Mirrorless Cameras - Organizer

1:40 am | December 8, 2020

Editor's Note

• Original review date: September 2022
• Fourth-gen MFT camera from Olympus (now OM System) for beginners
• Launch price: $699 / £699.99 / AU$1,299 (body only)
• Official price now: $699 / £699.99 / around AU$939 (body only)

Update: February 2024. After the OM-D E-M10 Mark IV launch, Olympus was purchased by OM Digital Solutions and new cameras are consequently branded OM System instead. So far though, there's been little change in newly branded models besides firmware-level improvements, and the E-M10 Mark IV is still yet to be replaced. That makes it an excellent value camera system for beginners; lightweight, small, feature packed and with a superb selection of lenses for all budgets and photography genres. It doesn't have the latest autofocus or video specs when compared to newer rivals, while it's dated micro USB connector doesn't allow charging on the go, but the overall E-M10 Mark IV package remains compelling today especially for newbie photographers.

Olympus OM-D E-M10 Mark IV: Two-minute review

Despite its complex name, the Olympus OM-D E-M10 Mark IV is a simple, compact entry-level mirrorless camera. And if you're a beginner or keen photographer looking for a compact body that takes consistently attractive photos, it's a camera that has to be on your list.

Sure, the E-M10 Mark IV is lacking some of the more advanced features being touted by its pricier rivals, like phase-detection autofocus, 4K/60p video and microphone/headphone inputs. But it does a brilliant job as a stills camera that can shoot a little bit of quality video when needed, and is one of the best cheap cameras you can buy right now, as well as being one of the best travel cameras for those who've spent all their money on flights.

This beginner camera's approachable button layout and combination of Bluetooth/Wi-Fi functionality means it's primarily designed to tempt smartphone photographers over to an interchangeable lens camera. And as a Micro Four Thirds (MFT) camera, it has one of the widest selection of lenses around.

Although the Micro Four Thirds system was originally created by Panasonic and Olympus, a wide range of companies have now produced quality, affordable lenses for MFT-compatible cameras. This makes it a great system for beginners to invest in.

Olympus OM-D E-M10 Mark IV — (Image credit: Future)

One big thing this camera has in its favor is superb in-body image stabilization (IBIS). This system is the same as the one used in Olympus' award-winning flagship E-M1 series, and it works a treat for capturing images at slower shutter speeds handheld.

The E-M10 Mark IV is Olympus’ answer to cameras like the Panasonic Lumix G100, Fujifilm X-T200 and Sony ZV-1. And it manages to stand out with its classic OM-D styling, super-compact body and that excellent IBIS system. The 20MP resolution isn’t going to grab any headlines, but it's a significant and welcome step up over its predecessor's 16MP sensor, and keeps it within range of the competition.

While it's a great first camera for beginners, we'd also recommend the E-M10 Mark IV to more experienced photographers on a budget or those looking to downsize from a DSLR. It doesn’t deliver the battery or image quality performance of high-end mirrorless cameras or DSLRs, but it could be a great option as a recce or second camera. For those situations, and at this price, it's a terrific beginner mirrorless camera and certainly one of the best cameras for photography around.

Olympus OM-D E-M10 Mark IV: Price and release date

The Olympus OM-D E-M10 Mark IV was released in August 2020 and was available to buy immediately for a body-only price (in black or silver) of $699 / £699.99 / AU$1,299.

Naturally, there is also a kit lens bundle available, with the M.Zuiko Digital ED 14-42mm f/3.5-5.6 EZ bundle we tested costing $799 / £799 / AU$1,499. Australian fans can also buy the E-M10 Mark IV with a longer M.Zuiko Digital ED 14-150mm f/4-5.6 II zoom lens from for AU$1,799 (around $1,285 / £985).

Despite being relatively new, we've already seen some discounts on the OM-D E-M10 Mark IV, which bring its price more in line with rivals like the Fujifilm X-T200. That said, if you're on a tighter budget, it's worth checking prices on this camera's E-M10 Mark III predecessor.

While the latter lacks the new sensor or flip down screen, you can currently pick it up for $449 / £449 / AU$799, which is impressive value.

