1. Computational Features That Go Beyond Anything Else

The computational features this camera offers are beyond anything else out there. From Live View and Live Bulb through to Handheld Hi-Res, ND filter and ND Grad filter modes, there is very little this camera can’t shoot.

• I can shoot water with slow shutter speeds and get silky long exposure effects with the built-in ND filter.
• At the coast, I can shoot sunsets without adding physical ND filters thanks to the ND Grad feature.
• When I want more resolution and better tonality, I can use handheld hi-res to create 50MP files with noticeably better noise and color performance.
• For astro photographers, the Starry Sky AF mode is a game-changer for precise focusing on stars.
• And with Live Time and Live Bulb, I can literally watch my long exposures build on the screen in real time, knowing I’ve nailed the shot.

Pair that with OM System’s best-in-class in-body image stabilization, which lets me shoot handheld for a second or more, and the OM-3’s flexibility is incredible. It enables creative photography in a way few other cameras can — only the OM-1 Mark II really matches it and my old OM-1 comes close. I’ve put together a list of the best accessories for the OM System OM-3 to get the most out of the camera.

2. Weather Sealing I Trust Anywhere

From experience, I know Olympus and OM System cameras offer a level of weather sealing better than any other brand I’ve used.

Living in the tropics, a single day can bring dust, ocean spray, and monsoon rains. That makes weather sealing essential, because I don’t want to constantly put the camera away. I’ve shot with the E-M1 and OM-1 line for around a decade — in both Scottish winters and tropical storms — and they’ve never let me down.

To have this same confidence in a smaller, lighter body like the OM-3 is incredibly reassuring.

3. Pure, Unadulterated Fun

This camera is pure fun. Not only can it shoot almost any style of photography I want on a given day, but thanks to the size, weight, features, and design, it feels fun to shoot with.

There are no restrictions on creativity, and the design itself often sparks conversations with people. That in turn helps break the ice and leads to more interesting photos. For me, that makes the OM-3 more than just a tool — it makes it enjoyable in a similar way to the Fuji X100VI.

4. Image Quality That Holds Its Own

I shoot Nikon Z, Fuji GFX, and Fuji X as well as OM Systems, and the difference in image quality for day-to-day shots is not nearly as large as people make out.

Yes, technically larger sensors are better, but they don’t make or break a photo. In nearly two decades of shooting, I can count on one hand the times where a smaller sensor meant I couldn’t get the shot.

And in fact, the OM-3’s Micro Four Thirds sensor has an advantage: for a given field of view and aperture, you get deeper depth of field. That makes landscapes and street work easier, because more of the scene is in focus.

With the f/1.2 PRO lenses — and even the compact f/1.8 primes — I can still achieve shallow depth of field when I want subject separation. Better yet, the f/1.8 primes are so small and light that I can carry a whole set in a jacket pocket. See the best lenses for travel photograpahy with the OM-3.

5. The Joy of Using a “Not Good Enough” Camera

There’s also something I enjoy about using a camera that some people dismiss as “not good enough.” Full-frame aficionados may scoff at Micro Four Thirds, but the OM-3’s sensor is perfectly capable of producing professional-quality images that can be printed or published.

I find that challenge motivating. When I nail a shot I love, it feels even more satisfying knowing I made it with a compact, underdog camera that some would dismiss without ever giving it a chance. Don’t get me wrong, I own full frame cameras and appreciate them for their strengths but that doesn’t mean I can’t see and appreciate the benefits of other systems too.

Closing Thoughts

The OM-3 might not be perfect, but after a month of use, it has genuinely impressed me. It’s small, weather-sealed, packed with features, and above all, fun. It proves that a compact Micro Four Thirds camera can still be a serious tool for creative photography — and that’s why I’ve come to love it.

I used to own the original Olympus 17mm f/1.8 back when I shot with the Pen-F. The 35mm equivalent field of view has always been one of my favourite everyday walk-around focal lengths, so that lens spent a lot of time on my camera. It was decent but not great — small and lightweight, with good-enough image quality, but it came with some compromises. One of the biggest drawbacks was the lack of weather sealing, which meant that paired with the Pen-F, it wasn’t the most reliable setup for unpredictable conditions. I now shoot this lens on the OM System OM-3. You can see my full OM-3 review here.

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Fast forward to today, and OM System has refreshed the lens as the 17mm f/1.8 Mark II. On paper, the big change is weather resistance — and paired with the OM-3, I finally have a small, sealed package that’s perfect for travel, family, and everyday photography. See my favourite travel photography lenses on the OM-3 for more about that.

The OM System 17mm f/1.8 Mark II isn’t trying to be the sharpest or most impressive lens in the system — it’s designed to be small, reliable, and always with you.

But is this just a rebadge with a tougher shell, or did OM System improve the optics too?

In this review, I’ll go through the new lens, highlight what’s changed, and help you decide whether the 17mm f/1.8 Mark II is worth adding to your kit. If you prefer the 25mm focal length, I reviewed the original Olympus 25mm 1.8 lens.

What’s Changed From the Original 17mm f/1.8?

One of my biggest gripes with the original Olympus 17mm f/1.8 was the lack of weather sealing. When I paired it with my old E-M5 Mark II, I never truly had a sealed system. While I’ve often risked using non-sealed lenses in light rain, the wet season here in the Philippines can drench you in minutes. Add in the constant humidity and dusty environments, and weather sealing becomes less of a luxury and more of a necessity.

The 17mm f/1.8 Mark II finally adds IPX1 weather resistance. It’s rated as splash- and dust-proof and will handle vertical rain without issue, though sideways monsoon downpours are technically beyond its guarantee. In reality, I’ve already had the OM-3 with the 17mm II slung over my shoulder in heavy showers, attached to my Peak Design camera leash, and it performed flawlessly. I’m confident it can handle most conditions I face here.

Another change is the removal of the manual focus clutch, which helped trim a few grams and make the lens a little shorter than the original. Personally, I’m fine with this trade-off — I never used the clutch much, and the gain of weather sealing is worth it.

The lens also receives OM System’s ZERO (Zuiko Extra-low Reflection Optical) coating, which should improve flare resistance. In truth, I never found flare to be a serious issue on either version, so this feels more like an incremental upgrade than a game-changer.

Otherwise, the lens is the same. The optical formula is unchanged: it’s still sharp, still focuses quickly, but still suffers from a little purple and green fringing in very high-contrast scenes.

Overall, the refresh makes the lens a far more versatile everyday option. Its combination of small size, light weight, and new sealing makes it an excellent match for the OM-3. Is it worth upgrading if you already own the original? Honestly, not unless you really value the weather sealing. But I’m pleased to see OM System refreshing their popular f/1.8 primes with these updates, bringing them closer in spirit to Fujifilm’s compact “Fujicron” lenses. I’d love to see the 25mm f/1.8 II in my kit soon, and I hope the 45mm f/1.8 gets the same treatment. While these 1.8 series of lenses don’t quite offer the same image and build quality as lenses like the 25mm 1.2 pro they do highlight one of the best characteristics of Micro Four Thirds cameras, offering small, lightweight optics with good image quality.

Sample Images below:

That doesn’t happen with most systems. In fact, there are only three camera ecosystems that really pull me back in when I’m without them — OM System, Fujifilm, and Nikon.

So why is it, with a world of larger sensors and technically “better” image quality, that the smaller Micro Four Thirds format keeps drawing me back? Why did I recently buy the OM Systems OM-3? and how does it feature so highly on my recent article on the best cameras for family photography.

Ergonomics That Just Feel Right

For me, ergonomics are everything. In an age where nearly every camera from the last five years is “good enough” in terms of image quality, how a camera feels in my hands becomes incredibly important.

Olympus — and now OM System — simply nailed this. The OM/EM bodies feel like an extension of myself. Compare that to when I tried the Nikon Zf last year: technically brilliant, but the ergonomics never clicked, so I couldn’t connect with it.

When a camera doesn’t inspire me to pick it up, all the specs in the world don’t matter.

More Than Just Small and Light

People often assume the appeal of Micro Four Thirds is only about weight. But that’s not the whole story.

The OM-1, for example, isn’t really much smaller than my Nikon Z6 III and is actually heavier than my Fujifilm X-T5. Yet I still reach for it. Why? Because it’s about confidence, not grams. These cameras feel solid, dependable, and built for anything. So when the weather turns, I’m going off the beaten track, or I want to minimise the accessories I need, they’re my go to cameras.

Packed With Features Others Can’t Match

This is where Micro Four Thirds really shines. OM System cameras come loaded with features that make photography easier and more creative:

• World-class IBIS — still the best I’ve used.
• Live View / Live Bulb / Live Composite — long exposures made simple.
• Handheld High Res — 50MP files with better color and noise than the base sensor.
• Built-in ND and graduated ND filters — leave the tripod and filter kit at home.
• Pre-Capture for Wildlife — with the OM-1, this feature has made my life so much easier when photographing birds or fast action. It records frames before you fully press the shutter, meaning you don’t miss the decisive moment. Nikon thought it was so good they built their own version into the Z9 and Z8.

With my OM-3, I can shoot handheld one-second exposures, create high-res files, and even pull off long exposures without a single accessory. That’s freedom other systems just don’t give you.

A Lens Lineup That Makes Sense

The Micro Four Thirds lens ecosystem remains one of the most complete out there.

Yes, other systems have caught up with smaller primes, but MFT still offers a mix of compact, high-quality lenses that cover every focal length. And while people argue endlessly about depth of field equivalence, the reality is simple: f/2.8 is f/2.8.

An f/2.8 zoom on Micro Four Thirds gives me fast shutter speeds, excellent build quality, and optical performance that often surpasses budget f/5.6 full-frame zooms.

Proven Legacy of Innovation

Micro Four Thirds has always been a pioneer:

• Olympus/OM led the way with the best in-body stabilization for years and still does, it’s still the only main manufacturer that gives an actual rating for its weather sealing, and those groundbreaking live exposure modes still haven’t been matched by others.
• Panasonic pushed video forward with the GH line, changing what was possible for hybrid shooters.

Many features we now take for granted in full frame or APS-C cameras started right here.

Not Perfect — But Worth Preserving

I’m not saying Micro Four Thirds is the best system, or that everyone should shoot it. It has limitations, and the sale of Olympus’ imaging division raised real questions about the future.

But I’d argue it still deserves its place. Not out of brand loyalty, but because the more viable systems we have, the better it is for photographers. Choice breeds competition, and competition creates better cameras for all of us.

Some online voices want to write Micro Four Thirds off as “dead.” But why would anyone wish for less choice? I wouldn’t want Sony, Canon, Nikon, or Fujifilm to vanish either. Each system offers something unique, and sometimes the one that gets written off turns out to be the one you miss the most.

For me, Micro Four Thirds still matters in 2025 — not because it’s perfect, but because it makes me want to go out and shoot. And in the end, that’s what really counts.

This article is based on real-world testing. I’ve used the Fujifilm X100VI since its release, and the OM System OM-3 was tested extensively throughout August — including on my latest trip to Moalboal in the Philippines.

I know some people will say “why compare a fixed-lens camera to an interchangeable-lens body?” I heard the same thing years ago when I compared the Olympus Pen F with the Fujifilm X100T. And yes, on paper they’re not direct competitors.

But in practice, they share a lot: both are beautifully designed, retro-styled cameras. Both are small, lightweight, and perfect for anyone who wants something better than a phone without carrying a full-frame kit. For travel, family, or everyday shooting, that makes them natural alternatives. If you want my thoughts after shooting another year with the Fuji X100VI I wrote an article on my experience.

I use my Fujifilm X100VI constantly — it’s one of my most-used cameras. But when I saw the OM System OM-3 with its compact design and the option to pair it with the updated 17mm f/1.8 II, my curiosity got the better of me. Could the OM-3 replicate the way I use the X100VI when paired with the OM Systems 17mm f/1. II lens — while also offering the flexibility of a fully featured interchangeable-lens system when I needed it and, is Micro Four Thirds still a viable system in 2025. I added a few essential accessories to the OM-3 just as I did to my X100VI.

I’ve been shooting with both Fujifilm and Olympus/OM System cameras for over a decade, dating back to the original OM-D E-M5 and Fuji X-Pro1. I know both systems inside out, and I genuinely like them for different reasons. In this article, I’ll walk you through how each performs as a travel, family, and everyday camera — and ultimately, help you decide which one fits your style best.

Design & Styling

Seeing as both of these cameras are — in the camera world at least, and in my eyes too — beautiful designs, which one do I actually prefer? Bear in mind this is, of course, subjective.

There’s no doubt that if you sit the X100VI and OM-3 next to each other, the OM-3 stands out as the more beautiful camera, with its silver finish (I have the black X100VI). I asked my family and a few strangers, and every single one picked the OM-3 as the better-looking model.

However, I don’t think it’s that simple. For me, both are elegant designs. The OM-3 is more overtly pretty, with its retro styling, silver finish, and color wheel reminiscent of old Olympus film cameras. The finish is absolutely first-rate. It has its SLR-style EVF in the middle of the camera, complete with the traditional viewfinder hump.

The Fujifilm X100VI is also a very nice-looking camera but goes with the rangefinder styling, with the viewfinder sitting inside the main camera body, off to the left. Some may prefer one over the other. For me, being left-eye dominant but able to shoot with either eye, it makes little difference. However, the viewfinder on the X100VI is 3.69 million dots versus 2.36 million on the OM-3. In reality, switching back and forth between the two, there are differences, but they’re marginal and not a deal breaker either way. What may be a deal breaker for some is that the X100VI also offers an optical viewfinder thanks to its hybrid design. I use the EVF 99% of the time so it’s not a deciding factor for me.

