Last updated March 2026: I regularly update this guide as new cameras are released and as I spend more time using the models listed below.

If you’re trying to figure out which camera is actually worth buying in 2026, this guide will help. I’ve owned or used every camera on this list, and these are the models I genuinely think offer the best balance of image quality, autofocus, handling, and long-term value.

Rather than just listing the newest or most expensive cameras, I’ve focused on the ones that make the most sense for real photographers — whether you shoot travel, family moments, landscapes, wildlife, or a mix of everything.

Some are APS-C, some are full-frame, and one is Micro Four Thirds. But all of them are capable of producing professional-quality images in the right hands.

Drop a hint: share my Best Gifts for Photographers list with the people buying for you this year — they’ll thank you for making it easy.

OM System OM-1 Mark II – Wildlife Photography Runner-Up

Micro Four Thirds Powerhouse That’s More Than Meets the Eye

Let’s start at the smallest sensor size with the OM System OM-1 Mark II — the follow-up to the excellent OM-1, which itself marked the end of the Olympus name on a camera. On paper, this is the pinnacle of Micro Four Thirds technology. Despite its top-tier feature set, its price falls surprisingly close to other cameras in this roundup.

What you get for that money is seriously impressive: a stacked Micro Four Thirds sensor with fast readout, rapid burst shooting, an upgraded buffer, and genuinely solid autofocus. Add to that some of the best computational photography features available on any camera — all inside one of the most rugged, weather-sealed bodies you can buy.

I own this camera myself . It’s incredibly ergonomic, confidence-inspiring in bad weather, and a lot of fun to use. I’ve shot with it in everything from snow to monsoon-level rain without a single issue. I took it out recently in some horrendous weather here in Scotland and it didn’t flinch for a second.

The 20MP stacked sensor is obviously smaller than the other formats on this list, but image quality holds up well up to ISO 3200 — even ISO 6400 is usable for web and sharing. And here’s the kicker: this isn’t just about image quality. What the OM-1 Mark II really offers is capability.

Practical Power Features

• Dual card slots
• Fully articulating screen
• 5.76M-dot EVF
• Class-leading IBIS

Let’s talk about that IBIS for a second. This is, hands-down, the best I’ve used. I routinely get pin-sharp images at shutter speeds of one second and longer — handheld. That opens creative doors most other systems shut. You can regularly shoot handheld long exposures for water motion, light trails, and street scenes at night — all without a tripod.

Then there are the computational tools:

• Live Bulb and Live Time — lets you preview long exposures while they’re being captured
• Live ND — simulates ND filters by blending exposures
• Graduated ND — a new trick that eliminates the need for physical graduated ND filters
• Handheld High Res Mode — captures 50MP composite files for static scenes

With this setup, I leave my tripod and filters at home more often than not.

Wildlife & Action Bonus

The OM-1 Mark II shines for wildlife photography. It’s fast, small, and pairs beautifully with Olympus’ pro telephoto lenses — like the excellent 300mm f/4 PRO. Nikon’s Z system is the only other setup that offers similarly compact reach with serious quality (thanks to their PF lenses).

OM System even includes pre-capture — a feature that records frames before you fully press the shutter. It’s a game-changer for birds and unpredictable subjects. My own hit rate with this feature easily beat what I managed with a Canon R5.

The Honest Drawbacks

The only real drawback? The Micro Four Thirds sensor. While it’s more than good enough for most uses — and brings real advantages in weight, size, and reach — it can’t quite match larger sensors in tonality, high ISO noise performance, or depth in colour rendering. But for most practical purposes (and certainly for travel, outdoor, or action shooters), it’s more than good enough for most uses.

And if you want the same internals in a smaller, lighter package? Keep your eye on the new OM-3. I have now used mine for some time and you can find the full OM-3 review here.

Buy the OM System OM-1 Mark II if…

Fujifilm X-T5 – Best Camera for Travel Photography

A Photographer’s Camera With All the Right Touches

Next up is the Fuji X-T5. While not technically the flagship of Fujifilm’s lineup — that title goes to the X-H2 and X-H2S — this is the camera I’d pick for pure shooting enjoyment. The X-H2 is similarly priced (slightly more expensive) but offers a completely different experience. The X-H2S, on the other hand, is substantially more expensive and really only worth the extra outlay for specific use cases — like if you need top-tier video specs, the most rugged body Fuji offers, or their fastest sensor. The X-T5 can still handle video well, but if you’re after a general-purpose hybrid camera that covers a wide range of scenarios, the X-T5 offers better value in my opinion.

If you’re after a camera that feels great in the hand and offers a tactile, intuitive experience, the X-T5 delivers in spades. With dedicated dials for ISO and shutter speed, paired with aperture rings on most Fujifilm lenses, the X-T5 offers a real sense of control. It’s a photographer’s camera in the truest sense — one that encourages intentional shooting rather than screen tapping and menu diving.

And unlike some other “retro” attempts, this one works. The X-T5, nails the ergonomics. It’s light — lighter than the X-T4 — and features my favorite Fuji LCD: a 3-way tilt screen that works beautifully for waist-level and portrait shooting alike. If you’re curious how the X-T5 compares to Fuji’s other retro favorite, the X100VI, I break it down fully here and if you want to see how the X-T5 compares against Nikon’s Z6III see this article.

Key Specs and Features

• 40MP APS-C X-Trans V BSI CMOS sensor
• EVF: 3.69M-dot OLED, 0.8x magnification, 100 fps refresh rate
• Weather-sealed magnesium alloy body
• Dual UHS-II SD card slots
• IBIS rated up to 7 stops
• Battery life: approx. 580 shots (CIPA)

The EVF is bright and sharp, though it’s not quite as nice as the one on the OM-1 Mark II. Still, it’s perfectly usable for critical focus and composition in any lighting condition.

Autofocus is a bit of a hot topic. Is it class-leading? No. Sony, Canon, and Nikon’s latest offerings edge it out. But the YouTube derision often feels overstated. I’ve used it for family photography and street shooting — two very different, often demanding scenarios — and had no issue getting sharp, consistent results. The key with the X-T5 is learning how to get the best from it. (If you want to skip the guesswork, you can download my X-T5 settings file — the exact one I use every day.)

Image Quality, Lenses, and Everyday Use

That 40MP sensor is a decent upgrade over previous Fuji models, and it outperforms the OM-1 II in both low light and skin tone rendering. It’s not a huge gulf — I’d estimate maybe two-thirds of a stop — but it’s noticeable, especially when shooting wide open.

Where Fuji really wins is in lens selection. You’ve got it all:

• Tiny weather-sealed primes like the 23mm, 35mm, and 50mm f/2
• Gorgeous f/1.4 and f/1.2 pro-level glass
• Pancakes for travel
• Versatile compact zooms
• And of course, the pro-grade zooms if that’s your thing

This system is a dream for photographers who want to build a lightweight, high-performance kit — whether you’re documenting everyday life or traveling with your family.

Minor Gripes? Sure — But Very Minor

• The grip is small. I solved that with a SmallRig L Grip, and it now feels just right. All the best accessories for the Fuji X-T5 are in this article.
• It’s weather-sealed, but I trust it less in tropical downpours than the OM-1 II. That said, I shot street photography with it in the UK during constant drizzle and it never missed a beat.
• Eye-AF occasionally locks onto the wrong thing — but that’s par for the course with most systems outside the Sony realm.

If you want to save a bit of money, check out the X-S20 or the more recently released X-T50. But honestly, if you can stretch to the X-T5, you’re getting excellent value and access to a world-class lens ecosystem — all in a body that’s a pleasure to shoot with.

Buy the Fujifilm X-T5 if…

Panasonic S5II / S5IIX — Best Camera for Video / Hybrid Shooting

Ok, you knew it was coming — we’re now getting into full-frame territory, the holy grail of YouTube land. But my first pick might surprise you. The Panasonic S5II (and its sibling, the S5IIX if you want even better video features) is my choice here for a general-purpose full-frame camera that gives you a fantastic 24MP sensor with great low light performance.

The beautiful color from Panasonic cameras is often understated — I’d put them right up there with the best. And for the first time, Panasonic ditched their old contrast-detect “Depth from Defocus” system and gave us phase detection autofocus. Finally. It’s a huge improvement — fast, sticky, and reliable for all general photography needs.

You get:

• Dual card slots
• Excellent ergonomics
• A rugged, weather-sealed build
• Light weight for full-frame
• Logical, well-laid-out menus
• Buttons where they should be (which is rarer than you’d think)

Even the kit lens strategy is smart — the 20–60mm, 50mm f/1.8, and 85mm f/1.8 all use the same filter thread, which makes your life a lot easier when using ND filters or polarizers. No messing with step-up rings.

The lens lineup is also filling out really nicely, with both Panasonic and Sigma contributing to the L-mount system.

IBIS and Stabilization

The In-Body Image Stabilization (IBIS) is among the best in full-frame, especially for video — but even for stills, it’s impressive. I can handhold shots at 1/2 second or longer with the 20–60mm lens and still get sharp images. That opens up a lot of creative flexibility when light is low but you don’t want to raise ISO.

Image Quality and Value

This 24MP full-frame sensor is no slouch. It delivers clean files, great dynamic range, and excellent color. The EVF is decent (3.68M-dot resolution) — not class-leading, but totally usable. Where the S5II really shines is value. The deal I got last year with the 20–60mm and 50mm f/1.8 almost made me feel guilty. Panasonic threw in the 50mm for free — and it wasn’t even the best deal I saw. A couple of weeks earlier, the 85mm f/1.8 was bundled in too at an unbelievable price.

Panasonic recently launched the S1 Mark II, which has a stacked 24MP sensor and better video specs — but it’s nearly double the price, and unless you absolutely need what it offers, it’s not worth it for general photography. You could buy the S5II and build an entire lens kit for less than the price of the S1 II body alone.

Where It Falls Short

There are a few quirks:
• Startup time is slow. Like… “Did I turn it on?” slow.
• Playback lag — Press the button, wait, then press again because you thought it didn’t register… now you’re in and out of playback mode.
• Battery life is the weakest on this list. I get around 300 shots per charge, and it can drop from 30% to 0% worryingly fast. Still, third-party batteries are cheap, and you can charge or power it via USB-C.
• AF interface — It works well, but Panasonic’s eye AF uses weird crosshairs instead of a proper focus box. Not a dealbreaker, just not my favorite.

A Word on Video and the S5IIX

I own the S5IIX, which leans more toward video shooters. It offers:
• Internal ProRes recording (up to 5.8K)
• External RAW over HDMI
• All-Intra recording and expanded codec support
• Unlimited recording times thanks to its built-in fan
• Direct recording to SSD over USB-C

That last one is seriously useful — you can plug in a portable SSD and shoot directly to it, skipping SD cards entirely. The fan system also means longer recording times without overheating.

But if photography is your main focus, go for the regular S5II and save yourself some money. The core experience is identical for stills.

Buy the Panasonic S5II if…

Nikon Z6III – Best Everyday Camera

A Comfortable, Capable, All-Round Hybrid That Feels “Right”

I shot with the Nikon Z6III in the Philippines for months and continue to use it now that I’ve moved to the Scottish Highlands. It’s a camera that with a few key accessories and the right setup just lets you get on with the job. For a lot of people it can make more sense than the Z8 as I found when I compared them as it offers a lot of the benefits such as excellent handling, autofocus and image quality while being cheaper and lighter.