Olympus OM-D E-M10 Mark IV: Build and handling

Ergonomic grip and button layout
Tough polycarbonate body
3-inch touchscreen more flexible than before

The first thing that strikes you about the E-M10 IV is its diminutive size. It’s small enough to fit into the pocket of regular fit trousers – and that’s with its 14-42mm M.Zuiko f/3.5-5.6 pancake kit lens attached.

We've always been huge fans of the twin control dial setup of the E-M10, as it allows you to make adjustments to both shutter speed, aperture or exposure compensation with ease when shooting manually.

The mode dial that sits beside them provides straightforward access to the camera’s nine shooting modes, including video. There’s also a dedicated video record button, placed sensibly on the shoulder of the camera for quick access.

There isn’t much room for buttons elsewhere on the camera, but Olympus has managed to place controls that cover most key functions without making the camera feel cluttered. There’s also touchscreen access via the rear LCD, further boosting the camera’s usability.

The 3.0-inch LCD touchscreen is the most ambitious of the series so far. This time, the E-M10 IV’s screen tilts upwards 90-degrees for shooting at hip level, and also flips downwards 180-degrees in the other direction. This positions it under the camera for selfies and vlogging. It’s good to see more flexibility introduced, but it does present a potential issue for people who want to self-shoot while using the camera on a tripod.

The E-M10 IV's 2.36m-dot OLED viewfinder, unchanged from the previous model, provides a clear view of the scene ahead with settings overlaid on top. This means that once you’re familiar with the layout, you won’t need to take your eye away from the viewfinder to make adjustments.

The share button on the top left shoulder doubles as a quick menu when taking pictures. But in playback this provides simple access to the camera’s share-to-smart device functionality.

Olympus OM-D E-M10 Mark IV: Features

Class-leading image stabilization system
Powered by TruePic VIII imaging processor
Advanced Photo mode is handy for beginners

The E-M10 Mark IV is powered by a TruePic VIII imaging processor, which works to deliver reduced noise in images captured in low light and has a native ISO sensitivity range of ISO 200-6400. This can be expanded to ISO 80 (LO) and ISO 25,600 (HI), but you’d be wiser to take advantage of the camera’s quality five-axis in-body image stabilization system (IBIS) before you crank the ISO up to those numbers.

This IBIS system is same as the one in Olympus' award-winning flagship E-M1 series, and it's excellent. It boosts the E-M10 Mark IV's handheld shooting capabilities and means you can pack light and don’t need a tripod to get fantastic shots, even at night.

Also borrowed from the upper tier of OM-D cameras, is the updated 121-point autofocusing system, which can better detect and track faces and eyes.

Aside from these features, there aren’t other big spec or physical changes of note from the Olympus OM-D E-M10 Mark III. It’s a sensible update, one that focuses on improving the camera’s stills capabilities.

Olympus has included its trademark scene (SCN) and Art Filter modes, which function as you might imagine, placing 'creative' looks over images. We're not huge fans, but they can be fun to have a play with. We're more keen on the Advanced Photo (AP) section of the mode dial.

AP mode makes it super easy for people to create otherwise complex images, such as live composites for capturing star trails and light painting, long exposure images with live progress displayed on screen, multiple exposure images and more. These are a great way to explore photo creativity.

Olympus OM-D E-M10 Mark IV: Autofocus

121-point Contrast Detect AF
Improved face detection and subject-tracking from Mark III
Now also has eye detection

Autofocus systems need to be predictable, even if they're not the fastest. The E-M10 Mark IV’s autofocusing system may not be the most advanced in this camera class, but it functions consistently and that’s the main thing we want from a camera’s autofocus.

Hybrid systems that incorporate on-sensor phase detection AF, such as the AF system featured in the Sony ZV-1, are superior and better suited for things like vlogging. This is because they are quicker at detecting faces from a range of angles and will stick with them more tenaciously without hunting for focus.

If you’re more concerned with photography, though, the E-M10 Mark IV’s focusing system is capable of handling a range of moving subjects, including wildlife, field sports and planes. Although it’s worth noting that its top continuous burst mode speed of 15fps (electronic shutter) can only perform at such speeds with fixed focus.

Its 121 AF points cover a large amount of the frame, but its tracking capabilities are a little patchy, particularly when subject backgrounds are busy.

We had the most consistent and pleasing results when sticking with AF-S and centre point focus. Use that and this camera can focus fast, even in low light.