I definitely appreciate the beauty of the OM-3, but I’m quite drawn to the more subtle design of the X100VI. I guess as a slightly introverted person, the X100VI in black suits me well. I can’t call a winner here, as both look incredible.

If you’re already considering picking one up, here are the latest prices:

The thing that struck me with the OM-3 is the quality of the controls and dials. Every dial turns with exactly the right amount of resistance to feel solid and purposeful, yet not so much so that it’s difficult to operate. All the buttons are raised just enough to find them when operating the camera without having to look. The shutter button feels perfect, with just the right amount of pressure needed for a half-press to focus and then a full press to take the photo.

The only minor negatives for me would be the on/off switch being on the left-hand side of the body (Olympus and OM Systems have always done this, and I still don’t know why), and the record button on top of the camera being tiny and awkward to find. No problem for us stills shooters, except I’ve re-programmed mine to turn eye AF on and off. The front color wheel dial is also a little stiff to turn, which means that for me, it’s a two-finger job. Rather than being able to quickly change it with my right hand while holding the camera, I have to do so with my left hand reaching around the body.

I also noticed that the camera strap attachment point is slightly in the way when I’m gripping the camera, although after a bit of messing around I found a position where it now sits comfortably between my index and middle fingers. There is a small thumb rest at the back of the body which helps with grip during longer shooting sessions, and the front is covered in a faux-leatherette material that gives a little purchase. Overall, considering there is very little to grip on to with the OM-3, it is surprisingly decent to hold — though it definitely benefits from an L-Grip being added.

Build quality, as I mentioned, looks to be top notch, with weather sealing that I would — and have — trusted in the worst the monsoon season can throw at me here in the Philippines. I’ve shot the EM1 Mark II and others from Olympus/OM in torrential rain here with them slung over my shoulder, and they haven’t so much as blinked. The OM-3, with its IPX53 rating, is better sealed than earlier Olympus models, so I have no worries in this regard.

Overall, I’m really pleased with the build quality of the OM-3. It feels like a tool, not a toy, and that’s important to me. In the hand it feels wider and slimmer than my X100VI, and very similar in weight when the 17mm f/1.8 II lens is attached.

The X100VI feels equally well built but takes a more minimalist approach. The rear of the camera looks more sparsely populated with buttons, even though it offers a joystick (not found on the OM-3). It also, of course, offers real dials for shutter speed and ISO, as well as an aperture ring on its lens, whereas the OM-3 uses the standard PASM dials for dialling in exposure settings. PASM is quicker in use, but Fuji’s dials offer a more fun experience.

The OM-3 offers a decent rear LCD screen which is fully articulating. One of the benefits of this is that it’s fully protected when closed. The X100VI’s screen is beautifully designed and sits flush with the body, yet offers a simple tilt up/down mechanism. The Fuji’s is better for shooting discreetly, the OM-3’s is more flexible.

Overall, design and handling is quite different between the two. Although the OM-3 looks just as retro as the Fuji, it is suited to faster-paced shooting — as we’ll also see later on. When I first picked up the OM-3, my initial instinct was that the X100VI is more comfortable and felt more natural in my hand. However, as I shot the OM-3 more and more in Moalboal, here in Cebu, I really started to like it. It’s still not quite as comfortable as the X100VI, which feels softer and more rounded. However, add an L-grip to them both and they start to feel very similar. I wrote a detailed article on the best accessories to add to your Fuji X100VI here.

Overall, I’d say the Fuji gives the experience of a retro camera with its looks and physical control dials, whereas the OM-3 simply gives the appearance of one.

Features & Image Quality

In my opinion, both Fujifilm and OM System have always produced some of the best SOOC JPEGs in the industry — but they go about it in very different ways.

Fujifilm leans into its film simulations, which offer a fantastic array of looks, many of them with a nostalgic vibe. There’s likely a film simulation to suit all tastes. Personally, I shoot in Classic Chrome most of the time. If you want to get your X100VI quickly set up for shooting then download my free setup guide as well as downloadable settings file to load straight on to your camera. It includes AF setup as well as custom functions and Fuji film recipes already added.

The OM-3 also produces great JPEGs, but they’re less about nostalgia and muted tones and more about vibrant, realistic colors. If you want things right in-camera and want lots of immediate choices, normally I’d say go Fuji. However, the OM-3’s color wheel gives you a huge amount of freedom to create your own looks if you’re willing to put in the time. It has a novel way of allowing you to do this through its color wheel for both color and monochrome profiles.

It’s the old Pen F vs X100 argument again: do you want Fujifilm’s immediately accessible film simulations (plus custom recipes widely shared online), or do you prefer the freedom of OM System’s more intuitive, Lightroom-style color wheel where you can see adjustments live in the viewfinder as you shoot?

High ISO Performance

APS-C vs Micro Four Thirds isn’t a huge gap these days, but yes — the X100VI performs slightly better once you get up to ISO 6400. It’s not just that there’s less noise; the Fuji’s noise pattern is more uniform and therefore more pleasing to the eye. The difference is small, around 1/3 to 1/2 a stop.

Personally, I like having Fujifilm film simulations available as Lightroom profiles for RAW files, but at the end of the day, they’re just color profiles. I can get results I like out of both cameras.

Lenses and Rendering

Comparing the Fuji’s fixed 23mm f/2 to the OM System 17mm f/1.8 II, both are sharp, but the Fuji is better corrected for chromatic aberrations. I’ve noticed more purple and green fringing with the 17mm f/1.8 II. That said, the OM-3 lets you switch lenses — and when I paired it with the 25mm f/1.2 Pro, the results surpassed the Fuji lens, though at the cost of size and weight.

Black & White Profiles

Fujifilm is rightly known for its beautiful Acros profile, one of my favorites for rich black and white with excellent tonality. The OM-3 also has fantastic black and white options via the color wheel, with three profiles as standard. Profile 2 is meant to replicate Tri-X, but I find it a bit too contrasty, so I’ve tweaked it and am still settling on my preferred look.

Computational Features vs Classic Tools

Where the OM-3 really shines compared to the X100VI is in features. It offers Live View, Live Bulb, and Live Composite, which make long exposure photography incredibly easy by giving you live feedback as the exposure builds. It also offers both tripod-based (80MP) and handheld (50MP) high-resolution modes. These not only increase detail but also reduce noise at higher ISOs while improving color fidelity. They don’t come without some issues though, for instance I have found that handheld high-res mode’s benefits in terms of detail are inconsistent.

On top of that, the OM-3 includes software-based ND and graduated ND filters. In my testing, they often do a great job of replicating long exposures and balancing high dynamic range scenes without bracketing. There are caveats (which I’ll cover in my full review), but overall, they’re impressive.

The Fujifilm X100VI doesn’t have these computational features, but it does have tricks the OM-3 can’t match. Its leaf shutter allows for extremely fast flash sync speeds, and when combined with the built-in flash, it makes fill flash in bright daylight easy. It also has a built-in four-stop physical ND filter that lets you shoot shallow depth-of-field portraits in bright light — something the OM-3’s software-based ND can’t replicate.

Autofocus

Now let me start this section by saying that, while the X100VI is not the fastest focusing camera in the world, for single shot, everyday photography I have found it to be perfectly fine. It’s way faster than the Ricoh GRIII for example. However, the difference between it and the OM-3 when trying to capture faster action is pretty significant. I attempted shots of Sofia running towards me on the beach that I honestly wouldn’t even attempt (and didn’t) with the X100VI. Out of several series of over 50 shots that I took, only a couple were out of focus. I repeated this test twice and the results were always the same. So if capturing your children speeding around while on vacation is important to you, then there is only one option here that I could hand on heart say will do the job. The OM-3 is significantly better in these kinds of scenarios.

Overall

Both cameras are fantastic tools. The OM-3 is more flexible, not just because of interchangeable lenses, but because its features let you leave your tripod and filters at home while still being able to shoot handheld 50MP high-resolution images. I’d trust its weather sealing above the X100VI’s, too. If you want flexibility, adaptability, and a camera that can cover an incredible range of shooting scenarios, the OM-3 is a superb choice — especially for Micro Four Thirds shooters who want a compact but versatile system.

The Fujifilm X100VI doesn’t have as many bells and whistles, and its AF performance isn’t as quick, but what it offers can’t quite be replicated by the OM-3. That’s the genuinely immersive shooting experience: the leaf shutter, built-in ND filter, rangefinder styling, simplicity, discretion (especially in black), and those superb film simulations. If you want beautiful results straight out of camera without having to tweak much, the X100VI delivers.

Frequently Asked Questions

When I first saw the OM System OM-3, my immediate thoughts were of nostalgia for the Olympus Pen-F that I owned and shot all those years ago. The Pen-F, while it had some serious flaws, was one of the most enjoyable cameras I’ve ever used. Beautifully designed — possibly the best-looking camera of the modern era — with good image quality, competitive autofocus, and a brilliant implementation of Olympus’ color engine through the color wheel. It was small, light, and allowed the use of Olympus’ excellent lens lineup. If you’re wondering if Micro Four Thirds still makes sense in 2025 then I wrote this article.

The OM-3 seemed to promise all of those things, but updated: a beautiful design (this time SLR-style rather than rangefinder), access to the same deep lens lineup, and crucially, proper weather sealing when paired with lenses like the OM Systems 17mm 1.8II lens which I review here — one of the Pen-F’s most obvious omissions.

If that’s all it had been — essentially a rebadged E-M5 with new styling — I probably wouldn’t have bought it. But what tipped me over the edge was the fact that the OM-3 seems to contain the guts of the OM-1 series inside. Having used both the OM-1 and the OM-1 Mark II, I know just how powerful those cameras are. Packing that level of performance into such a compact, lightweight body made me sit up and pay attention. The OM-3 still needs some essential accessories to get the best out of it so I put together what I use in the article linked.

First Impressions

A camera that looks good isn’t enough on its own — it has to make you want to shoot and it has to perform. But boy does it look good.

There are some compromises, and the ones that stand out immediately are the lower-resolution EVF at 2.36 million dots and single SD card slot. I can live with these if the rest of the camera lives up to expectations although I think at the price point, OM Systems really should have given the camera the viewfinder from the OM-1 series.

What I was really after was the most compact interchangeable lens system possible without stripping away performance. And that’s what the OM-3 feels like. The latest OM System bodies are effectively entire shooting systems in their own right. Computational features like handheld hi-res, Live ND, and in-camera graduated ND modes remove the need for tripods, ND filters, and other accessories — hugely powerful for travel photography, which is where I’ll use the OM-3 most.

Out of the box, my first impressions of the build are excellent. The metal construction, solid dense feel, well-damped dials and buttons all inspire confidence. The screen doesn’t feel flimsy, and you can tell the IPX rating is the real deal.

In terms of handling, it feels familiar — I’ve been an OM/Olympus user since the original E-M5 in 2012/13. The ergonomics are generally good, though I’d say that having shot the Fuji X100VI and X-T5 a lot lately, the O-M3 doesn’t feel as natural yet. The OM-3 feels short but wide, somewhere between the Nikon Zf and Fuji’s X-T line in terms of comfort. To help, I’ve added a small Haoge grip extension, which improves handling, though I’m also shooting it barebones to see if it’s simply a matter of getting used to the design.

My Travel Kit with the OM-3

I plan to shoot the O-M3 mainly with the following lenses:

• M.Zuiko 12–40mm f/2.8 PRO II
• M.Zuiko 17mm f/1.8 II
• M.Zuiko 25mm f/1.2 PRO

That combination will let me see how the OM-3 balances everything from tiny primes to pro lenses. My goal is for the OM-3 to be a travel-focused camera that can handle everything from landscapes to portraits, while staying light and portable. It won’t replace my Fuji kit, but it will complement it — just as Nikon does in its own way..

A Spiritual Successor to the Pen-F

Photographers have been calling for a true Pen-F successor for years, and while the OM-3 isn’t that directly, I think it’s the closest thing yet. It feels like the spiritual successor: updated, modernized, and improved enough to give the concept a chance at commercial viability.

Yes, the price is a little high. But factor in what you save by not needing tripods or filters — or compare it to the cost of a full system switch — and the OM-3 starts to look more reasonable.

Is it good value? That’s something I’ll only know after more time: shooting in varied scenarios, testing the results, and making large prints. Once I’ve done that, I’ll share a no-nonsense review, alongside comparisons with the OM-1 Mark II which I also have with me now.

Final Thoughts

For me, the OM-3 isn’t just about specs. It’s about having a compact, weather-sealed, professional-level tool that still makes me want to pick it up and shoot. It feels like the Pen-F spirit lives on here — only this time with the power of the OM-1 series behind it. And that combination was too tempting to resist. After a month of solid use I wrote about the things I already love about the OM Systems OM-3.

Table of contents: Click the links to jump to the relevant section.

• Best Beginner Cameras
• Best Enthusiast Cameras
• Best Professional Cameras
• Best Landscape Photography cameras
• Best Wildlife and Action
• Best for Portraits and People
• Best for Street and Documentary Photography

Disclaimer: This article contains affiliate links. If you purchase through these links, I may earn a small commission at no extra cost to you. If you do purchase through my links then I offer a heartfelt thank you to you as it really does mean that I can keep doing this.

Choosing the best camera is a deeply subjective process. Marketing departments would often have you believe you need the latest, most expensive flagship body to capture great images. That’s simply not true. Finding the right camera is about balancing your budget, your workflow, and what you actually want to photograph and do with your photos.