Specs at a glance:

• 24.5 MP partially‑stacked full‑frame CMOS sensor
• EXPEED 7 processor
• Burst: up to 14 fps mechanical, 20 fps electronic (10 MP crop possible up to 120 fps)
• IBIS rated at 8 stops, with Focus‑Point VR enhancement
• EVF: 5.76M‑dot, 0.8× magnification, 4000 nits brightness
• Articulating touchscreen LCD (~2.1M dots)
• Dual memory slots (SD + CFexpress/XQD)
• ISO range 64–64,000 native, expandable to 204,800
• 6K internal RAW video up to 60 fps, 4K up to 120 fps in crop mode, ProRes/N‑RAW support

⸻

Comfort & Feel

In terms of ergonomics — this is one of the most comfortable full-frame bodies I’ve handled, beaten only by the Nikon Z8 thanks to its slightly larger grip giving more room for my pinky finger. Nikon just “gets it” — the grip fits, buttons fall where they should, and the power switch around the shutter button is ideal for quickly turning the camera on when you need to grab a shot.

Image Quality & Color

Image quality from the Z6 III is outstanding, particularly for skin tone and color rendering — Nikon Z files are my favorite among full-frame cameras. The 24 MP sensor produces punchy yet natural colors and beautifully rich black‑and‑white tonal transitions.

You’ll see charts show slightly reduced dynamic range vs the Z6 II, but in real-world use I wasn’t held back by it in my testing — even in tricky contrast scenes.

Autofocus, IBIS & Performance

Autofocus performance is genuinely fast — I find it on par with the A7 IV, and definitely not a laggard in typical family or street shooting. Burst rates of 14 fps (mechanical) and 20 fps (electronic) give you access to Nikon’s 3D tracking in most real‑world situations .

IBIS is rated at 8 stops and works with Focus‑Point VR (which prioritizes stability at your selected autofocus point). It handles handheld very well, even with heavier lenses or slower shutter speeds until about 1/4 or 1/2 second .

The EVF is sharp and bright, and the articulated touchscreen is easy to use for awkward angles or portrait orientation.

Lens Ecosystem & Usability

Nikon’s Z-mount lens lineup is one of the best in the business. The f/2.8 zoom trio is excellent — sharp, well-built, and surprisingly lightweight. I spent time using them a few years ago for some landscape photography in the UK. The 1.8 primes (especially the 50 mm and 35mm ) are on par with many manufacturers’ 1.2–1.4 lenses in optical quality. Nikon’s treated their mid-range glass like pro gear, and it shows. I recently compared the Nikon Z 35mm 1.8 vs 50mm 1.8 to see which one you should buy and have a full review of the 85mm 1.8 too.

Battery Life & Handling

Battery life on the EN-EL15c is excellent — I routinely get more than a day’s shooting out of one charge, and USB‑C charging means you can top up in the field if needed. The camera is responsive and fast — no laggy menus or start-up delays like on the S5 II.

Real Drawbacks?

Honestly, there’s little worth complaining about here:
• Slight dynamic range dip vs Z6 II? Academic in my experience.
• It’s a few grams heavier than the S5 II but still lighter than the Z8.

In short: unless you need the extra resolution, faster burst, or more rugged pro build, the Z6 III is the smart buy. It gives you nearly everything the Z8 offers — for significantly less money. For a full comparison my Z8 vs Z6III article goes in to much more detail.

Buy the Nikon Z6III if…

Nikon Zf — Best Retro Camera

The Nikon Zf shows Nikon leaning into something more tactile and experience-driven — and it largely works. Underneath the retro exterior is thoroughly modern Nikon performance, powered by the same EXPEED 7 processor found in the Z6III and Z8. As a result, the Zf never feels slow or compromised in real use.

Image quality is superb. You get the rich colour, strong dynamic range, and pleasing tonality that Nikon does so well, with files that are flexible and easy to work with, as I found out in my full Nikon Zf review. For stills photography in particular, the output is excellent. Autofocus performance is also right up there — fast, reliable, and more than capable of keeping up with family, street, and everyday photography. In terms of responsiveness and general camera speed, it feels much closer to the Z6III than its styling might suggest.

Where the Zf stands apart is in how it encourages you to shoot. The physical dials invite a slower, more deliberate approach — setting exposure consciously and engaging more with the process. It’s a camera that prioritises the enjoyment of shooting as much as the final result, and that will really appeal to some photographers.

There are a few practical caveats to be aware of. For all-day comfort, the Zf really benefits from adding either a grip or a good strap — without one, the body can feel a little tiring over long sessions. The fully articulating rear screen is versatile, but I personally prefer the three-way tilt screens found on the Fujifilm X-T5 and Nikon Z8 for stills photography. And while dual card slots are welcome, the backup slot uses microSD, which isn’t ideal compared to full-size SD cards.

None of these are deal-breakers, but they are worth factoring in.

Who Is the Zf For?

The Zf makes the most sense if you want modern Nikon image quality and performance in a body that feels more engaging and characterful. It’s less about being the most versatile tool and more about enjoying the act of photography itself. Just be sure to pair it with the right lenses such as the 40mm f/2 SE to get the best experience. It also makes an ideal camera for family photography.

Buy the Nikon Zf if…

• You want excellent Nikon full-frame image quality in a design-led body
• You value a tactile, dial-based shooting experience
• You mainly shoot stills and don’t need a pure hybrid workhorse
• You’re happy to add a grip or strap for better all-day comfort

If you want the most balanced all-round Nikon at this level, the Z6III remains the smarter choice. If you want Nikon’s strongest photographic tool overall, the Z8 clearly sits above both. But if you’re looking for something that’s genuinely fun to shoot — without sacrificing image quality or performance — the Zf fits that role very well.

Sony A7 IV/A7V – Best Camera for Wedding Photography

With the release of the Sony A7V not really offering huge improvements over its predecessor, the A7IV remains a very viable option in 2026. The Sony A7IV is a camera I owned for over a year, and it’s one I have a lot of respect for. It offers a superb 33MP full-frame sensor that delivers a slight bump in resolution over other full-frame options on this list, without sacrificing anything in low light. ISO 12,800 is clean and very usable.

Sony made some nice ergonomic improvements over the A7 III, with larger, better-placed buttons and a more refined feel in the hand — though I’ll come back to that. I really liked how customizable the camera was. You can map pretty much any AF mode to any button, which gives you incredible flexibility. I often had different AF modes set to back buttons so I could instantly switch from subject tracking to single point or zone — something very few cameras let you do this seamlessly.

The EVF is solid, if not class-leading, at 3.69 million dots. The fully articulating screen isn’t my favorite for photography, but it’s fine and obviously helpful if you’re also planning to shoot video.

Autofocus

This is where the A7 IV still feels like cheating. It’s absurdly good. It tracks eyes, heads, bodies, animals, birds, insects, probably ghosts if you try hard enough. It’s so intuitive that it feels like it knows what you’re trying to do, and it almost never misses. And if it does, one tap and you’re in a different mode. It’s fast, smart, and frankly, kind of magical. The A7R V may have improved it further, but for most people, the A7 IV is already top-tier. The A7V has improved on this again so if you want the absolute best auto focus then that’s the model to go for.

It’s got dual card slots — one of which can take CFexpress Type A cards if you’re willing to splash out — and decent weather sealing. Build quality is solid. But now let’s talk about the bit that bothered me…

The body. For me, it’s the least comfortable of any camera on this list. I shot a wedding using two A7 IVs, and by the end of the day, the right edge of the grip was digging into my palm so much that it was borderline painful. And this wasn’t a one-off — I felt it again on long street photography days.

IBIS? It’s okay. Definitely the weakest here. I’d say I got 3–4 stops of compensation, which isn’t bad, but it’s not in the same league as OM Systems, Nikon, or Panasonic. Thankfully, the excellent high ISO performance means you’re rarely stuck.

The Sony lens ecosystem is the strongest around, no question. With Sony’s own lineup plus Sigma, Tamron, and others, you can build almost any kit you can dream of. The 35mm f/1.4 GM is a standout lens — brilliant image quality and surprisingly compact. You’ve also got exotic options like the 50mm f/1.2 GM if you want to go all in, or great value choices like the 35mm and 85mm f/1.8, which offer solid performance in a lightweight package. That said, I do think Nikon’s 1.8 primes feel higher-end in terms of build and rendering.

So, why did I sell mine?

A few reasons. I didn’t like the color science as much — it’s very personal, but I always found myself spending more time editing Sony files. I never really bonded with the ergonomics. And — here’s the petty one — I hated the shutter sound. Big, clunky, not satisfying. Sounds silly, I know, but when you shoot as much as I do, it matters.

Ultimately, I had to streamline my gear to what I truly enjoyed using most, and the Sony didn’t make the cut. But that doesn’t change the fact that the A7 IV is still one of the best value, well-rounded hybrid cameras you can buy in 2026. Incredible autofocus, excellent image quality, endless lens options, and strong video specs — including 4K 60 (albeit with a 1.5x crop). It’s a hell of a package.

You could, of course, move up to the A7R V if you wanted even more resolution, slightly better autofocus, and a much-improved EVF. But it’s a lot of money for upgrades that, for most photographers, you probably won’t actually notice in real-world use. The EVF might be the one exception — it’s a real step up. But otherwise, unless you know exactly what you’re looking for and need the extras the A7R V brings, the A7 IV remains the smarter, more balanced choice for most people.

Buy the Sony A7IV if…

Nikon Z8 – Best Camera Overall

There is nothing that the Nikon Z8 cannot do well. It’s an incredible landscape camera with some of the best full frame image quality available, it works superbly for wildlife photography thanks to its subject detection and fast Af (which Nikon keep improving via firmware). It can shoot people, planes, architecture , products (although check the flash sync speed issue if that’s your thing thanks to its lack of a physical shutter) and everything in between.

I’ve owned my Nikon Z8 for a while now and the more I shoot with it, the more I realise just how good it is.. With a 47mp full frame sensor and a base ISO of 64, it offers what is probably the best image quality available in full frame right now. The tonality out of the Z8 files, especially at base ISO, honestly puts it very close to my GFX100S, especially for landscapes.

The build quality is superb with a really rugged feel and great ergonomics with every button in the right place. Those buttons are backlit too so if you shoot at night you can actually see what you’re doing. It has a bigger top LCD screen than the Z6III and I prefer the 3-way tilt screen for stills photography. Fast burst rates and even better autofocus than the Z6III make it more reliable when you need to nail a certain shot which is why I use it for my wildlife photography.

It’s cheaper than the Canon R5II or Sony A1 series (by a long way), yet it performs at the same level. The Z8 is fast becoming my favourite camera now that I’m in Scotland, where I use it for everything from landscapes to wildlife photography, testing its excellent weather sealing to the limits.

Specs at a glance:

• 45.7MP full-frame sensor (stacked)
• Base ISO 64
• 20fps RAW / 30fps JPEG / 120fps 11MP
• 493-point AF with subject detection
• 8K/60p N-RAW or 4K/120p
• 5-axis IBIS
• Dual CFexpress Type B + SD card slots
• 3.2″ 4-axis tilting touchscreen
• Backlit buttons + top LCD
• IP-rated weather sealing

Image Quality

The Z8’s image quality is a standout reason to buy it. Base ISO 64 gives you medium-format-like latitude with beautiful tonality, rich shadow detail and incredibly clean files. For landscape or travel photographers who value dynamic range, it’s arguably the best full-frame sensor on the market.

Autofocus & Performance

Nikon’s subject detection on the Z8 is extremely reliable and feels more confident than the Z6III when tracking fast-moving subjects. The stacked sensor eliminates rolling shutter, the blackout-free shooting feels instantaneous, and the 20fps RAW burst rate means you never miss a moment. For action, wildlife or events, it’s a workhorse.

Build Quality & Handling

This feels like a mini Z9 — which is a good thing. The camera is solid, weather sealed and reassuring in the hand. The backlit buttons are a huge benefit for night photography or low-light shooting, and Nikon’s ergonomics remain among the best in the industry. The tilt screen is great for stills photography and I much prefer it over the fully articulating screen of the Nikon Z6III.

