• Original review date: September 2020
• Officially out of stock but available online
• Launch price: $99 / £99 / AU$169
• Official price now: $99 / £105 / AU$169
Update: March 2024. When it landed in 2018, the Ryze Tello was a tempting proposition: a bargain drone designed with the help of DJI that’s easy to pilot using your smartphone. While it’s certainly not perfect – especially not in windy conditions – the Tello remains our favourite budget beginner drone today. Thanks to its tiny design and simple interface, it’s still a great choice for pilots who are learning the ropes of drone flight. It doesn’t win any prizes for video quality and is easily blown off course, but it’s hard to critique too much at this price point. Officially out of stock in many regions, you can still pick up the Tello from a number of online retailers. One option is to purchase the drone alone, but we’d suggest looking out for the Boost Combo. In our experience, this is more likely to be discounted in seasonal sales. It also goes some way to addressing the Tello’s short flight time, bundling in three batteries and a charging hub.
The Ryze Tello is the result of a collaboration between leading consumer drone maker DJI and fellow Chinese start-up Ryze. A simple, lightweight and affordable quadcopter, it's clearly pitched at newcomers to the hobby.
Despite its budget-friendly price, it comes with an onboard nose-mounted camera that's capable of capturing 5MP photos and streaming 720p HD video. You also get a reasonable-sounding 13 minutes of flight time per fully charged battery and stability sensors to (theoretically, at least) keep it from drifting off into walls, shrubberies and neighbours’ gardens.
In other words, it hasn’t been stripped right back to the bone to keep costs low. Even the plastic body, while we wouldn’t call it premium by any means, feels tough enough to survive a bit of rough and tumble.
Flyable via a Wi-Fi-equipped smartphone running the Tello app, the drone has a theoretical control range of 100m, maximum altitude of 30m and maximum speed of 8m/s. The app comes with automatic take-off and landing controls, plus an on-screen twin-stick setup that feels rewardingly responsive.
The Ryze Tello is a fun drone to fly, particularly if you’re outside with room to spare. It zips along at an enjoyably rapid chop and responds nimbly to the on-screen controls, twisting and turning in the air with surprising grace.
We should add that all of the above only applies when the weather is playing nice. On a breezy day the 80g drone gets swept away by the slightest gust, and it struggles to move against the wind too, so we wouldn’t recommend flying it in anything but dead calm.
(Image credit: Future)
If you do decide to take it out in blustery conditions, make sure you give yourself plenty of space – otherwise you risk it crashing unceremoniously into a tree or being carried off and lost entirely.
Ryze cites the Wi-Fi range as “up to 100m”, but in practice you’ll likely never see it approach that. The maximum range we could control the drone at was closer to 30-40m, and there are limits on its altitude too: Ryze suggests it can reach heights of 30m, but it seemed more like 10m to us.
While this range might sound a little restrictive, we think it’s acceptable for a basic budget drone with a simple, forward-facing camera – you’re not going to be using the Tello to capture sweeping aerial landscape photos, but close-range selfies and group shots.
When flying on a calm day or indoors (some prop guards are included for the latter; you may as well keep them attached for outdoor flights too), a pair of downward-facing sensors keep the Tello nice and steady. Take your hands off the controls and it will hover in place rather than drift around. This system is light-based, so only works in bright conditions.
The sensors power one of the Tello’s flight tricks: the ability to hold out your hand and have the drone land on your outstretched palm (do watch your fingers until the props power down, though). You can also use “Throw & Go” to launch the drone: turn the power on, then toss it upwards and away from you in the air, whereupon it’ll engage its rotors and hover in place.
In addition to manual flight controls, a handful of automated modes can be used to perform tricks and capture interesting videos: 360-degree rotations, 'Up & Away' (which flies – yes – up and away from you while facing you) and more. The most interesting is the 8D flips, which makes the drone perform precise flip-over tricks that mirror how you swipe your finger across the screen.
(Image credit: Future)
The Tello app is refreshingly simple, with clearly labelled controls and a limited (but not restrictive) set of options. There’s an on-screen battery indicator while flying, plus a built-in warning system that kicks in when power is low, to help ensure you don’t lose the Tello due to it abruptly running out of juice.
Battery life is decent, however: you can get as much as 13 minutes of flight time out of one charge. This does make buying multiple batteries necessary if you’re planning on long sessions, but given the toy-like nature of the Tello we think 13 minutes is perfectly acceptable. One option would be to buy the “Boost Combo” package, which includes three batteries and an external charger able to accommodate all of them at once.
Finally, we should mention the image quality of the built-in camera. It’s not wonderful, in all honestly, lacking dynamic range and, in the case of videos, often subject to extremely noticeable compression artifacts. The method of storage doesn’t help: because videos aren’t stored locally on the drone but beamed directly to your phone, anytime the Wi-Fi connection drops in quality you’ll run into frame rate issues: fly the drone away from you and at some point the video will start stuttering.
• Original review date: September 2020
• Newer Canon EOS R6 Mark II now available
• Launch price: $2,499 / £2,499 / AU$4,499
• Discounted officially but stock may still available at retailers
Updated: February 2024. According to Canon, the EOS R6 was one of its most popular cameras since its launch, prompting it to release the Mark II version in November 2022. The original EOS R6 has since been discontinued, with listings from Canon's official regional sites either removed or listed as out of stock. That said, some new stock is still available to buy from authorized retailers for about $1,999 / £1,399 / AU$2,800. The original review remains as previously published.
Canon EOS R6: two-minute review
Canon’s new EOS R6 may have been overshadowed by its more expensive EOS R5 sibling, but given its impressive feature set, it might become Canon’s most popular camera. It fills the hole left between the EOS R’s pretty impressive skills and the top-end specs of the EOS R5 (which, admittedly, might be too much of a camera for the average user).
To put it simply, the EOS R6 is essentially a more affordable R5, albeit with a significantly lower sensor resolution and more limited (but still excellent) video recording capabilities. And, despite being classed as an enthusiast-level camera, the EOS R6 comes with features that rival Canon’s professional-level – and extremely expensive – models. All of that adds up to make the R6 one of the best Canon cameras available right now.
Taking a leaf, or two, out of the EOS 1D X Mark III playbook, the EOS R6 inherits the same 20MP sensor resolution as the DSLR but not quite the same sensor. The difference is in the architecture as an upgraded version of Canon’s tried-and-tested Dual Pixel CMOS autofocusing system has been incorporated onto the sensor. This has markedly improved autofocus and tracking performance, with the EOS R6 now able to match, and sometimes outperform, Sony’s Real-Time Tracking Autofocus.
20.1MP is a step down from the 26.2MP pixel count in the EOS 6D Mark II and EOS RP (or the 30MP one in the EOS R), and that’s evident in side-by-side comparisons, although you will have to look really close to be disappointed. However, it’s the dynamic range that’s disappointing – images taken in bright sunlight appear flat, with a lack of detail in highlights and shadows. In comparison, the EOS 6D Mark II performed better in the same situation. That said, image quality is still pretty darn good and shooting with the EOS R6 is an absolute pleasure.
Its ergonomic design makes it comfortable for all-day use, no matter how large or small your mitts are, and you can shoot handheld at shutter speeds as high as 2 seconds and still get remarkably sharp images (provided you have steady hands).
It’s Canon’s first try at in-body image stabilization (IBIS) and, boy, has the company nailed it! It also makes shooting video an absolute pleasure. Yes, there are limitations when shooting 4K footage – and you aren’t going to get the R5’s impressive 8K option here – but Canon has made it very clear that the EOS R6 is first and foremost a stills camera.
Then there’s the marked improvement in speed – while it can’t quite match the 1D X Mark III’s blitzing 16fps burst with the mechanical shutter, the R6 is capable of 12fps bursts. Switch to its electronic shutter and it will match the sports DSLR’s whopping 20fps continuous shooting speed – more than enough for wildlife or sports photography.
Overall, the EOS R6 is a massive upgrade from either the EOS 6D Mark II or even the EOS R and the EOS RP, and is deserving of its place in our guide to the best cameras for photography. But all that impressive performance doesn’t come cheap, with higher resolution full-frame mirrorless models now available at a similar price point.
(Image credit: TechRadar)
Canon EOS R6 review: price and availability
Announced July 2020
Available right now for $2,499 / £2,499 / AU$4,499
Limited stock in most markets
Although Canon announced the EOS R6 (and the EOS R5) in early July, the camera didn’t begin shipping until late August. Even then, there were – and still is – very limited stock reaching retailers worldwide due to the current pandemic affecting supply lines. You may be able to book an EOS R6 with authorized Canon retailers right away, and they will be able to let you know when your unit will ship.
The R6 will set you back $2,499 / £2,499 / AU$4,499, which isn’t cheap by any means. That’s an upper-midrange price tag for a camera Canon has classified as enthusiast-level, but costs about as much as other high-end contenders for the best mirrorless camera crown like the Nikon Z7 or the Sony A7R III, both of which have high-resolution sensors.
That said, given the R6’s feature set, it’s a competitive price point that’s only slightly higher than the $2,299 / £2,349 / AU$3,349 launch price of the EOS R.
(Image credit: TechRadar)
Canon EOS R6 review: specs and features
20.1MP full-frame CMOS sensor
IBIS with up to 8 stops of compensation
Head- and eye-detect AF for animals
There have been so many cameras aimed at video makers that it’s refreshing to know manufacturers haven’t forgotten stills photographers. Canon’s target market for the new EOS R6 is “photographers more focused on stills” who may want to take videos occasionally, with the camera inheriting some top-end features from the EOS 1D X Mark III, starting with its processor.
Canon’s latest Digic X imaging engine works alongside a slightly redesigned 20.1MP full-frame CMOS sensor that, the manufacturer says, is “similar” to the one used in the sports DSLR. The updated sensor incorporates Canon’s second-generation Dual Pixel autofocus architecture (called Dual Pixel CMOS AF II). This has improved phase-difference detection autofocusing in Live View on the R6, and also allows for faster readout speeds during fast continuous shooting and while capturing 4K video at high frame rates. In theory, this should even reduce rolling shutter distortions when using the sensor-based electronic shutter.
20.1MP might seem like a step down for a camera that’s meant to be an all-rounder, but it’s all about the markedly improved speed. The R6 can shoot bursts of 12fps when its mechanical shutter is in use – a remarkable number for a camera that’s aimed squarely at enthusiasts and hobbyists. If that’s not fast enough for you, just switch over to its electronic shutter and the R6 will match the EOS 1D X Mark III’s top speed of 20fps.
Lower pixel count also means bigger pixels, which translates to better light sensitivity and higher signal-to-noise ratio, giving the EOS R6 a native ISO range of 100-102,400 that can be expanded either side to ISO 50 and ISO 204,800 – a massive step up from the EOS R’s native ISO sensitivity of 100 to 40,000. Canon says the decision to use a lower resolution sensor is also to help event photographers manage their workflow – lower pixel count means the file sizes are smaller, thus speeding up transfer rates.
(Image credit: TechRadar)
The headline feature, though, is the addition of in-body image stabilization, something Canon has historically shied away from. The newly designed 5-axis system, Canon says, offers up to 8 stops of compensation when working in tandem with a stabilized lens, although the shutter speed compensation will depend on which lens is being used. For example, with the RF 24-105mm f/4L IS USM lens which has 5-stops of image stabilization, you’ll get 8 stops of coordinated control; however, with the RF 24-240mm f/4-6.3 IS USM lens, which is longer and heavier but has the same 5-stop stability, you’ll get a combined 6.5 stops of stabilization.
This latter is the lens we used during most of our testing and were able to shoot handheld at a shutter speed of 2 seconds at an effective focal length of 24mm – pretty much matching Canon’s claim. And if you use a lens without IS (like the RF 28-70mm f/2), you’ll still get a full 8 stops of stabilization.
The R6’s autofocus system has also been given an impressive boost. There are 6,072 user-selectable AF points covering 100% of the frame – an improvement over the EOS R’s 5,655 AF point system. Canon also claims the R6 (and the R5) have the “world’s fastest AF for a full-frame camera” measured at 0.05 seconds, although the EOS R also lays claim to the same AF acquisition speed. That said, Sony has beaten Canon with the APS-C format Alpha A6400 that has an AF acquisition speed of 0.02 seconds.
Like the 1D X Mark III, the EOS R6 also has HEIF (High Efficiency Image Format) file support. That means images are captured in 10-bit RGB color for wider dynamic range and color gamut. This format also uses a more efficient compression algorithm that saves a lot more information than traditional JPEGs and is a great alternative to anyone who doesn’t shoot in RAW.
In terms of video, the R6 is clearly not competing with the R5. 4K/60p capture is the best you can get here, and in UHD only. There’s no DCI support for a more cinema-like look, but Canon hasn’t designed this camera for videographers. That said, being able to shoot 4K video while utilizing the full width of the sensor is a huge advantage the R6 has over the EOS R and RP.
(Image credit: TechRadar)
Canon EOS R6 review: design and handling
Deep, ergonomic grip
Joystick multi-controller
Dual card slots
Physically, the EOS R6 doesn’t offer a huge size advantage over its 6D Mark II DSLR cousin. It’s only marginally lighter and smaller at 680g (compared to the 765g weight of the latter) and dimensions of 138mm x 98mm x 88mm (as opposed to 144mm x 111mm x 75mm for the 6D II). In real-world use, you’ll barely register the difference.
Thanks to its deep grip, the R6 is wonderfully ergonomic for holding and using for long periods of time. And for those worried about the elements, the R6 is weather sealed. In fact, the EOS R6 (and the R5) have the option of keeping the shutter closed when the camera is powered off to minimize dust damage, something you can set up within the menu system.
The body resembles the older EOS R in most ways but there are a few obvious differences – the main one being the return of the joystick multi-controller on the camera’s rear. The touch bar on the rear panel of the EOS R was a sore point of contention amongst many users and it’s good to see that it’s gone. The textured joystick is easy to find without taking your eye off the viewfinder. You can use it to find your choice of AF point easily or to navigate the menu system if you’re not keen on Canon’s touchscreen functionality.
(Image credit: TechRadar)
The other difference on the rear control setup is the return of the Quick Menu (Q) button which was also missing in both the EOS R and the RP. If you’re an existing Canon user, the control layout will, for the most part, be very familiar to you, as will the menu system. For those coming from a completely different system, Canon’s setup has always been very intuitive and easy to use, and just a few minutes spent familiarizing yourself will have you up and running.
On the top, the R6 misses out on the LCD display that’s available on the EOS R and R5 (and also on Canon’s DSLRs) but gets a traditional mode dial that will be familiar to most Canon DSLR users.
