough and fast body that handles very well; see my Olympus OMD E-M1X review for more details.

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Best Mirrorless Camera

Canon EOS R6 review

The EOS R6 may have been over-shadowed by the headline-grabbing R5, but quietly becomes one of the most compelling cameras in Canon’s range. Compared to the R5, it may lack the 45 Megapixels, 8k video, slow-motion 4k, more detailed viewfinder and slightly tougher build, but it’s more notable how much they have in common. Buy the R6 and you’ll get the same built-in stabilisation, the same rear controls, the same screen articulation and crucially the same autofocus and drive system that allows both cameras to confidently track just about any subject with a high degree of success. And by lacking the high bit-rate video of the R5, the R6 can also make both of its card slots use the more affordable SD format. What’s not to like? The IBIS delivered below the quoted compensation in my tests, the 4k video looked great but over-heated after around 35mins (although it could shoot unlimited 1080p), the battery life could be higher plus you’ll need a decent charge level to achieve the top drive speeds, the electronic shutter is susceptible to more skewing than the R5, and the basic top controls can’t help but look more entry-level than the price suggests. Ultimately the EOS R6 cunningly gives you what’s arguably the best parts of the R5 at a much more affordable price. Don’t get hung-up on the relatively low-sounding resolution as the image quality is more than adequate for all but the most detail-hungry photographers. If you’re an existing Canon owner looking to move into mirrorless or wanting to upgrade from the R or RP, you won’t be disappointed.

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Fujifilm XT4 review

The X-T4 builds-upon one of my favourite all-round cameras, inheriting the style and quality of the X-T3, while addressing my key complaints. Fujifilm’s squeezed effective built-in stabilisation, a more powerful battery and a fully-articulated screen into the X-T4 while only making the body a little thicker, and also thrown-in faster burst shooting at 15fps, better slow motion video at 1080 240p, and a new Film Simulation for the moody videographers out there. As such it seems almost churlish to find faults, and what little you could complain about is pretty minor. It’s a little annoying to lose a dedicated headphone jack, but you can adapt the USB port and a cable is provided. The viewfinder resolution hasn’t been improved, but 3.69 million dots is still a decent spec. The sensor isn’t new, but then it’s not that old either, capturing good-looking 26 Megapixel photos and 4k up to 60p when many rivals stop at 30p. The new 240p slow motion video is softer than 120p, but few offer anything this fast and there’s still 4k 60p for high-quality half-speed video. Probably the biggest complaints will be addressed to the side-hinged screen by Fujifans who prefer the older mechanism, but this is purely personal and I like the new approach much better. At this price point, there’s also a bunch of high-end cropped-sensor rivals that are all cheaper, albeit lacking the complete feature-set, plus some overlap with budget to mid-range full-framers to consider. Personally speaking I remain very fond of Fujifilm’s approach and wouldn’t trade a bigger sensor for the overall feature-set of the X-T4 at this price point. Ultimately I think Fujifilm’s done a great job at enhancing a popular model without compromising its charm, and the X-T4 becomes arguably the best cropped sensor camera to date.

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Canon EOS M200 review

The Canon EOS M200 is an entry-level mirrorless interchangeable lens camera with a 24 Megapixel APSC sensor, tilting touchscreen and cropped 4k video. Successor to the EOS M100, it inherits the same body with its tilting touchscreen and the same sensor with Dual Pixel CMOS AF for confident focusing whether shooting photos or 1080p video. New to the M200 is the DIGIC 8 processor which brings eye-detection, more AF points and 4k video, although interestingly with the earlier M50’s limitations so 4k is only available in 24p, applies a significant crop and lacks Dual Pixel AF; as such for the best focusing in video and broadest coverage, you’ll be shooting in 1080p. The M200 also inherits two small but useful features from the G7X III: a movie record button on-screen when it’s facing you for vlogging, and support for vertical video in portrait apps like Instagram Stories and IGTV. The M200 represents a mild update over the M100, but enjoys its position as Canon’s smallest, lightest and cheapest mirrorless in the current range. That said, if you don’t need the updates, keep an eye open for discounts on the older EOS M100.