Lens Ecosystem

The Z system has one of the strongest lens lineups on the market. The 20mm, 35mm, 50mm and 85mm f/1.8 S primes are incredible and great value, while there are great zoom options including the best 24-70mm f/2.8 lens I’ve ever used. If you are a wildlife photographer than Nikon’s Z lineup of telephoto lenses has every Canon and Sony shooter a little green with envy. Lenses like the 400mm f/4.5, 600mm f/6.3 and 800mm f/6.3 come in much smaller, lighter and cheaper than most other brands.

Drawbacks?

The main compromise is the overall size compared to cameras like the X-T5 or OM-1. It’s a serious tool, not a compact one — but that’s why it feels so good in the hand. My only other gripe is that I wish Nikon would improve their custom memory banks setup as it’s not the easiest to work with.

Buy the Nikon Z8 if…

Also read: Best accessories for the Nikon Z8 and Nikon Z6III vs Z8

Fujifilm GFX100S II – Best Camera for Landscape Photography

The Fujifilm GFX100S II is the camera I would choose today if landscape photography were my main focus. Its 102-megapixel medium format sensor delivers extraordinary detail, colour depth and tonal range, especially at base ISO. For photographers who print large or want the maximum amount of information in their files, it sits comfortably above full-frame options.

What makes the GFX100S II particularly appealing is that it brings medium-format image quality into a body that is still practical to carry. It’s smaller, lighter and far more affordable than the traditional medium-format systems landscape photographers used to rely on.

For some, a full-frame camera like the Nikon Z8 or an APS-C Fujifilm X-T5 may make more practical sense. But if the goal is maximum image quality for landscapes, the GFX100S II is the best camera available. I personally own the original GFX100S and although the improvements in the mark II were not groundbreaking, all the small improvements such as better autofocus and speed do add up. In terms of image quality, there is nothing between the two cameras and I’m still blown away everytime I look at the 100mp files it produces. The GF lenses are also some of the sharpest I’ve ever used but they don’t come cheap.

Final Thoughts

All of the cameras I’ve mentioned here are ones I own or have owned. I haven’t pulled anything from spec sheets or theory — just real-world use and what I think are the best cameras right now in 2026.

For 99% of people, they’re more than enough. They’re fast, reliable, and capable of producing images that will outlive the gear itself.

I’ve reviewed the real travel performance of these systems across full articles — the links below let you dive deeper into the cameras and lenses mentioned.

FAQ

What is the best camera overall in 2026?

For me, the Nikon Z8 is the best camera overall in 2026. It combines exceptional image quality, fast and reliable autofocus, pro-level build quality, strong video features, and one of the best lens ecosystems available. It’s the camera on this list that does the widest range of jobs at the highest level.

Do I really need a flagship camera to take professional-quality photos?

No. A flagship camera can make some things easier, especially autofocus, speed, durability, and buffer depth, but image quality has been good enough for professional results for a long time now. For most photographers, the best camera is the one that fits their style, budget, and the kind of work they actually do.

What’s the best everyday camera on this list?

The Nikon Z6III is the best everyday camera here. It offers excellent ergonomics, strong autofocus, very good image quality, and a more manageable size and price than the Nikon Z8. For a lot of photographers, it hits the sweet spot.

What’s the best camera here for travel photography?

The Fujifilm X-T5 is my top travel photography pick. It gives you excellent image quality, a lighter and smaller system than most full-frame options, and access to a superb range of compact lenses. It’s one of the easiest cameras here to actually want to carry all day.

What’s the best camera here for wildlife photography?

The Nikon Z8 is the strongest wildlife camera on this list thanks to its stacked sensor, excellent subject detection, fast burst shooting, and access to Nikon’s outstanding telephoto lenses. If you want something smaller and lighter, the OM System OM-1 Mark II is an excellent runner-up.

Which camera here is best for landscape photography?

For pure landscape photography, the Fujifilm GFX100S II is the strongest option here thanks to its 102MP medium format sensor, huge detail, and excellent tonal depth. If you want something lighter and more flexible for travel as well, the Nikon Z8 or Fujifilm X-T5 make more practical sense.

Which camera is best if I also shoot a lot of video?

The Panasonic S5II and S5IIX are the standout hybrid and video-focused options here. They offer strong stabilisation, very capable video features, solid image quality, and excellent value. If you want a more photo-first camera that still handles video very well, the Nikon Z6III is also a strong choice.

Is the Nikon Zf actually a good camera, or is it mostly about the look?

It’s genuinely a very good camera. You’re getting modern Nikon autofocus, excellent image quality, and strong overall performance in a body that feels more tactile and enjoyable to use. The main compromises are comfort without a grip, the fully articulating screen, and the microSD backup slot.

What’s the best camera here for wedding photography?

The Sony A7 IV remains one of the strongest choices for wedding photography thanks to its excellent autofocus, strong low-light performance, dual card slots, and huge lens selection. It’s a very dependable tool for fast-moving people photography.

If I were starting from scratch, what would I personally choose?

If I were starting from scratch and wanted the camera I’d enjoy carrying most, I’d go for the Fujifilm X-T5. It offers a great balance of size, image quality, lens choice, and shooting experience. If I wanted one camera to cover the widest possible range of work at the highest level, I’d choose the Nikon Z8.

That doesn’t mean I’ve closed the door on other brands—I still use Panasonic’s full-frame S5IIX for certain projects and haven’t ruled out returning to Sony in the future. But when it comes to travel, documentary, and personal photography, Fujifilm just fits how I like to work right now. In this post, I’ll share why it’s become my main system as a British photographer documenting life in the Philippines—and why it might work for you too.

Image Quality Without the Bulk

For the kind of work I do—documentary, street, and travel photography—portability is non-negotiable. I’m often on a motorbike, shooting in hot and unpredictable weather, and the last thing I want is a bulky full-frame setup weighing me down. Fujifilm’s X-series cameras, particularly the X-T5 and X100VI, hit the sweet spot. With a 40MP APS-C sensor, I get more than enough resolution for large prints and professional work, without the weight and size of a full-frame DSLR or mirrorless body.

The Fujifilm GFX100S is the exception I’ve made for higher-end work. It’s medium format, and the image quality is a significant step up from full frame—ideal for when I need that extra detail and tonality. But for most of my work, especially when mobility is key, the X-series gives me exactly what I need. Especially when using lenses like the Fuji 23mm 1.4 WR and 33mm 1.4WR.

Thoughtfully Designed for the Photographer

One of the main reasons I stuck with Fujifilm is because their cameras feel like they were designed by photographers, not tech engineers. The manual dials, tactile controls, and logical layout make me want to pick up the camera and shoot. It’s not just about specs; it’s about the experience of using the camera—and Fujifilm gets this right.

These days I often find myself photographing people a lot more than in the past. Whether it’s my family or strangers on the street, I find that Fuji colours work for people better than any other brand. I discuss the best portrait lenses for Fuji in this article.

The ability to add mulitple custom settings and save them as named profiles is a standout feature. On both the X-T5 and X100VI, I’ve created profiles tailored to different shooting environments and moods. This level of customisation, combined with Fuji’s unique film simulations, means I spend far less time editing.

Less Editing, More Shooting

Fujifilm’s film simulations are more than just colour presets—they fundamentally change how I approach photography. With Classic Chrome, Acros, and my own custom recipes like McCurry Kodachrome, I get results straight out of camera that I’m happy to share or print.

This is a huge time-saver. I don’t want to sit in front of a screen for hours colour grading files from Sony or Nikon when I can capture what I want in-camera with Fujifilm. That also matters because a big part of my workflow involves publishing quickly to my websites or YouTube channel.

Lenses That Suit Real-World Use

Another major factor in going all-in on Fujifilm is the lens ecosystem. The availability of both fast, weather-sealed primes like the 33mm f/1.4 and 56mm f/1.2, as well as small, lightweight f/2 lenses like the 23mm, 35mm, and 50mm, means I can build the right kit for any shoot.

When I’m travelling light—especially on the motorbike—I opt for the f/2 primes. They’re sharp, compact, weather-sealed, and less intimidating to subjects. When I need more control over depth of field or low-light performance, I switch to the faster primes. Either way, I have options without having to compromise.

The Practical Advantages of the X100VI

The X100VI deserves a special mention. With its built-in ND filter, leaf shutter, and compact form, it’s ideal for street and candid photography. The built-in flash is surprisingly useful for fill light during daylight, and the lens is sharp and characterful. For many situations, I don’t need anything else.

Being able to load custom film simulations into the camera and name them adds to its utility. I can switch from a black-and-white street look to my colour documentary profile in seconds. It’s a genuinely creative tool that feels built for storytelling.

Why I’m mostly using Fujifilm at the moment

Let’s talk about the systems I left behind:

Nikon Z – The image quality is excellent, and I liked the Z8 and Zf a lot. But the bodies and lenses are a bit heavier and more conspicuous than I personally prefer for day-to-day use. When photographing people—especially in the provinces or more rural areas of the Philippines—carrying a large, professional-looking camera can make people uncomfortable. Fujifilm gear is more discreet and, in many cases, garners curiosity rather than suspicion.

Olympus / OM System – The Micro Four Thirds system is compact, and I did like using it for adventure photography. But the image quality, especially for portraits, doesn’t have the depth or tonal range I need. I also had some concerns about OM System’s long-term direction at the time, which made me hesitant to rely on it as my primary system going forward.

Sony – Technically brilliant, with fast autofocus and high-resolution sensors. I never fully connected with the colour science, and while it’s highly adjustable in post, that added an extra layer to my workflow I didn’t always enjoy. That said, the lenses—especially the 35mm f/1.4 GM—were some of the best I’ve used. I still think about that one from time to time.

Final Thoughts

Right now, Fujifilm gives me everything I need: portability, customisability, excellent lenses, and an enjoyable shooting experience. I can print large, carry light, shoot fast, and edit less. The X-T5 and X100VI are now my main cameras, with the GFX100S reserved for those few projects that demand ultimate image quality.

For anyone who wants a travel-friendly kit that doesn’t compromise on creative control, Fujifilm is a compelling choice. If you’re thinking of simplifying your setup or switching systems, check out the video I made on this very topic on my YouTube channel.

Watch the full video here:

Instead, it provides a direct, intuitive way to document life as it happens. This aspect of the Fuji X100Vi really helped me to focus on my photography while on a trip to Devon recently and it’s one of the reasons I featured it in my guide to the best Fuji cameras and lenses for travel photography in 2025.

Fuji X100Vi: A Fixed-Lens Approach to documentary photographs

The Fuji X100Vi comes with a 23mm f/2 fixed lens, offering a 35mm equivalent focal length that many photographers find ideal for storytelling. This fixed lens does more than just limit choices; it encourages you to be fully present in your surroundings, knowing that you don’t have to worry about changing lenses or adjusting your gear. With just one focal length, you start to see the world differently, developing an intuitive sense of how each frame will look through the lens. This approach aligns perfectly with documentary photography, where capturing a scene’s authenticity is far more important than technical perfection.

As you get familiar with this focal length, compositions and perspectives start to come naturally. The constraints of a single lens push you to experiment with positioning, angles, and depth, ultimately enhancing your creative eye. You begin to recognize patterns, notice the subtleties of light and shadow, and instinctively capture moments as they unfold. This focus on storytelling through a single perspective is what makes the X100Vi an exceptional tool for documentary and travel photographers alike.