I’ve spent the last two decades shooting everything from Ricoh compacts to Fujifilm GFX medium format. I started my professional career on Canon, I currently shoot Nikon, Fujifilm, and OM System, and I’ve used most Panasonic cameras along the way. I’ve owned every single generation of Sony’s mirrorless cameras starting back with the original A7R, alongside more recent bodies like the A7IV, as well as owning the Canon R5. I am not tribal in terms of which brands I recommend and simply believe in using the right tool for the job.

This guide breaks down the best system cameras available in 2026 by experience level (beginner, enthusiast, and professional) as well as by specific shooting genres. It is a complete, no-nonsense roadmap designed to help you find the right camera for you.

If you don’t want to change lenses, then see my guide to the best compact cameras.

Best Beginner Cameras

Stepping up from a smartphone or buying your first proper interchangeable lens camera doesn’t mean you need a heavy, complicated flagship body. You want an intuitive tool that offers great out-of-the-box results, reliable autofocus, and room to grow. Here are the top beginner picks spanning performance, value, and smart used buys:

The Top Picks: From All-Rounder to Budget Value

For the Best Overall Experience & Long-Term Growth: Nikon Z50II
If you want a camera that you won’t feel compelled to upgrade in twelve months, the Nikon Z50II is the standout choice. It offers the best handling and comfort in the beginner class, physical controls that make learning enjoyable, full auto modes for simplicity, and gorgeous colors straight out of the camera. Crucially, it brings you into one of the sharpest lens ecosystems available. Trade-off: It sits at a slightly higher price point than basic entry-level competitors.

For the Best Out-of-the-Box Value: Canon EOS R50
The Canon EOS R50 delivers exceptional APS-C image quality and features some of the best beginner-friendly, in-camera guidance modes on the market. Its autofocus—complete with reliable face and eye detection—makes capturing people effortless with Canon’s famously beautiful skin tones straight out of the camera. Trade-off: While it’s a fantastic value upfront, native RF-S lens options are either limited in quality or become quite expensive if you want to move up to their professional L lens range.

The Smart Used Value Buy: Sony Alpha A6500
If you want to keep initial costs under $700 while getting excellent performance, look for a clean used Sony A6500. Even as an older model, Sony’s early autofocus tracking dominance keeps it remarkably competitive today. It packs 4K video, in-body image stabilization (IBIS), and deep customizability into a compact body that stays out of your way. Buying into Sony also unlocks the most expansive budget-to-pro lens lineup today, from cheap f/1.8 primes to elite GM glass. Trade-off: It’s not as comfortable to use as the Canon and Nikon alternatives, and the menu system takes some getting used to. Straight out of camera Jpegs don’t look as natural as those from Nikon or Canon.

To see the Nikon Z50II in use see my recent article

To see more beginner options see my detailed best cameras for beginner article.

Best Enthusiast / Mid-Range Hybrid Cameras

The enthusiast and mid-range sector is easily the most fiercely contested space in the entire camera industry. It’s where gear stops being basic and turns into a true creative tool, balancing high-end performance with sensible weight and cost. I’ve spent more than a decade buying cameras in this exact bracket and have either owned or used almost all of them. Here is how the market’s leading contenders stack up across full-frame, APS-C, and hybrid powerhouses:

One thing that I would like to point out before you read this section is that while these cameras are the latest and greatest for enthusiasts, if you’re budget doesn’t quite stretch to these models, then the previous generation of each model will still offer very similar performance. In terms of actual image quality, we reached a point where it was already more than good enough 5-7 years ago, so improvements with the latest models tend to be in terms of autofocus performance, shooting speeds and video specs. If these arent that important to you then look for a used older generation model.

The Top Contenders: Breaking Down the Lineup

The Ultimate All-Rounder: Nikon Z6III
The Nikon Z6III is an absolute powerhouse, offering pro-level stills and video performance. Its autofocus rivals dedicated professional bodies, and the image quality is superb across dynamic range, color, and versatile RAW files that are effortless to edit. The handling is among the most comfortable available, featuring deep customization (I’ve set mine up to mimic my Z8). The IBIS keeps ISO low for static scenes, and high-ISO performance is seriously impressive. Built rugged enough for the Scottish Highlands and Southeast Asia, it features a fast, bright EVF and robust professional video tools like 4K120 and N-Log. Trade-off: The grip is a little short for larger hands (my pinky rests under it), and dynamic range test charts place it slightly behind its predecessor, though real-world results are stellar.

For more detail see my full Nikon Z6III review

For Speed & Smart Resolution: Sony A7V
The Sony A7V builds directly on the massive success of the A7IV, introducing a partially stacked sensor that dramatically increases operational speed. It delivers blackout-free burst shooting up to 30 fps and eliminates the rolling shutter issues of its predecessor during fast action and video. The 33MP sensor gives you extra room to crop, and Sony’s E-mount lens ecosystem remains unmatched. Trade-off: Handling is still less comfortable than Nikon, Canon and Panasonic options, and straight-out-of-camera colors still lag behind other brands although they have improved in recent years.

For Stills Purists (APS-C): Fujifilm X-T5
If you want to skip full-frame weight and expense, the Fujifilm X-T5 is an incredible still camera. Its 40MP APS-C sensor yields stunning detail, paired with iconic film simulations and physical shutter/ISO dials that mimic classic analogue cameras. Dual SD card slots provide instant backup, and the APS-C lenses stay remarkably compact. Trade-off: While great for daily shooting, its autofocus tracking isn’t as fast or reliable as Sony, Nikon, or Canon when pushed.

The Best Value Full-Frame Buy: Panasonic Lumix S5II / S5IIx
For pure financial value, the Panasonic S5II and S5IIx are unbeatable full-frame workhorses. Featuring a reliable phase-detect AF system, rich color profiles (Natural and L Monochrom D are personal favorites), and incredible bundle deals (like pairing with the 20-60mm and 50mm f/1.8 under $2,500 total), they are tough to beat. For video, the S5IIx is peerless at this price point, offering 4K60, V-Log, USB-C SSD recording, top-tier IBIS boost modes, and a built-in cooling fan. While other hybrid cameras sometimes offer better specs on paper, the S5IIx offers a seemless video workflow that makes it feel purpose built for the job, rather than a stills camera adapted to shoot video. Trade-off: They aren’t built for raw speed; start-up times can feel sluggish, and image playback response can drag.

The Luxury Powerhouse: Canon EOS R6 Mark III
If budget is secondary and you want the ultimate hybrid machine, the Canon EOS R6 Mark III brings a 32MP full-frame sensor, 40fps electronic bursts, open gate 7K60 raw, and 4K120. Canon’s ergonomics and menu logic lead the industry, and third-party lens restrictions are finally lifting. Trade-off: Being a very recent release, its price point sits substantially higher than rivals like the Nikon Z6III.

Note that as of 2026 the previous model, Canon R6II is still available brand new and offers most of what the R6II does at a cheaper price point. It offers a lower resolution 24mp sensor, lower spec video resolution at 4k60p and less advanced autofocus but it’s still a highly capable , comfortable camera with excellent image quality and autofocus that is good enough for most tasks.

Want a deeper look at mid-range bodies, system lens lineups, and setup configurations? Read my full reviews:

Nikon Z6III Review

Fujifilm X-T5 Review.

Best Professional-Level Cameras

Professional cameras are often very specialist tools, and depending on what you shoot, the right answer will change. Here, I’m focusing on the best all-around professional cameras for generalist shooters who want a body capable of performing in every area at a high level. If you need a specialist machine for a specific discipline—such as high-end landscape work or dedicated studio portraiture—skip ahead to the breakdown of the best cameras by genre.

By the time you are at this level, I’m going to assume that you either are already deeply invested in a brand or you know what you want and have researched the specs. So I’m going to give my opinion on the top 3 brands best generalist professional bodies here. For what its worth I have owned and shot with all three of these either in this generation or the last.

In my opinion, all three of these cameras are more than capable of professional level work. All three feature very quick Af with subject detection for various subjects and all three provide excellent image quality that will satisfy any client or print requirement. All are incredibly customisable so can be set up however you prefer and all of them are built with weather sealing and long term high volume use in mind.

1. Nikon Z8

1. Nikon Z8

The Nikon Z8 is the best of the three for 3 main reasons. First is ergonomics and controls. It is the most comfortable to hold and ergonomically pleasing. From the deep integrated grip, to the top LCD screen, a stills first 3-way tilt rear LCD and logical button layout that places everything that you need for quick shooting right where you want it to be, from the on/off switch being wrapped around the shutter button to the ability to setup AF behaviour and AF handovers via Fn buttons. The experience is seamless and in my use both in south east asian typhoons and Scottish Highland winters, the weather sealing is absolutely top tier. The body feels rugged, and built to just get the job done. 45mp resolution is plenty for almost any paying job, combined with quick and reliable and importantly customisable AF performance there is no job the Z8 cannot handle. Video performance with Raw, N-Log and a huge range of codecs is excellent.

Second is the lens lineup. The range of lenses available gives everything from sharp standard zooms to the best wildlife lens lineup available with options such as the 180-600mm, 400mm f/4.5, 600mm and 800mm f/6.3. Nikon’s use of Phase Fresnel designs for their telephoto lenses have made them considerably smaller than competitors.

Nikon also decided to make their f/1.8S prime lenses optically stunning, negating the need to pay for much more expensive f/1.2-1.4 versions simply to attain the optical performance required for professional level work.

See my comprehensive guide to Nikon Z lenses

Third is the price of the Z8 itself. Even at launch it offered everything the flasghsip Z9 offered just in smaller package, yet now in 2026 it can be bought for under $3500. That’s insane value for what is basically flagship performance.

For more detail see my Nikon Z8 full review

2. Canon EOS R5 Mark II

My second chocie would be the Canon R5II. With similar specs to the Nikon Z8, the Canon R5II is another excellent choice. If the Z8 can be thought of as a solid top tier performer that just gets the job done, the R5II is it’s fancy, ai enhanced cousin, particularly when it comes to AF performance which is a notch above the Z8 thanks to even faster and more accurate AF, eye control Af that is space age (when it works) and a host of workflow options in camera including out of focus control and upscaling in camera. Canon’s ergonomics are in my opinion second only to Nikon and their menu system is the best.

The body itself is well built and very comfortable to use for long periods and it offers excellent button customisation and configuration. I had my Canon R5 setup for willdife photography with 3 AF modes instantly accessible at the press of a button which means you’re always ready for the shot. For people and sports, the Cano R5II is the best of the generalist pro cameras and also offers the best color straight out of camera. However I always found the dynamic range slightly lacking and the color for landscape shots to require some work in post processing to get right, with them bordering on too warm, and oversaturated, too often. The lens lineup is also very polarised even in 2026 with a jump between the cheap and often poor lower end offerings and the very expensive top L lenses. The 50mm 1.2L and particularly the 85mm 1.2L are stunning optics but behemoths to hold and carry. Video shooters should also be aware that the original R5’s overheating problems are still there and mean that if, unlike me you live in a warm climate, you’re quite likely to get overheating issues and shutdowns surprisingly quickly if you use any of the higher end video codecs. If I didn’t shoot the Z8, this is the camera I would choose though for its performance and ergonomics. I just wish I could afford more L glass.

3. Sony A1 II

The final option is the Sony A1II, a camera that can do it all, with the highest resolution sensor here at 50mp the original Sony A1 was groundbreaking for its combination of resolution and speed. The new A1 mark II adds a new Ai processing unit to improve auto focus even further, instantly being able to recognise 7 different types of subjects in its auto mode. The EVF boasts 9mp of resolution with blackout free shooting up to 30fps. The specs of the A1II are incredible, no doubt but in my time it’s the shooting expreience along with the ergonomics that lift both the Nikon and Canon above it. You can customise the A1 II almost limitlessly which means that you can set it up almost exactly how you want it, however that may be. Multiple AF configurations and modes all at the touch of a button, yet the Menu system of Sony still feels disjointed, the colors still require more work in post and the body, although improved in the latest generations, seems to prioirtise size over comfort. There’s absolutely no doubt that the Sony A 1II is an incredible machine. But unlike the Nikon and Canon, it feels like a machine and not a camera. That may not matter to you at all but it does to me. Finally, there’s the price, it’s the most expensive option here.

At this level, all of these cameras will get you great results, from portraiture to sports, landscapes to wildlife, and in my opinion, if you’re not already tied to a brand with a deep investment in lenses, and you’re genuinely a professional earning from photography, buy the camera that gives the most value.

Best Cameras for Landscape Photography

If you’re a landscape photographer, you’re quite lucky as you don’t need to pay for all the bells and whistles on the latest generation of cameras, which mainly focus on autofocus and speed improvements. Actual image quality in terms of dynamic range and resolution has pretty much plateaued for years now.

When looking at the market today, the absolute pinnacle of landscape technology includes heavy-hitting monsters like the Fujifilm GFX100S II and the high-resolution Sony A7R VI. These represent the peak of detail and sensor technology.

However, there is a massive gap between what makes a “best-of” list on paper and what you should actually spend your hard-earned money on. That is why my practical recommendation for landscape photographers points toward older generation powerhouses like the Nikon Z7 II and the original Fujifilm GFX100S, or even lower-tier and legacy models like the OM System OM-1 II, the OM-5, or the legendary Nikon D850.

Why would I steer you toward these? Because for landscape photography, they are still 100% valid. Landscapes don’t run away, sprint across a field, or require lightning-fast AI tracking algorithms. When your camera is locked down on a tripod facing a mountain range at sunrise, an older sensor with incredible base ISO dynamic range and staggering pixel count will deliver identical real-world results to a brand-new body costing thousands more—leaving you with plenty of budget left over for glass, filters, and travel.