The R6 also misses out on the high-resolution viewfinder that’s on the R5, instead getting a 3.69-million dot EVF (matching the EOS R). While a higher resolution EVF would have been grand, there’s absolutely nothing to complain about here – a refresh rate of 119.8fps means you’ll barely notice any blackout.
If you’re not keen on using the EVF, you can always shoot in Live View and frame your image using the 3-inch 1.62-million dot rear touchscreen. This vari-angle display is slightly smaller than the one on the EOS R5, which is 3.2 inches thanks to thinner bezels.
(Image credit: TechRadar)
Another major improvement the R6 brings is dual card slots, both of which support SD UHS-II format. You can record to both simultaneously if you wish or one at a time.
On the opposite side to the memory card slots are all the other ports you’ll need. There’s 3.5mm headphone and mic jacks, a 3.1 Gen 2 speed USB-C port, a micro HDMI port, and an E3 remote shutter terminal. The USB-C port can be used to charge the camera while on the go.
Speaking of charging, both the R6 and the R5 also benefit from a new battery – LPE-6NH – which not only offers better battery life (about 510 shots as per CIPA’s conservative rating) but is also compatible with any Canon body that uses LP-E6N or LP-E6 batteries (like the 6D Mark II, for example).
(Image credit: TechRadar)
Canon EOS R6 review: autofocus
6,072 AF points
Dual Pixel CMOS AF II
100% horizontal frame coverage
Like the pro-level 1D X Mark III and the more expensive EOS R5, the R6 is remarkably quick and accurate, with autofocus performance that’s arguably best in class. Starting with subject detection, locking onto a face or eye and then tracking the subject – it was all spot-on pretty much every single time we tested it.
Bursts of a seaplane flying show every single frame in sharp focus, as does sequences of shots we took of birds. If the animal or person we were shooting turned away from the camera, the R6 promptly increased the focus box size and locked on to the back of the head. In fact, if the subject turned back to face the camera again, the R6 was able to lock onto an eye without so much as a blink.
Canon's AF system is best-in-class and the only time we failed to capture a sharp image is when we ourselves weren't able to keep up with our subjects (Image credit: TechRadar)
Canon says the animal recognition on the R6 is currently only for cats, dogs and birds, but that doesn’t stop the camera from focusing on anything it thinks is an eye or a head. For subjects as small as bees, the R6 was able to find the insect’s head and stick with it as long as it was on a flower. However, we failed while trying to track the bees as we were too slow to follow the busy bodies, and the out-of-focus images were no fault of the camera but the user's inability to keep up.
Canon’s new Dual Pixel CMOS AF II system allows focusing to be done on-sensor and gives you a whopping 6,072 AF points to choose from – higher than the R5’s 5.940 user-definable points. These points cover the entire horizontal frame and 90% vertically, which is more than what most intermediate-level cameras offer.
Long story short, there’s no other camera in this class that can do what the R6 does in terms of autofocus, at the speed at which it does, and, arguably, at the price point that it does.
Canon EOS R6 review: performance
Best-in-class full-frame IBIS
Up to 20fps burst speed
Improved battery life
With Canon’s latest Digic X imaging engine under the hood, you’d expect the R6 to be a top performer like the 1D X Mark III where the processor debuted. And our tests prove that it is.
The R6 is capable of capturing 5472x3648 pixel images (as compared to the larger 8192×5464 size on the R5) in JPEG or 14-bit RAW files. Compressed RAW is also available, but our file format pick is the 10-bit HEIF. To shoot in this format, you need to enable HDR PQ, which will swap JPEG out for HEIF, and you can convert back to JPEG in-camera as well.
To match the camera’s burst speed, it’s important the R6 have an equally impressive buffer memory. While a lot will depend on the memory card you’re using, the camera handled a burst of about 315 frames during our tests without even thinking about it to a UHS-II SD card.
In fact, you’ll easily be able to save over 1,000 JPEGs or compressed .CR3 RAW files to a UHS-II card without the camera slowing down. If you’re shooting uncompressed RAW, then buffer depth will drop significantly to 240 consecutive files. Either way, that’s way more than what most people will need.
Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 24mm, 1s (handheld) at f/4, ISO 800 (Image credit: TechRadar)
But it was the image stabilization that we were most keen to test and, boy, did it impress. Paired with the RF 24-240mm f/4-6.3 IS USM lens, which itself has 5-stops of image stability built in, we were supposed to get a total of 6.5 stops of compensation according to Canon’s own claims. That means that at 24mm effective focal length, we should be able to hold the camera for a maximum shutter speed of 2 seconds and, in practice, that worked. The only downside to us capturing pinpoint sharpness was the buffeting wind we were facing. However, 1.6 second shutter speed shot during the same windy evening was perfectly usable.
Canon EOS R6 mechanical shutter (left) vs EOS R6 electronic shutter (right): there's no discernible rolling shutter effect while panning (Image credit: TechRadar)
We also tested how the R6’s electronic shutter would handle itself while panning. Rolling shutter effects are common when shooting with a sensor-based electronic shutter but our tests showed no noticeable distortion while panning slowly, but we did see a significant lean when panning faster.
Canon EOS R6 review: image quality
Excellent color reproduction
Disappointing dynamic range in JPEGs
Good ISO performance
Most users would be concerned with the resolving power of the 20MP sensor. As long as you aren’t doing a side-by-side comparison with the R5 – which would be highly unfair – we found the R6 can hold its own.
Images pop with color without appearing oversaturated, as has always been Canon’s trademark. Details are good for the most part but we did find the R6 struggles during bright sunlight.
Canon EOS R6 (left) vs Canon EOS 6D Mark II (right): the DSLR captures more details and textures overall, although the R6 resolves the details within the building better (Image credit: TechRadar)
We took a series of shots on a very sunny day only to find images appearing flat, with lack of details. When compared to the EOS 6D Mark II, we found the latter’s 26MP had a touch more detail and texture than the R6, as you can see in the 50% crop side-by-side JPEG comparison pictured above.
While the R6 handled the resolution of the bars through the glass wall of the ferry wharf really well, the 6D II had more detail on the roof of the wharf and the water surface. Even colors on the R6 image appear flatter in comparison to the DSLR.
That said, these are standard JPEGs – if you shoot HEIF files, the R6’s 10-bit dynamic range will come into play and you’ll be able to capture greater tonal range. Keep in mind that software support for HEIF is still limited, although it is the default file format for Apple’s Photos app, and you can convert all HEIFs into JPEGs in-camera.
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 65mm, 1/400s at f/13, ISO 200 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/350s at f/6.3, ISO 320 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/500s at f/9, ISO 200 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/2000s at f/16, ISO 3200 (Image credit: TechRadar)
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Canon EOS R6 + RF 35mm F1.8 Macro IS STM | 35mm, 1/250s at f/5, ISO 200 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/320s at f/7.1, ISO 200 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 25mm, 1/400s at f/10, ISO 200 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/500s at f/10, ISO 200 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/800s at f/10, ISO 200 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 118mm, 1/320s at f/9, ISO 200 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 24mm, 1/250s at f/8, ISO 100 (Image credit: TechRadar)
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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 42mm, 1/500s at f/13, ISO 200 (Image credit: TechRadar)
You’ll also find that the camera’s 20MP sensor has enough resolving power to allow for some cropping without excessive loss in quality, provided the image was shot at low ISO. As expected, you’ll find some details being lost at high ISOs, although it was only at ISO 20,000 that we began to see this problem. The R6 also handles noise quite well.
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There's still a good amount detail at ISO 10,000... (Image credit: TechRadar)
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..but begin to flatten out at ISO 20,000 although the image is still usable (Image credit: TechRadar)
Overall, it’s a very capable camera that produces excellent images, as long as you aren’t looking to print any of them in a size larger than A3.
• Original review date: May 2020
• Launch price: $749 / £699 / AU$1,299
• Official price now: $649.99 / £649 / AU$1,079
Update: March 2024. That the Sony ZV-1 is four years old but remains in a several TechRadar buying guides is testament to its filmmaking chops, especially for those starting out in filmmaking and on a limited budget. Its 4K video and excellent autofocus performance with clever subject detection modes make it one of the best vlogging cameras even in 2024. An updated Sony ZV-1 II was introduced more recently and is also an excellent video camera. However, we have kept the older ZV-1 in key buying guides because the second-gen model simply doesn't do enough to merit an upgrade or to spend the extra money on, and so for now the ZV-1 remains an excellent value video-focused compact camera.
Sony ZV-1: two-minute review
The Sony ZV-1 is the most powerful pocket vlogging camera you can buy right now. It takes the best video features of the Sony RX100 series, including its class-leading autofocus system, and combines them with design tweaks that make it ideal for shooting YouTube videos at home or on the move.
Its main strength is the combination of a bright 24-70mm f/1.8-2.8 lens with Sony's Real-time tracking and Real-time Eye AF systems. Together with the ZV-1's 1-inch sensor, which is larger than those in today's smartphones, these make it easy to shoot high-quality vlogs with pleasing background blur and consistent focus.
The inclusion of a 3.5mm microphone port means it's relatively easy to add good-quality audio to match your videos, while a hotshoe lets you mount accessories like a shotgun mic or LED light without needing a bracket to support them.
This is particularly useful because, while the ZV-1's three-capsule internal microphone is an improvement over the built-in mics found in the RX100 series and other compact cameras, it still falls short of offering audio that matches the quality of its video. You do at least get a windshield bundled with the camera, which is essential for when you're shooting in breezy conditions.
(Image credit: Future)
The ZV-1 isn't perfect, and you might want to consider other options, depending on your needs. Its SteadyShot stabilization is passable for walking videos, but falls short of the smoothness offered by the DJI Osmo Pocket, GoPro Hero 8 Black, or larger cameras like the Olympus E-M5 Mark III. Its strongest stabilization also adds a slight crop that can make the resulting focal length slightly tight for handheld shots, though we didn't find this to be a major issue.
Despite the inclusion of renamed shortcut buttons for beginners, the ZV-1 also isn't the most user-friendly camera for those upgrading from smartphones. Aside from letting you tap to focus, its touchscreen doesn't work with menus like the handy 'Fn' grid, and it settings remain labyrinthine; a beginner-friendly section for video newcomers would have been nice.
(Image credit: Future)
The flipside to this complexity is that the ZV-1 is absolutely packed with features, including a built-in ND filter, autofocus sensitivity options, and profiles like S-Log2 for those who like to color-grade their videos; Sony is also promising live-streaming software for Windows users from July 2020. All this makes it incredibly powerful for a compact camera, and ensures that it'll grow with you as your skills improve.
The ZV-1's size means there are naturally other compromises, including the lack of a headphone jack and average battery life, while the absence of an electronic viewfinder means those looking for a stills camera should also look elsewhere. But the ZV-1 packs in more power and video features than any other compact camera, making it an ideal take-anywhere camera for shooting content for your YouTube or other social media channel - indeed we think it's one of the best YouTube cameras.
Sony ZV-1: price and release date
The Sony ZV-1 launched on May 26, 2020
It costs $749 / £699 / AU$1,299
You can also buy a Bluetooth Grip controller for $138 / £170 / AU$249
You can order the Sony ZV-1 right now, as pre-orders opened on its release date of May 26, 2020. Sony says shipping is expected to start "in early June" in the US and UK, and by "mid-June" in Australia.
The compact vlogging camera costs $749 / £699 / AU$1,299 which puts it roughly in between the Sony RX100 Mark IV and RX100 Mark V price-wise.
Unlike all of Sony's RX100 series camera, the ZV-1 lacks an electronic viewfinder, which helps to keep its price down. It does, though, bring newer features that aren't available on the latter two cameras, including Real-time Eye AF autofocus.
That price tag puts the Sony ZV-1 at a similar price point to its main rival, the Canon G7X Mark III. That camera launched in August 2019 for $750 / £700 / AU$1,100, although it can currently be found for slightly less than that.
You can also now buy a shooting grip with an integrated wireless remote for the Sony ZV-1, the Sony GP-VPT2BT. This is available now, and costs $138 / £170 / AU$240.
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Sony ZV-1: design
New side-flipping LCD screen is ideal for video
Hotshoe and 3.5mm port make it easy to add external microphone
Lacks the RX100 series' viewfinder and lens control ring
The Sony ZV-1 is like a Sony RX100 Mark V that's been redesigned for YouTubers. The end result isn't perfect, but it does fix most of the criticisms we had of the Mark V when it came to video shooting. Along with the Canon G7X Mark III, it's one of the few compact cameras that's been designed primarily for video.
First, the good bits. The best new feature is a side-hinged articulating touchscreen. This kind of screen is better than a tilting one for shooting video, because it leaves the top and bottom of the camera free for attaching accessories. Crucially, it also flips around 180 degrees to face forwards, allowing those operating one-person YouTube channels to frame their shots without needing someone behind the camera.
Sadly, Sony's touchscreen functionality is still pretty limited. You can tap the screen to pull focus in video, for example, but not navigate menus or even zoom in on photos. That's a shame for a camera that's been designed primarily for people who are upgrading from smartphones; still, the benefit of that side-hinged screen is that there's room on top of the camera for a hotshoe.
(Image credit: Future)
This hotshoe replaces the electronic viewfinder you'll find on Sony's RX100 series. Losing a built-in EVF would be a big deal for a stills-focused camera, and it's something to bear in mind if you need an all-rounder for both photos and video. But it makes sense for a vlogging camera like the ZV-1, because its target audience will mostly be using the screen as a viewfinder – and it also helps to reduce the ZV-1's price tag, if not by quite as much as we'd hoped.
The option to plug accessories like LED lights or external microphones into that hotshoe is a real bonus. If you purchased the Sony RX100 VII you had to buy an external bracket to mount them, but there are no such worries with the ZV-1, and this brings us to another of the ZV-1's vlogging bonuses: a 3.5mm mic input.
There isn't much point shooting great-looking video if you don't have the audio to match, so a 3.5mm port is essential for vlogging cameras. The Sony ZV-1 does actually have an improved built-in microphone on its top plate – this is a three-directional capsule mic with left, center and right channels.
Sony also bundles a 'dead cat' windshield with the ZV-1, which plugs into the hotshoe to help counter wind noise when you're shooting outdoors. But as we'll see later, an external microphone is still significantly better than any built-in equivalent, making that 3.5mm port a crucial inclusion.
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Slightly less welcome is the inclusion of a microUSB port below the mic port. While it's far from a deal-breaker, we expect all new cameras to offer USB-C ports these days for speedy charging and all-round convenience. The Fujifilm X-T4, for example, comes with a USB-C headphone adaptor that lets you monitor the sound on your recordings, which is something you can't do on the ZV-1. You can at least charge the Sony ZV-1 while using the camera, though, so it's not completely stuck in the charging dark ages.