Compact and Unassuming: Blending Into the Scene

In documentary photography, the ability to capture genuine, unguarded moments is invaluable. The Fuji X100Vi’s small size and understated design make it perfect for this purpose. Unlike larger DSLR setups, which can be intimidating or disruptive, the X100Vi’s compact form allows photographers to blend into their surroundings. Its unassuming look makes it less likely to draw attention, enabling photographers to capture scenes without disturbing the natural flow of events. I’ve slimmed down my photography kit these days and have a great compact setup which you can see here.

Moreover, the camera’s leaf shutter is nearly silent, adding another layer of discretion. Whether photographing people on a busy street or capturing quiet moments indoors, this silent shutter helps maintain the scene’s authenticity, which is crucial in storytelling work. The X100Vi doesn’t demand attention, making it easier to capture real-life interactions and the nuances of everyday life.

Built-in ND Filter and Leaf Shutter: More Control in Every Condition

Two features that truly elevate the X100Vi for documentary photography are its built-in ND filter and leaf shutter. The built-in 4-stop ND filter allows you to shoot at wide apertures, even in bright daylight, which can add a beautiful separation between subject and background. This capability is especially useful in travel photography, where I am often in sunnier parts of the World.

The leaf shutter also enables high-speed flash sync up to 1/2000s, a unique advantage for a compact camera. This feature allows photographers to balance natural and artificial light easily, making it perfect for backlit portraits or scenes with complex lighting. Combined, these features provide a level of control that’s rare in compact cameras, giving documentary photographers more creative options without needing additional gear.

JPEG Quality: Shoot and Share Without the Hassle of Editing

One of the standout aspects of Fuji cameras is their outstanding in-camera JPEG processing. The X100Vi is no exception, featuring Fuji’s signature film simulations that produce beautiful images straight out of the camera. For photographers who prioritize storytelling over post-production, this is a game-changer. The X100Vi’s Classic Chrome film simulation, in particular, delivers muted tones and a cinematic feel, making it ideal for documentary work.

Because the camera produces such high-quality JPEGs, I often find I don’t need to use the RAW files, saving time and potentially storage. This emphasis on in-camera quality aligns perfectly with the philosophy of documentary photography—capturing the moment as it is, with minimal alteration. By reducing the need for post-processing, the X100Vi enables photographers to focus on shooting rather than editing, making it a perfect tool for photographers who want to stay present in the moment.

Documentary photography and Weather Sealing: Built for Real-World Conditions

Documentary projects often lead us to unpredictable environments. With the addition of a UV filter on the X100Vi’s lens, the camera becomes weather-sealed, adding a layer of protection against the elements. Whether you’re shooting on a windy coastline, in light rain, or in dusty conditions, the X100Vi can withstand a variety of climates. For travel photographers, this feature is invaluable. It allows you to shoot in diverse environments without worrying about damaging your equipment, so you can focus on your project instead.

The Fuji X100Vi as a Creative Partner

Ultimately, the Fuji X100Vi goes beyond its specs to become a true creative partner for photographers who value storytelling. By removing the complexities of interchangeable lenses, offering top-tier JPEG quality, and allowing me to blend into any setting, the X100Vi allows me to focus on what matters: capturing the world around me authentically. Its timeless design, reminiscent of classic film cameras, puts me in the right mindset for storytelling, helping me to approach my work with intention and focus.

For anyone looking to document real moments and tell impactful stories, the Fuji X100Vi offers a unique blend of simplicity, power, and reliability. With its thoughtful design and feature set, this camera proves that sometimes, less really is more.

Conclusion: More Than Just a Camera

The Fuji X100Vi for documentary photography is more than just a tool; it’s an invitation to slow down, to see, and to truly connect with each scene. Its features encourage photographers to be present, to focus on the story rather than the settings, and to capture images that resonate with authenticity. Whether you’re a seasoned professional or an enthusiast, the Fuji X100Vi offers a refreshing approach to photography, reminding us that sometimes, the best way to capture life is through simplicity.

I chose the Fuji XT5 and X100Vi for documentary photography after considering a number of cameras and systems. To see why, read on below:

If you’d rather watch than read then see my video.

When it comes to documentary photography, especially for a personal project like mine, choosing the right camera is crucial. My current project is deeply personal—it’s about honoring my late father by photographing the places in Devon and Cornwall that were important to him. These locations, from rugged coastlines to misty moorlands, represent the life he lived, and I want to capture them with the same care and attention to detail that they deserve.

For this project, I’m using two exceptional cameras: the Fujifilm X100Vi and the Fujifilm XT5 paired with a 35mm f2 lens. These cameras were not chosen randomly; they each bring unique qualities that make them ideal tools for documentary work. In this post, I’ll explain why these Fujifilm cameras are my go-to for such a meaningful documentary project, and why any documentary photographer should consider them. Once I added the perfect accessories they handle everything that I can throw at them.

The Importance of Choosing the Right Camera for Documentary Photography

Documentary photography is all about storytelling. It’s about capturing real moments, often in challenging conditions, without the luxury of setting up the perfect shot. As a photographer, you need a camera that not only delivers exceptional image quality but also allows you to focus on the story unfolding in front of you, rather than getting bogged down by technical settings.

For this project, I needed a camera setup that could do just that. I wanted a combination that would allow me to capture high-quality images for large prints, offer a look that complements the documentary style, and be portable enough for the long treks across Dartmoor and the coastline where I’ll be shooting.

Why I Chose the Fujifilm X100Vi for This Project

The Fujifilm X100Vi is one of the most talked-about cameras in the photography world, and for good reason. For my father’s documentary project, it’s the perfect companion for several key reasons:

1. Fixed 35mm Focal Length

The X100Vi features a fixed 23mm f2 lens, equivalent to 35mm on a full-frame camera. This focal length is ideal for documentary photography—it’s wide enough to capture landscapes and environmental shots, yet intimate enough to photograph people and details. One of the best aspects of using a fixed focal length is that it removes the indecision that often comes with choosing lenses. For this project, I don’t want to be constantly switching lenses or wondering which one to take. I grab the X100Vi, and I’m ready to shoot, trusting the focal length to adapt to any situation.

2. Classic Chrome Film Simulation

Fujifilm is renowned for its film simulations, and for this project, I’m primarily using Classic Chrome. This film simulation provides a muted, cinematic look that’s perfect for documentary work. It gives my photos a timeless feel, which is exactly what I want when capturing places that hold such historical and emotional significance. The look of Classic Chrome aligns beautifully with the tone I’m trying to achieve—nothing overly stylized, but rather authentic and true to the environment.

3. Compact and Lightweight Design

Carrying gear across Dartmoor or along the rugged Cornish coastline requires something lightweight. The X100Vi is compact and easy to carry, which means I can focus more on the locations and the experience rather than lugging around heavy equipment. Its discreet size also allows me to shoot in more intimate or busy environments without drawing too much attention, which is crucial for capturing authentic, unposed moments. If you want an even more compact high quality camera then I put the X100VI up against the Ricoh GRIII here.

4. Timeless Design and Emotional Connection

The X100Vi isn’t just a tool; it’s a camera that puts me in the right emotional space to work on such a personal project. Its rangefinder-style design feels timeless, like the places I’m documenting. The simplicity of its controls keeps the technical aspects out of the way, allowing me to focus on the emotional connection I have with the locations. The camera becomes an extension of my vision rather than a distraction.

Why I Pair the Fujifilm XT5 with a 35mm f2 Lens

While the X100Vi is fantastic for most of my needs, there are times when I want a little more flexibility, and that’s where the Fujifilm XT5 comes in. Paired with the 35mm f2 lens, it offers a perfect balance between versatility and simplicity for documentary work.

1. 40MP Sensor for High-Quality Prints

The XT5 boasts Fujifilm’s latest 40MP sensor, which is a huge advantage for a project like this. I plan to print many of these images for a zine and for large-format prints that will be displayed in my home and studio. The detail that the XT5 provides is perfect for creating high-quality prints, even at large sizes, without sacrificing sharpness or clarity.

2. Flexibility with the 35mm f2 Lens

Although the X100Vi’s fixed 35mm focal length is fantastic, the XT5 gives me the option to change lenses if needed. For this project, I’ve chosen to stick with the 35mm f2, which gives me a consistent field of view and allows for easy transitions between the two cameras. The 35mm focal length is one of the most versatile, making it ideal for capturing landscapes, architecture, and even more intimate portraits.

3. Classic Chrome for a Consistent Look

Just like with the X100Vi, I’m using Classic Chrome on the XT5 to maintain a consistent look throughout the project. This uniformity in color and tone is crucial when shooting across different locations and conditions. Whether I’m photographing the misty hills of Dartmoor or the sunlit shores of Cornwall, Classic Chrome ensures that my images remain cohesive.

4. Weather Sealing for Rugged Conditions

Much of this project will be shot in unpredictable weather, particularly on Dartmoor and the Cornish coastline. The XT5 is weather-sealed, making it perfect for shooting in rain, mist, or even strong coastal winds. I don’t want to worry about my gear when I’m out in the field, and the XT5 gives me the peace of mind that it can handle whatever conditions I encounter.

5. Controls That Get Out of the Way

One of the reasons I love Fujifilm cameras is that their controls are simple and intuitive. On the XT5, the dedicated dials for ISO, shutter speed, and aperture allow me to adjust settings quickly without diving into menus. For documentary photography, where moments can pass in an instant, these physical dials are invaluable. They allow me to stay focused on the scene in front of me, rather than on my camera.

The Perfect Combination for Documentary Photography

For this project, the combination of the Fujifilm X100Vi and XT5 with the 35mm f2 lens provides the perfect balance between simplicity, image quality, and versatility. Whether I’m shooting in challenging weather on Dartmoor or capturing the intimate details of a coastal scene, these cameras deliver everything I need.

Small and lightweight enough for long hikes and discrete shooting, weather-sealed for unpredictable conditions, and equipped with the Classic Chrome film simulation for a consistent, documentary-style look, these cameras are helping me tell a story that’s incredibly personal.

When it comes to documentary photography, I don’t want to be distracted by gear or technicalities. I want a camera setup that works seamlessly with my vision, and the Fujifilm X100Vi and XT5 do exactly that. Their timeless design and thoughtful controls put me in the right frame of mind to focus on what really matters—the story I’m trying to tell through my images.

Conclusion

If you’re a documentary photographer or simply working on a personal project that requires reliable, high-quality gear, I can’t recommend the Fujifilm X100Vi and XT5 enough. These cameras offer everything you need to create powerful images without getting in the way of your creative process. The 40MP sensor, Classic Chrome film simulation, compact size, and weather sealing make them ideal for any photographer looking to capture meaningful stories in unpredictable environments.

To follow along with my documentary photography projects and see the latest videos be sure to watch my Youtube channel. You can also get more personal stories by heading on over the my personal website.

If you want to see how to setup your Fuji XT5 then check out my article here 

By simplifying my gear choices, I’ve been able to focus entirely on what matters most: the story. These cameras don’t just help me capture images—they help me stay connected to the project and honour my father’s memory through photography.

I have been shooting Fuji ever since the X-Pro1 was released and even though I have dipped in and out of other systems, the XT5 and X100VI have really helped to confirm that I enjoy shooting Fuji more as much as any other brand. The X-T5 — which I included in my Best Full-Featured Cameras in 2026 roundup and put up against the Nikon Zf— and the highly sought-after X100VI both bring Fujifilm’s signature features and performance to the table, but in very different ways. In my opinion the X100VI is the best compact camera currently available.

After over a year I have now found the perfect accessories for my Fuji X-T5.

When it comes to street photography, trying to decide between the Fuji XT5 vs X100VI can be tough. In the end I opted to get both because I wanted a backup body and the X100VI complemented my XT5. If you’re still weighing up whether the X100VI is worth it on its own, I’ve written a full X100VI vs X100V comparison that breaks down everything that’s changed.