Here are the top landscape photography cameras available today. While the top two represent the absolute peak on paper—and the ones I will detail first—my real-world advice is that you should often look toward older generation powerhouses or lower-tier models lower down the list instead, because for landscape work, they are still 100% valid.

• Fujifilm GFX100S II – If you simply want the best possible camera (below the price of a Porsche) for landscape photography, the medium format (yes I know it’s argued it’s not true medium format, but it’s bigger than full frame) Fuji GFX100S II’s 100mp sensor resolution combined with pin-sharp Fuji GF glass is it. It’s weather-sealed, has good ergonomics, and offers everything that a landscape photographer could dream of. To save money, buy a used original GFX100S as I did. It offers the same image quality, just a little less speed in AF and use.

• Sony A7R VI – The Sony A7R cameras have long been loved by landscape photographers for their resolution. With a high-megapixel full-frame sensor along with class-leading dynamic range, if you want the latest and greatest full frame landscape photography camera, the A7R VI combined with some top-tier Sony GM lenses is it. Tip: get a used Sony A7R IV to save money and get very similar image quality.

• Nikon Z7 II – While the Z7 II is from the previous generation of Nikon bodies which are some way behind the likes of the Z8 and Z6 III in terms of autofocus and speed, they match or actually exceed them in terms of image quality. Offering the same 45mp of resolution as the Z9 and Z8 but from an older generation sensor which isn’t stacked, the Z7 II actually has very slightly better dynamic range, with more than enough detail for huge prints. It’s also a smaller and lighter body. I used one for years and combined with Nikon’s pin-sharp Z lenses and its base ISO of 64, it’s as good as any camera out there for the price. It’s weather-sealed, has decent battery life, and is comfortable to use.

• OM System OM-1 Mark II – If you enjoy landscape photography, hiking in all weathers to get to your location and just do it for the joy of being out in nature, despite what some influencers and YouTube would have you believe, the OM-1 Mark II, or even the OM-3, are excellent choices. The Micro Four Thirds sensor is still capable of producing really good image quality, the 20mp sensor can print excellent prints up to 30×20″, you probably won’t need to bring your tripod as hand-held 1-second and longer exposures are easy thanks to the incredible IBIS, and it has every computational mode that you can think of: Live Time and Live Bulb for long exposures, Live ND and Live Grad ND for in-camera long exposure and filter effects, and a hand-held Hi-Res mode of 50mp if your subjects are pretty still. Not to mention the best weather sealing of any camera available with an actual IP rating. Lenses for Micro Four Thirds are also generally smaller and lighter, although the differences at wider focal lengths have been reduced in recent years by the likes of Nikon Z lenses.

• Nikon D850 – The best DSLR ever made and one that I used to own and seriously considered buying again last year. In terms of real life image quality, it’s as good as any mirrorless full-frame model. It’s rugged, weather-sealed, and the battery will last for days. If you can find a good used copy at a bargain and you’re not interested in the advances of mirrorless in terms of video, autofocus, and fancy functions, then the D850, purely for landscape photography, is still an absolute weapon. The only downsides are that they are increasingly hard to find, the lenses are larger and not as sharp as modern Nikon Z lenses, and you won’t get the nice image preview in the viewfinder that you do on mirrorless cameras, so you may find yourself chimping (looking at the rear screen after taking a shot) more.

See the full Nikon D850 review

Best Cameras for Wildlife & Action Photography

If you shoot wildlife and action, you are in the exact opposite position of the landscape photographer: you are entirely at the mercy of technology. Here, autofocus tracking performance, animal and bird eye-detection reliability, burst rates, and optical reach dictate whether you get the shot or come home with an empty memory card.

Before you buy a camera for wildlife photography, first look at the lenses that you will want and my advice would be to pick your camera based on the lens system.

Here are the top wildlife and action photography cameras available today, balanced with smart choices on where you can save your money.

• Sony A1 II – If money is no object and you want the ultimate, no-compromise apex predator of wildlife bodies, this is it. It pairs a blistering 50-megapixel stacked sensor with blackout-free 30fps burst shooting and next-gen AI subject recognition that locks onto birds, mammals, and fast-moving subjects instantly. The tracking reliability is world-class. To save money, look for a used original Sony A1; it delivers nearly identical high-speed tracking and high-res performance for a significantly lower investment. Just be aware that with Sony, once you want more than their 200-600mm lens offers, then you will suddenly face a massive price hike to get access to their top tier telephoto prime lenses.
• Canon EOS R1 – For fast-moving action and sports, the R1 is an absolute powerhouse. It features an integrated battery grip for fast switching between portrait and landscape orientation and longer battery life. Its AI-enhanced autofocus is fiercely fast,with a fully stacked sensor and cross type autofocus points as well as features like pre-continuous shooting. It the best camera in the World for sports and action photography. Canon’s custom button configuration also lets you instantly toggle between multiple distinct tracking modes on the fly.
• Canon EOS R5II – For wildlife, the Canon R5II offers one distinct advantage over the R1, Resolution, which is incredibly important for wildlife photography. It features very fast and reliable autofocus, great handling and solid construction. I shot wildlife on the original Canon R5 and found the autofocus and ability to customise the buttons superb. Once I accounted for the focal length, I was a little underwhelmed with the image quality when comparing it with the RF 100-500mm vs an OM system OM-1 with 300mm f/4 Pro. Canon wildlife glass, beyond the lower and middle tier zoom lenses gets expensive fast.
• Nikon Z9 – The Z9 is an elite-tier wildlife machine. It combines an integrated battery grip with a rugged, all-weather build that can survive absolute abuse in the field with a 45mp sensor and lightning-fast subject detection. Crucially, its biggest wildlife advantage is Nikon’s lens ecosystem: their use of Phase Fresnel (PF) designs makes telephoto lenses like the 400mm f/4.5, 600mm f/6.3, and the incredibly versatile 180-600mm vastly smaller, lighter, and easier to carry into the backcountry than competing glass. In 2026, the Nikon Z9 now offers even better value with price drops taking it under $5000 and with consistant firmware updates, it has improved significantly beyond the camera that was released back in 2021 and took the World by storm.

See the best settings for the Nikon Z8 for wildlife photography

• OM System OM-1 Mark II – Micro Four Thirds excels for wildlife photography, especially if your style involves long hikes carrying heavy gear. The 2x crop factor acts as a built-in teleconverter, meaning your telephoto lenses get double the reach with half the physical size and weight. Combined with blazing-fast electronic shutter burst rates, pre-capture framing (Pro Capture mode) that records frames before you even fully press the shutter, and top-tier weather sealing, it is an incredible field companion. To save money, grab the original OM-1; it shares the core speed and handling ergonomics at a steep discount now that the Mark II is out.

See my full OM-1 review

Best Cameras for Portrait & People Photography

When it comes to portraits, people, and studio work, your priorities shift again. Here, you care less about extreme telephoto reach or 30fps blazing speed, and more about reliable eye-detection autofocus that never loses the subject, flattering color science, and access to incredible glass that renders smooth, creamy background separation.

Here are the top portrait photography cameras available today.

• Fujifilm GFX 100 II – For high-end commercial fashion, studio lookbooks, or ultimate fine-art portraiture where every single pore, strand of hair, and fabric texture matters, medium format is king. The GFX 100 II yields an unmatched sense of depth, three-dimensional pop, and tonal gradation that full-frame sensors simply cannot replicate, paired with blistering processing speeds and top-tier EVF tech. Best lens – GF 110mm f/2.
• Canon EOS R5 Mark II – If you want the ultimate modern portrait machine, Canon takes the crown here. Beyond its stellar 45mp resolution, Canon’s skin tones straight out of camera are historically the most pleasing and natural-looking for human subjects. Coupled with jaw-droppingly fast eye-detection AF that locks onto a subject’s eye instantly—even through hair, hats, or side profiles—it ensures you never miss a fleeting expression. Best lens – RF 85mm 1.2L
• Sony A7 IV – Widely considered the ultimate all-around sweet spot for working portrait photographers. It balances a high-resolution 33mp full-frame sensor with phenomenal real-time eye tracking for both humans and animals, a massive ecosystem of native and third-party lenses (from Sigma, Tamron, and Sony GM), and dual card slots for professional reliability on paid shoots. Best Lens – 85mm 1.4GM II.
• Fujifilm X-T5 – If you prefer a smaller, lighter system for lifestyle, street portraiture, or environmental storytelling, you do not actually need full-frame. Fujifilm’s 40mp APS-C X-T5 gives you incredible detail, gorgeous physical control dials that make shooting feel like an analog experience, and access to legendary film simulations (like Classic Negative and Acros) that save you hours of grueling color grading in Lightroom. Best Lens – 56mm 1.2WR.

See the Fuji 56mm 1.2Wr review

Best Cameras for Street & Documentary Photography

When you are working the streets or capturing documentary projects, your priorities completely change again. You don’t need a heavy tripod rig, massive telephoto reach, or studio-grade multi-lighting sync. You need a camera that is discreet, lightweight, fast to handle, and allows you to blend into the environment without drawing a crowd or intimidating your subjects.

Here are the top street and documentary photography cameras available today.

• Fujifilm X100VI – The ultimate modern street machine. It takes everything people loved about the previous generations and packs a 40mp APS-C sensor, IBIS, and a razor-sharp 23mm f/2 lens (35mm equivalent) into a classic, low-profile body. The hybrid viewfinder lets you shoot like a rangefinder, and the built-in film simulations mean you can nail your look straight out of camera without living behind a computer screen. See my X100Vi review
• Ricoh GR IV / GR IIIx – If true pocketability is your main metric, nothing else touches the Ricoh GR series. It slips easily into a jacket pocket or jeans, boasts an APS-C sensor that punches way above its physical size, and features a snap-focus mechanism that lets you preset a focus distance for lightning-fast, zone-focused street shooting. Choose the standard GR III for a 28mm equivalent field of view or the GR IIIx for a tighter, more natural 40mm perspective. See my Richoh GRIV review.
• Fujifilm X-T5 – If you prefer the flexibility of interchangeable lenses for documentary work while keeping the kit compact, the X-T5 is hard to beat. It pairs physical exposure dials with a 40mp sensor and brilliant subject-detection autofocus, making it small enough for daily street carry yet powerful enough for assigned editorial storytelling. See my Fuji X-T5 review.
• Leica Q3 – If budget is no constraint and you want absolute luxury paired with uncompromising full-frame image quality, the Leica Q3 is a masterpiece. Featuring a stunning fixed 28mm f/1.7 Summilux lens, a high-resolution 60mp sensor, and a gorgeous tactile build, it is arguably the finest high-end documentary compact ever made—provided you are comfortable carrying a very expensive piece of gear through rough urban environments.

Best Cameras for Hybrid & Video Creators

When your workflow demands professional-grade 4K video production alongside high-resolution stills, you need a true hybrid powerhouse. Here are the top hybrid cameras available today.

• Sony A7S III – The undisputed king of low-light video performance. Its 12.1mp full-frame sensor is purpose-built for video, delivering clean, noise-free footage in near darkness, unlimited recording times without overheating, and phenomenal active stabilization.
• Nikon Z6 III – A phenomenal mid-range hybrid tool built around the world’s first partially-stacked CMOS sensor. It brings blistering sensor readout speeds, internal 6K N-RAW and ProRes RAW recording, gorgeous 4K up to 120p slow-motion, and the brilliant subject-detection autofocus inherited straight from Nikon’s flagship Z8 and Z9 bodies.
• Panasonic Lumix S5IIX – Arguably the best value-driven hybrid tool on the market. It brings phase-detect autofocus to the Lumix line for the first time, pairs it with industry-leading internal ProRes recording, external SSD support, and exceptional video-centric tools that punch well above its price tag. It’s also offers the best video workflow of all the cameras here, making video production straight forward. In my opinion, Panasonic’s Natural picture profile is the best Non-Log profile of any camera on the market for those who don’t want to heavily grade their footage.

Conclusion: Finding the Right System for Your Journey

Choosing the right camera in today’s market isn’t about finding a single “best” option—it’s about finding the tool that matches your creative ambition, your budget, and how you love to shoot. Whether you are stepping up from a smartphone, diving into content creation as a hybrid shooter, or building out a professional commercial kit, the options available today offer incredible capability at every level.

That said, while the latest flagship releases are undeniably impressive, they certainly aren’t necessary for everyone. Often, the smartest move is to save your cash by looking at earlier models—or even the used market—and putting that extra money directly toward better glass or actual travel and experiences. A slightly older body with exceptional lenses will almost always outperform the newest sensor paired with mediocre optics.

Ultimately, take a close look at what you love shooting most, evaluate the lenses and features that will actually serve you best, and choose the system that inspires you to get out and capture the world.

Last Updated 7th August 2026: This article was completely rewritten in August 2026. Every recommendation has been re-evaluated against the latest generation of camera bodies to help you make the best buying decision.

Table of contents: Click the links to jump to the relevant section.

• Best Beginner Cameras
• Best Enthusiast Cameras
• Best Professional Cameras
• Best Landscape Photography cameras
• Best Wildlife and Action
• Best for Portraits and People
• Best for Street and Documentary Photography

Disclaimer: This article contains affiliate links. If you purchase through these links, I may earn a small commission at no extra cost to you. If you do purchase through my links then I offer a heartfelt thank you to you as it really does mean that I can keep doing this.

Choosing the best camera is a deeply subjective process. Marketing departments would often have you believe you need the latest, most expensive flagship body to capture great images. That’s simply not true. Finding the right camera is about balancing your budget, your workflow, and what you actually want to photograph and do with your photos.