The Sony ZV-1 brings two other handy design tweaks that you won't find on the RX100 VII or any of its predecessors. One is a small hand grip. While this doesn't revolutionize the ZV-1's handling, it's another feature that many RX100-series owners have added to their cameras with third-party accessories. And finally, for the first time on a Sony camera, the video recording button is now as big as the stills shutter button.
These might not sound important, but they're pretty significant. Unlike the RX100 series, they mark the ZV-1 out as a video-first camera that can also do stills. And, while you miss out on features like an EVF and lens control ring, the inclusion of a side-flipping screen, hotshoe and mic port make the ZV-1 the best pocketable tool around for vloggers and YouTubers.
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Sony ZV-1: autofocus and lens
Real-time Eye AF produces class-leading vlogging autofocus
Lacks Animal Eye AF, but includes Real-time Tracking for moving subjects
The Sony ZV-1 does what many vloggers have been crying out for – it combines the lens of the Sony RX100 Mark V (or at least a mildly tweaked version of it) with Sony's latest Bionz X processor and autofocus skills.
Why include the 24-70mm lens from the Mark V, rather than the 24-200mm lens seen on the last two Sony RX100 cameras? Because the former is simply more suited to vlogging, thanks to its brighter f/1.8-2.8 aperture. This combines nicely with the camera's 1-inch sensor to give your videos some pleasing background blur, while still photos also benefit from the knock-on effect of the ability to shoot at lower ISOs in equivalent scenes (albeit at the expense of that longer 200mm reach).
But the ZV-1's real ace is pairing this bright lens with some of Sony's latest Real-time autofocus tech. This is possible thanks to the combination of the Bionz X processor (also seen in the full-frame Sony Alpha A9 II) and that 1-inch, 20.1MP stacked CMOS sensor, which has 315 phase-detect autofocus points covering 65% of the frame.
What does all this mean in reality? For a start, the ZV-1's hybrid autofocus, so-called because it combines phase detect with contrast-detect AF systems, means it's faster and more confident for video than the contrast-only systems seen in rivals like the Canon PowerShot G7 X Mark III.
On top of that, you get Sony's latest Real-time Tracking and Real-time Eye AF (for people), which are easily the best you'll find in a compact camera for capturing people and moving subjects. Keeping moving subjects in focus is invariably just a case of tapping them on the ZV-1's screen; if you have Face and Eye AF tracking enabled, it will also seamlessly switch to the latter when it detects a person's face.
This is particularly important for a vlogging camera with a bright lens, because it can be very easy to lose focus on a face when shooting at apertures like f/1.8. But aside from when we got too close to the lens, we found the ZV-1 did an excellent job at tracking our eyes across most of the frame.
Sony ZV-1: features
Includes two new shortcut buttons for vlogging beginners
Picture profiles offer editing flexibility for more advanced vloggers
Slow-motion modes are fun and useful
So what other video-friendly treats does the Sony ZV-1 pack beyond excellent autofocus? A huge amount, which isn't always a good thing for usability.
Sony's camera menus are renowned for being about as user-friendly as a book of hieroglyphics, and it's done a couple of things in an effort to make the ZV-1 a bit more intuitive for beginners.
These include two new default settings for the camera's two custom buttons. The first of these, called the 'Bokeh switch', will instantly switch to a wide-open aperture to give your footage a defocused background. Unlike smartphone 'portrait' modes, there's no computational trickery going on here – it's purely a shortcut based on traditional optics.
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The second and perhaps more useful custom button is called 'Product showcase', which is designed specifically for YouTubers who specialize in reviews.
Again, this doesn't do anything beyond what you can do in the settings, but pressing this instantly turns off both SteadyShot stabilization (making a tripod a must for this mode) and Face and Eye priority AF. This means that when you hold a product up to the camera, it'll lock focus onto that, rather than prioritizing your face. Because of the speed of the ZV-1's autofocus, this works pretty well.
Still, these feel like hastily bolted-on fixes, and the ZV-1 otherwise feels very much like an RX100 series compact camera, which is a shame, and when you compare the interface to slick touchscreen apps like Filmic Pro, it can feel like a relic from the past. Prepare to do a lot of flicking through ZV-1's menus and setting up custom menus.
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To be fair, this complication is partly because the ZV-1 is so stuffed with features, with many of them aimed at advanced video shooters. This in turn gives it an incredible amount of depth for a compact camera.
For example, there's the welcome return of the built-in ND filter. This was jettisoned on the last two RX100 cameras, but is nigh-on essential for getting smooth movement in videos on bright days, as it allows you to shoot with slower shutter speeds without having to stop the lens down.
Dig a bit deeper into the menus and you'll find compositional aides like focus peaking and zebra patterns, plus all of Sony's picture profiles including S-Log2, S-Log3 and Hybrid Log Gamma (HLG), for those who like to color-grade their footage to extract the most amount of dynamic range.
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But what about more commonly tweaked settings, like resolution and frame-rate options? Like the RX100 Mark VII, the ZV-1 can shoot 4K at a maximum 30p. It's a shame it doesn't have a 4K/60p mode, but its 4K footage is at least achieved by oversampling rather than pixel binning; the former is a superior method of grabbing a 4K image from the 20.1MP sensor, helping to avoid pixelated, jagged edges.
Of course, there are faster frame rates available if you're okay with shooting in 1080p, along with Sony's impressive super slow-mo options, which go all the way up to an incredible 960fps.
Naturally, there's significant quality loss here, which we'll go into along with the ZV-1's stabilization and battery life in the performance section.
Sony ZV-1: performance
Video stabilization is improved, but falls short of the best
Built-in microphone is decent, but external mics recommended
Short battery life means packing spares for long shoots
Alongside great autofocus, a forward-facing screen and good audio options, vlogging cameras also need impressive image stabilization to help keep handheld footage steady. Of those four features, this is the Sony ZV-1's weakest area.
Not that its SteadyShot system is bad, by any means. Its most powerful 'Active' stabilization mode combines optical and electronic stabilization, and is available in 4K shooting too. If you're doing any walkaround vlogging, this is an essential mode, as you can see in our test clips below.
The trouble with 'Active' stabilization is that it applies a slight crop to your footage in order to counteract the bounce in your walking movements. It's not too severe, but because the ZV-1's widest focal length is already a slightly tight 24mm, it does mean you end up with very little room around your face when holding the camera at arm's length.
We still think this crop is fine for handheld vlogging, particularly as it highlights how good Sony's Eye AF focusing is – but it might be something to try out first if you're planning to mostly film walking shots while talking to the camera.
If stabilization is important to you, it might also be worth considering alternatives or accessories. As you can see in our comparison video above, both the GoPro Hero 8 Black and DJI Osmo Mobile 3 (with a smartphone) offer superior stabilization to the Sony ZV-1, at the expense of image quality. The best of all worlds could well be combining the Sony ZV-1 with a gimbal like the Zhiyan Crane M2 – we'll update this review when we've had a chance to try out that combination.
The ZV-1's built-in, three-capsule microphone captures decent audio for a compact camera. The included 'dead cat' windshield is also essential if you're venturing out into breezy conditions, as our demo video above shows.
But there is inevitably still a little noise interference from camera's focus motors, and if you want to capture audio that matches the quality of your videos then you'll want to pair the ZV-1 with an external microphone.
Fortunately, that's possible thanks to the 3.5mm microphone port on the side, and there are plenty of mic options around, from Sony's own ECM-XYST1M Stereo Microphone to something more discrete like the Rode Wireless Go. If you're just starting out, then a cheap lavalier (or 'lav' lapel mic) is an affordable way to boost the ZV-1's audio too, particularly if you'll mainly be talking to camera.
On a slightly more fun note, the Sony ZV-1 does also offer the same slow-motion modes as the RX100 series. These include 250, 500 and 1000fps options, although the latter two bring a significant hit to resolution and quality. We'd mostly steer clear of those, but the 250fps mode is decent, and combines nicely with the ZV-1's shallow depth of field. The only shame is that you can only shoot four-second clips, and setting up the slow-mo modes is still a clunky process.
With so many processor-intensive recording modes, how does the Sony ZV-1's battery life hold up? As you'd expect, not brilliantly – it only has room for the same NP-BX1 battery as the RX100 VII, which means around 260 shots or 45 minutes of video.
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This means carrying a spare battery or two is advised, although it is possible to use the camera while it's plugged into a battery pack or wall charger. Another bonus is that it's now possible to bypass the default five-minute recording limit when shooting 4K video – set the 'auto power off temp' to 'high' and it'll keep going until either the battery runs out or your memory card fills up.
We managed to record a continuous 4K video clip for 44 minutes in this mode – and while the ZV-1 was certainly toasty by the end, it wasn't impossible to hold, and Sony says using this mode won't damage the camera in any way.
Sony ZV-1: video and image quality
Shoots crisp, detailed 4K/30p video
Default skin smoothing is a little overdone, but can be turned off
Strong stills performance, but lacks a viewfinder
Like the most recent Sony RX100 cameras, the ZV-1 oversamples its video footage before downsampling it to 4K. This process produces sharper results than alternative techniques like pixel binning, and you can see this in its 4K footage – it's very crisp and detailed, and has no crop unless you're shooting with 'Active' stabilization.
It's a slight shame the ZV-1 doesn't have a 4K/60p option, as this would let you slow down 4K clips without any loss in quality. But it's not a major miss, and the 4K/30p mode impresses with its lack of rolling shutter, which is a common side-effect of CMOS sensors that sometimes results in skewed lines during fast panning movements.
The built-in ND filter also helps to keep movement nice and smooth in bright conditions, although the ZV-1 naturally struggles a bit more in lower light due to its 1-inch sensor. If you're faced with a really high-contrast scene, then picture profiles like S-Log2 will help you to extract extra detail, although you'll need to be comfortable with color grading before attempting that.
One area of image quality that Sony has gone big on for the ZV-1 is the color and exposure of human faces. Based on feedback from around the world, Sony says it's created an "optimized color algorithm" that makes sure skin tones are natural, wherever you're from. The ZV-1 also apparently uses its face recognition tech to get exposure readings, to make sure the vlogger's face is bright and well exposed in all conditions.
This certainly worked pretty well in our experience, although we haven't yet been able to try it on a range of faces. One thing we did tweak, though, was the ZV-1's skin smoothing effect – this is pretty strong by default, so we'd err on the side of switching it to 'low', or off entirely. Despite Sony's attempts to make it more natural than many equivalent smartphone modes, the stronger skin smoothing variants still look a bit too artificial for our tastes.
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The ZV-1's default JPEG settings produce pleasing, life-like colors. (Image credit: Future)
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The 24-70mm lens has just about enough reach to frame subjects from across the road. (Image credit: Future)
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Still-life shots have plenty of detail with little noise up to ISO 800. (Image credit: Future)
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The ZV-1's continuous shooting drive mode can help you capture decisive moments. (Image credit: Future)
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The lens can focus from around 5cm away from your subject while retaining plenty of detail. (Image credit: Future)
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The lack of a viewfinder is annoying in sunny conditions, but the ZV-1 is a decent walkaround camera on overcast days. (Image credit: Future)
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Like the RX100 series, the ZV-1's 1-in sensor produces shots with great detail. (Image credit: Future)
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Detail is generally best at the center of the frame, although the edges are still fine even at 70mm. (Image credit: Future)
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The wider 24mm focal length allows you to squeeze details into a scene, even if a wider focal length would be welcome. (Image credit: Future)
Of course, despite its vlogging focus, the ZV-1 is also a pretty capable stills camera. The lack of a viewfinder or lens control ring means it's no match for its more stills-focused RX100 stablemates here, but the quality is certainly still there if you want to shoot some Instagram-worthy stills to complement your YouTube videos.
There's bags of detail in images, and you can bring back even more from highlights and shadow areas if you shoot in raw. Noise is well controlled too up to ISO 800, with image quality only really going south from ISO 6400 and above.
Of course, it's arguable that today's smartphones are at least a match for the ZV-1 when it comes to stills photography, thanks to their computational smarts. But the ZV-1's bright lens and high-speed shooting modes still make it a handy backup tool for shooting portraits and action scenes, even if you really should be looking elsewhere for a dedicated stills camera.
Should I buy the Sony ZV-1?
The Fujifilm X100V (left) is a better compact camera for stills than the video-focused Sony ZV-1 (right). (Image credit: Future)
• Original review date: February 2020
• One in a long line of APS-C cameras and it might not get updated
• Launch price: $749 / £830 / AU$1,349 (body only)
• Official price now: $599 / £649 / AU$ not available from Sony directly (body only)
Update: February 2024. Launched alongside the A6600 in August 2019, the A6100 is the entry-level APS-C mirrorless from Sony and was long touted as the best beginner mirrorless camera by TechRadar. It's almost five years old now and technology has moved on, but Sony was ahead of the curve back then and so the tech spec still isn't bad. You get 24MP stills with Sony's phase detection autofocus that still performs well today, but the 1.44m-dot EVF and limited tilt-touchscreen look dated now, plus you don't get in-body image stabilization. Still, there's even more APS-C lenses to choose from now and the A6100's reduced price and good availability secondhand for even less still makes it a compelling choice for beginner photographers. The pricier A6600 was essentially updated by the A6700 as the flagship model in 2023, but there's no sign of a A6100 replacement yet, and so you're still getting the latest entry-level model. The rest of this review remains as previously published.
Sony A6100: Two-minute review
The Sony A6100 is the natural successor to the wildly popular Sony A6000, a beginner-friendly mirrorless camera that is still available to buy new today, five years after its launch. That's the sign of a popular, enduring camera.
Both cameras are the entry-level models in Sony's range of mirrorless APS-C sensor snappers. 'APS-C' refers to the camera's sensor size, which is significantly larger than the ones found in smartphones, but smaller than the full-frame chips found in pro-friendly models like the Sony A7 III.
Much of the A6000’s core features remain in the A6100: there's the familiar body design, a sensor with the same 24MP resolution, a similar EVF and tilting rear LCD screen (though the A6100's screen is now touch sensitive), and an 11fps burst mode.
However, there are some very welcome improvements in the A6100 too. Overall, this is a much more user-friendly camera. The general handling and performance is enhanced, particularly through its excellent continuous autofocus system.
We now have a camera that more readily competes with today’s entry-level mirrorless shooters from other brands, of which there are many more since the day the A6000 launched. Despite this, the Sony A6100 is a worthy successor to one of the best beginner mirrorless cameras of all time when it comes to sheer sales.