Some of the links in this article are affiliate links. If you purchase through them, I may earn a small commission at no extra cost to you. This helps support the site and allows me to keep creating useful content. Thank you!

With the X100VI being notoriously hard to find in stock, many photographers are considering the XT5, paired with one of Fuji’s compact prime lenses like the 23mm f/2 or the 35mm f/2, as a potential alternative. While both cameras share the same 40MP X-Trans 5 sensor and the latest film simulations, they offer unique handling experiences. So, how do they compare, and which one might be the better fit for you? If you have managed to get your X100VI then these are the best accessories for it. 

Update: You can now see how the XF23mm f2 performs against the X100VI. My long term X-T5 review is also published here and how the Fuji 23mm 1.4wr and XT5 perform against the Fuji X100VI.

In this post, I’ll dive into the key differences between the Fuji XT5 and X100VI for street photography. If you want to know which one I recommend, make sure to watch my YouTube video at the end for my full review and detailed opinion.

Fuji XT5 vs X100Vi – Image Quality: A Level Playing Field

First and foremost, let’s talk about image quality. Both the XT5 and X100VI are equipped with Fujifilm’s latest 40MP APS-C X-Trans 5 sensor, so you can expect the same level of image quality from both cameras. Whether you’re shooting in bright sunlight or low light, both cameras deliver sharp, detailed images with excellent color rendering and dynamic range.

One of the reasons I love Fujifilm is the variety of film simulations available, and both the XT5 and X100VI come with the full set, including the newer Reala Ace simulation. These film simulations are particularly useful in street photography, where you can quickly switch between different color tones or black and white without needing to spend time in post-processing.

In terms of autofocus performance, I’ve found both cameras to be very similar. They offer fast and accurate autofocus, which is essential for street photography when you need to capture moments quickly. The XT5, when paired with Fuji’s f/2 prime lenses like the 35mm f2, feels a little quicker because the lenses are virtually silent, whereas the X100VI’s fixed lens does produce a bit of noise due to its focus motors.

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Design and Handling: Compact vs. Versatile

Now, let’s get into where these cameras really differ – design and handling.

Fujifilm X100VI: Compact and Discreet

The X100VI is known for its compact size and portability, making it an excellent choice for photographers who want to be discreet while shooting on the street. If you’re also considering something even smaller, I compared the X100VI to the Ricoh GRIII here. The X100VI features a fixed 23mm f/2 lens (35mm full-frame equivalent), which is a fantastic focal length for street photography, offering a good balance between wide-angle and standard field of view. I’ve shot everything from portraits to travel photos with this focal length, and it works well for most situations.

The hybrid viewfinder on the X100VI is one of its standout features. It gives you the option of an optical viewfinder with an electronic overlay, or a fully electronic viewfinder. The optical viewfinder can be particularly useful in street photography because it lets you see subjects entering the frame before they’re captured, helping you time your shots more effectively. It also offers focus aids like magnified view and focus peaking, which can help when you’re shooting manually.

However, the grip on the X100VI is small. While it contributes to the camera’s compact size, I’ve found it a bit uncomfortable for longer shooting sessions, especially when shooting one-handed. To improve handling, I’ve added a SmallRig thumb rest and a grip extender, which makes it much more comfortable to use over extended periods.

Fujifilm XT5: Versatility with Interchangeable Lenses

On the other hand, the Fuji XT5 offers a more traditional DSLR-like design, with a larger body and central viewfinder hump. While it’s not as compact as the X100VI, it’s still relatively small and portable, especially when paired with one of Fuji’s compact prime lenses, such as the 23mm f/2 or 35mm f/2. This gives the XT5 an edge in terms of versatility, as you can switch lenses to suit different shooting situations. If you want even better image quality then of course, you have professional grade primes like the 23mm 1.4, 33mm 1.4 and 56mm 1.2 available.

The grip on the XT5 is larger, providing a more comfortable hold for longer shoots. I prefer to add a SmallRig grip when I know I’ll be shooting for an extended period, but even without it, the XT5 offers enough purchase to hold the camera securely. The 3-way tilting screen on the XT5 is also a nice touch, allowing for more flexible shooting angles, especially in portrait orientation. In contrast, the X100VI’s screen only tilts in two directions, but it’s sleeker and flush to the body, giving the camera a very streamlined appearance.

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Controls and Customization: Traditional Fujifilm Dials

Both the XT5 and X100VI feature external control dials for shutter speed, ISO, and (when paired with a lens that has an aperture ring) aperture, which makes them both intuitive to use. This is one of the things I love most about Fujifilm cameras – the ability to quickly change settings without diving into menus.

X100VI: Compact Control Setup

The X100VI has a more streamlined control layout, with fewer physical buttons compared to the XT5. The ISO dial is integrated into the shutter speed dial, which can be adjusted with just one hand while shooting. I find this particularly useful in fast-paced environments like street photography, where every second counts. However, the X100VI relies more heavily on its touchscreen for navigating certain settings.

XT5: Extra Customization

The XT5 offers a bit more customization with the inclusion of a D-pad on the back, allowing for more function buttons and quicker access to frequently used settings. This can be a real advantage if you like to tweak your settings on the go. Additionally, the XT5 has dual SD card slots, which is useful if you’re shooting in RAW or want the peace of mind of having a backup card.

In-Use Experience: Portability vs. Flexibility

When it comes to real-world use, there are a few factors that might influence your decision.

Portability: X100VI

If you prioritize portability and discretion, the X100VI is hard to beat. Its leaf shutter is quieter than the XT5’s mechanical shutter, making it less noticeable in quiet environments. The fixed 23mm lens doesn’t protrude far from the camera body, giving the X100VI a very compact profile, and its built-in flash is great for adding a touch of fill light in backlit situations. The 4-stop ND filter is another handy feature that lets you shoot wide open in bright light without needing to attach any external accessories.

Flexibility: XT5

On the flip side, the XT5 offers much more flexibility thanks to its interchangeable lenses. While the 23mm f/2 lens on the XT5 gives a similar field of view to the X100VI, the ability to switch lenses gives you more creative options. Whether you’re looking to shoot wide-angle street scenes or zoom in for a tighter portrait, the XT5 can adapt to a wider range of scenarios.

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Battery Life and Storage

Both cameras offer USB-C charging, which is convenient when you’re out on a long day of shooting. The XT5 has a larger NP-W235 battery, which generally lasts longer than the X100VI’s NP-W126S battery. However, I find that both cameras last long enough for most street photography sessions but I always carry a spare battery in my bag.

The XT5’s dual SD card slots are a nice addition, especially if you shoot in RAW or need to back up your images on the go. The X100VI only has a single card slot, but for most street photography, this isn’t a dealbreaker.

Fuji XT5 vs X100Vi – Which Camera is Best for Street Photography?

At the end of the day, both the Fuji XT5 and X100VI are excellent cameras for street photography, but they cater to slightly different needs. The X100VI offers simplicity and discretion, while the XT5 provides more versatility and customization.

I hope that you found this comparison useful, if you did then the best way to support me is to use my affiliate links

If you’re still unsure which one is right for you, I’ve made a detailed video comparing these two cameras in action. Be sure to check it out on my YouTube channel, where I go into more depth about the strengths and weaknesses of each model and offer my personal recommendation based on real-world use.

if you would like to see how best to setup the Fuji XT5 for street photography then head on over to this article or this video

I’ve also written an in depth article on the best accessories for the Fuji XT5. If you’re choosing between the X-T5 and X100VI for street photography I’ve also got you covered. If you’re considering something even smaller then this FujiX100VI vs Ricoh GRIII article will help you to decide.

But if you prefer video tutorials or want to see these settings in action, I’ve put together a detailed YouTube video where I go over my full setup for street photography, including tips and examples. You can watch the video here:

Now, let’s dive into the settings.

1. Image Quality Settings

Getting the right image quality is crucial for street photography, especially when you’re shooting fast and in varied light. Here are the settings I use to ensure I capture both JPEG and RAW files:

–Image Quality: Fine JPEG + RAW
–RAW Recording: Lossless Compressed
–JPEG/HEIF: JPEG
–Film Simulation: Classic Chrome (or your choice—check out my YouTube video for more film recipe options!)
– Grain Effect: Off
– Color Chrome Effect: Off
– Color Chrome FX Blue: Off
– Smooth Skin Effect: Off

If you want to see how these settings translate to real street photography scenarios, don’t forget to check out my YouTube video where I walk you through these settings in real-time on the street.

2. White Balance & Dynamic Range Settings

These settings will help you maintain accurate colors and prevent blown-out highlights or shadows in varying lighting conditions.

– White Balance: Daylight
– Dynamic Range: Auto
– D Range Priority: Off
– Tone Curve: Default (H: 0, S: 0)

Want to see how I adjust these settings on the go in fast-changing street scenes? Be sure to watch this YouTube video for live demonstrations!

3. Color & Sharpness

Neutral colors and sharpness are essential for clean, striking images. Here are the best settings to achieve that:

– Color: 0
– Sharpness: 0
– High ISO NR: -4
– Clarity:c0
– Color Space: Adobe RGB for printing, or sRGB for general use

4. Auto Focus Settings

Street photography often happens fast, and you need autofocus settings that can keep up. Here’s what I recommend:

– Focus Area: Zone
– AF Mode: Zone
– If Using Single Point AF: Set focus points to 425
– AF Illuminator: Off
– Face/Eye Detection: Off
– MF Assist: Peaking, Red High
– Interlock Spot AE & Focus Area: On

5. Drive & ISO Settings

Quick adjustments for burst shooting and ISO sensitivity are crucial in street photography. Here’s how I set them up:

– Drive Settings:

– CH (High Burst Speed): 10 FPS
– CL (Low Burst Speed): 5 FPS
– ISO Auto Setting 1:
– Default Sensitivity: 125
– Max Sensitivity: 12800
– Min Shutter Speed: 1/160
– ISO Auto Setting 2:
– Default Sensitivity: 125
– Max Sensitivity: 12800
– Min Shutter Speed: 1/100

6. Function Button Settings

Quick access to essential functions is important for efficient street shooting. Here’s my custom button setup:

– Fn1: Face Detect
– Fn2: AF Mode
– Fn3: Photometry
– Fn4: Film Simulations
– Fn5: White Balance
– AE-L: ISO Auto Setting

Film Simulations for Street Photography

One of the standout features of Fujifilm cameras is their ability to simulate classic film looks. Below are some of my favorite film simulations for street photography.

Kodak Tri-X 400
*Credit: Fuji X Weekly*

– Film Simulation: Acros
– Dynamic Range: DR200
– Grain Effect: Strong, Large
– Color Chrome Effect: Strong
– White Balance: Daylight, +9 Red, -9 Blue
– Highlight: 0
– Shadow: +3
– ISO: 1600 – 12800

This recipe gives you a timeless black-and-white look.

Kodak Ultramax 400

*Credit: Fuji X Weekly*

– Film Simulation: Classic Chrome
– Grain Effect: Strong, Large
– White Balance: Auto, +1 Red, -5 Blue
– Dynamic Range: DR Auto
– Highlight: +1
– Shadow: +1
– Color: +4

Daily Driver

This is my go-to recipe for everyday shooting:

– Film Simulation: Nostalgic Negative
– Grain Effect: Weak, Large
– Color Chrome Effect: Weak
– Dynamic Range: DR400
– Tone Curve: H -2, S +2
– Color: +3
– Sharpness: -4

It balances sharpness and color for consistent, high-quality results.