I’ve spent the last two decades shooting everything from Ricoh compacts to Fujifilm GFX medium format. I started my professional career on Canon, I currently shoot Nikon, Fujifilm, and OM System, and I’ve used most Panasonic cameras along the way. I’ve owned every single generation of Sony’s mirrorless cameras starting back with the original A7R, alongside more recent bodies like the A7IV, as well as owning the Canon R5. I am not tribal in terms of which brands I recommend and simply believe in using the right tool for the job.

This guide breaks down the best system cameras available in 2026 by experience level (beginner, enthusiast, and professional) as well as by specific shooting genres. It is a complete, no-nonsense roadmap designed to help you find the right camera for you.

If you don’t want to change lenses, then see my guide to the best compact cameras.

Best Beginner Cameras

Stepping up from a smartphone or buying your first proper interchangeable lens camera doesn’t mean you need a heavy, complicated flagship body. You want an intuitive tool that offers great out-of-the-box results, reliable autofocus, and room to grow. Here are the top beginner picks spanning performance, value, and smart used buys:

The Top Picks: From All-Rounder to Budget Value

For the Best Overall Experience & Long-Term Growth: Nikon Z50II
If you want a camera that you won’t feel compelled to upgrade in twelve months, the Nikon Z50II is the standout choice. It offers the best handling and comfort in the beginner class, physical controls that make learning enjoyable, full auto modes for simplicity, and gorgeous colors straight out of the camera. Crucially, it brings you into one of the sharpest lens ecosystems available. Trade-off: It sits at a slightly higher price point than basic entry-level competitors.

For the Best Out-of-the-Box Value: Canon EOS R50
The Canon EOS R50 delivers exceptional APS-C image quality and features some of the best beginner-friendly, in-camera guidance modes on the market. Its autofocus—complete with reliable face and eye detection—makes capturing people effortless with Canon’s famously beautiful skin tones straight out of the camera. Trade-off: While it’s a fantastic value upfront, native RF-S lens options are either limited in quality or become quite expensive if you want to move up to their professional L lens range.

The Smart Used Value Buy: Sony Alpha A6500
If you want to keep initial costs under $700 while getting excellent performance, look for a clean used Sony A6500. Even as an older model, Sony’s early autofocus tracking dominance keeps it remarkably competitive today. It packs 4K video, in-body image stabilization (IBIS), and deep customizability into a compact body that stays out of your way. Buying into Sony also unlocks the most expansive budget-to-pro lens lineup today, from cheap f/1.8 primes to elite GM glass. Trade-off: It’s not as comfortable to use as the Canon and Nikon alternatives, and the menu system takes some getting used to. Straight out of camera Jpegs don’t look as natural as those from Nikon or Canon.

To see the Nikon Z50II in use see my recent article

To see more beginner options see my detailed best cameras for beginner article.

Best Enthusiast / Mid-Range Hybrid Cameras

The enthusiast and mid-range sector is easily the most fiercely contested space in the entire camera industry. It’s where gear stops being basic and turns into a true creative tool, balancing high-end performance with sensible weight and cost. I’ve spent more than a decade buying cameras in this exact bracket and have either owned or used almost all of them. Here is how the market’s leading contenders stack up across full-frame, APS-C, and hybrid powerhouses:

One thing that I would like to point out before you read this section is that while these cameras are the latest and greatest for enthusiasts, if you’re budget doesn’t quite stretch to these models, then the previous generation of each model will still offer very similar performance. In terms of actual image quality, we reached a point where it was already more than good enough 5-7 years ago, so improvements with the latest models tend to be in terms of autofocus performance, shooting speeds and video specs. If these arent that important to you then look for a used older generation model.

The Top Contenders: Breaking Down the Lineup

The Ultimate All-Rounder: Nikon Z6III
The Nikon Z6III is an absolute powerhouse, offering pro-level stills and video performance. Its autofocus rivals dedicated professional bodies, and the image quality is superb across dynamic range, color, and versatile RAW files that are effortless to edit. The handling is among the most comfortable available, featuring deep customization (I’ve set mine up to mimic my Z8). The IBIS keeps ISO low for static scenes, and high-ISO performance is seriously impressive. Built rugged enough for the Scottish Highlands and Southeast Asia, it features a fast, bright EVF and robust professional video tools like 4K120 and N-Log. Trade-off: The grip is a little short for larger hands (my pinky rests under it), and dynamic range test charts place it slightly behind its predecessor, though real-world results are stellar.

For more detail see my full Nikon Z6III review

For Speed & Smart Resolution: Sony A7V
The Sony A7V builds directly on the massive success of the A7IV, introducing a partially stacked sensor that dramatically increases operational speed. It delivers blackout-free burst shooting up to 30 fps and eliminates the rolling shutter issues of its predecessor during fast action and video. The 33MP sensor gives you extra room to crop, and Sony’s E-mount lens ecosystem remains unmatched. Trade-off: Handling is still less comfortable than Nikon, Canon and Panasonic options, and straight-out-of-camera colors still lag behind other brands although they have improved in recent years.

For Stills Purists (APS-C): Fujifilm X-T5
If you want to skip full-frame weight and expense, the Fujifilm X-T5 is an incredible still camera. Its 40MP APS-C sensor yields stunning detail, paired with iconic film simulations and physical shutter/ISO dials that mimic classic analogue cameras. Dual SD card slots provide instant backup, and the APS-C lenses stay remarkably compact. Trade-off: While great for daily shooting, its autofocus tracking isn’t as fast or reliable as Sony, Nikon, or Canon when pushed.

The Best Value Full-Frame Buy: Panasonic Lumix S5II / S5IIx
For pure financial value, the Panasonic S5II and S5IIx are unbeatable full-frame workhorses. Featuring a reliable phase-detect AF system, rich color profiles (Natural and L Monochrom D are personal favorites), and incredible bundle deals (like pairing with the 20-60mm and 50mm f/1.8 under $2,500 total), they are tough to beat. For video, the S5IIx is peerless at this price point, offering 4K60, V-Log, USB-C SSD recording, top-tier IBIS boost modes, and a built-in cooling fan. While other hybrid cameras sometimes offer better specs on paper, the S5IIx offers a seemless video workflow that makes it feel purpose built for the job, rather than a stills camera adapted to shoot video. Trade-off: They aren’t built for raw speed; start-up times can feel sluggish, and image playback response can drag.

The Luxury Powerhouse: Canon EOS R6 Mark III
If budget is secondary and you want the ultimate hybrid machine, the Canon EOS R6 Mark III brings a 32MP full-frame sensor, 40fps electronic bursts, open gate 7K60 raw, and 4K120. Canon’s ergonomics and menu logic lead the industry, and third-party lens restrictions are finally lifting. Trade-off: Being a very recent release, its price point sits substantially higher than rivals like the Nikon Z6III.

Note that as of 2026 the previous model, Canon R6II is still available brand new and offers most of what the R6II does at a cheaper price point. It offers a lower resolution 24mp sensor, lower spec video resolution at 4k60p and less advanced autofocus but it’s still a highly capable , comfortable camera with excellent image quality and autofocus that is good enough for most tasks.

Want a deeper look at mid-range bodies, system lens lineups, and setup configurations? Read my full reviews:

Nikon Z6III Review

Fujifilm X-T5 Review.

Best Professional-Level Cameras

Professional cameras are often very specialist tools, and depending on what you shoot, the right answer will change. Here, I’m focusing on the best all-around professional cameras for generalist shooters who want a body capable of performing in every area at a high level. If you need a specialist machine for a specific discipline—such as high-end landscape work or dedicated studio portraiture—skip ahead to the breakdown of the best cameras by genre.

By the time you are at this level, I’m going to assume that you either are already deeply invested in a brand or you know what you want and have researched the specs. So I’m going to give my opinion on the top 3 brands best generalist professional bodies here. For what its worth I have owned and shot with all three of these either in this generation or the last.

In my opinion, all three of these cameras are more than capable of professional level work. All three feature very quick Af with subject detection for various subjects and all three provide excellent image quality that will satisfy any client or print requirement. All are incredibly customisable so can be set up however you prefer and all of them are built with weather sealing and long term high volume use in mind.

1. Nikon Z8

1. Nikon Z8

The Nikon Z8 is the best of the three for 3 main reasons. First is ergonomics and controls. It is the most comfortable to hold and ergonomically pleasing. From the deep integrated grip, to the top LCD screen, a stills first 3-way tilt rear LCD and logical button layout that places everything that you need for quick shooting right where you want it to be, from the on/off switch being wrapped around the shutter button to the ability to setup AF behaviour and AF handovers via Fn buttons. The experience is seamless and in my use both in south east asian typhoons and Scottish Highland winters, the weather sealing is absolutely top tier. The body feels rugged, and built to just get the job done. 45mp resolution is plenty for almost any paying job, combined with quick and reliable and importantly customisable AF performance there is no job the Z8 cannot handle. Video performance with Raw, N-Log and a huge range of codecs is excellent.

Second is the lens lineup. The range of lenses available gives everything from sharp standard zooms to the best wildlife lens lineup available with options such as the 180-600mm, 400mm f/4.5, 600mm and 800mm f/6.3. Nikon’s use of Phase Fresnel designs for their telephoto lenses have made them considerably smaller than competitors.

Nikon also decided to make their f/1.8S prime lenses optically stunning, negating the need to pay for much more expensive f/1.2-1.4 versions simply to attain the optical performance required for professional level work.

See my comprehensive guide to Nikon Z lenses

Third is the price of the Z8 itself. Even at launch it offered everything the flasghsip Z9 offered just in smaller package, yet now in 2026 it can be bought for under $3500. That’s insane value for what is basically flagship performance.

For more detail see my Nikon Z8 full review

2. Canon EOS R5 Mark II

My second chocie would be the Canon R5II. With similar specs to the Nikon Z8, the Canon R5II is another excellent choice. If the Z8 can be thought of as a solid top tier performer that just gets the job done, the R5II is it’s fancy, ai enhanced cousin, particularly when it comes to AF performance which is a notch above the Z8 thanks to even faster and more accurate AF, eye control Af that is space age (when it works) and a host of workflow options in camera including out of focus control and upscaling in camera. Canon’s ergonomics are in my opinion second only to Nikon and their menu system is the best.

The body itself is well built and very comfortable to use for long periods and it offers excellent button customisation and configuration. I had my Canon R5 setup for willdife photography with 3 AF modes instantly accessible at the press of a button which means you’re always ready for the shot. For people and sports, the Cano R5II is the best of the generalist pro cameras and also offers the best color straight out of camera. However I always found the dynamic range slightly lacking and the color for landscape shots to require some work in post processing to get right, with them bordering on too warm, and oversaturated, too often. The lens lineup is also very polarised even in 2026 with a jump between the cheap and often poor lower end offerings and the very expensive top L lenses. The 50mm 1.2L and particularly the 85mm 1.2L are stunning optics but behemoths to hold and carry. Video shooters should also be aware that the original R5’s overheating problems are still there and mean that if, unlike me you live in a warm climate, you’re quite likely to get overheating issues and shutdowns surprisingly quickly if you use any of the higher end video codecs. If I didn’t shoot the Z8, this is the camera I would choose though for its performance and ergonomics. I just wish I could afford more L glass.

3. Sony A1 II

The final option is the Sony A1II, a camera that can do it all, with the highest resolution sensor here at 50mp the original Sony A1 was groundbreaking for its combination of resolution and speed. The new A1 mark II adds a new Ai processing unit to improve auto focus even further, instantly being able to recognise 7 different types of subjects in its auto mode. The EVF boasts 9mp of resolution with blackout free shooting up to 30fps. The specs of the A1II are incredible, no doubt but in my time it’s the shooting expreience along with the ergonomics that lift both the Nikon and Canon above it. You can customise the A1 II almost limitlessly which means that you can set it up almost exactly how you want it, however that may be. Multiple AF configurations and modes all at the touch of a button, yet the Menu system of Sony still feels disjointed, the colors still require more work in post and the body, although improved in the latest generations, seems to prioirtise size over comfort. There’s absolutely no doubt that the Sony A 1II is an incredible machine. But unlike the Nikon and Canon, it feels like a machine and not a camera. That may not matter to you at all but it does to me. Finally, there’s the price, it’s the most expensive option here.

At this level, all of these cameras will get you great results, from portraiture to sports, landscapes to wildlife, and in my opinion, if you’re not already tied to a brand with a deep investment in lenses, and you’re genuinely a professional earning from photography, buy the camera that gives the most value.

Best Cameras for Landscape Photography

If you’re a landscape photographer, you’re quite lucky as you don’t need to pay for all the bells and whistles on the latest generation of cameras, which mainly focus on autofocus and speed improvements. Actual image quality in terms of dynamic range and resolution has pretty much plateaued for years now.

When looking at the market today, the absolute pinnacle of landscape technology includes heavy-hitting monsters like the Fujifilm GFX100S II and the high-resolution Sony A7R VI. These represent the peak of detail and sensor technology.

However, there is a massive gap between what makes a “best-of” list on paper and what you should actually spend your hard-earned money on. That is why my practical recommendation for landscape photographers points toward older generation powerhouses like the Nikon Z7 II and the original Fujifilm GFX100S, or even lower-tier and legacy models like the OM System OM-1 II, the OM-5, or the legendary Nikon D850.