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Sony A7r IV review

The A7r Mark IV is an impressive body, with its new 61 Megapixel sensor leap-frogging its high-res rivals to date and overall speed and handling that could easily tempt D850 owners. Here’s a camera that has the potential to deliver portraits, landscapes and architectural images that approach medium format quality, while also having the speed and croppability for distant sports and wildlife. I also appreciated Sony’s body tweaks, from the roomier grip and larger buttons to the dual UHS-II slots and higher resolution viewfinder. I’m still frustrated by the woefully underused touchscreen and disappointed there’s no 4k at 60p nor any video in 10 bit - features presumably reserved for an almost mythical A7s upgrade - but the new digital microphone interface and improved autofocus remain valuable upgrades for video shooters, while the over-sampled 4k footage in the Super 35 mode certainly looks very good. Overall the A7r IV is an evolutionary upgrade over its predecessor, but it’s surprising how much a boost in resolution and autofocus performance has broadened the flexibility and appeal of this model in Sony’s lineup, again allowing it to tempt detail fanatics whether their subjects are static or in fast motion. Recommended, although if 42 Megapixels are enough for you, look for bargains on the earlier A7r III.

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Fujifilm XT30 review

The Fujifilm X-T30 follows a tried-and-trusted recipe now on its third generation, delivering the same sensor, processing and autofocus of the flagship X-T3 in a smaller, lighter and much more affordable body. As such it becomes the second body to feature Fujifilm’s latest 26 Megapixel / APSC / X-Trans IV sensor with 100% phase-detect autofocus coverage and electronic bursts up to 30fps with optional pre-burst capture too. It may lack the X-T3's weather-proofing, twin card slots, larger and higher resolution viewfinder, 4k up to 60p and screen that angles sideways as well as vertically, but it boasts a popup flash absent from the flagship, and now includes an AF joystick too. Compared to rivals, it lacks built-in stabilisation, 4k movie clips longer than ten minutes, a standard 3.5mm mic input (instead continuing to force you to adapt the 2.5mm jack), and a card slot that can exploit UHS-II card speeds. But as a general-purpose body, the X-T30 remains a great choice, not just against new rivals but also as an upgrade for the earlier X-T20 and even the X-T2. Note the original X-T30 has recently been replaced by the mildly updated Mark II version.

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Sony A6400 review

Sony’s A6400 is a solid mid-range mirrorless camera with an APSC sensor delivering good quality 24 Megapixel photos and 4k video. Improvements to the autofocus system mean it’ll track and stay focused on subjects more successfully than any camera at its price point whether you’re shooting stills or filming video, and fast burst speeds mean it’s also better-suited to action than most rivals too. The screen can finally flip-up by 180 degrees to face you for vlogging, and the rare ability to keep filming beyond half an hour makes it ideal for interviews and events. Frustratingly if you fit a microphone to the hotshoe, you’ll block the screen, but you could always use a bracket or a cabled microphone instead, and while there’s no headphone jack or dual card slots, that’s normal at this price. I’d have liked to see a better battery, but you can at least power the camera over USB which is useful for long videos or time-lapses which have also been reinstated after the loss of downloadable apps. Arguably the biggest downside is the lack of built-in stabilisation which remains exclusive to the A6500 in Sony’s APSC range - annoying since it’s long been standard across Sony’s full-frame line. If you do need IBIS, perhaps for unstabilised primes, then the A6500 is still tempting even at a higher price, but I personally prefer the A6400 for its improved focusing, longer recordings and selfie-screen even with the hotshoe limitations. Since the previous A6500 followed the A6300 by only 8 months though, It does beg the question whether there’ll be a stabilised version of the A6400 in the future, although presumably at a premium you may not be willing to pay. Plus if you don’t need the A6400’s upgrades, look out for discounted A6300s, and if you don’t need 4k or fast bursts, Canon’s EOS M50 remains a great option for vloggers with a side-hinged screen and lower price. But personally speaking, the A6400 fits very well with my style of filming and lack of IBIS aside, it’s a strong camera at the price point I’m happy to recommend.