If you found these settings useful and want to see them in action, don’t miss my latest video, where I show you exactly how I set up my Fuji XT5 for street photography. Or  See how I shoot with the X-T5 on the street. Whether it’s customizing autofocus or choosing the right film simulation, I cover it all in real-time:

Watch the Video: Best Fujifilm XT5 Settings for Street Photography

Fuji XT5 street photography best settings: Final thoughts

The Fujifilm XT5 is an amazing camera for street photography, but having the right settings makes all the difference. I hope this guide helps you set up your camera for success. If it helped and you want to thank me, then you can use my link below or simply use any of my affiliate links in this article when you shop.

Buy me a coffee

I’m now well and truly back in the Philippines and while I have been shooting a lot with the X100VI I am also excited to have recently bought both the Fuji 23mm f/2 and the Fuji 18mm 1.4. Both of these lenses are prime contenders for the kind of travel and street photography I will be doing more of over here. I’m currently working on an article pitting the XT5 + 23mm f2 against the X100VI. The results are interesting. If you are looking for a comprehensive and long term review of the Fuji X-T5 then this is the one.

As I dip my toes into the world of street photography, I find myself on the hunt to see why the X-T5 is so often praised by street photographers and after a lot of trial and error I worked out the best accessories for the Fuji X-T5. Recently, I’ve been exploring the Fujifilm X-T5 for street photography — a camera I also featured in my Best Full-Featured Cameras in 2026 roundup — as it has garnered a lot of praise for its features and design.

After shooting in the rainy streets of Coventry for a youtube video, I want to share my thoughts on how the XT5 might just be the perfect camera for someone like me who’s just starting out. If you want to see my rainy street photography experience, be sure to check out my YouTube video.

What Makes a Good Camera for Street Photography?

As a beginner (to street photography), I’ve learned that a camera for street photography should have several key characteristics:

Size and Portability

One of the first things I noticed about the Fuji XT5 is its size. It’s compact enough to carry around without feeling bulky, which is perfect for me as I wander through city streets. Being lightweight makes it easy to move quickly and blend into my surroundings, helping me capture genuine moments without drawing too much attention. How it compares to the X100VI

LCD Screen Design

The three-way tilt screen is another feature I love. As someone who is still getting comfortable with composing shots on the screen rather than viewfinder (for POV videos), this flexibility allows me to frame photos from different angles without attracting unwanted attention. Whether I’m shooting at waist level or getting low to the ground, this screen makes it easy to get the shot I envision.

User-Friendly Controls

The physical control dials on the XT5 offer an inspiring shooting experience. While they may feel slower than the typical PASM dials found on many cameras, I appreciate being able to check my settings visually without digging through menus. I’m often focused on capturing moments, so knowing that my settings are as I intended gives me peace of mind.

Image Quality

One of the most impressive aspects of the XT5 is its 40MP resolution. This high resolution allows me to crop images without losing quality, which is particularly useful when working with prime lenses on the street.

Discreet Design

I find the look of the XT5 appealing; it’s not as imposing as a large DSLR. This discretion is crucial for me, especially when I want to capture candid moments. A camera that looks less intimidating makes it easier to shoot natural scenes without disrupting the environment. I also don’t like to draw attention to myself so a discreet camera is always better if, like me, you prefer to remain somewhat anonymous.

Custom Settings and Speed

The XT5 includes seven custom slots for saving various settings, which is incredibly helpful as I experiment with different styles and conditions. I appreciate the fact that the autofocus system is fast enough for my needs, especially when I’m out in the unpredictable nature of street photography.

Depth of Field

With its APS-C sensor, the XT5 provides extra depth of field for a given aperture compared with 35mm sensors. I find this a positive as I often want more depth of field in street shots.

Film Simulations

Fujifilm’s film simulations are very popular and for good reason. I love that I can tweak these settings to get the look I want, and often, I find myself just as happy with the JPEGs as I am with the RAW files. This feature allows me to have fun experimenting without too much editing later.

My Experience Shooting in Coventry

During my recent adventure in Coventry, I was eager to test the XT5 in real-world conditions. The rain provided a unique atmosphere, and knowing the camera was weather-sealed gave me the confidence to shoot without worrying about the elements.

The compact size made it easy for me to navigate through the city, capturing spontaneous moments of daily life. The tilt screen proved invaluable as I crouched to shoot reflections in puddles, allowing me to get creative without drawing attention. The physical controls let me make quick adjustments, ensuring I was ready to capture fleeting moments.

The 40MP images I captured turned out beautifully, with rich colors and impressive details. Even after cropping for composition, the images held up remarkably well. Pairing the XT5 with Fujifilm’s compact f/2 primes made for a lightweight setup that excelled in the wet conditions.

Fujifilm XT5 street photography: is this the Perfect Camera for Beginners in Street Photography?

In my experience so far, the Fujifilm XT5 seems like a fantastic choice for someone just getting into street photography. Its combination of size, image quality, intuitive controls, and customizable features make it approachable for newcomers. My time shooting in Coventry reinforced my belief in its capabilities. If you are considering alternatives to the X-T5 then I have a detailed hands on with the X100VI.

If you’re considering your first camera for street photography, I highly recommend giving the Fuji XT5 a shot. And don’t forget to check out my YouTube video for more insights and examples of the camera in action. For further discussions and tips on photography, feel free to explore my personal blog

Happy shooting, and may you capture many beautiful moments on the streets!

Last updated: March 2nd 2026 — Over the past year or 2, I’ve found myself re-connecting with photography in a deeper way, thanks in large part to the X-T5 and the birth of my second daughter, Isabelle. Capturing her early milestones has made the camera feel even more integral to my everyday life. I’ve also expanded my lens collection with Fujifilm’s premium primes, particularly the 23mm and 33mm f/1.4 WR lenses, which have only taken my appreciation of the X-T5 further. Together, they’ve brought both creative flexibility and a renewed sense of enjoyment to my photography. I put together an article on the best Fujifilm lenses for family photography to try and help other parents.

I feel obliged to add a response to my previous article questioning the value of photography in this day and age.

You see, I’m a guy in my 40’s who has been a photographer for close to two decades. Over the years I have struggled with creative block as many creatives do. I have had periods of inactivity, exhaustion and non stop productivity. I have chased Instagram likes as a form of recognition for my work and also deleted all my social media. All this has often lead me to questioning the value of my photography.

A realisation came to me a few weeks ago when shooting a pre nuptial wedding shoot and also when looking at prints of my daugher. My photography has value in the moments and emotions captured in time. It doesn’t have to be perfect because the emotion that can be evoked when looking back through cherished photos goes deeper than technique, composition etc. Yes, all those things can add to a photo but it is the emotion captured that resonates most with the viewer and why I recommend these cameras for family photography.

In the past my perfectionism has lead to indecision and inaction and so I now try and live by the mantra of done is better than perfect. When I’m old and looking back on all the photos of my daughter I’ll be grateful to have so many memories, whether they are technically accomlished or not.

As a passionate photographer, I’ve embarked on a journey with the Fujifilm X-T5, a camera that goes beyond just being a tool—it’s a companion that has changed the way I see and feel about photography.

Discovering the Fujifilm X-T5:

From the moment I held the Fujifilm X-T5 in my hands, I knew there was something special about it. Its retro design, reminiscent of classic film cameras, instantly appealed to my aesthetic sensibilities. But it wasn’t just its appearance that drew me in; it was the promise of a photographic experience unlike any other. For me, photography has a soul and my cameras, or at least the best ones also have a soul and evoke emotion. The XT5 with its diminutive size, physical control dials and film simulations inspire me to create.

If you also want to feel that inspiration and are considering purchasing your own XT5 then please consider doing so through my Amazon link. This helps me to continue building this website and feed my family without costing you a penny more.

Embracing Creativity:

One of the most remarkable aspects of the Fujifilm X-T5 is its ability to inspire creativity. With its array of film simulation modes, I found myself exploring new artistic possibilities, each mode imbuing my images with a distinct mood and atmosphere. From the timeless elegance of Classic Chrome to the nostalgic warmth of Classic Neg, every frame became an expression of my creative vision.

Capturing Moments, Embracing Emotions:

What sets the Fujifilm X-T5 apart is its ability to capture not just images, but emotions. The camera’s exceptional image quality and color reproduction breathe life into every photograph, preserving the fleeting moments and emotions that define our lives. Whether it’s the joy of a my daughter’s laughter, the serenity of a sunset, or the intimacy of a candid portrait, the X-T5 elevates ordinary moments into extraordinary memories.

Connecting with the Past, Embracing the Future:

As I continue my journey with the Fujifilm X-T5, I can’t help but feel a deep connection to the rich legacy of photography. With its intuitive controls and tactile feel, the camera pays homage to the craftsmanship of analog cameras while embracing the cutting-edge technology of the digital age. It’s a perfect blend of past and present, reminding me that the true essence of photography lies not in pixels or megapixels, but in the emotions captured within each frame.

Conclusion:

In a world filled with endless distractions, the Fujifilm X-T5 along with a prime lens such as the 35mm f2, serves as a reminder to slow down, appreciate the beauty around me, and capture moments that matter. With its soulful design, unparalleled creativity, and ability to evoke emotions, it has become more than just a camera—it’s a gateway to a world of endless possibilities, where every click of the shutter is an invitation to explore, create, and connect with the world around us.

I’m currently shooting with the OM-1 Mark II, which improves meaningfully on the original OM-1 I reviewed in this article. You can expect a lot more OM System content going into next year once I’ve organised the move. The Highlands will give me the chance to shoot more landscapes and wildlife again — areas where both the OM-1 and OM-1 Mark II really excel.

In this OM System OM-1 review I am going to show you what the OM1 is like in general use. I originally bought the OM1 with the intention to start spending much more time doing wildlife photography. However, with a young family , I simply don’t have the time available to really dedicate to that pursuit. What I have had, is a lot of time and use with the OM1 and it’s successor, the OM1 II , which I have just featured in my best cameras of 2025 article. If you’re looking for a smaller camera to take on your travels then this article shows the best compact cameras. I’m also now testing the OM Systems OM-3 and have even put the OM-3 up against my Fuji X100VI. I’ve also written about the things that I really enjoy about the OM-3 after a month of use as well as listing the best accessories for the OM-3 that I use. I have now completed my full review of the OM-3 which you can find here.

This article contains affiliate links. If you purchase through them, I may earn a small commission — at no extra cost to you. It helps support the site and allows me to keep writing real-world reviews like this.

It is easy to find an OM System OM1  review that covers bird photography.

Therefore this review will cover what the OM System OM1 is like for landscapes, travel and some candid portraits too.

As you can see from previous articles on my site I have been using Olympus gear for a long time now. I have owned and used the EM5III which I reviewed as well as the EM1X and EM1III. I wasn’t motivated to write a review for the EM1 III as I didn’t feel that it brought enough to the table to warrant a full review. The EM1X was and is a fantastic camera but one that was controversial due to the size. I really liked that camera and have been tempted recently to get another due to the great deals Olympus Europe are offering on it. However, I’m doing a lot of travel these days and so I have resisted as it doesn’t fit that well with my ethos of travelling light.

Anyway, back to the OM System OM1 review.

The OM1 had enough new features and claimed improvements to get me seriously looking at it because I wanted a camera that was suited to travel. It is not just the size of the Micro 43 system that attracted me but also the possibility to leave both my tripod and filters at home thanks to the IBIS and internal ND filters. This would enable me to travel essentially with just the camera, lenses and batteries without compromising on the kind of images that I could create.

What’s new with the OM Systems OM1

Here are the main selling points that motivated me to buy the OM1, which I shall talk about in this article.

OM-1 Ergonomics & Handling

The OM1 was the last camera that was designed by Olympus before they sold their imaging division and it changed to what has now become OM System. It has the Olympus logo on it and it feels every bit an Olympus EM1 series camera. The handling is very similar to previous EM1 bodies. A couple of the buttons on the back are a little too recessed for my liking so using it with gloves is more difficult than the EM1X (which was among the best handling cameras that I’ve ever used).