Why would I steer you toward these? Because for landscape photography, they are still 100% valid. Landscapes don’t run away, sprint across a field, or require lightning-fast AI tracking algorithms. When your camera is locked down on a tripod facing a mountain range at sunrise, an older sensor with incredible base ISO dynamic range and staggering pixel count will deliver identical real-world results to a brand-new body costing thousands more—leaving you with plenty of budget left over for glass, filters, and travel.

Here are the top landscape photography cameras available today. While the top two represent the absolute peak on paper—and the ones I will detail first—my real-world advice is that you should often look toward older generation powerhouses or lower-tier models lower down the list instead, because for landscape work, they are still 100% valid.

• Fujifilm GFX100S II – If you simply want the best possible camera (below the price of a Porsche) for landscape photography, the medium format (yes I know it’s argued it’s not true medium format, but it’s bigger than full frame) Fuji GFX100S II’s 100mp sensor resolution combined with pin-sharp Fuji GF glass is it. It’s weather-sealed, has good ergonomics, and offers everything that a landscape photographer could dream of. To save money, buy a used original GFX100S as I did. It offers the same image quality, just a little less speed in AF and use.

• Sony A7R VI – The Sony A7R cameras have long been loved by landscape photographers for their resolution. With a high-megapixel full-frame sensor along with class-leading dynamic range, if you want the latest and greatest full frame landscape photography camera, the A7R VI combined with some top-tier Sony GM lenses is it. Tip: get a used Sony A7R IV to save money and get very similar image quality.

• Nikon Z7 II – While the Z7 II is from the previous generation of Nikon bodies which are some way behind the likes of the Z8 and Z6 III in terms of autofocus and speed, they match or actually exceed them in terms of image quality. Offering the same 45mp of resolution as the Z9 and Z8 but from an older generation sensor which isn’t stacked, the Z7 II actually has very slightly better dynamic range, with more than enough detail for huge prints. It’s also a smaller and lighter body. I used one for years and combined with Nikon’s pin-sharp Z lenses and its base ISO of 64, it’s as good as any camera out there for the price. It’s weather-sealed, has decent battery life, and is comfortable to use.

• OM System OM-1 Mark II – If you enjoy landscape photography, hiking in all weathers to get to your location and just do it for the joy of being out in nature, despite what some influencers and YouTube would have you believe, the OM-1 Mark II, or even the OM-3, are excellent choices. The Micro Four Thirds sensor is still capable of producing really good image quality, the 20mp sensor can print excellent prints up to 30×20″, you probably won’t need to bring your tripod as hand-held 1-second and longer exposures are easy thanks to the incredible IBIS, and it has every computational mode that you can think of: Live Time and Live Bulb for long exposures, Live ND and Live Grad ND for in-camera long exposure and filter effects, and a hand-held Hi-Res mode of 50mp if your subjects are pretty still. Not to mention the best weather sealing of any camera available with an actual IP rating. Lenses for Micro Four Thirds are also generally smaller and lighter, although the differences at wider focal lengths have been reduced in recent years by the likes of Nikon Z lenses.

• Nikon D850 – The best DSLR ever made and one that I used to own and seriously considered buying again last year. In terms of real life image quality, it’s as good as any mirrorless full-frame model. It’s rugged, weather-sealed, and the battery will last for days. If you can find a good used copy at a bargain and you’re not interested in the advances of mirrorless in terms of video, autofocus, and fancy functions, then the D850, purely for landscape photography, is still an absolute weapon. The only downsides are that they are increasingly hard to find, the lenses are larger and not as sharp as modern Nikon Z lenses, and you won’t get the nice image preview in the viewfinder that you do on mirrorless cameras, so you may find yourself chimping (looking at the rear screen after taking a shot) more.

See the full Nikon D850 review

Best Cameras for Wildlife & Action Photography

If you shoot wildlife and action, you are in the exact opposite position of the landscape photographer: you are entirely at the mercy of technology. Here, autofocus tracking performance, animal and bird eye-detection reliability, burst rates, and optical reach dictate whether you get the shot or come home with an empty memory card.

Before you buy a camera for wildlife photography, first look at the lenses that you will want and my advice would be to pick your camera based on the lens system.

Here are the top wildlife and action photography cameras available today, balanced with smart choices on where you can save your money.

• Sony A1 II – If money is no object and you want the ultimate, no-compromise apex predator of wildlife bodies, this is it. It pairs a blistering 50-megapixel stacked sensor with blackout-free 30fps burst shooting and next-gen AI subject recognition that locks onto birds, mammals, and fast-moving subjects instantly. The tracking reliability is world-class. To save money, look for a used original Sony A1; it delivers nearly identical high-speed tracking and high-res performance for a significantly lower investment. Just be aware that with Sony, once you want more than their 200-600mm lens offers, then you will suddenly face a massive price hike to get access to their top tier telephoto prime lenses.
• Canon EOS R1 – For fast-moving action and sports, the R1 is an absolute powerhouse. It features an integrated battery grip for fast switching between portrait and landscape orientation and longer battery life. Its AI-enhanced autofocus is fiercely fast,with a fully stacked sensor and cross type autofocus points as well as features like pre-continuous shooting. It the best camera in the World for sports and action photography. Canon’s custom button configuration also lets you instantly toggle between multiple distinct tracking modes on the fly.
• Canon EOS R5II – For wildlife, the Canon R5II offers one distinct advantage over the R1, Resolution, which is incredibly important for wildlife photography. It features very fast and reliable autofocus, great handling and solid construction. I shot wildlife on the original Canon R5 and found the autofocus and ability to customise the buttons superb. Once I accounted for the focal length, I was a little underwhelmed with the image quality when comparing it with the RF 100-500mm vs an OM system OM-1 with 300mm f/4 Pro. Canon wildlife glass, beyond the lower and middle tier zoom lenses gets expensive fast.
• Nikon Z9 – The Z9 is an elite-tier wildlife machine. It combines an integrated battery grip with a rugged, all-weather build that can survive absolute abuse in the field with a 45mp sensor and lightning-fast subject detection. Crucially, its biggest wildlife advantage is Nikon’s lens ecosystem: their use of Phase Fresnel (PF) designs makes telephoto lenses like the 400mm f/4.5, 600mm f/6.3, and the incredibly versatile 180-600mm vastly smaller, lighter, and easier to carry into the backcountry than competing glass. In 2026, the Nikon Z9 now offers even better value with price drops taking it under $5000 and with consistant firmware updates, it has improved significantly beyond the camera that was released back in 2021 and took the World by storm.

See the best settings for the Nikon Z8 for wildlife photography

• OM System OM-1 Mark II – Micro Four Thirds excels for wildlife photography, especially if your style involves long hikes carrying heavy gear. The 2x crop factor acts as a built-in teleconverter, meaning your telephoto lenses get double the reach with half the physical size and weight. Combined with blazing-fast electronic shutter burst rates, pre-capture framing (Pro Capture mode) that records frames before you even fully press the shutter, and top-tier weather sealing, it is an incredible field companion. To save money, grab the original OM-1; it shares the core speed and handling ergonomics at a steep discount now that the Mark II is out.

See my full OM-1 review

Best Cameras for Portrait & People Photography

When it comes to portraits, people, and studio work, your priorities shift again. Here, you care less about extreme telephoto reach or 30fps blazing speed, and more about reliable eye-detection autofocus that never loses the subject, flattering color science, and access to incredible glass that renders smooth, creamy background separation.

Here are the top portrait photography cameras available today.

• Fujifilm GFX 100 II – For high-end commercial fashion, studio lookbooks, or ultimate fine-art portraiture where every single pore, strand of hair, and fabric texture matters, medium format is king. The GFX 100 II yields an unmatched sense of depth, three-dimensional pop, and tonal gradation that full-frame sensors simply cannot replicate, paired with blistering processing speeds and top-tier EVF tech. Best lens – GF 110mm f/2.
• Canon EOS R5 Mark II – If you want the ultimate modern portrait machine, Canon takes the crown here. Beyond its stellar 45mp resolution, Canon’s skin tones straight out of camera are historically the most pleasing and natural-looking for human subjects. Coupled with jaw-droppingly fast eye-detection AF that locks onto a subject’s eye instantly—even through hair, hats, or side profiles—it ensures you never miss a fleeting expression. Best lens – RF 85mm 1.2L
• Sony A7 IV – Widely considered the ultimate all-around sweet spot for working portrait photographers. It balances a high-resolution 33mp full-frame sensor with phenomenal real-time eye tracking for both humans and animals, a massive ecosystem of native and third-party lenses (from Sigma, Tamron, and Sony GM), and dual card slots for professional reliability on paid shoots. Best Lens – 85mm 1.4GM II.
• Fujifilm X-T5 – If you prefer a smaller, lighter system for lifestyle, street portraiture, or environmental storytelling, you do not actually need full-frame. Fujifilm’s 40mp APS-C X-T5 gives you incredible detail, gorgeous physical control dials that make shooting feel like an analog experience, and access to legendary film simulations (like Classic Negative and Acros) that save you hours of grueling color grading in Lightroom. Best Lens – 56mm 1.2WR.

See the Fuji 56mm 1.2Wr review

Best Cameras for Street & Documentary Photography

When you are working the streets or capturing documentary projects, your priorities completely change again. You don’t need a heavy tripod rig, massive telephoto reach, or studio-grade multi-lighting sync. You need a camera that is discreet, lightweight, fast to handle, and allows you to blend into the environment without drawing a crowd or intimidating your subjects.

Here are the top street and documentary photography cameras available today.

• Fujifilm X100VI – The ultimate modern street machine. It takes everything people loved about the previous generations and packs a 40mp APS-C sensor, IBIS, and a razor-sharp 23mm f/2 lens (35mm equivalent) into a classic, low-profile body. The hybrid viewfinder lets you shoot like a rangefinder, and the built-in film simulations mean you can nail your look straight out of camera without living behind a computer screen. See my X100Vi review
• Ricoh GR IV / GR IIIx – If true pocketability is your main metric, nothing else touches the Ricoh GR series. It slips easily into a jacket pocket or jeans, boasts an APS-C sensor that punches way above its physical size, and features a snap-focus mechanism that lets you preset a focus distance for lightning-fast, zone-focused street shooting. Choose the standard GR III for a 28mm equivalent field of view or the GR IIIx for a tighter, more natural 40mm perspective. See my Richoh GRIV review.
• Fujifilm X-T5 – If you prefer the flexibility of interchangeable lenses for documentary work while keeping the kit compact, the X-T5 is hard to beat. It pairs physical exposure dials with a 40mp sensor and brilliant subject-detection autofocus, making it small enough for daily street carry yet powerful enough for assigned editorial storytelling. See my Fuji X-T5 review.
• Leica Q3 – If budget is no constraint and you want absolute luxury paired with uncompromising full-frame image quality, the Leica Q3 is a masterpiece. Featuring a stunning fixed 28mm f/1.7 Summilux lens, a high-resolution 60mp sensor, and a gorgeous tactile build, it is arguably the finest high-end documentary compact ever made—provided you are comfortable carrying a very expensive piece of gear through rough urban environments.

Best Cameras for Hybrid & Video Creators

When your workflow demands professional-grade 4K video production alongside high-resolution stills, you need a true hybrid powerhouse. Here are the top hybrid cameras available today.

• Sony A7S III – The undisputed king of low-light video performance. Its 12.1mp full-frame sensor is purpose-built for video, delivering clean, noise-free footage in near darkness, unlimited recording times without overheating, and phenomenal active stabilization.
• Nikon Z6 III – A phenomenal mid-range hybrid tool built around the world’s first partially-stacked CMOS sensor. It brings blistering sensor readout speeds, internal 6K N-RAW and ProRes RAW recording, gorgeous 4K up to 120p slow-motion, and the brilliant subject-detection autofocus inherited straight from Nikon’s flagship Z8 and Z9 bodies.
• Panasonic Lumix S5IIX – Arguably the best value-driven hybrid tool on the market. It brings phase-detect autofocus to the Lumix line for the first time, pairs it with industry-leading internal ProRes recording, external SSD support, and exceptional video-centric tools that punch well above its price tag. It’s also offers the best video workflow of all the cameras here, making video production straight forward. In my opinion, Panasonic’s Natural picture profile is the best Non-Log profile of any camera on the market for those who don’t want to heavily grade their footage.

Conclusion: Finding the Right System for Your Journey

Choosing the right camera in today’s market isn’t about finding a single “best” option—it’s about finding the tool that matches your creative ambition, your budget, and how you love to shoot. Whether you are stepping up from a smartphone, diving into content creation as a hybrid shooter, or building out a professional commercial kit, the options available today offer incredible capability at every level.

That said, while the latest flagship releases are undeniably impressive, they certainly aren’t necessary for everyone. Often, the smartest move is to save your cash by looking at earlier models—or even the used market—and putting that extra money directly toward better glass or actual travel and experiences. A slightly older body with exceptional lenses will almost always outperform the newest sensor paired with mediocre optics.

Ultimately, take a close look at what you love shooting most, evaluate the lenses and features that will actually serve you best, and choose the system that inspires you to get out and capture the world.

Frequently Asked Questions

Should I buy a crop-sensor (APS-C) or full-frame camera in 2026?

For most enthusiasts and beginners, an APS-C camera offers the best balance of performance, weight, and cost. Modern APS-C sensors (like those in the Nikon Z50II or Fujifilm X-T5) produce exceptional image quality that easily satisfies large print requirements. Go full-frame only if you frequently shoot in extreme low light, need ultra-shallow depth of field, or require maximum cropping flexibility for professional commercial work.

Is buying used camera gear safe?