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Sony A6100: Features
24.2MP APS-C sensor
4K video at 30fps, 100Mbps
Slow and quick motion Full HD videos
Bluetooth, Wi-Fi and NFC connectivity
Sony sticks with a 24.2MP APS-C sensor, which is the same as the one found in the more expensive Sony A6400 and Sony A6600 cameras. Its resolution is par for the course and plenty for an entry-level camera.
Sony A6100 key specs
Sensor: 24.2MP APS-C CMOS Lens mount: Sony E-mount Screen: 3-inch 922K-dot tilting touchscreen Burst shooting: 11fps Autofocus: 425 selectable points Video: 4K/30p Connectivity: Wi-Fi and Bluetooth Battery life: up to 420 shots Weight: 396g
While the A6100 can shoot 4K at 30fps, it does this with a slight crop – shoot 4K at 25fps, though, and it uses the full-width of the sensor (which means full pixel readout with no pixel binning), and fills the 16:9 rear LCD display. There is an S&Q setting (Slow & Quick Motion videos) that captures Full HD slow motion videos up to 100fps (4x) or quick motion videos down to 1fps (25x).
You do get a lot for your money with the Sony A6100. There’s the same 1.44 million-dot EVF, hotshoe and pop-up flash, all squeezed expertly into what is a very compact body. Plus, that LCD screen is now touch sensitive and can pull out and up into a selfie position.
Images can be captured and shared wirelessly using a smartphone or tablet connected by Wi-Fi through Sony’s app called ‘Imaging Edge Mobile'. An easy connection can be made using NFC, or via the usual QR code method as well.
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Sony A6100: Build and handling
Small and solid polycarbonate build, with reasonably-sized controls
Solid 420-shot battery life
USB charging
Tilt-touch screen with selfie mode
Single SD UHS-I card slot
Overall, we really enjoyed our time with the Sony A6100. We paired the camera with a couple of slightly higher-end lenses – the FE 24‑70mm f/4 and FE 35mm f/1.8 – which are both a sensible size and weight match.
Depending on the lens, the A6100 is small enough to fit into a jacket pocket. This is thanks to its form factor – it stands at just 67mm high and has a very flat profile without the pentaprism 'hump' seen on rivals like the Fujifilm X-T3.
The polycarbonate body feels solid and the external controls are robust, while the textured hand and thumb grips provide a firm hold. Praise be for the slightly larger grip than the one in the A6000.
Considering the compact size of this camera, a mighty number of controls and features are packed in. You get a pop-up flash that can be tipped back by hand for indirect fill light. There’s a hotshoe to attach optional accessories such as an external microphone, which is then connected via the microphone port on the side. (Unsurprisingly, there is no room for a headphone jack).
There's also a built-in EVF, which is a plus for a camera at this price. It’s not the easiest to use and the resolution remains at an average 1.44 million-dots. To get the latest high-resolution EVF, you’ll need to fork out extra for the Sony A6400 or Sony A6600.
The tilt LCD touchscreen can be pulled out and up, and then flipped vertically above the camera into selfie mode. By today’s standards, the 3-inch screen has a relatively modest 920,000-dot resolution. It’s a 16:9 screen too, meaning that full resolution 3:2 photos do not fill the display and therefore appear on the small side – a similar scenario also happens on the 16:9 display on the Fujifilm X-A7.
Given the A6100 is an entry-level camera, it is perhaps a little counter-intuitive that its touchscreen functions are so limited. The screen can be used to select the AF points and track subjects, plus pinch-to-zoom and scan an image in playback. But you can't navigate menus or make setting selections. Still, AF selection is arguably the most helpful touch function.
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Tiny, fiddly buttons are often a pitfall of such small cameras, but not so here. All of the buttons are clearly labeled and reasonably sized. There are two control dials – both are on the rear and naturally controlled using your thumb. Another dial on the top front would have been very welcome to bring your index finger into play instead.
A 420-shot battery life is very competitive at this level. We used the camera during cold winter months and found that battery life drained a little quicker than expected. However, USB charging is massively helpful. It's worth noting here that there is no battery charger included with the A6100, just the USB cable.
With the camera continuously connected to a power bank, the battery tops up every time the camera is switched off, which proved very handy during our wintry outings. On-the-go charging for mirrorless cameras is a true solution for their more limited battery lives.
The A6100 records images onto a single SD card, but isn't compatible with the latest UHS-II cards that possess superior read and write speeds. It’s no surprise, yet the result is some functional lags when using the camera for continuous shooting.
One handling issue worth mentioning – which is not unique to the A6100 but quickly noticeable on a camera like this – is how 'Auto ISO' favors a lower ISO setting over a quicker shutter speed when shooting in Aperture priority mode.
For example, with the lens set to a 24mm equivalent focal length, auto ISO will naturally select a shutter speed of around 1/30 sec, no matter what scene is being captured. That’s fine for static subjects, which will remain sharp, but any movement from people will be blurry.
We often chose to shoot in full 'Manual' mode with auto ISO, to ensure the desired shutter speed and aperture. However, stick the camera into its Auto mode and scene detection comes into play with more sensible shutter speeds chosen.
It takes more time to familiarize yourself with what the A6100 can do than most other entry-level cameras. That’s no bad thing, but we’d firmly recommend a little research on ways to set up the camera for quick control and to ensure you are getting the best out of it. For example, customizing the continuous AF settings and adding your most used controls to the main Function (Fn) menu.
(Image credit: Future)
Sony A6100: Performance
425-point phase detection autofocus
Excellent continuous tracking autofocus
11fps mechanical shutter
1200-zone evaluative metering
Where the A6100 shines brightest is through its rapid and reliable autofocus system for both photography and video. It has the same AF system as the flagship Sony A6600, a camera that's almost twice the price.
There are several Focus Modes and Focus Areas to choose from. After playing around with these settings, we settled on continuous AF with the 'Tracking: Expand Flexible Spot' focus area for virtually all scenarios.
With this AF setup in play, focusing for general action – family shots, a specific subject within the frame – is extremely reliable. Honestly, there were times that we forgot that this is an entry-level camera because the A6100 is so reliable for sharp focusing.
A burst mode of 11fps is, on paper, solid. However, in use the reality of 'continuous high' shooting is a tad disappointing. In our experience, the length of bursts do not quite match the claims of up to 67 frames. Also, the camera takes time to buffer those sequences before full performance is available again.
Despite the Bionz X processor, the limitations of a UHS-I SD card slot are clear. We found the 6fps 'Continuous Mid' shooting mode a more sensible choice. The A6100 is still very competitive at this level, but the Olympus E-M5 Mark III is only a little more expensive and offers UHS-II compatibility with unlimited burst shooting.
The A6100 uses a 1200-zone evaluative metering system. In many circumstances – and of course this is to taste – we found exposures a little bright and opted to dial in around -0.7EV exposure compensation.
For us, the Imaging Edge Mobile app provided a hassle-free connection and worked very well for image uploads and remote control shooting. The same cannot be said for all brands, so kudos to Sony here.
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A high frame rate like the 'Continuous High' at 11fps increases your chances of capturing the crucial moment. However, the sequences don’t last long before the camera’s buffer is full. Moreover, the camera takes some time to be ready to shoot again. (Image credit: Future)
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The AWB: Ambient setting gives pleasing colors while maintaining warm tones. (Image credit: Future)
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We found the evaluative metering makes exposures a fraction too bright and often opted to dial in some negative exposure compensation. (Image credit: Future)
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If you brighten low key images like this it is clear there is plenty of crisp detail in shadow areas. (Image credit: Future)
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Face detection AF works quickly and, for the best part, focuses on what’s important, the eyes. (Image credit: Future)
Sony A6100: Image and video quality
24.2MP resolution holds its own
ISO 100-32,000 (extended to ISO 51,200)
4K videos look good and helped by reliable continuous AF
Vibrant colors but no flat/natural color profiles
Sony's APS-C cameras have offered a 24MP resolution for almost ten years. Even today, few venture higher or lower than 24MP. It’s a sensible choice in the entry-level A6100, though one has more cause for complaint in the flagship Sony A6600.
The 6000x4000 pixel resolution equates to an A3-print size at 350ppi, though by reducing the ppi you can make a high quality print up to A2 – that’s surely enough for most photographers.
Video quality is solid. 4K videos at 25fps are taken from the full-width of the sensor and the quality is helped no end by the reliable and intelligent continuous tracking autofocus.
Of course, image quality is affected by the lens attached to the camera and the 16-50mm Power Zoom kit lens of the A6100 has a poor reputation. But add a different lens – such as the two we used – and you’ll get crisp images with plenty of detail all the way up to ISO 3200.
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In general, color rendition is accurate and pictures look great straight out of the camera as JPEGs. (Image credit: Future)
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This image is taken at ISO 6400 and detail is still reasonably sharp in the bright areas. (Image credit: Future)
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We found the evaluative metering makes exposures a fraction too bright and often opted to dial in some negative exposure compensation. (Image credit: Future)
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The APS-C sensor has a wide dynamic range – this unedited image was shot in a standard mode without increasing the dynamic range in any way. (Image credit: Future)
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The tilt-screen is ideal for clear viewing when shooting at low angles. (Image credit: Future)
For most subjects, the ‘Standard' Creative Style creates realistic tones and accurate colors for JPEG images straight out of the camera. Sony’s color profiles are gradually turning around and indeed we have seen an improvement – those jumping from the A6000 will appreciate the difference.
For more critically observed subjects, skin tones for example, things are a little too saturated for our liking, even in the least punchy Standard Creative Style (again, that’s down to personal taste). We’d love to see a more natural or flat color profile included for photos and videos here – most other brands offer at least a ‘Natural' profile.
To get a ‘flatter' tonal range from which to make edits to saturation post capture, your best bet is decreasing the contrast in the Standard Creative Style (or to shoot in Raw format). However, it’s not possible to make any image edits in-camera.
Dynamic range is very good. A lot of detail can be recovered from shadow areas that appear black, and a reasonable amount can be found in bright highlights. You’ll get notable patches of chroma noise and overall luminance noise in shadow areas of low contrast images taken at ISO 6400 and higher, though.
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Sony A6100: Verdict
Considering the design, price point and feature set, the Sony A6100 is arguably the most enticing camera in Sony’s A6000 series today.
Firstly, the body design that's consistent throughout this series does feel more suited to beginners and those growing their skill level.
Image quality and autofocus are also on a par with the more expensive Sony A6400 and Sony A6600, which is impressive. The main gripes that we have of all A6XXX series cameras – mainly handling and performance limitations – are also less forgivable on the flagship models than they are here.
So what do the more expensive models have going for them? Well, the flagship Sony A6600 has a much better battery life, in-body image stabilisation (IBIS), a higher resolution EVF and a metal, weather-sealed body. But it’s virtually twice the price.
Crucially for Sony, the A6100 refreshes the A6000 and holds its own against today’s growing competition. There is class-leading continuous autofocus and in most other areas, such as battery life, the camera is very competitive.
We expect the A6100 to be the most popular of the current A6XXX series and for good reason – it’s well-priced and is a brilliant little camera once you get to know it.
Perhaps the most obvious direct rival to the A6100, the Canon EOS M50 is a little older than Sony's entry-level camera, but also a lot more affordable. It shows its age in many areas, with the A6100 offering superior autofocus, battery life, video powers and native lens choices. But if you can't stretch to the A6100 or have existing Canon EF or EF-S lens that you'd like to use with the EOS M50 (via an adaptor), it's well worth considering for beginners.
It's a fair bit pricier than the Sony A6100, but the Nikon Z50 addresses one of our main complaints with Sony's APS-C cameras – handling. Just like Nikon's DSLRs, the Z50 has a nice, chunky grip and balances better with longer lenses, which is something to bear in mind if you like sports or wildlife shooting. Both cameras can shoot at 11fps continuously and lack in-body image stabilization. Sony has the edge with autofocus and its native lens selection, but the Z50 is a better option for those coming from DSLRs (particularly Nikon ones, as you can use F-mount lenses with an adaptor).
If you don't need a viewfinder and want something a little smaller than the A6100, then the Fujifilm X-A7 is well worth considering. Combining a 24.5MP APS-C sensor, 3.5-inch vari-angle touchscreen and the ability to shoot 4K/30p video, it's a nice little all-rounder that shoots crisp, sharp images and pairs nicely with Fujifilm's range of X-Series prime lenses.
• Original review date: January 202
• Newer Sony A9 III now available
• Launch price: $4,500 / £4,800 / AU$7,299
• Official price now: $4,499 / £4,199 / AU$6,499
Updated: February 2024. It took Sony three years to release the third-generation A9 late in 2023, but the Sony A9 II remains an excellent pro shooter even today. It's had some firmware updates since its release and slight price drop too, but if you can pick up at a discounted price, its performance is worth every penny. The Sony A9 II doesn't always get a discount, even during major sales like Black Friday, but if you keep your eyes open, it's possible to snap it up (pun entirely intended) for around $3,100 / £2,800 / AU$5,300. The rest of this review remains as previously published.
Until May 2017, the kings of professional sports and press photography were two DSLRs – the Canon EOS 1D X Mark II and the Nikon D5. Then Sony launched the Alpha A9 and changed the game. Smaller, lighter and ridiculously fast, the original full-frame mirrorless sports shooter from Sony was one of the best snappers we had tested.
Fast forward to 2019 and the second generation A9 is on the market, trying to tempt the pros to upgrade. However, Sony has mostly held on to the core specs from the first-gen A9 and has chosen to make what, on paper, seems like only incremental upgrades to the A9 II. Those little tweaks may not mean much to the average user, but professionals in the field who rely on ridiculously quick turnovers and need high-speed performance will be the ones to appreciate what the Sony Alpha A9 II has to offer. It’s these users that the A9 line of cameras was designed for, and the latest model does not disappoint.
With so much that’s similar to the previous model, we’ve decided to list what’s great about the newer version in this review so as not to repeat ourselves. We’ve listed all the new features and then jumped straight to image quality so you can decide for yourself whether it’s worth the upgrade or not. That said, the A9 II costs a pretty penny (having launched with a price tag of $4,500 / £4,800 / AU$7,299) while the original A9 has seen a significant price drop. So, do the small changes make the Alpha A9 II a worthwhile purchase?
(Image credit: TechRadar)
Design & features
Larger, deeper hand grip
10fps burst with mechanical shutter
Built-in 1000BASE-T Ethernet terminal
60-second voice memo
There’s a total of 43 features that are different in the Sony Alpha A9 II as compared to its predecessor, with only a few subtle physical differences that make the newer model an absolute pleasure to use.