Weather Sealing

However, it is comfortable and the build quality feels up to the usual standards I have come to expect from Olympus. It now comes with an upgraded IP53 rating for weather sealing. In practise, I have put my olympus cameras through some of the most demanding weather over the years, from the wild winds and driving rain of the Outer Hebrides to the monsoons of Asia and they have never let me down. With the OM1 I have no concerns that it will be anything less than solid in all weather conditions.

The main upgrade that interested me was the new 5.76 million dot EVF. This has been a long time coming and is a much needed upgrade in order to mix it with the competition. It is bright, clear and sharp. It makes the EVF a pleasure to use and is a huge upgrade compared with the previous generation’s old 2.36 million dot EVFs. I am now able to clearly see which areas of an image are in focus and combined with the focus aids it is infinitely better than the older cameras. With the EM1X I could barely define sharpness and manual focussing was a real struggle.

Dual SD card slots remain and while it would have been nice to see a CF express type B card slot to match the shooting speeds possible with the OM1 I find that the dual UHS-2 card slots work well for everyday shooting and save me a bit of money on having to purchase (the still expensive) CF Express cards.

On the top dial the OM1 has 4 custom slots which I find very useful for quickly swapping between setups for various shooting scenarios. I initially set these up with differrent birding and wildlife scenarios in mind and it made switching between hi speed shooting modes and various auto focus modes very quick and easy. My custom modes are now setup for various portrait and lighting scenarios.

In terms of ergonomics, everything else remains broadly similar to the EM1 mark 3 so moving from one to the other is pretty seemless physically.

The OM1 has a new and in my opinion, much improved menu system which anyone migrating over from another brand will find far easier to navigate. Items are laid out and named in a much more logical way than the older menu system. As someone who has used a lot of Olympus cameras I knew my way around the old menus but the new one is undeniably much better.

Not only is the menu laid out much more logically but unlike other cameras, when an option is not available it actually tells you why. You can also press the info button to get a brief explanation of what a menu option does. I find the new menu to be one of the best available from any manufacturer.

Sensor

The OM1 comes with a new stacked 20mp sensor that allows it to shoot at insanely high frame rates of upto 120 fps without AF and 50FPS with AF. For birders this is incredibly useful and when combined with Pro Capture it allows you to get shots that are simply not possible with most other cameras.

To read more about these features I would suggest that you head over to specific wildilfe and birding reviews as it is beyond the scope of this review and as mentioned in the title, this is not a birding review.

Claimed Improvements

OM System claims that the new sensor offers a 1 stop improvement in dynamic range and a two stop improvement in high ISO noise performance.

In all honesty I have not done any scientific tests on the dynamic range of this camera compared to previous versions as I no longer have any other Olympus cameras. My instinct from looking at previous photos and ones from the OM1 are that any difference in dynamic range is fairly minor. The shots look the same to my eye and that’s fine as I normally get the exposure pretty close to where I want it in camera and I find the OM1 to have enough dynamic range to do this. Should it be a particularly challenging scene then it’s easy to setup bracketing.

I have tested for noise performance and I can say that a two stop improvement is a little optimistic. I would suggest 1 stop to be a little more accurate. There is definitely an improvement in the high ISO performance of the OM1 compared with the EM1 iii and EM1X and I am often surprised at how good images look at ISO 6400. In fact I was shooting the OM1 just the other day at night and found that the noise performance, even at ISO 10,000 was surprisingly usable when shooting black and white (which I do a lot these days).

Some of the claimed improvement in noise performance undoubtedly comes from OM Workspace now having an AI powered de-noise feature included which does a remarkable job at cleaning up image files. Adobe Lightroom also now has this feature.

As much as I wish they could, OM System cannot overcome physics and the small gap between Micro 43 and APS-C in terms of noise still exists. My Fuji XT5 files still look cleaner once I start to push the ISO to 3200 and above.

OM System OM1 Review – Key features

As mentioned at the start of this review, as well as wildlife photography, the OM1 has some key features and improvements that lead me to believe I could use this camera for travel and leave behind my tripod and filters.

The hand held hi res mode combines 8 images to create a 50mp file and importantly, composites the images much more quickly than the EM1 III.

In practise I have found this feature a mixed bag. Sometimes the additional detail and improved noise performance/tonality are readily apparent over standard 20mp images and at other times I struggle to see any meaningful difference between them. What I can say is that the speed at which the OM1 now produces the hi res images makes it much less of a hassle to take them as you are only waiting a few seconds for the camera to be ready to shoot again.

OM System’s Hi res mode still does not have motion correction unlike Panasonic so any movement in the scene can and does cause some issues. In practice, for landscapes I have found hand held hi res quite usable. I have even used it for portraits on occasion and providing your subject doesn’t move too much it can work well. I wouldn’t rely on it though.

One thing that I rarely hear discussed online is the fact that the larger depth of field of Micro 43 sensors for a given angle of view can be a benefit over larger sensors. For instance, when shooting a landscape where I want front to back sharpness on my GFX 100S, it will require me to stop down considerably, pay much more attention to hyper focal distances and quite often require me to focus stack. On the OM1 the hi res mode combined with deeper depth of field actually makes getting these kinds of images much more simple than on larger format sensors. The image quality of hand held hi res is not quite upto medium format standards but it is certainly a lot closer to full frame than you might think.  Either way, I find hand held hi res to be a useful feature and one that I hope OM System develop more in the future.

ND Filter

The other feature that interested me is the ND filter mode. I say mode because it is not a physical ND filter but a software based solution that combines multiple photos and blends them together in camera to give the apearrance of having used an ND filter. I don’t know about you, but I’m a sucker for slower shutter speeds when it comes to rivers, waterfalls and coastal images.

In practise I have found the ND filter in the OM1 to work really well and give natural looking shots most of the time. With upto 6 stops of ND filtration it offers plenty of scope to get those beautiful silky water effects yet leave your tripod and physical ND filters at home.

Auto Focus

While most OM System OM1 reviews focus on how the camera performs for wildlife and bird photography, not much has been said about how good it is for general photography.

The speed of the new processor along with quad pixel Af points mean that the OM1 is very quick to focus. I use the OM1 with single AF unlike when I use Sony cameras which do much better in continuous AF mode.

The AF is quick to attain focus and rarely gives me any false positive focus locks.

Face Detect

Face and eye AF work quite well when your subject is facing the camera front on and even to the side a little but it is not as good as the latest AF from either Canon or Sony. Those systems are exceptionally good at keeping the subject when they turn away from the camera and back again although my Sony A7IV does ocassionally give a positive focus lock yet the image is not quite in focus. Generally the AF on the OM1 is fast and accurate and on par with my Fuji XT5 when it comes to face and eye tracking. In low light it can sometimes struggle a little bit but all my other cameras behave in the same way under the same circumstances too.

If i had to rate the OM1 AF when shooting general subjects and people I would put it in the second division, below Canon and Sony but on par with Fuji and Nikon and above my Panasonic GH6. It is more than capable of getting sharp in focus shots in the majority of situations.

The subject recognition modes also work really well, bird photography is a breeze and shooting my growing pack of dogs when they are charging around is no challenge at all. The fact that you can easily setup custom functions to switch between your favourite AF modes is also very useful.

OM-1 Review: Conclusion

If you are considering the Om System OM1 as a general camera for family, portrait, landscape and travel photography then it is a very capable camera. It has the most advanced computational photography modes of any camera from any brand with features such as live view, live composite and hand held hi res and ND modes. Combined with the exceptional weather sealing and comfort it makes for a great all around camera. It will also allow you to capture some fantastic wildlife images for a lot less money than a lot of other systems while saving quite a bit of weight.

However, as a general camera there is a lot of competition and if the features that I mentioned above are not integral to your plans then it may not make sense to pay for all the technology crammed into the OM1.

Yes, the OM1 is capable of doing just about everything you could want and that makes it a great all rounder. However you are paying for a stacked sensor and hi burst shooting rates which may be of no benefit to the things you photograph.

For landscapes and travel, an OM5 ii (if they bring the new menus, hand held hi res speed and ND filters of the OM1) would be perfect and cheaper/lighter.

If you found this review helpful, you can support the site by using one of the affiliate links below — it won’t cost you anything, but it really helps me continue producing in-depth content like this.

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Alternatives

If you shoot mainly people then I would take a Fuji XT5 over the OM1 and for street photography the Fuji weather sealed f2 primes are hard to beat. I wish OM System would update their compact f/1.8 primes to be weather sealed but they show no signs of doing so. UPDATE October 2025: Om System have listened and are updating the f/1.8 primes. I have the OM-3 along with the updated OM 17mm f/1.8 II which I reviewed.

You also have to consider that you can now pick up some great full frame options for a similar price to the OM1. A Sony A7IV with an f/1.8 lens will still give shallower depth of field than an OM1 with one of the costly but excellent f/1.2 primes. The shooting experience with the OM1 may be a little nicer but the image quality of the Sony will be better.

As with all cameras, there are pros and cons and I could make arguments for and against almost all cameras and kits. In the end, if the OM1 does what you want it to do, for a price you are willing to pay, then you will not be disappointed as it is an excellent camera. There is no camera that does everything brilliantly, thats why I now choose cameras for specific needs. The OM1 suits me perfectly for travel where the subjects will be of the natural world and that’s why I take it with me on these kind of trips.

That concludes my OM System OM1 review. I really enjoy using the OM1 and Micro 43 in general. Many have spoke of the demise of Micro 43 but I sincerely hope that they continue to bring out new and innovative cameras like the OM1 because I certainly enjoy using them. Despite Youtube and other places constantly beating the drum of full frame I believe a lot of people would be well served using Micro 43 instead. All sensor sizes come with compromises and it’s up to us to decide which ones we are willing to accept. Now OM Systems, please make a Pen F II and I would be all over it.

In this post I am putting the Sony A7III vs A7IV to see how the two compare. Is the Sony A7IV worth upgrading to from the Sony A7III?

I originally owned a Sony A7III back when it was released in 2018. I was pretty impressed with it as you can see in my review at the time. The Sony A7IV intrigued me as I wanted to see how they could improve upon what is still one of the best hybrid cameras, even in 2022.

In this article I am going to cover everything that you need to know when considering the Sony A7III vs A7IV including image quality, video quality, ergonomics, menus and all the upgraded features. If you would rather watch then my video comparison of the Sony A7III vs A7IV Can be found here . The video shows screen recordings of the AF in action, the IBIS and video quality as well as everything else.

Some of the links on this page are affiliate links. If you purchase through them, I may earn a small commission at no extra cost to you. This helps support the site and allows me to continue creating content like this. Thank you for your support.

Sony A7III vs A7IV – Ergonomics

The first thing that you notice when you put the Sony A7IV next to the A7III is that the new camera has gained a little size over its predecessor. In terms of weight they are within a few grams of each other but the size difference, particularly the depth of the camera is more noticeable than the figures would have you believe. The mark III feels quite small and dinky in comparison to the latest mark IV version. The A7IV is deeper due to Sony adding a fully articulating screen (more on that later) and improving the heat management of the camera.

The grip has also grown and now offers more depth and provides more purchase on the camera, particularly when operating it one handed. Those with larger hands will definitely appreciate the added space and comfort. The A7 IV now weighs in at a measured 658g with the battery which is only 8g more than the mark III. I enjoy lightweight cameras so this is important to me. If you appreciate light weight then you might like Fuji’s approach to compact street shooting.

One of the most obvious changes to the A7IV is the switch to a fully articulated rear LCD screen. The previous model had a tilting mechanism often favoured by purely stills photographers but the new, articulated screen works much better for hybrid shooters like myself.