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Fujifilm XT3 review

Fujifilm’s X-T3 is a highly satisfying mirrorless camera and my favourite model in the X-series. It may look a lot like the earlier X-T2, but Fujifilm’s latest 26 Megapixel X-Trans IV sensor brings big improvements to autofocus (now across the entire frame), burst speed (up to 11fps mechanical or 30fps electronic), and especially to video (4k up to 60p with 10-bit internal recording). Indeed the X-T3 becomes the best APSC camera for video to date and will confidently take on the Sony A6300 / A6500 for action shooting too. On the downside there’s no built-in stabilisation, fairly average battery life, and skewing restricts the usefulness of the electronic shutter modes; vloggers will also wish it had a screen that flipped forward. That said I still personally feel the X-T series strikes the perfect balance of size, style and usability, and while I miss IBIS and would prefer a bigger battery, I wouldn’t want them if they made the body any larger. Again it’s all very personal, but I find the X-T series one of the most satisfying to shoot with: attractively-styled, tactile controls, small enough to never leave at home, and crucially delivering images (and now also video files) that look great out-of-camera, requiring little or no post-processing. If you won’t exploit the improvements to autofocus, burst speed or video, then the previous X-T2 remains a tempting option if you can find one at a lower price, but for me the X-T3 becomes one of my favourite all-round cameras and one that easily takes-on full-frame rivals; Highly Recommended.

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Canon EOS M50 review

The Canon EOS M50 is an upper entry-level mirrorless camera with a 24 Megapixel APSC sensor, confident autofocus (for stills and 1080p video), small but crisp OLED viewfinder, excellent wireless, and becomes Canon's first mirrorless with 4k video, a fully-articulated touch-screen, eye detection and silent shooting options. Sadly the 4k is of limited use, employing a severe crop and only working with less confident contrast-based autofocus. I'm also frustrated there's no USB charging, especially since the battery is fairly weak. But these aside, the EOS M50 remains a highly compelling model with a compact but comfortable body, effective touchscreen, industry-leading wireless, confident focusing for 1080p video, and great colours out-of-camera. Indeed the M50 may be pitched as an upper entry-level model, but I reckon it's Canon's most compelling mirrorless to date. Coupled with a hotshoe and microphone input, the M50 will be as popular with vloggers as it is with those looking for an upgrade from smartphone photography. Recommended.

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Sony A7 III review

The Sony Alpha A7 III is a highly versatile and feature-packed camera that redefines what we can expect from a full-frame body at this price point. It delivers crisp and satisfying images from its 24 Megapixel full-frame sensor, captures good-looking 4k video in either full-frame or cropped APSC modes, handles itself confidently for action with 10fps bursts and phase-detect autofocus across almost the entire sensor, while also being ideal for events with excellent face and eye detection as well as the chance to shoot in genuine silence. Pros shooting one-off occasions will appreciate the security of twin SD card slots, studio shooters will enjoy the high speed tethering and USB power, while travellers and social photographers will love the Wifi and seamless location tagging over Bluetooth. Oh and as a third generation Sony A7 model, the A7 III also enjoys the better controls and bigger battery of the A7r III which essentially banishes previous concerns over mirrorless. For anyone desiring full-frame, the A7 III could be all the camera you need and also the model to tempt many DSLR owners into switching.

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Panasonic Lumix G9 review

The Lumix G9 is a confident high-performance camera that's a joy to use. The tough weatherproof body feels great in your hands with excellent controls, there's an enormous viewfinder image, a fully-articulated touchscreen with an excellent user interface, fast autofocus and burst shooting that can track action, very effective built-in stabilisation, and great image and video quality from the 20 Megapixel Four Thirds sensor that rivals 24 Megapixel APSC sensors at all but the highest sensitivities. The composite High Res mode genuinely delivers greater detail with the right subjects, there's charging and power over USB, powerful wireless features tied together by Bluetooth, and Panasonic's cunning 6K and 4K photo modes that make it easy to capture a moment before you push the shutter or adjust the focus after the event. There's little to complain about: you get used to the very sensitive shutter release and visual fluttering during continuous AF, and while the ten minute limit to 4k at 50p or 60p seems mean compared to the GH5, who else even offers 4k at 50p or 60p at this price? Plus you still get half hour clips at 30p. In use you feel there's little the G9 can't handle and it's highly competitive at the $1699 RRP.

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