One of those design changes is the larger and deeper grip that, even for those with small hands, makes the camera quite comfortable to hold and use for hours on end. The AF-ON button is now larger and more prominent, while the multi-selector joystick is now textured and thus more tactile, making it easier to find and use without taking your eye off the viewfinder.
Sony Alpha A9 II key specs
Sensor: 24.2MP full-frame Exmor RS BSI CMOS sensor Lens mount: Sony FE Screen: 3.0-inch tilt-angle touchscreen; 1,440K dots Burst speed: Up to 20fps Autofocus: Hybrid AF; 693 phase- and 425 contrast-detect points ISO: 100-51200 (exp 50-204800) Video: 4K/30p Connectivity: Wi-Fi (5GHz), USB-C (USB 3.2 Gen 1), Bluetooth, HDMI mini, LAN, NFC Weight: 678g (with battery + card)
While the drive dial remains unchanged from the A9, the exposure compensation dial on the top right corner of the camera now sports a locking button to prevent accidental changes. There's also a redesigned lens lock button on the A9 II, along with better padding for shock absorption around the lens mount. The camera also has better weather sealing than the older model, with double-sealed sliders for ports, the card slots, and battery compartment rather than just hinged seals.
However, the biggest advantage the A9 II has over its predecessor is the ability to shoot continuously twice as fast – using the mechanical shutter, the Mark II can capture up to 10 frames per second, making it a better shooter to use under certain artificial lights. In fact, for sports photographers shooting in indoor stadiums, there’s a new anti-flicker mode that detects fluorescent lighting and adjusts exposure accordingly. It's worth noting that the anti-flicker mode is not available while filming videos or when using the electronic shutter.
Design changes aside, it’s the improvements to the camera’s connectivity that really makes this shooter one of the best options for pros. The most important among them is the upgraded 1000BASE-T Ethernet port that is ten times faster than the 100MB/s terminal on the original A9 (we were able to transfer a batch of 300 JPEGs with a file size of about 11MB each in just under a minute and a half). Even the USB-C port is now the faster 3.2 Gen 1 standard, while the Wi-Fi supports both 2.4GHz and 5GHz as opposed to just the 2.4GHz in the original A9. These improvements in connectivity will allow photographers to transfer files directly to FTP servers quickly. Up to 10 different FTP settings can be saved to an SD card and reloaded onto the A9 II, while Sony’s Imaging Edge mobile app can save up to 20.
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Another really cool feature that many photojournalists will be glad to use is the voice memo. Vocal instructions of up to 60 seconds in length can be recorded for individual images or a series of shots – a huge help for teams waiting back in the office to use the images wherever necessary. The memos can also be converted into text that get added to the JPEG file’s metadata, although this needs to be done on the Imaging Edge app.
A new low-vibration shutter design has improved image stabilization in the A9 II by half a stop, now rated at 5.5 stops. However, in real-world testing, we were hard pressed to tell the difference between the two iterations, with the A9’s IBIS still rather impressive.
Another tiny tweak that can go a long way is the slight improvement in battery life – where the A9 was rated for 650 shots when using the LCD display and 480 while using the viewfinder, the second generation shooter can manage to spit out up to 690 and 500 respectively.
Practically everything else has been inherited from the older camera and you can refer back to our in-depth Sony Alpha A9 review to find out more about the other features.
Autofocus
Real-time Eye AF for 4K video
Improved AF algorithm
We were unable to test the camera in sports arenas as people weren’t comfortable with us publishing photographs of them on a public platform, so we tried the next best thing – wildlife. This kind of photography requires a fast and precise autofocus system, especially when taking photos of birds, and the A9 II did not disappoint.
The AF on the original A9 was practically perfect – fast and reliable in equal measure. At the time we thought it wasn’t possible to make it any better but, boy, were we wrong. All it took was a tiny tweak to the AF algorithm – made possible by the new Bionz X processor – to give the new camera’s autofocus performance a boost by improving subject tracking, even when using smaller apertures with Focus Priority switched on.
Tracking is precise and can keep up with erratically moving subjects as well (like birds flying and changing directions suddenly). The camera’s AF system does occasionally have trouble when the head of the subject disappears briefly and then reappears – we found that the AF system wasn’t able to lock back onto the subject’s head, but was more than capable of tracking the body.
The Sony A9 II can stay locked on to the main subject even when an obstacle gets in the way | Click here to see the full-size image (Image credit: TechRadar)
Even when an obstacle gets in between the subject and the camera, the Sony A9 II is intelligent enough to know it needs to stay locked onto the main subject. In our case, this was demonstrated when we were photographing a tower of giraffes at Sydney’s Taronga Zoo. While we were focused on one animal, another ambled past between us and the giraffe we were shooting, and the A9 II didn’t even blink, staying locked on to our main subject.
The biggest improvement to the AF system, though, is the addition of real-time eye-detect autofocus when recording 4K video, something that’s missing in the older A9 model.
A few other tiny tweaks have been made to the AF system as well, including adding the ability to move the focus frame even when the shutter or the AF-ON button is half-pressed. You can also change the color of the focus frame to whatever catches your fancy. If you prefer using the rear LCD for touch-tracking, you can do so even when using the viewfinder to shoot.
Image quality
Expandable ISO range of 50 - 208,800
Excellent ISO performance
Decent dynamic range
Like its predecessor, the A9 II delivers some superb results. The 24.2MP sensor delivers images that are sharp, with great colors and plenty of details. However, RAW files have more chroma (color) noise as compared to JPEGs due to the camera’s high rate of calculations, but nothing that can’t be fixed during post processing.
ISO performance is excellent with virtually no noise at the lower values and very acceptable levels when you climb up to 12,800 and 25,600, as seen in the below image of a bird in the water.
Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/400 sec at f/5.6, ISO 12,800 | Click here to see the full-size image (Image credit: TechRadar)
The above shot was taken at ISO 12,800 and then cropped down by 20%. The uncropped image barely showed signs of luminance, with some grain visible only after cropping to zoom in closer to the subject. While noise becomes evident at 51,200 and higher, you should still be fine taking it up to 102,400 although we’d advise going that high only if you absolutely have to and if you’re shooting JPEGs.
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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 sec at f/5.6, ISO 200 (Image credit: TechRadar)
The A9 II does have a decent dynamic range, although it’s still not quite a match for Sony’s megapixel monsters, but that’s only because the A7R series was designed for landscape photography. The A9 II holds its own when compared to the Canon EOS 1D X Mark II and the Nikon D5 (the latter is marvelous in low light), and plenty of details can be extracted from shadows when working on your shots later, even when just using a slider in the most basic photo editing apps.
Verdict
The A9 II was designed specifically with the photojournalist in mind. For the average user, this camera will likely be overkill, with most of the new features going unused and under-appreciated. For the target audience though, this is one heck of an upgrade over the original A9. It feels a lot more refined and a far more efficient tool for photographers in the field.
Our only complaint would be the absence of XQD or CFexpress card slots that would see files saved to card much quicker, and the limited touchscreen functionality – both of which remain the same as in the A9. Other than adding real-time eye-AF to 4K video recording, no other improvements have been made for shooting movies. There’s still no S-Log support and the camera can only record 8-bit 4:2:0 video internally. The only way to output 8-bit 4:2:2 video is externally via the micro HDMI port.
However, Sony has released some very good long lenses that weren’t available when the A9 launched in 2017, making the A9 II a very compelling sports camera, despite the competition it’s likely going to have from the Canon EOS 1D X Mark III and the Nikon D6.
Competition
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Canon EOS 1D X Mark III
Canon’s latest sports DSLR has plenty to offer, including a higher continuous shooting speed of 16fps when using the mechanical shutter (as opposed to the A9 II’s 10fps burst). For anyone keen on capturing video, Canon has made this an ideal hybrid shooter, with C-Log 4:2:2 10-bit in-camera recording. While we’re yet to test this new camera fully, it’s shaping up to be a formidable competitor.
While we wait for the Nikon D6 to make its official debut, the D5 is still the low-light king amongst sports cameras, with an extended ISO range that goes up to a staggering 3,280,000 still not found in any other shooter. While its 173 AF points might seem a tad dated right now, its AF performance is still topnotch. So until we know more about the D6, this would be a superb choice for a sports DSLR.
It would be remiss of us if we didn't include the game-changing sports mirrorless shooter here. The original A9 is still a very impressive camera – after all, the second generation model is based mostly on this snapper. And with a significant price drop since the launch of the Mark II, the A9 is a compelling choice for those without the spare change for the more expensive newer pro-level sports shooters.
• Original review date: November 2019
• Launch price: $1,249 / £1,299.99
• Official price now: around $699 / £649
Update: November 2024. Launched way back in 2017, the Nikon D7500 is by no means a cutting-edge camera. That said, if you prefer the handling of a DSLR and want an enthusiast-grade stills camera with solid specs, the D7500 represents fantastic value in 2024. In fact, we rate it as the top-value all-rounder in our list of the best DSLR cameras. Its excellent 20.9MP sensor and powerful 51-point AF system still stack up well today, even if its single SD card slot and slow Live View focusing show its age. We also rate its battery life and sturdy build quality. The D7500 is often on sale and we think you’ll still be hard-pushed to find a better DSLR camera for the money.
If you still prefer DSLRs to mirrorless cameras, there are some real bargains to be found among higher-end APS-C models from a few years ago – and the Nikon D7500 is a great example.
When it launched in April 2017, the D7500 was premium, enthusiast-level DSLR that borrowed a lot from what was then Nikon's flagship DX-format camera, the Nikon D500. It sat below the latter and above the D7200, which has now been discontinued.
So what does it still bring to the table? Well, the D7500 remains a fine choice for shooting sports and action, thanks to its 8fps burst shooting and generous buffer. Impressively for an enthusiast-level DSLR of its time, it also shoots 4K video at 30fps. And with weather-sealing and chunky handling, DSLR fans will right at home with the D7500's reassuringly weighty frame.
Of course, there are also excellent mirrorless cameras available for the D7500's new price tag, including the new Nikon Z50. But if it's the handling, battery life and optical viewfinder of a DSLR you're looking for, then the D7500 now offers excellent value for money.
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Features
APS-C CMOS sensor, 20.9MP
3.2-inch tilt-angle touchscreen, 922,000 dots
4K video capture
One of the biggest shake-ups the Nikon D7500 brought was its change of sensor. While both the D7100 and D7200 sported 24MP chips (as, for that matter, did the entry-level D3400 and D5600), here Nikon opted to use the slightly lower-resolution 20.9MP sensor from the D500, which, as in that camera, is teamed with Nikon's EXPEED 5 image processor.
As on the D500, omitting the low-pass filter has enabled Nikon to eke out that bit more detail from the 20.9MP sensor
As on the D500, omitting the low-pass filter enabled Nikon to eke out that bit more detail from the 20.9MP sensor, and while it may seem quite a sacrifice to lose almost 4MP compared to the D7200's 24.2MP, the minor drop in resolution does have advantages, particularly when it comes to sensitivity.
Compared to the D7200’s ISO range of 100-25,600, the D7500’s 100-51,200 standard offers an extra stop of flexibility, but it’s the expanded range that impresses. There’s a low setting of ISO 50, while the upper ceiling is a staggering ISO 1,640,000. The reality is that these upper sensitivities are likely to be pretty much unusable, but the benefits will be felt further down the sensitivity range, and if the new camera performs like the D500 it should impress in this regard.
While both the D7100 and D7200 sported 3.2-inch displays that sat flush with the camera body, the D7500 has a 3.2-inch tilt-angle touchscreen display with a 922,000-dot resolution (the D500 has a 2,359,000-dot resolution). There’s also an eye-level pentaprism optical viewfinder that offers 100% coverage.
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We were pleased to see 4K UHD (3840 x 2160) video capture arrive on the D7500, at 30, 25 and 24p for up to 29 minutes and 59 seconds. As usual there are lower-resolution video modes, and Full HD footage can be shot in 60p for slow-motion playback. In addition, 4K UHD timelapse movies can be created in-camera, and there's electronic Vibration Reduction to reduce the impact of camera shake when shooting movies hand-held.
The D7500 also offers simultaneous 4K UHD output – to card, and uncompressed via HDMI – as well as a headphone and microphone jack for pro-level audio recording and monitoring.
Speaking of cards, the D7500 only features a single SD card slot, not two, as on the D7200, which will no doubt be a disappointment for some potential buyers.
As we’ve seen with the D500, D3400 and D5600, the D7500 sports Nikon's SnapBridge technology, enabling the camera to stay permanently linked to a smart device over a low-power Bluetooth connection (or via Wi-Fi). This means that after the initial connection has been made images can be transferred automatically to your phone whenever you shoot.
The Nikon D7500 is 5% lighter than the now discontinued D7200 (and 16% lighter than the D500), and tips the scales at a modest 640g / 1lb 6.6oz. Despite this minor weight saving though, it feels reassuringly solid in the hand.
Compared to the D7200 the handgrip is that bit deeper, and this, combined with the soft-texture coatings on the front and rear of the grip, ensures that the D7500 feels secure and comfortable in the hand.
The D7500 is chunky enough that when we held the camera our little finger didn't slip off the bottom of the grip, which is just as well as those who want even better purchase and a more comfortable vertical shooting experience will be disappointed to hear that currently there isn't an optional vertical grip available.
Like the discontinued D7200, the D7500 is weather-proofed, so you'll be able to keep shooting when the elements turn against you. Interestingly, the magnesium alloy panels in the D7200's construction disappeared, and were replaced by a single monocoque construction in an effort to save weight, although despite this apparently retrograde step it still feels like a well-made piece of kit for the price – it certainly doesn't feel plasticky.
There have also been some tweaks to the Nikon D7500's button placement.
On the top plate the metering mode button has disappeared, to be replaced by a dedicated ISO button, as we saw on the D500. Its position has shifted slightly to be closer to the exposure compensation control, making it easier to reach when the camera is raised to your eye.
Moving round the back of the D7500, the general control layout is virtually identical to its predecessor. Metering mode now takes the spot vacated by the ISO control, while the 'info' and 'i' buttons have swapped sides.
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The rear display is a touch slimmer than the D500's when you pull it out and away from the body. It can be tilted downwards and upwards, and while touchscreens are now commonplace on mirrorless cameras, it was great to see one arrive on a Nikon DSLR when we reviewed the D7500 in 2017.
There's obviously tap-to-focus control (you can also tap the area of the screen where you want to focus and trigger the shutter at the same time), while the touchscreen makes reviewing images that much quicker too – you can swipe through photos and pinch-zoom images. The menus can also be navigated via the touchscreen, which was a first for a Nikon DSLR.