Buying used is one of the smartest ways to stretch your photography budget. Trusted retailers (such as MPB or KEH) rigorously test gear, assign accurate condition ratings, and offer warranties. If buying private, always check shutter count, inspect sensor glass for scratches, and test all dials and electronic contacts before finalizing the purchase.

How much should I spend on lenses versus the camera body?

A golden rule in photography is to invest in your glass. A modest camera body paired with a sharp, high-performance prime or professional zoom lens will almost always outperform an expensive flagship body bogged down by a cheap, low-end kit lens. Lenses retain their value far longer than camera bodies, too.

Frequently Asked Questions

Should I buy a crop-sensor (APS-C) or full-frame camera in 2026?

For most enthusiasts and beginners, an APS-C camera offers the best balance of performance, weight, and cost. Modern APS-C sensors (like those in the Nikon Z50II or Fujifilm X-T5) produce exceptional image quality that easily satisfies large print requirements. Go full-frame only if you frequently shoot in extreme low light, need ultra-shallow depth of field, or require maximum cropping flexibility for professional commercial work.

Is buying used camera gear safe?

Buying used is one of the smartest ways to stretch your photography budget. Trusted retailers (such as MPB or KEH) rigorously test gear, assign accurate condition ratings, and offer warranties. If buying private, always check shutter count, inspect sensor glass for scratches, and test all dials and electronic contacts before finalizing the purchase.

How much should I spend on lenses versus the camera body?

A golden rule in photography is to invest in your glass. A modest camera body paired with a sharp, high-performance prime or professional zoom lens will almost always outperform an expensive flagship body bogged down by a cheap, low-end kit lens. Lenses retain their value far longer than camera bodies, too.

Which camera brand offers the best overall value for professional work?

Nikon currently offers exceptional value for money at a professional level. It delivers flagship-level performance, robust weather sealing, and access to a brilliant compact telephoto lens lineup at a significantly lower price point than competing professional bodies.

Are older, previous-generation camera models still worth buying?

Yes. Camera technology reached a point years ago where pure image quality is more than good enough for most professional and personal needs. Buying a previous-generation model saves a substantial amount of money while still giving you stellar performance.

Do I need a full-frame camera to get professional image quality?

No. While full-frame sensors have advantages in extreme low-light performance and shallow depth-of-field control, modern high-resolution APS-C and medium format systems easily deliver professional-grade image quality suitable for commercial print and digital publishing.

In this latest showdown between the Olympus Pen F vs OMD EM5 II I’ll take a look at these two popular Micro 4/3 cameras and compare features, handling and image quality to see which one you should buy.

I have had both these cameras for a couple of months now so I have been able to really get to know them. As always with my reviews I bought both cameras myself and have no bias either way. I simply test them, shoot them and tell you how it is. You can also see how the Pen F fares in my Olympus Pen F vs Fuji X100T showdown Or if you simply want to see more about the those two cameras then see my Olympus Pen F Review or Fuji X100T Review . You can see my full Olympus OMD EM5 II review here

Olympus Pen F vs OMD EM5 II – Features

So let’s take a quick look at the features of each camera before we delve a little deeper to put them up against each other in real World use.

Olympus Pen F features

• New 20mp sensor  The new sensor gives an image size of 5184 x 3888 pixels
• 5 Axis Image Stabilisation built in to the body. 
• 2.36 million dot OLED Viewfinder. The viewfinder on the Pen F is the same as that found in the Olympus OM-D E-M10 II offering 1.23x magnification.
• 10 FPS mechanical shutter and up to 20FPS with the electronic shutter. 
• Fully articulating 1.04 million dot 3″ touch screen LCD screen.
• 50mp High res shot mode.
• 1/8000 mechanical shutter speed , 1/16000 with the electronic shutter.
• 1080/60p video.
• Colour Wheel control dial giving access to fine tuning of black and white, colour and ART profiles.

Olympus OMD EM5 II Features

• 16mp sensor The OMD EM5 II sensor gives an image size of 4608 x 3456
• 5 Axis IS built in to the body
• 2.36 million dot OLED Viewfinder Offering 1.48x magnification
• 10 FPS mechanical shutter
• Fully articulating 1.04 million dot 3″ touch screen LCD
• 40mp High res shot mode
• 1/8000 mechanical shutter speed, 1/16000 with electronic shutter. 
• 1080/60p video
• Fully weather sealed body

As you can see when comparing the Olympus Pen F vs OMD EM5 II  these two cameras are more similar than their looks may suggest. The major differences are the new 20mp sensor found in the Pen F, the range finder style of the Pen F placing the viewfinder on the left of the camera rather than having the centrally located viewfinder hump of the OMD EM5 II and the weather sealing offered with the EM5 II which is lacking on the Pen F.

Both cameras feature a 2.36 million dot OLED viewfinder but the OMD EM5 II offers more magnification which results in a larger and more detailed image. In practical use the differences are not huge and are only really noticeable when switching straight from one camera to the next. Both offer a clear and crisp view of your subject and both work well in low light. Manually focusing is slightly easier on the EM5 II thanks to the larger view offered.

The Pen F does not feature weather sealing unlike the OMD EM5 II. If you plan to use your camera in adverse weather conditions such as rain, snow or in dusty environments then the weather sealing of the OMD EM5 II is a real advantage. Assuming of course that you have matching weather sealed lenses such as the Olympus 12-40mm f/2.8 Pro.

The Pen F is more suited to use with small and light primes which themselves are not weather sealed so it makes sense for the Pen F to also lack weather sealing. Still a big plus for the EM5 II here.

Olympus Pen F vs Olympus OMD EM 5 II – Handling

Handling of the two cameras is a very important factor when trying to decide between them.

Size wise they feel very similar at 125 x 72 x 37 mm (Pen F) and 124 x 85 x 45 mm (EM5 II) although the Pen F comes in a little lighter at 427 grams compared to the EM5 II’s 469 grams. In reality the differences are marginal

The EM5 II offers a more standard mini DSLR feel with a viewfinder hump in the middle and a small hand grip on the front. It feels well-balanced with even the larger pro zoom lenses in the Olympus range.

On the other hand the Pen F is a range finder styled camera with its viewfinder placed on the left hand side. This will suit right eye dominant shooters. There is no grip on the front of the camera but the thumb rest on the rear does give enough purchase to comfortably hand hold the camera with one hand when using primes. The Pen F features a more simple external layout with less function buttons on the top plate. This makes the Pen F feel less cramped in use. It also features a physical exposure compensation dial which is well damped. In reality I’m not sure how much a physical exposure compensation dial really adds to a camera where you are still changing shutter speed and aperture in the standard way with the front and rear control dials.

The finish on both cameras is excellent with them both sporting good build quality, well damped dials and magnesium alloy bodies. Both have a high quality leatherette wrap which adds to grip. The buttons on the OMD EM5 II feel slightly more rubberised when pressing them due to the weather sealing but both give good feedback in use.

Both cameras feature 1.04 million dot 3″ touch screen LCD’s but the Pen F’s is easier to use as I sometimes found that when opening the EM5 II’s screen it would pop the electronic viewfinder eyepiece off. This was a rather common and irritating occurrence leading me to spend 20 minutes trying to find where the eyepiece was on one occasion.

The Pen F’s LCD screen is also easier to open as the back is less cluttered and easier to position your fingers to get decent grip. I can open the Pen F LCD quickly using my thumb at the bottom to flick it out. If I use the same technique on the EM5 II it causes the LCD to push up slightly which then pops the viewfinder eyepiece off.

One feature of the Olympus Pen F is the ability to use the LCD screen as an auto focus track pad when shooting through the viewfinder. Simply slide your thumb around the screen to change the position of the auto focus point. In practise it works well and is a very quick way to change your AF point.

You can see this in action in my video below. It is important to note that when actually doing this in practise the viewfinder shows the auto focus points spread too.

I also noticed that there was less lag when switching between the LCD and electronic viewfinder with the Pen F. On occasion the OMD EM5 II would fail to pick up that I had switched resulting in staring at a black viewfinder.

With the addition of the new colour wheel the Pen F allows you direct access to the new black and white mode as well as a new colour mode alongside the Art modes.

If you shoot Jpeg and like black and white then having direct access to these as well as a dedicated switch on the rear of the camera to cycle through the options not only saves time but involves less diving in to menus. I’ll talk more on the actual black and white output in the image quality comparison below.

Both cameras feature Olympus’ excellent 5 axis IS but I found it to be slightly more effective on the EM5 II probably due to the lower resolution sensor. I could handhold the Pen F down to 1/2 second but could stretch that to 1 second with the EM5 II.

The EM5 II also features a separate memory card slot whereas the Pen F memory card fits in to the battery compartment and removing the memory card can sometimes be a bit fiddly as there is not much room to grip the memory card when extracting it.

Olympus Pen F vs OMD EM5 II – Image quality

So here the Pen F’s new 20mp sensor goes up against the 16mp sensor of the OMD EM5 II.

I have shot both of these cameras in loads of different situations from brightly lit portraits to landscapes and night shots to get a real feel for how they both perform.

Resolution

The Pen F offers an image size of 5184 x 3888 compared with the EM5 II’s 4608 x 3456 pixels. If you pixel peep you can see a very small increase in the resolution and detail of the Pen F images when compared to the EM5 II. The differences are small though and you wont even notice them in every shot you take. For me this difference was most noticeable in portrait shots when looking at eyelashes and eyebrows with the Pen F image just giving a little more detail.

The Pen F image also shows slightly improved dynamic range with the EM5 II blowing out highlights more than the Pen F and showing less detail in shadows. The differences are not huge but they are there. The two images below were shot at exactly the same settings on both cameras.

Although the image quality improvements of the Pen F are not huge the slight improvements in almost every area are welcome.

Noise performance between the two sensors is very close with again just a slight advantage going to the Pen F.

At base ISO I found that often the EM5 II image had some noise whereas I never saw this with the Pen F. I remember the base noise found on my original OMD EM5 put me off using it for professional landscape work. I’m glad to see the Pen F seems to have resolved this issue.  Once the ISO is pushed to 3200 and above the noise performance of both cameras was very similar with the Pen F just retaining a little more detail in the raw files thanks to it’s higher resolution. It looks like Olympus kept the same noise performance while increasing resolution so while this is not mind-blowing it is a decent enough upgrade.

Olympus Pen F vs OMD EM5 II – Black and white

One of the main new features of the Pen F is the colour wheel found on the front of the camera. As mentioned before it allows you direct access to among other options the black and white modes.

The Pen F has 3 black and white profiles compared with the EM5 II’s 1. Profile 1 is a flat monochrome, 2 is the Tri X high contrast look and 3 is an infra-red esque mode.

Profile 2 is by far and away the nicest to use.

When selecting black and white on the colour wheel you then choose your preferred profile in the Olympus Super Control Panel and whether to add grain or not (available in 3 strengths). You then access the colour wheel controls via a dial on the back. This then gives access to colour filters which unlike the OMD EM5 II are available in 3 varying strengths. Next up you can add a vignette to brighten or darken the corners and finally you have access to the images tone curve. You can also access the tone curve on the EM5 II but with the Pen F you can adjust the mid-tones too.

In terms of in camera customisation the Pen F wins here with more options and quicker access. Monochrome profile 2 can produce really pleasing black and white images and no matter what I did with the EM5 II I could not replicate the results of the Pen F’ built in profile.

Adding grain On the Pen F

Adding grain is really simple and adjustable in 3 stages, low, medium and high. Below are examples of the grain produced by the Olympus Pen F.

If you want the best image quality between these two cameras then the Pen F wins but in my opinion the differences in image quality are not enough to be the decisive factor when deciding between these two cameras.

Olympus Pen F vs OMD EM5 II – Conclusion

So which camera is the best?

In its favour the OMD EM5 II is weather sealed, has a bigger viewfinder, separate memory card slot, front hand grip and a 3.5mm external mic jack and it feels better when combined with larger lenses. It is also cheaper than the Pen F by a couple of hundred Pounds.

In favour of the Pen F are 20mp sensor, improved image quality, faster performance, additional Jpeg customisation, LCD track pad functionality.

There is no doubt that the OMD EM5 II is the better value camera, offering almost everything that the Pen F does in terms of features and image quality while being weather sealed, offering a better viewfinder and at a cheaper price. If you plan to use your camera in wet, cold, dusty conditions and team it up with a weather sealed lens then the choice is clear. Get the EM5 II. If you manually focus then you may also appreciate the larger viewfinder.

However the Pen F is the more fun camera to shoot with. The camera feels and looks great with small prime lenses, making a great fun and discreet street photography tool. The image quality is slightly improved over the EM5 II so if you want the best image quality that Olympus currently offers then the Pen F is the winner.

The new black and white modes and colour wheel are very intuitive to use and they offer great control over Jpeg output. Even as someone who used to shoot raw I found this mode highly addictive and the results are very pleasing. If you like the rangefinder style and are right eye dominant then the track pad auto focus selection is excellent.

Shoot zooms in bad weather and want the best value camera then buy the OMD EM5 II

Shoot primes, don’t need weather sealing and want the best IQ of the two then buy the Pen F.

Both are great cameras and fun to use but the Pen F is a camera that feels like it has a soul and I really enjoy using it. The EM5 II feels like a tool and a very good one but it feels much more clinical than the Pen F. If I am taking just one camera out with me then the Pen F comes along and the EM5 II stays in my bag. That sums it up really. The Pen F inspires me to shoot when the EM5 II doesn’t.

You can see more image examples and information in my Olympus Pen F Review  or maybe you are considering the Pen F vs Fuji X100T if so check out that comparison.
Make sure to comment below and let me know which camera you prefer and why. Which one did you end up buying and did you make the right choice?