Where to Buy

If you’re considering either of these, using the links below helps support the site at no extra cost — much appreciated.

• Sony A7IV:
  • Buy on Amazon (US)
  • Buy on Amazon (UK)
• Sigma 85mm f/1.4 DG DN:
  • Buy on Amazon (US)
  • Buy on Amazon (UK)

Not only is the new screen fully articulating it has also increased the resolution from 0.92 million dots to 1.04 million dots. More importantly the screen now has a 3:2 aspect ratio which matches the cameras sensor resulting in less wasted space on the screen.

The Sony A7IV’s screen now uses the touch screen functions to much greater effect, allowing you to use it to navigate the menus as well as the usual AF funtionality. The A7 III touchscreen was mainly limited to selecting AF points. The new one feels much more modern and in keeping with what we have become used to with modern gadgets like phones and tablets.

The EVF on the Sony A7IV has also been upgraded to 3.69m dots from 2.36m dots on the A7III. The improvement is welcome and a noticeable one but it is not class leading compared to some of the competition. The refresh rate can also be boosted to 120hz, double that of the older model. Everything else remains the same on the viewfinder.

One of the ergonomic changes that I find most satisfying is the increased size of the buttons on the mk IV. The AF-On button is now substantially larger and the AF joystick has also been enalarged and also flattened slightly which definitely makes it easier to move your AF point as desired.

The record button has been moved to the top of the camera instead of to the right of the viewfinder. In all honesty I don’t mind either location but given the choice I prefer the new placement as it is more in keeping with the other cameras that I use such as the Canon R5 and Nikon Z series bodies. I would prefer the Menu button to be on the right hand side like Nikon and Panasonic cameras so that it can be selected one handed.

There is now a dial below the PASM dial which allows you to switch between photo, video and S&Q modes. The dial is lockable as is the unmarked exposure compensation dial (it can be set to whatever you want now). There are also 3 custom setting slots on the PASM dial as opposed to 2 on the A7III.

The Sony A7 IV now has dual UHS-II card slots with slot 1 also accepting CF Express type A cards. You will need either V90 rated SD or CF Express A cards to record in the higher video resolutions/bitrates now available on the A7 IV. The A7 IV wont allow me to even try using a Sandisk Extreme Pro 170mb/s card for these higher quality video settings. I ordered a couple of these cards to enable recording using the higher quality video modes and they work well.

There is also a new locking mechanism on the memory card door. You now have to slide the lock (similar to the A7III) and at the same time slide the memory card door towards you. It is kind of awkward to be honest and one of the things that I prefer on the Sony A7III. Also the strap lugs on my A7IV are quite thick and can get in the way of the memory card door when opening. It’s not a big deal but something that I have noticed.

Menus

The A7IV uses the latest Sony menu system and my goodness what a difference it makes. The old Sony menus were a confused mess fo the most part. I often still find myself searching through them to find certain options and settings.

The new menu system is now much better laid out and for the most part it is logical and much quicker to find what you need. I particularly appreciate that it gives you a preview of the items contained within the selected menu option so that you don’t waste time diving into a menu only to find that the setting you needed is not there. I’d go as far as to say it is now one of the best menu systems available.

One thing that has caught me out and something that I find annoying is that when you set the camera up to use a picture profile in video mode, the camera carries this across when you switch back to photo mode. So I shot a bunch of images this morning with the log profile set for photos. Why Sony thought this was a good idea I do not know. Luckily I shoot in RAW + Jpeg so had the RAW files to fall back on.

Sony A7III vs A7IV – Image quality

The main headline grabbing upgrade for the A7IV is probably the increase in resolution from 24mp to 33mp. In all honesty, if this were the only reason that you are considering an upgrade from the Sony A7 III then I would save your money.

The increased resolution is nice to have as it enables a little more cropping room but the difference is not enough to justify the expense of an upgrade. You’re going from images measuring 6000×4000 pixels to 7008x 4672.

Yes, there is a little more detail in the 33mp images but it’s only just about enough to go up one print size. It does make the A7IV a more interesting proposition for landscape photographers who also have a hybrid workflow, perhaps aspiring youtubers who focus on landscape photography may give the A7IV more consideration but for most people resolution alone, while nice to have, likley isn’t the main reason to upgrade.

From my testing dynamic range remains essentially the same so at least that resolution bump has not come at the cost of dynamic range.

The A7III does slightly better once above ISO 6400 but once you down size the A7IV file to match the A7III dimensions it is actually a tiny amount better.

One thing that I have noticed is that the auto white balance in the A7IV does a better job than the A7III. I often had to apply fairly significant corrections to the A7 III images as they sometimes gave a magenta or yellow tint depending on the lighting conditions.  I have not found this to be an issue with the mark IV. Outdoors the colours are very similar as seen below.

Skintones have also been improved on the A7IV vs A7III, particularly in mixed lighting conditions. This quick portrait was shot in window light with auto white balance and auto ISO. The AF nailed shot after shot. It really is impressive and the more I use it the more I appreciate just how easy the A7IV makes everything.

The A7 IV now also adds the ability to shoot lossless compressed RAW files which helps to save some card and hard drive space without compromising image quality.

You can also shoot in 10bit HEIF format instead of Jpeg. In theory this should give more colour information than the 8bit Jpeg files but in use I haven’t noticed any difference. You also have to consider that HEIF is a relatively new format so before shooting chekc that they are compatible with your device/PC.

A7 IV vs A7 III – IBIS

The IBIS in the A7 IV is said to give 5.5 stops of image stabilisation compared with the 5 stops quoted for the A7 III.

I wanted to test out whether there was any real world difference so I shot my usual tests handheld at 24 mm on the Sigma 24-70mm f/2.8.

I found that results were so similar as to not warranty any further testing.

It is impossible to explain the difference in IBIS performance for video without showing the footage so please see my video here

This is where the A7IV shines against the A7III – Auto Focus

The AF in the Sony A7 III was always pretty good, especially as Sony updated the firmware to add better Eye AF as well as animal detection. However this has been improved again, with the A7 IV taking advantage of the BionZ XR which Sony claims is 8x faster than the BionZ X found in the mark III.

The A7 IV has 759 phase detect AF points giving 94% coverage vs 693 with 93% coverage on the A7 III. The increase doesn’t sound like much but more importantly it puts it in line with the A1 and A7SIII which I suspect will allow it to benefit from any AF improvements added to those bodies.

The phase detect points now work down to f/22 (vs f11 on the A7III) and the AF will work in -4 EV vs the A7III’s -3 EV.

When I first noticed that you can now change the AF point selection colour from white to red I gave a little prayer to the camera gods as this was something that I often had issue with in previous generation Sony cameras. When using the A7III and the A7R2 I owned before that, it could sometimes be incredibly difficult to know which focus point was being activated if the colour matched the background. It’s funny how small things can sometimes turn out to be instrumental in giving you a feel for whether you will like to use a camera or not.

The A7 IV has ported over the same AF algorithms found in the top of the line Sony A1 which adds real time eye AF and subject tracking. The A7 IV also adds human/animal AF that works  in both photo and video mode. There is also vehicle tracking for photography as well as the ability to select bird eye AF.

Having tested this out on some not too challenging geese and pigeons I can say it does a great job.

Again, it is best to watch the video for demonstrations of just how good the AF in the Sony A7IV is.

In use I have found it to be as good as anything available (including my Canon R5). In fact I would even put it a notch above the R5. It locks on really quickly and is accurate.

With Eye AF turned on it is the quickest system that I have used to pick up the subjects eyes and it can do it even when the subject is quite small in the frame. Mind you, the Sony A7III is no slouch in this area either.

I could see a discernible difference when shooting the Sony A7IV vs A7III. It is simply much quicker to react, pick up the subject and place that green box over the eye.

When the subject either turned away from the camera or left and then returned to frame it was significantly quicker to regain focus on the eye than the A7III. The MK III  did not always pick up the subject’s eyes again quickly and on some ocassions even failed to do so at all. I believe this is due to the older algorithm scanning the entire scene to re-aqquire the subjects eyes whereas the Sony A7 IV has been programmed using machine learning to prioritise looking for a subjects eyes in the same area as it last detected them. Whatever the technicalities it is a marked improvement.

Video

The Sony A7III was one of the first true hybrid cameras, bringing together great stills and at the time, excellent video specs. However times have moved on and the lack of 10 bit internal video as well as 4k is starting to show against the competition.

The A7IV has adressed this and now offers upto 4k30 with no crop whereas the A7III tops out at 4k25 without a crop. Once you go to 4k30 there is a 1.2x crop on the A7III. The recording limit of 30 minutes found on the A7III has now been removed too.

As well as the usual S-log options the A7IV now includes S-Cinetone.

Importantly the A7IV now offers 4k60 full pixel readout (no binning) but this does crop to APS-C or 1.5x.

Where the A7IV has definitely taken things up by several notches vs the A7III is with the codecs and colour depth available. This is great news for those wishing to colour grade their footage in post.

The A7III only offers 8bit 4:2:0 internal shooting options whereas the A7IV now shoots 10 bit 4:2:2 internally with the option to use the H.265 codec or All Intra H.264 at a bit rate of 300mbps for 30p or 600mbps for 60p footage. Lower data rates are also available for those who don’t need the added grading headroom or simply want to save on disk space.

4K All intra has fixed settings as follows :

24p – 4:2:2 10 bit 240mbps

30P – 4:2:2 10 bit 300mbps

60p – 4:2:2 10 bit 600mbps

The A7IV does away with the Micro HDMI port and replaces it with a full sized HDMI which is so much more sturdy.

It also adds what Sony call Active stabilisation. This is basically a digital stabilisation using information from the gyro on the IBIS. The field of view crops in a little to allow this. This is something that I tested for my video review and will show there.

The A7IV now lets you adjust (in 7 steps) how quickly focus transitions are performed as well as 5 steps of control for how quickly the AF will switch from one subject to another.

An interesting concept and one that I have seen carried out extremely well by DJI is the focus mapping option. This shows you which areas of your image are in and out of focus by colouring the areas. I’m still not convinced on its usefulness so will report back when I have had time to use it a little more.

Sony A7III vs A7IV – Conclusion

When I saw the specs for the Sony A7IV I wasn’t blown away. There was no one aspect that really stood out to me as groundbreaking or a must have. A little more resolution, an articulating screen, a new menu (again), a few extra video modes and promised AF improvements didn’t really seem like that much considering how groundbreaking the A7III was back in 2018 and how long it has been since then.

I have had and owned at least one of each generation of Sony’s A7 series bodies since the A7R. I have always appreciated their technical abilities, groundbreaking specs and ability to push the boundaries for autofocus. However, I have never gelled with one the way I have with say, the Fuji X-Pro 1 & 3 or the Nikon Z7II or Canon R5. The difference, I have always felt is that those feel like cameras made by a camera company that understands photographers. They get the little things right in terms of button placement, menus, ergonomics, design and handling.  These things really do make a massive difference when it comes time to pick up a camera and shoot.

The Sony A7IV is the first Sony camera that I have picked up and felt like it is finally designed by a company that understands what we as photographers/videographers want. There are no headline grabbing features that blow your mind the way that the Canon R5, Sony A1 or Nikon Z9 did at release but the whole is definitely more than the sum of its parts when it comes to the A7IV.

After having shot a lot with both of these cameras side by side, if it were my money and I had to decide between the Sony A7III vs A7IV , I would buy the A7IV without doubt. It feels like a camera, makes everything easy and gets out of your way and lets you shoot.

I hope that you found some value in this article and it helps with your decision. Please don’t forget to help out in anyway you can by subscribing to this blog, my yotube channel or buying through my links. Any help is much appreciated and allows me to spend more time creating content like this.