The drop in screen resolution, to 922,000 dots from the D7200's 1,299,000, seemed a bit of a backward step however – that was even lower than the D5600's 1,037,000-dot resolution, but in our time with the camera it didn't seem to impact on the user experience, with a decent amount of clarity and good color rendition.
Autofocus
51-point AF, 15 cross-type AF points
Group-Area AF added
Auto AF Fine Tune
While the Nikon D7500 borrows a lot from the D500, it doesn’t get the same sophisticated 153-point AF system the D500 enjoys. Instead, it gets an uprated version of the 51-point AF system that was in the D7200.
This system was getting a little long in the tooth even back in 2017, but it’s a tried and tested one that’s still work well. Fifteen of the 51 AF points are the more sensitive cross-type variety, which offer greater precision and accuracy, while the coverage can be configured down to 21 and nine points if you wish.
This AF system was getting a little long in the tooth even when the D7500 arrived, but it’s a tried and tested one
The D7500’s AF system received a Group-Area AF mode, which we first saw on the D810. This enhances subject detection and tracking, with the D7500 constantly monitoring five different AF fields, and improves focus acquisition and background isolation.
When using with 3D tracking, the D7500 does an excellent job of following subjects through the frame
Another subtle difference from the system in its predecessor was that the AF system hooked up to a different metering sensor, which is used to aid image recognition when focusing. While the D7200 used the older 2016-pixel RGB sensor, the D7500 enjoys the same 180,000-pixel RGB sensor as the D500, which when combined with the decent coverage of AF points across the frame delivers reliable AF tracking performance.
Away from 3D tracking, and the D7500's Dynamic AF mode (using 9, 21 or 51 AF points) is again, very good
Like both the D500 and the D5, the D7500 has the Auto AF Fine Tune feature, which when in Live View enables users to automatically calibrate autofocus with specific lenses if required.
Despite the Live View AF not being quite as fast as rivals, it still does a decent job
Autofocus in Live View can be a bit of a clunky experience with many Nikon DSLRs, but it's a bit more refined on the D7500. It's not a match for Canon's excellent Dual Pixel AF system that we've seen in cameras for years, but focusing is better than we've experienced with a lot of other Nikon bodies, while the ability to tap-focus using the touchscreen speeds things up greatly.
With a raft of mirrorless cameras, such as the Fujifilm X-T3, overshadowing the 6fps burst shooting performance of the now discontinued D7200, it was no surprise to see the Nikon D7500 offering 8fps.
Helped by the new EXPEED 5 image processor, the D7500 can shoot a burst of 50 raw files before the buffer needs to clear – quite an improvement over the D7200’s 18 raw files at 6fps, and impressive for a non-professional DSLR.
The D7500's metering system performs very well
As we've touched upon, the D7500 inherited the D5 and D500’s 180,000-pixel RGB sensor, which handles metering and white balance, as well as informing the automatic scene recognition system to help improve autofocusing with better subject detection.
As expected the metering system performs very well, consistently delivering spot-on exposures, while the Auto White Balance does a solid job too.
There's a new battery as well – the EN-EL15a is good for 950 shots before it needs charging. That's still streets ahead of most mirrorless cameras, for which you'd need two or more batteries to even think of getting that kind of endurance, but it's actually down 150 shots from the D7200's 1,100-shot battery life – undoubtably one of the trade-offs for having the more powerful EXPEED 5 image processor on board here.
Image quality
ISO100-51,200, expandable to 50-1,640,000
Impressive dynamic range
Excellent noise performance
With the same sensor as the fabulous D500 at the heart of things, the results from the Nikon D7500 are predictably excellent.
It may have slightly less pixels than more affordable DX Nikon DSLRs, but unless you're going to spend most of your time shooting at ISO 100, the minor drop in resolution is a compromise worth making.
Don't be put off by the D7500 having 'only' a 20.9MP resolution – there's still plenty of detail
This is underlined when you look at images through the ISO range. Shots taken at the lower end of the sensitivity range display excellent levels of detail, but the camera really starts to shine as you bump up the ISO setting.
While detail does suffer a touch at ISO 6400, results stand up remarkably well. Increase the sensitivity a further stop to ISO 12,800, and while there's now a hint of chroma (color) noise in shots, results are still very good.
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The Auto White Balance is very good, while colors have a nice punch
As you'd expect, luminance (grain-like) noise becomes more pronounced at ISO25,600 and ISO51,200, but the results are still some of the best we've seen from a camera at these sensitivities.
Once you go beyond the realm of the camera's native sensitivities, things do tail off. That said, results at Hi1 (ISO 102,400) are actually pretty good for such a high value, but banding starts to creep into images shot at Hi2 (ISO 204,800); we'd caution against using anything higher, as results can look pretty murky and suffer from a severe lack of detail.
Dynamic range is also very impressive. It's possible to recover shadow detail in a shot that's been underexposed by some five stops – even six at a push – and still end up with a very satisfactory shot.
At the time of its launch, the Nikon D7500 represented the biggest revamp we'd seen in the series since the D7000 replaced the D90 back in 2010. It was an impressive little brother to the pro-level D500, which also remains on sale today.
With its price tag continuing to plummet, the D7500 remains an impressive performer, despite the mirrorless revolution that's taken place since it arrived in 2017. DSLRs still have traditional advantages over mirrorless cameras, such as battery life and handling, and if those are important to you, then it's a compelling option at the price.
While its 51-point AF system might sound a little dated, it is tried-and-tested and the D7500 does also 8fps burst shooting among some other tempting features. These include 4K video capture, a tilt-angle touchscreen display and that great combination of the 20.9MP sensor and EXPEED 5 image processing engine, in a body that's considerably smaller than the D500.
With the latter still going for a pro-level premium, the D7500 is an enthusiast-level DSLR with few rivals at its price point.
Competition
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Nikon D500
The D500 is still Nikon's top-of-the-range DX-format DSLR, and a camera that the D7500 borrows a lot of features from, including the 20.9MP sensor. Pay the (considerable) extra though and you get even better AF performance, thanks to a brilliant 153-point AF system that'll cope with pretty much anything. Marry that to a camera that can shoot 10fps for 200 shots and a rock-solid build, and you have what is still one of the best DSLRs out there.
Nikon's now discontinued D7200 was always a firm favorite amongst enthusiast photographers, and it's easy to see why. Packing in a brilliant sensor that was complemented by impressive specs, there was little not to like. The D7500 is the better camera overall, but it's still worth seeking out second-hand or refurbished D7200s if your budget's a bit tight.
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Canon EOS 80D
Perhaps the biggest non-Nikon rival to the D7500 is Canon's EOS 80D. This has now been succeeded by the Canon 90D, but it remains a hugely capable enthusiast DSLR that has similarly seen big price cuts. It's edged out by the D7500 when it comes to performance, but if you're going to be shooting a lot with the rear display, you may be tempted by the EOS 80D's rear vari-angle screen and brilliant Dual Pixel AF.
• Original review date: October 2019
• Most recent instalment in Sony's RX100 line
• Launch price: $1,198 / £1,200 / around AU$1,725
• Official price now: $1,299 / £1,049 / AU$1,569
Update: May 2024. Starting where the RX100 VI finished, the seventh iteration of Sony’s premium compact proved impressive in our original review. We continue to rate it highly today: thanks to its solid feature set, impressive performance and pocket-friendly design, we think it remains one of the best compact cameras you can buy. One of the major drawbacks at launch was its price, and the RX100 VII is still an expensive option in 2024. Sony has only offered minor reductions to its RRP in Australia and the UK, while the price has actually increased in the US. With no sign of a direct successor, we think its popularity is likely to endure for some time, which means its price will probably do the same. Seasonal discounts are also relatively rare, with any reductions usually limited to around $100 / £100. If you want to save on the RX100 VII, your best bet is to look for a second-hand model in good condition.
It's hard to think of another camera series that has made it through to its seventh iteration, but the popularity of Sony's RX100 line goes some way to explaining how we got here.
Previous RX100 models have found their way into many photographers' hands, both as backups to interchangeable-lens models or as primary cameras for those not wishing to be burdened by a larger and heavier system. It's also one of the best travel cameras. But with asking prices now firmly into four-figure territory, some may find the more recent offerings harder to justify.
Even so, with its most recent models sporting longer lenses and inheriting key features from Sony's Alpha line of mirrorless cameras, while keeping the bodies just as portable as before, the compact camera series still appears to be moving in the right direction. So what tricks does the Sony RX100 VII pull off that we haven't seen before?
Features
20.1MP 1-inch stacked CMOS sensor with DRAM chip
20fps with AF/AE and up to 90fps without
4K video recording to 30p
While the first five RX100 models maintained a relatively restrained zoom range and a wide maximum aperture, the RX100 VI swapped it for a lens equivalent to 24-200mm in 35mm terms, and the RX100 VII retains this optic. The fact that Sony squeezed this lens into a body no larger than before was impressive, but the trade-off was a reduction in maximum aperture.
The lens has aspherical, advanced aspherical and extra-low dispersion glass on the inside to help keep things rosy, while Optical SteadyShot technology has also been included to keep thing stable.
It's very unusual for a camera to have the same sensor resolution throughout seven consecutive models; however, the sensors haven't been the same this whole time, and it's no surprise that the RX100 VII has been blessed with a new one, albeit one that still conforms to the same 1-inch dimensions and stacked architecture as before.
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It also still has a separate DRAM chip to help crunch through all the data from the sensor at speed, and it now works with the latest version of the company's BIONZ X engine – and that partnership provides some pretty staggering burst-rate figures.
Indeed, this is one of the big shifts from the RX100 VI, and brings what Sony claims to be performance in terms of speed that's on a par with its A9 model, which is still the flagship mirrorless camera in the Alpha family.
What does that mean in figures? It means 60 autofocus and auto-exposure calculations per second, which allows for burst shooting at 20fps with autofocus and auto-exposure working throughout, without any blackout of either the viewfinder or the LCD.
While that's impressive enough, if you're willing to sacrifice adjustments to autofocus and auto-exposure and call on the Single Burst Shooting drive mode, you can shoot images at 30fps, 60fps or a ridiculous 90fps at their full resolution – the other catch is that all of these modes can only be used to capture seven frames at a time.
Viewfinder: EVF with a 2.36 million-dot resolution
Burst shooting: 20fps (up to 90fps in Single Burst Shooting mode)
Autofocus: Hybrid AF: 357 phase-detect AF points and 425 contrast-detect AF points
Video: 4K to 30p; Full HD to 120p
Connectivity: Wi-Fi and Bluetooth
Battery life: 260 (LCD), 240 (EVF)
Weight: 302g (including battery and card)
Videos are once again recorded to 4K UHD quality at a maximum 30p, with no pixel binning and the option of 4K Active SteadyShot, which is said to be eight times more effective at steadying footage than the more conventional 4K Standard SteadyShot.
If you don't need 4K recording, you can knock this down to Full HD at frame rates up to 120p. Various super-slow motion options lie on top of this, with frames rates of up to 960fps achievable, and it's also now possible to bypass the default five-minute recording restriction when shooting in 4K.
All of this is supported by a strong secondary video feature set, with a 3.5mm microphone port at the camera's side, S-Log2, S-Log3, S-Gamut3.Cine and Hybrid Log Gamma (HLG) modes, and the usual focus peaking and zebra options we've seen in many previous Sony models. The camera can also detect when you're shooting vertically, and preserves this orientation after footage has been offloaded.
The big change with video is that the RX100 VII offers Real-time Tracking and Real-time Eye AF while recording. Up until now, these have only been made available for stills in the A9 and A6400 (and now the more recent A6600), although here it's on hand for both stills and movies – and we'll be exploring exactly what these allow and how well they work in a second.
Many things, however, haven't changed from before. The electronic viewfinder still neatly hides in the top plate when it's not required, and pops up into position with a single flick of the catch at its side, and this presents a feed with the same 2.36 million dots and 0.59x magnification (in 35mm terms) as before.
The 3-inch LCD touchscreen beneath this is also the same, with 921,600 dots. Once again, this is mounted on a relatively long bracket, which allows it to swing downwards to sit at a 90-degree angle to the camera, or upwards to face the front – perfect for vloggers, which is a key audience for the RX100 VII.
The battery provides 260 frames per charge, or 240 if you tend to use the viewfinder – a modest improvement of 20 frames on the RX100 VI
The battery provides 260 frames per charge, or 240 if you tend to use the viewfinder – a modest improvement of 20 frames on the RX100 VI. These figures hardly thrill, but they're somewhat expected for a camera with such a small body (and thus, a tiny battery). In any case, as is the case on all cameras, the average user will enjoy a higher battery life than these CIPA figures suggest in real-world use because of how they are determined – and USB charging helps here too.
Next to the battery is a single slot for SDHC and SDXC cards, which are supported to the UHS-I standard. That means you can still use the faster UHS-II cards, although you won't see any performance advantage in doing so.
The RX100 design has barely changed since the start of the series back in 2012, and with the exception of some minor cosmetic differences the Sony RX100 VII looks identical to the RX100 VI, while the metal body feels just as solid as those of previous models.
It's impressive when you consider the raft of features Sony has managed to pack inside that small body, not least that optic. But this also means the same criticisms can be aimed at the new model as were leveled at its predecessors, such as the lack of a grip around the front, and only a small square of rubber on the back plate where the thumb falls.
This makes it less comfortable to handle than rival models, such as the Canon PowerShot G7 X Mark III; it's clearly a camera that's designed to be as compact as possible, although you can get an optional grip if you decide you need one.
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One advantage the RX100 VII has over some rivals, however, is that the rear control dial can be rotated without the thumb constantly bashing into the side of the LCD screen, on account of it having a thin profile and being flush with the back plate. This is often a challenge on such small bodies, but here it's only really a small issue once the LCD is extended out from the body a little.
The electronic viewfinder springs up easily from the top plate when you release the catch at its side, and, as on the RX100 VI, you no longer need to pull the viewfinder back before you can use it.
One advantage the camera has over some rivals is that the rear control dial can be rotated without the thumb constantly bashing into the side of the LCD screen
The control ring around the lens has a knurled finish that makes it nice to operate. It's de-clicked, and provides no physical feedback as standard, although the camera does make small clicking sounds as it's rotated to make up for this. The fact that it's de-clicked makes it more suitable to use during video recording, where the camera would otherwise pick up operational sounds, although it's a minor annoyance that there's a slight lag between the dial being turned and settings being registered.
Autofocus
Real Time Tracking and Real Time AF
357 phase-detect point and 425 contrast-detect points
Excellent face and eye detection
The RX100 VI packed a great autofocus system, but that didn't stop Sony making better autofocus one of the priorities in the RX100 VII. The AF systems on recent Alpha models, together with firmware updates to older cameras, have ramped up performance across that line, and now Sony is looking to bring same magic to its Cyber-shot range.