The Pen F and OM-D E-M5 II are both available from my Amazon links below. If you appreciate the time that I have put in (and it has been a lot of time today. Uploading the video alone took 7 hours thanks to a slow internet connection) to creating this article and video for you then please shop using my links. You can buy through them at absolutely no additional cost to you and no matter what you purchase I receive a small commission from the retailer. That commission helps me to keep this site going and to keep bringing you real world reviews and comparisons. It is the only way I make any money for all the time and effort that I put in to this website so thank you to each and every one of you who shops through the links below.

In this Olympus Pen F Review I shall build on my Olympus Pen F first impressions after having had the camera for quite a while now.

Olympus Pen F Review – Features

Lets take a look at what the Olympus Pen F offers in terms of features as the latest Olympus camera in the Micro 4/3 format.

• New 20mp sensor which is the first resolution upgrade we have had in a long time for an Olympus Micro 4/3 camera. The new sensor gives and image size of 5184 x 3888 pixels compared with 4608 x 3456 found on the previous 16mp sensor in cameras lie the OM-D E-M5 II. These added pixels are always welcome as long as they don’t come at the expense of noise. In my testing I have found that the noise performance of the new sensor is slightly improved over the older sensors, offering less noise at base ISO (200) and similar noise performance at higher ISO’s such as 3200 and 6400. The benefit of the extra resolution is noticeable even at higher ISO settings where noise performance remains similar but retains more detail in shots.
• 5 Axis Image Stabilisation built in to the body. Olympus’ 5 axis IS is simply the best in the industry. It is a fantastic feature which allows you to hand hold shots at implausibly low shutter speeds. In my testing I found the 5 axis IS to not be quite as effective as that found on the OM-D E-M5 II probably because of the increased resolution of the Pen F. I can comfortably handhold at 1/2 second on the Pen F whereas I can do so at 1 second on the E-M5 II.
• 2.36 million dot OLED Viewfinder. The viewfinder on the Pen F is the same as that found in the Olympus OM-D E-M10 II. It is a very good viewfinder offering nice bright, clear view although slightly smaller than that found in the OM-D E-M5 II it is still very good in use offering a large enough view to clearly compose your photos.
• 10 FPS mechanical shutter and up to 20FPS with the electronic shutter. The Pen F is not built for fast action but with a fast 10FPS shutter speed it certainly ha no problems capturing the decisive moment.
• Fully articulating 1.04 million dot 3″ LCD screen. The fully articulating screen on the Pen F is a pleasure to use. It can be folded back in to the body with the screen facing inwards to protect it from damage. This is also a useful feature for those that prefer to use the viewfinder. The LCD screen can also be used as a trackpad for auto focus when using the viewfinder. Simply slide your thumb across the screen to change your auto focus selection point.
• 50mp High res shot mode. This actually produces a 64mb Jpeg and an 80mb raw file. In practise it’s us is limited to static subjects but when you can use it oh wow the results are fantastic. The image is more detailed than any full frame Image I have seen and the colour detail and accuracy is improved too. Great for architectural, product and still life photography.
• 1/8000 mechanical shutter speed , 1/16000 with the electronic shutter. Thanks to the fast top shutter speed I have always found it possible to shoot wide open in bright light.
• 1080/60p video. Some of the product shots on my videos are shot with the Olympus Pen F and the video is clean and shows no artifacting. 4K would have been nice but this is a still orientated camera. Video with the Pen F and it’s 5 axis IS is great for being able to grab steady handheld footage.
• Colour Wheel control dial givng access to fine tuning of black and white, colour and ART profiles. I’ll talk more about this later but for now I’ll say that this feature is a lot of fun to use and produces beautiful black and white photos.

Olympus Pen F Review- Build Quality

Firstly let’s go back over the build quality because I think this is worth re-stating as Olympus deserve some serious credit here.

Weighing in at 427grams and measuring 125 x 72 x 37mm the Pen F is a small camera but it doesn’t feel light or cheap.

The body itself feels solid, much more so than Fuji cameras. While the body is smaller than Fuji X cameras it is in the same ball park and actually feels heavier than the X100T for example. But it does not feel heavy in use, just reassuringly solid.

The Olympus Pen F offers fantastic build quality. Each knob and dial is well made, gives a solid feel and offers great tactile feedback when in use. The exposure compensation dial is certainly stiffer than that on the Fuji X series cameras and as a result it does not get easily knocked and ruin shots. It stays in place until you want to change it.

I’ve seen a lot of reviews saying there are no visible screws on this camera and this is true although I don’t know why so much is made of this. Perhaps Olympus wanted reviewers to mention this for some reason. While it’s true I prefer to note the high quality materials and feel of the Pen F. Magnesium alloy body, metal dials and a nice faux leatherette material wrapping the body for grip.

I like the on/off dial rather than a switch, the shutter dial feels great in use and as mentioned the exposure compensation dial has just enough resistance to stop unintended movements.

Olympus Pen F Review – Handling

Let’s be honest, we all buy Mirrorless cameras because we don’t want the weight of a DSLR system but that doesn’t mean we want to give up decent ergonomics and handling.

The Pen F wont suit everyone as it doesn’t offer a front grip to wrap your finger around although there is an optional front grip available.

What it does offer is a very balanced camera when combined with small prime lenses like the Olympus 17mm f/1.8 and 45mm f/1.8.

I found the camera to be comfortable in use. In fact it is a delight to use because of the way that Olympus has really thought about the design of the Pen F.

The thumb grip on the reverse gives plenty of purchase and due to its small size my ring finger sits under the base of the camera offering all the grip I need. What I also like is that on this model the strap lug does not get in the way as I found on my old OM-D E-M5.

The new front control dial which controls art effects and more importantly black and white output doesn’t get in my way at all. In fact it feels perfectly positioned to me. Ideally it would be customisable for those that don’t want or need to use the new dial as intended and perhaps Olympus will add this with firmware in the future.

You now have four custom settings on the PASM Dial which allows you to set up the camera to quickly switch to your favourite settings. The only issue I have with this is that the custom modes don’t allow you to switch between the black and white mode and colour modes. For example I wanted to have C1 assigned to my colour portrait settings, C2 for landscape shots and then C3 & C4 set to the black and white modes that I had tweaked with curves and filters. However if you are in standard colour mode on the front dial, changing to C3 will not take you into your black and white settings. You will still have to turn the colour control dial on the front.

All the buttons on the reverse of the camera offer decent feedback and as always with Olympus the camera is so customisable that you can set it up almost exactly how you want it.

The fully articulated LCD screen is bright and so useful when shooting street photography or from unusual angles.

Olympus Pen F Review- Image Quality

I mentioned in my first impressions post that the image quality looks about the same as previous 16mp Micro 4/3 sensors. However after having looked in more detail at the output I can now say that the sensor in the Olympus Pen F is an improvement in terms of detail captured and ISO performance. You wont notice it in every shot but when pixel peeping you can see more details in eyebrows, eyelashes and in the fine details of landscapes.

What also seems noticeable to my eye is the way that the new sensor renders colours. The skin tones produced by this camera are more accurate and the tonal transitions are softer and more subtle. Portraits on the Pen F are noticeably better than the OM-D E-M5 II.

These small improvements are welcome although they alone might not justify an upgrade from any of the 16mp Micro 4/3 models.

From my testing high ISO performance has improved around 1/3-1/2 a stop. What is more impressive is that the way the camera handles colour. Noise has improved with the Pen F showing less colour noise at high ISOs. Once you bump up the ISO the Pen F is also retaining more detail than the 16mp sensor found in the OM-D E-M5 II. The ISO comparison images were shot at night to show real world use rather than artificially bumping up ISO settings.

If you want to see full resolution files you can do so on my Flickr page

High Resolution Mode.

I’m not going to go in to too much detail here as I plan on writing a separate article on the high resolution mode.

So far it seems to work under very strict conditions. There must be no camera movement and no subject movement. When these conditions are met then the high resolution mode works very well. It easily out resolves the standard mode and improves colour accuracy.

Black and White Mode and the new colour Dial

Straight away I may as well tell you that this feature will be of no concern to those who shoot only in Raw format as it is only available for Jpeg shooters.

However I used to exclusively shoot Raw myself until recently and yet I find myself loving this new feature.

So what does it actually allow you to do?

Flick the dial to the black and white mode and you now have a whole host of customisation at your fingertips. Firstly there are three black and white profiles available. The first is a flat monochrome profile. The second (where the fun is) is a Tri X (ish) simulation offering bright whites and dark blacks. The third is an infra red like look. If you want to see how this works in operation then take a look at my Olympu Pen F vs Olympus OM-D E-M5 II video

Once you choose your mode (we will go to mode 2) you then flick the rear switch and option to change the curves now appear. It is set to +6 highlights and -6 shadows initially. This gives a very contrasty look so I changed the levels to +4 Highlights, -3 Shadows and + 1 midtones. I found this to retain decent contrast but also offer better tonal transitions.

Flick the switch again and you now have the ability to add colour filters to the image via a colour wheel. You can alter the colour filter, Green, red, orange, blue, magenta, yellow green and also vary the strength in the 3 steps.

Next you have the option to add a vignette to your shots and vary the strength in 3 steps as well as add a film grain overlay to your images. This grain is scanned in from film according to Olympus so it is pretty realistic. Again you can vary the strength with three settings.

The sheer amount of options can be overwhelming at first but you soon work out what your favourite settings are and the controls are intuitive and quick to use. These modes are so much fun to work with. I am a fan of getting the shot that you want in camera as I no longer want to spend hours sitting at a computer editing my images. Therefore with all this control at your fingertips you can create almost exactly the image you want straight out of camera.

I’ve found the results to be very good once I toned down the in camera default Curves. This kind of control along with the what you see is what you get nature of electronic viewfinders virtually eliminates the need to post process your images. Some may want the extra control offered by post processing software but at the very least you can shoot Jpeg and Raw and have the best of both worlds. Let me say the whole process is very addictive and you might find yourself shooting more black and white photos as a result.

My girlfriend has complained that all the photos I keep taking are black and white and this is entirely down to the Olympus Pen F and its new black and white modes.

Can you replicate this on other Olympus cameras?

I see a lot of people asking if you can replicate the same look on the OM-D E-M5 II or other Olympus cameras.

In my opinion it would take a lot of work to get close to the look that the Pen F gives you. Firstly the Tri X simulation is only available on the Pen F and no matter what I do on the OM-D E-M5 II I cannot replicate it with tone curves in the monochrome mode. Secondly you cannot vary the strength of the colour filter available on the E-M5 II and to add grain or vignetting would require time post processing the files.

Basically if you want this feature or the look then you will have to get a Pen F. I’m sure you can get close with PP work but in the end the Pen F allows you to shoot the photos straight out of camera and it really is great fun doing so.

Olympus Pen F vs Olympus OM-D E-M5 II

So in my first impressions post I mentioned that I wanted to see if the Pen F is worth the extra money over the OM-D E-M5 II.

The added features of the Pen F, 20mp sensor, new processor, colour wheel, black and white profiles, extra custom modes on the PASM dial apart, they’re the same camera right?

Here is how I look at it. If you need weather sealing or budget is the primary factor then the OM-D E-M5 II will do most of what the Pen F can but it wont do it as quickly and it wont be as much fun.

Sure the OM-D E-M5 II viewfinder is bigger, I can’t say I noticed a huge difference in real world use. What I did notice is that the Pen F feels quicker in use with far less lag when switching between the LCD and viewfinder. The whole experience is quicker when using the Pen F.

Auto Focus is faster on the Pen F, the images you get are slightly better thanks to having more mega pixels, slightly better high ISO performance and there is something about the rendering of images on the Pen F which just makes the images more pleasing to my eye.

Here are the pros and cons of each

Pen F 

• There is no denying it is a beautiful camera
• New black and white mode is a lot of fun and produces beautiful photos
• Improvements in image quality
• Speed of handling and auto focus is faster

OM-D E-M5 II

• Weather sealed
• Larger viewfinder
• Cheaper
• Feels better with larger lenses

If you are trying to decide between these two cameras then you really want to take a look at my video comparison and write up between the Pen F and E-M5 II

So getting back to the start of this Olympus Pen F Review, is the Pen F all style and no substance?

It is certainly a stylish camera but some have bemoaned the lack of weather sealing and the price. It is undoubtedly one of the most stylish cameras currently available but I couldn’t ever justify keeping a camera for its looks alone. The price is the price, only you can decide if it is worth it to you. It certainly is for me.

Weather sealing would be nice but then how often do we really use it. A light shower is no problem to any camera that I’ve owned for years and are you really going to be out shooting in a torrential downpour even if a camera does claim to be weather sealed. The lenses that best suit the Pen F are in my opinion small light primes and these aren’t weather sealed anyway so having a weather sealed body makes no sense. I think Olympus probably knew that when they made their design decisions.

The Olympus Pen F has enough to keep even the most demanding enthusiasts happy. The new 20mp sensor is an improvement over the older 16mp sensors in almost every way. The camera operates more quickly, focuses faster and offers the ability to customise your out of camera jpegs beyond anything else on the market.

Add to this excellent build quality and a great range of small fast lenses which are available for Micro 4/3 and even at the asking price it is still a great camera.

If I had to choose between this and the OM-D E-M5 II it’s simple, I’d get the Pen F for the improvements in image quality, operation and a huge boost to the fun factor of using this camera.

Keep checking back on this review because I will add more images as and when I have them. I shall also add more hi resolution shots to Flickr. I also have a quick video which shows how the black and white mode works and will upload that as soon as I have a decent internet connection.