So what's new? Well, there are now more phase-detect AF points for a start, up from 315 on the RX100 VI to 357 here, and these cover 3% more of the frame than before. The previous 25-point contrast-detect AF system has also been ramped up to a 425-point system, with Sony promising that the camera can focus in as little as 0.02 seconds.
The biggest change autofocus-wise is Real Time Tracking, which uses AI-powered tools to automatically switch between standard autofocusing when tracking a moving subject and face/eye tracking when the system detects a person's face. This should make it easier to quickly focus on what's key as people step in and out of the frame, or change position in relation to the camera.
The biggest change is Real Time Tracking, which uses AI-powered tools to automatically switch between standard autofocusing when tracking a moving subject and face/eye tracking when the system notices a person's face
Partner this with continuous autofocus and you have a very powerful combination. The availability of usefully broad focal range shows just how impressively this can work, as you can zoom to the telephoto end, have the camera pick out a very small subject in the distance, and watch as it sticks with it.
The face detection system doesn't need to have too big a face in the frame for it to recognize what it's shooting, although subjects do need to be a little closer in order for the system to start detecting and tracking the eye (eye detection is fairly pointless with more distant subjects anyway). When this does kick in, it manages to track eyes very well, even when the subject is side-on to the camera.
This system works impressively well during video recording too, where the camera stays with a human subject both as they move across the frame and as they move closer to or further away from the camera. Sony has shouted loudly about this feature, and you can see why.
There's little doubt that this is the best autofocus performance you can get on a compact camera right now, and this would make the RX100 VII a particularly strong choice for families – trying to keep a lock of a moving child can be quite the test for any camera.
Sony has received some stick for its menu systems in the past, which are somewhat overflowing with options, although color coding has made them easier to navigate in recent models.
What we have on the RX100 VII is much the same as before. There's a lot to wade through, but the option to set up a tab with your own options is a saving grace, although there's still the odd annoying abbreviation here and there.
The touchscreen works well for setting the focusing point, being nice and responsive to even lighter touches, and you can also use the screen as a touch pad when using the viewfinder – always handy in lieu of a joystick-type control.
The screen can also be used to zoom into, and move around, captured images, but that's about it. It doesn't appear that anything has actually changed from the RX100 VI, which means the screen is fine for basic tasks, but it does place the camera behind its peers elsewhere; it would be good to see touch control come to the Fn menu at the very least in future models.
The viewfinder is a fair bit smaller than what we're used to on mirrorless models, but this is to be expected; the main thing is that it's relatively bright and sharp. While the lack of any kind of eyecup normally makes such viewfinders a bit of a pain to use in brighter conditions without cupping your hand around them, the RX100 VII's finder maintains very good visibility even when you don't.
The RX100 VII's 90fps burst capabilities are one of the main things that separate it from the previous model – and indeed, every other compact camera. It's certainly impressive that the camera is able to reach these heights and spit out full-resolution images, but the fact that its buffer depth is just seven frames makes you wonder just how practical it is.
In use, the camera will capture the first seven frames as you depress the button, and discard anything afterwards. Seven frames at 90fps equates to less than 0.8 seconds of reality being captured (though it'll be more if you use the 30fps or 60fps options), so you need to have pretty sharp reflexes to nail the perfect moment.
Were the camera able to offer deeper buffer depths at its 60fps and 30fps settings, this burst rate would perhaps be more usable; but it can't, and presumably there's a technical reason for this, possibly the lack of UHS-II support. Ultimately, it ends up being impressive to play with, but potentially of limited use in reality.
Most people would be better off using the more standard burst mode, which can chomp through a still respectable 20fps with autofocus and auto-exposure working throughout. Using the fastest UHS-I card we could get our hands on, the camera was able to capture round 100 raw and JPEG frames simultaneously, although, as you'd expect, these can take a little time to fully write to the card.
Image quality
Great details throughout, though corner softness visible
Great noise control at moderate ISO settings
Detailed 4K footage with effective face detection and tracking
We were impressed with the image quality from the previous RX100 VII, so does the Sony RX100 VII live up to our expectations?
In short, the camera manages to produce strong images across a range of conditions, with minimal intervention required. Detail is excellent overall, and what's particularly good is how well this is maintained when using ISO settings towards the middle of the sensitivity range; plenty of detail lurks in slightly noisier images, so it's just a case of removing this noise.
On the whole, details are great in the center of the frame, and are generally well maintained to the edges, with just slight softness in the corners at both ends of the lens. This appears to be worse at the wide-angle end than at telephoto lengths, although it does improve a little as you stop down the aperture.
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Sony Cyber-shot RX100 VII at 24mm, f/4, 1/30sec, ISO160 (Image credit: Future)
Exposures are generally sound, although scenes with a relatively wide tonal range – if you're shooting indoors with windows in the frame, for example – will see a loss of detail in their highlights. Some of the details in these areas can be brought back with careful raw processing, though.
Colors are very nice on standard settings, and there's a particularly broad range of color options in-camera if the default Standard mode isn't quite to your taste. It's a shame, however, that the absence of in-camera raw processing means these can't be tweaked post-capture without recourse to a computer.
Some lateral chromatic aberration can be seen in images, although the worst of this is lifted away from JPEGs in-camera, and it can be removed from raw files fairly effortlessly.
Video quality has impressed on previous RX100 models, and it continues to shine here. Detail is abundant, and rolling shutter is kept to a minimum as the camera moves around the scene. As with pretty much any compact camera like this, wind noise is easily picked up by the built-in microphones, although the fact that you can hook up an external mic gives the RX100 VII an advantage over many other models.
There's no doubt that the Sony RX100 VII is an impressive camera. Given the strong performance and huge popularity of previous models it was likely that any changes Sony made here would only make it a better performer – and that's pretty much the case.
Special praise goes to the autofocus system, which is not only fast but remarkably good at keeping track of moving subjects, noticing faces at a distance and switching between face/eye detection and more standard tracking as the subject changes in distance and orientation. While some rival models aren't bad for speed by comparison, the fact that some are still based on contrast-detect AF alone means it's unlikely they'll be able to catch up with what Sony is doing here until that changes.
On top of that there's the excellent image quality, detailed 4K video, and considerable control over both. The retractable viewfinder and fine LCD screen make for a perfect partnership, while the body's high build quality and small size – especially when you consider the lens and inclusion of the viewfinder – make it easy to carry around and slip into a pocket, and be confident it will survive the odd bump and scrape.
So there's lots to love about the RX100 VII – but lots that could be improved too. There's still no grip, which makes for less-than-ideal handling, nor is there the option to process raw images in camera. The touchscreen is still underdeveloped, and while the lack of an ND filter may be explained by the longer-than-usual lens, it still makes capturing videos in bright light more difficult. The option to shoot at up to 90fps sounds impressive, and in a way it is, but the shallow buffer depth makes this feature somewhat impractical.
And that fact that all of this comes at a considerable cost makes you realize Sony's logic in keeping all of the previous RX100 models available. Many people either don't need this level of performance or are better served by the shorter, brighter lenses of previous models. Those expecting sharpness right to the corners of the frame, or flexibility in low light, may be better served by one of those cameras – but in terms of performance, those are the only major things to bear in mind.
So, while this isn't a camera for everyone, and while its omissions make it less than ideal – even for those that are drawn to it – in terms of packing a whole lot of tech and generally solid performance into such a small body, it's impossible not to be impressed with what Sony has achieved here. For all its foibles and its lofty price tag, the RX100 VII is easily one of the most accomplished and desirable compacts on the market right now.
Competition
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Sony RX100 VI
The RX100 VII's closest competitor is arguably the previous Mark VI iteration, given how similar the spec sheets of the two models are. The key differences are in the sensor, crazy-high burst speeds, autofocus systems and the fact that the newer model offers a mic port – but if you're happy with the rest of the spec sheet, you can save yourself a little cash by going for a camera that we still rate very highly.
The ZS200 also sports a 1-inch sensor with 20.1MP, and is similarly fronted by a superzoom lens, although the one here reaches a little further than the RX100 VII's, stretching between 24-360mm in 35mm terms. It matches the RX100 VII is providing 4K video and has a small electronic viewfinder, and while it lacks a mic port and can't shoot at the lofty heights of 90fps, it's a hell of a lot cheaper.
With a 20MP 1-inch sensor, a pop-up electronic viewfinder and 4K video squeezed into a pocket-friendly shell, Canon very much has the same kind of audience in mind for its PowerShot G5 X Mark II as Sony does for its own model. It's considerably cheaper, and has a grip that makes handling far nicer, but its lens doesn't reach anywhere near as far and its autofocus system, while perfectly capable, can't touch what the RX100 VII is packing.
• Original review date: April 2019
• Replaced in 2022 by the mirrorless EOS R10
• Launch price: $599 / £529.99 / AU$999
• Official price now: $649.99 / £630 / AU$1,249
Update: March 2024. Although it’s now four years old, the Canon EOS SL3 / 250D / 200D Mark II (depending on your region) is still one of our favorite DSLR cameras for beginners. In fact, in our round-up of the best entry-level DSLR cameras, it’s our top pick for buyers on a budget. Canon is no longer developing new DSLR models, which is evidenced by the fact that the EOS SL3’s entry-level successor – the EOS R10 – is a mirrorless camera. All the same, if you prefer the classic handling of a DSLR, we think the EOS SL3 continues to offer excellent value for learners. It’s well-built, lightweight and lovely in the hand. Due to limited stock, you’ll probably need to shop around at online retailers. There are cheaper options out there if you search hard enough, including the EOS Rebel T100 (also known as the EOS 4000D / EOS 3000D), but we think the EOS SL3 is worth the extra outlay.
Although Canon has some even cheaper models right at the bottom of its DSLR line-up in the shape of the EOS Rebel T7 / EOS 2000D and EOS Rebel T100 / EOS 4000D, neither model made much of an impression when we came to test them.
While those two cameras are still the cheapest way into the expansive EOS DSLR system – at least without looking towards the secondhand market – there's another option that gives users a few extra toys to play with, and a little more growing space. And with constant heat from affordable mirrorless cameras, that's only a good thing.
Positioned between the EOS Rebel T6 / EOS 1300D and the more advanced EOS Rebel T7i / EOS 800D, the Rebel SL3, also known as the EOS 250D and EOS 200D II, followed on from the very capable EOS Rebel SL2 / EOS 200D that surfaced two years before it and easily made its way on to our best DSLR camera list. At the time of release, much of the Rebel SL3's core feature set was familiar to us, but it also marked the introduction of 4K video on a DSLR this cheap from any manufacturer.
Like rival Nikon, most of Canon's DSLRs are fitted with 24MP APS-C sensors, and the EOS Rebel SL3 is the latest recipient. This is believed to be the same sensor that starred in the previous Rebel SL2, and it also features a similar Dual Pixel CMOS AF system built into it.
This system uses pixels in the sensor to perform phase-detect AF, which is the way DSLRs normally focus when you use the viewfinder. By having this on the sensor, it allows the Rebel SL3 to focus quickly when using live view or when capturing videos – something we'll be exploring in more depth later.
The camera is fitted with the same EF mount that has long served Canon's EOS DSLRs, and this accepts both EF-S and EF lenses. Whichever type of optic you choose, the size of the camera's sensor means your lens is subject to a 1.6x crop factor. So, the EF-S 18-55mm f/4-5.6 IS STM lens that's the default kit option with the camera provides an effective focal length of around 29-88mm. Lenses with their own Image Stabilizer (I.S.) systems are particularly desirable here, given the lack of an equivalent sensor-based system inside the camera itself.
The camera can fire bursts of images at a 5fps, which is unchanged from the Rebel SL2, despite the presence of the newer DIGIC processing engine. This burst rate is fairly respectable for entry-level models, but is quite outdated compared to many mirrorless models. If you are somebody that likes to shoot action and/or moving subjects, it might not be the right model for you. Better news is that the Digic engine does, however, support 4K video capture to 24p, although there are a number of restrictions.
There are, for example, no other frame rates to choose from when capturing 4K footage. Videos are also subject to a crop factor, which means you lose a little of the wide-angle view of your lenses when you start recording, although this isn't an issue when recording Full HD or Standard HD videos. You also can't use the Dual Pixel CMOS AF system, unless you're happy to knock resolution down to Full HD. (You can still use autofocus during 4K video recording, it just tends to be less fluid.)
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CANON EOS REBEL SL3 / EOS 250D KEY SPECS
Sensor: 24.1MP APS-C CMOS
Lens mount: EF mount
Screen: 3-inch vari-angle touchscreen, 1.04 million dots
Viewfinder: Pentamirror, approx. 95% coverage
Burst shooting: 5fps
Autofocus: 9-point AF system, Dual Pixel CMOS AF
Video: 4K UHD (up to 25/24p)
Connectivity: USB 2.0, HDMI, Wi-Fi and Bluetooth LE
Battery life: 1,070 shots (with viewfinder)
Weight: Black finish: approx. 449g (including card and battery); White finish: approx. 451g
Metering is handled by a separate 63-zone metering sensor when you're using the viewfinder to compose your images, and this provides the customary evaluative, partial, spot and center-weighted average quartet of options. Those same patterns are available when using live view, although here metering is performed off the main imaging sensor, with a maximum 384 separate zones used.
Picture Styles, meanwhile, allow the user to tailor the color, sharpness, contrast and other parameters to the scene being captured. You can stick with the default Auto mode if you want to the camera to make all these decisions, although options such as Portrait, Landscape, Neutral and Monochrome can be easily called upon should you want a specific look and feel for your images.
Wi-Fi and Bluetooth, both of which were present on the EOS Rebel SL2, are on board, although that camera's NFC functionality has been dropped for this model. Some other smaller features make their DSLR debut here, though, such as the Smooth Skin mode that aims to give subjects a more flattering complexion.
There's a USB port on the right side of the camera as you hold it; it's the older USB 2.0 specification rather than the more recent and speedier USB 3.1, but if you only use Wi-Fi or a card reader to transfer images from the camera, this probably won't be an issue. There's also a mini HDMI socket just above this, while on the left side a door conceals a 3.5mm microphone socket and a further connection for remote releases.
One area where the Rebel SL3 impresses is battery life. This is rated to 1,070 frames per charge (when using the viewfinder), making the camera one of the best in its class in this area
One area where the Rebel SL3 impresses is battery life. This is rated to 1,070 frames per charge (when using the viewfinder), making the camera one of the best in its class in this area.
Putting this into perspective, the Rebel SL2 offered 650 frames per charge, so the step up is significant. If you use live view or record video this figure drops to around 320 frames, which is more or less what you'll find on many of today's mirrorless cameras.
There's just a single card slot, and this is housed with the battery on the underside of the camera. It takes SDHC and SDXC cards that are rated to the UHS-I standard; UHS-II cards will also work, but without any performance advantage.
• Original review date: June 2022
• Yet to be replaced
• Launch price: $399.99 / £269 / AU$699
• Official price now: $349.99 / £239 / AU$599
Update: February 2024. Although it was launched back in 2020, the Nextbase 622GW is still the top model in the Nextbase dash cam range. It also continues to occupy the top spot in our list of the best dash cams, thanks to its combination of excellent 4K video quality and a comprehensive feature set, including effective image stabilization and clever what3words integration. Those skills do come with a significant outlay, though. If you’re interested in a Nextbase camera but don’t need all of the features offered by the 622GW, it’s worth looking at its sibling models. For example, the 522GW doesn’t have image stabilization, but it records 2K video and includes support for Alexa. It’s also significantly cheaper than the 622GW. That said, if you’re looking for the very best dash cam you can currently buy, we think the 622GW is worth the money. The rest of this review remains as previously published.
Build and handling
Aluminum alloy/polycarbonate resin chassis
Largely polycarbonate resin exterior
World’s lightest DSLR with a moveable screen
Canon bills the EOS Rebel SL3 / EOS 250D as being its smallest and lightest DSLR. It's actually its joint-smallest – the 122.4 x 92.6 x 69.8mm dimensions are precisely the same as the Rebel SL2's – while the black option weighs 4g less than the black Rebel SL2 at 449g, and the white option is 5g lighter than the white SL2 at 451g, all of these measurements are including the battery and card.
Nikon does manage to beat this with its D3500 model, which weighs 415g, although, as Canon points out, the Rebel SL3 is the lightest DSLR with a movable LCD screen. In any case, such a small difference shouldn't be a deal-breaker; it's small, light and no bother to carry around for extended periods of time.
The Rebel SL3's body follows much the same design as the Rebel SL2, although Canon has made a number of small tweaks. The SL3 loses some of the SL2's curves and adopts a more angular style, while some of the controls have been subtly restyled. The depth-of-field preview button has been dropped from the front plate, as has the flash button; to raise the flash you now pull it upwards from one of the grooves to its sides.
There's no longer a dedicated flash button on the body; instead, the flash is raised manually via one of two notches at its side. Image credit: TechRadar
The Wi-Fi button that graced the Rebel SL2's top plate has also been culled, as has the Creative Auto option from the mode dial. This all makes for a simpler design, although it doesn't necessarily feel like a step in the right direction in terms of ease of use and operation.
In the hands, the EOS Rebel SL3 strikes a very good balance between portability, operation and general handling. While the body is very small, the grip is just about adequate to fit nicely into the average-sized hand, and the thumb rest also has just enough space for the average-sized thumb to sit without difficulty.
Rubber is only used for the key parts of the body, which in this case are the grip and thumb rest, but this does improve handling. The rest of the body has a smooth casing and build quality appears to meet expectations; it probably won't fall apart from general use, but it might not take a knock like a camera with magnesium or aluminum alloy used in its outer panels would.
Most of the buttons have good travel and click positively into the body, although some – notably the ISO and Disp buttons on the top plate, and the magnification buttons on the rear – don't offer quite as pleasing feedback, being smaller than the others and needing a bit more of a press. There's only one command dial on the camera, located on the top plate, and this has coarse but positive movement with very good feedback, much like the mode dial just behind it.
One small annoyance is that the power control's On position lies halfway between the Off and the Movie positions. In practice, it's a little too easy to overshoot this point when you turn the camera on, and end up on the movie mode.
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The movie mode is easy to enter accidentally as you flick the switch to power the camera up
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The LCD screen flips out to a range of positions, and can be twisted to face forwards
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The battery and memory card are accessed though the same door at the base of the camera
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The camera is fitted with USB Micro and HDMI mini ports.
One nice thing about the EF-S 18-55mm f/4-5.6 IS STM lens is that it manages to measure just 61.8mm without needing a retractable, locking construction. This type of design has (annoyingly) become quite common across kit lenses such as these, but the fact that there isn't one here means the you can start shooting as soon as you power up the camera, without having to constantly lock and unlock the lens.
The LCD screen has a nice deep groove above it, which allows you to grab it and pull it away from the camera easily. The fact that you can twist it around also means you can stow it with the screen facing the body to protect it from scratches when you're not using the camera.
Autofocus
Dual Pixel CMOS AF with 3,975 selectable points
Eye Detection AF and new Spot AF feature
9-point AF system when using viewfinder
When you're using the viewfinder, autofocus is handled by nine AF points arranged in the familiar diamond pattern. This appears to be the same system we saw inside the previous Rebel SL2 and it is, frankly, a little disappointing.
While it covers a reasonable portion of the frame, and may well be fine for static and more distant subjects, the low number of points and their distance from one another make focusing a bit harder when the subject is close up, and you need a point to fall somewhere outside of the nine pre-determined positions.
It also doesn't bode well for tracking moving subjects, which relies on points being closer together, and the fact that only one point is cross-type means the other eight are only sensitive to details in one orientation – this can usually be a bit more of an issue against low-contrast and/or low-detail subjects, although the camera does surprisingly well to find focus against even quite featureless subjects.
Again, both AF spread and tracking is something which mirrorless cameras handle much more easily, so, if you think it's something that is likely to be a deal-breaker for you - think hard about whether you might be better off with a newer system.
In good light the system does a good job of swiftly bringing subjects to focus. In very good light the camera can focus as quickly as you half-press the shutter-release button when you're using the 18-55mm f/4-5.6 IS STM kit lens. Only when it comes to switching focus between close-up and distant subjects, or vice-versa, does the system slow to a more leisurely pace.
Dual Pixel CMOS AF is very much a tried-and-tested system, and this works very well. It's aided by a very responsive touchscreen, which allows focus to be quickly shifted between different subjects by simply pressing where they appear on the screen.
The Dual Pixel CMOS AF system allows the user to position the AF point in one of 3,975 different areas around the frame when using live view. In other words, if you want to put a point anywhere on the screen, you should be able to do that pretty easily. The fact that you can also use the camera's touchscreen to focus on a subject by pressing your finger where the subject appears should also give you an idea of just how accurately you can focus on whatever it is you're shooting.
Dual Pixel CMOS AF is very much a tried-and-tested system, and it works well here. It's aided by a very responsive touchscreen, which allows focus to be quickly shifted between different subjects by simply pressing where they appear on the screen. The camera's light weight also means that, when using either the kit lens or a similarly light optic, you can quite easily hold the body in one hand and use your other to control focus.
Also helping with accuracy is a new Spot AF feature, which is designed to help the user focus on smaller subjects by providing a smaller-than-usual AF point. The Dual Pixel CMOS AF system also now supports Eye Detection AF, which is on hand to help portraits retain sharp and focused eyes. This feature works very well in practice, quickly finding the subject's eye once face detection has kicked in. The system quite easily shifts between eyes if the subject is head-on to the camera, although in such situations focusing on one eye will likely render the other in focus too.
While you have to pay a little more money for a camera that benefits from a dial on the back for fast menu browsing, navigating the menus is fairly effortless with the menu pad provided here – and the fact that the menu itself is color-coded and easy to read makes things even more straightforward.
If you're a complete beginner you can even set the camera to a guided mode, in which the GUI is nicer to look at, and graphics and text help to explain what everything is and how to take specific types of images.
The camera's 5fps burst shooting mode is about as speedy as we expect for a model of this calibre, although for how long you can maintain this depends on how you have your camera set up.
If you're happy to capture JPEGs on their own, the camera only seems to be limited by the capacity of the memory card used. Switch to shooting raw files, or raw and JPEG files at the same time, and you can typically get around 12-14 frames before the camera slows down – not too generous, but in line with what we'd expect from an entry-level DSLR.
If you're happy with compressed raw files, however, we found that you could get anything from around 20-40 frames, with each burst varying from the next in terms of duration. If you imagine you'll be shooting anything at speed and you still want to process your raw files, this is clearly the option to use, but as we've mentioned previously, there are many better options for those who want to photograph action.
As is the case with the majority of DSLRs at this level, the viewfinder's approximate coverage of 95% does mean you have to be aware of objects at the edges of the frame creeping into your shots. The viewfinder itself is fine in terms of its depiction of the scene, with the AF points flashing brightly, and plenty of space at its base for exposure information.
The LCD touchscreen is a solid performer too, being very responsive even to light presses. It works particularly well for browsing images, responding promptly to swipes, double-taps and drags of the finger. Like many other screens it can be a little difficult to view in harsh light, although the camera's excellent battery life means you can safely brighten the display a touch without having to worry about it depleting the battery too quickly.
Image quality
Generally reliable metering system
Nice colors and sound auto white balance
Very good 4K footage but noticeable rolling shutter
While this may be one of the most affordable DSLRs on the market, previous entry-level Canon EOS DSLRs have gotten a lot right with regards to the imaging side of things, and the EOS Rebel SL3 is no different.
Images are generally well exposed across a variety of conditions, from outdoors when there may be a mixture of skies and foreground to indoor scenes with an assortment of highlights, shadows and midtones. Heavily clouded skies can sometimes lose a little bit of their detail, so keeping the Highlight Priority Option enabled in these conditions is worthwhile. The Auto Lighting Optimizer is also worth keeping on to lift shadows a touch in scenes with a wide dynamic range, and even on the Low setting it has a worthwhile effect.
Colors are mostly very pleasing. We generally found the Landscape Picture Style to be a better option than the Standard setting when capturing images outdoors that contained large areas of blue skies, as they could look a little undersaturated on Standard, although this option performs well otherwise.
Images captured in quick succession show the camera's auto white balance system to reproduce the scene consistently in different conditions too. White balance can be particularly problematic indoors, and with mixed lighting, but the EOS Rebel SL3 copes very well.
We don't expect optical excellence from kit lenses such as the EF-S 18-55mm f/4-5.6 IS STM that ships with the camera as standard, and the lens does show a touch of moustache-like curvilinear distortion at its wide-angle end, and some vignetting when used here at f/4.
This isn't severe in either case, however, and the corrections available to you in-camera, or in Canon's Digital Photo Professional 4 program that comes with the camera, make light work or rectifying these. In time Adobe's Camera Raw and Lightroom programs will no doubt also offer these corrections too, although neither program supports raw files from the EOS 250D at the time of writing.
Noise isn't too much of an issue throughout most of the ISO range, and even at ISO6400 color and saturation are maintained well in images. That said, the camera's noise reduction system can blur details quite easily at these settings, which is even more of an issue if they weren't that sharp to begin with, so it pays to use a good lens, and to either opt for the most conservative level of noise reduction or process your raw files yourself.
We generally found the Landscape Picture Style to be a better option than the Standard setting when capturing images outdoors that contained large areas of blue skies
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Canon EOS 250D with the EF-S 18-55mm f/4-5.6 IS STM, 31mm, f/10, 1/250 sec, ISO100
The EOS Rebel SL3 is capable of capturing 4K video footage to a maximum 24p, and even using the kit lens it's possible to shoot pleasing, detailed footage that's relatively free from artifacts, while the provision of a microphone port – something we don't always see on this class of camera – means you can easily improve on the built-in microphone,
Switch to Manual exposure mode and you can adjust the shutter speed, aperture and so on, and you can also use the touchscreen to set focus. Sadly the Dual Pixel CMOS AF system is unavailable when capturing 4K video, which is a shame as the contrast-detect AF system used in its place here is less than reliable when it comes to locking onto subjects. Once it does, however, it can often stick with subjects even if obstacles pass between them and the camera.
4K footage is also subject to a crop factor, and rolling shutter is very noticeable, giving footage a jelly-like stability. As long as you don't need wide-angle framing, or if you own a very wide-angle lens, and you're not moving around with the camera too much, the camera is perfectly capable. That said, this clearly won't be anyone's first choice for high-quality 4K recording, and most users will probably be better off shooting in Full HD.
The Canon EOS Rebel SL3 / EOS 250D is a perfectly pleasing camera to use, with good handing, operation as expected and nice image quality, and the responsive touchscreen, fast start-up time and excellent Dual Pixel CMOS AF system all help to make it a very capable all-rounder.
Still, with the same sensor as an older model, and no changes to either the viewfinder or LCD screen, it's not the most significant update. 4K video is subject to limitations, and having just one cross-type point in the sparse nine-point array is rather miserly by modern standards.
Its many strong competitors only add to its woes, and mirrorless cameras in particular that either rival or easily beat the Rebel SL3 / 250D for size, specs and general performance aren't difficult to find. That said, its main selling points of superb battery life, pleasing JPEGs and compatibility with a sprawling pool of lenses, flashguns and other accessories is something that is still hard for many mirrorless cameras to completely replicate.
It's definitely a better choice than the more junior EOS Rebel T7 / EOS 2000D and EOS Rebel T100 / EOS 4000D if you're looking to enter the Canon system, but if you're not fussed about 4K video, and you're looking for a camera with a little more control for the same kind of money, you may well be better served by something like the older Canon EOS Rebel T6i / EOS 750D or Nikon's D5300, if not a mirrorless option.
Competition
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(Image credit: Nikon)
Nikon D5300
While Nikon's most junior D3500 competes with the similarly priced EOS 4000D and EOS 2000D, the EOS Rebel SL3 has the slightly more senior D5600 as its main rival. The two are evenly matched in a number of areas, with both toting 24MP sensors and 5fps burst shooting modes. The Rebel has 4K video, Dual Pixel CMOS AF, a touchscreen and far superior battery life as its main advantages over the D5600. The D5600 has the upper hand elsewhere, though, with a dense 39-point AF system, a slightly larger screen, built-in GPS and in-camera raw processing.
Canon's EOS Rebel T7i, also known as the EOS 800D, may now be a few years old, but it's currently only a fraction more expensive than the EOS 250D and offers a handful of advantages. These include a 45-point AF system, with every point being cross-type, and 6fps burst shooting. It lacks 4K video, however, and can't match the Rebel SL3 for battery life at just 600 frames per charge.
The teeny Olympus OM-D E-M10 Mark III might 'only' have a 16MP Four Thirds sensor at its heart and a 330-shot battery life, but sensor-based image stabilization gives it an advantage over the EOS Rebel SL3, as does a more rugged build quality and a faster 8.6fps burst rate. The electronic viewfinder that covers approx. 100% of the scene is also a help in low light, and gives you a far better idea of how your image will come out looking than an optical viewfinder can.
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