Olympus OM-D E-M10 Mark IV: Image and video quality

The E-M10 Mark IV is the most photo-centric camera in its category. While its rivals are more geared towards video shooters, this cameras wants to be a great stills camera first and foremost – and it does a solid job.

Carrying a high resolution 20MP Micro Four Thirds sensor helps the E-M10 Mark IV capture a significantly more impressive dynamic range compared to smartphones and other small sensor cameras. This is most visible when looking at high contrast or night mode scenes. The physical advantage of a larger sensor means the E-M10 Mark IV has great light-gathering powers.

Image 1 of 2

Image 2 of 2

Pushing the camera’s ISO sensitivity to its limits, the results were usable, although details begin looking smudged past ISO 6400 when viewed at 100%. The ability to take better pictures in low light is further supported by the camera’s five-axis in-body image stabilization. This manages to keep images sharp when shooting handheld as slow as 1/8th of a second, which is a significant advantage for dimly lit scenes.

The IBIS system also works quite well during video recording when walking and panning. While the E-M10 Mark IV can be used to capture attractive looking video, it's not heavily geared towards video shooters.

The omission of a microphone input or USB-C port, which could be used to adapt a microphone or headphone input, is another giveaway that this camera isn’t focused on video. It’s also capped at 4K/30p and FHD/60p resolutions. There’s a high-speed movie mode, but it’s only 120fps at 720p resolution. In terms of video specs, this is one of the most unambitious cameras released since the E-M10 Mark III in 2017.

Image 1 of 4

Image 2 of 4

Image 3 of 4

Image 4 of 4

It is, though, a different story for stills. We were really impressed with this camera's basic kit lens – its 14-42mm pancake lens option is a fantastic starting place for someone upgrading from a phone.

It offers a versatile focal range that covers everything from landscapes to portraits. Plus, given the super compact size of this camera/lens combo, it makes for an ideal travel companion. It will capture quality shots without attracting too much attention, so it’s also ideal if you enjoy capturing more candid imagery.

The camera’s battery is rated to around 360 shots and under 30 minutes of video. This is typical for cameras in this class and at this price point. In use, we found it got us through a day of walking around, with it powering down into battery saver mode.

If you predominantly use the electronic viewfinder (EVF) when shooting and aren’t recording a lot of video, this camera should get you through a day trip before needing to charge. There’s no dedicated battery charger in the box, mind, so you have to charge the battery in the camera via USB micro B input. Again, it’s a shame to miss out on a USB-C input here, as it also means the camera cannot be used while charging.

Should I buy the Olympus OM-D E-M10 Mark IV?

Buy it if...

Don't buy it if...

Check out our guide to the world's best cameras for photography

Nikon Z6 II review

1:03 am | November 19, 2020

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AF | Comments: Off

Editor's Note

• Original review date: November 2020
• Successor rumored for later in 2024
• Launch price: $1,999 / £1,999 / AU$3,499 (body only)
• Official price now: $1,599 / £1,859 / AU$2,699 (body only)

Update: February 2024. The Nikon Z6 II was first pitched in 2020 around the $2,000 mark and a highly capable all-rounder at that price point, delivering a faster processor and longer burst rates than the first-gen model it replaced, while offering the same 24.5MP stills from its full-frame sensor. It's also a capable filmmaking tool, especially when paired with an external monitor through which you can get 4K recording in raw format. In short, image quality in any light is excellent in what is a speedy operator for action photography. The Z6 II's subject detection autofocus performance lags behind today's rivals and it's not as capable as the camera's own human detection AF. And now there are rumors of a long awaited replacement on the way – the possible Z6 III – that could become the best mirrorless camera for most people. Until then, there are few better full-frame mirrorless cameras at what is now a reduced price point. The rest of this review remains as previously published.

Nikon Z6 II: Two-minute review

The Nikon Z6 II is the follow-up to the company’s first full-frame mirrorless camera, the Z6. Now over three years old, the Nikon Z6 is the former holder of our best mirrorless camera crown. But there's still room for improvement, and with the Z6 II Nikon has opted to retain the core spec and design of the Z6, while addressing its weaknesses.

To that end, pretty much all the main features of the Z6 II are inherited from the Z6. This includes the excellent full-frame 24.5MP BSI CMOS sensor, which delivers images with excellent levels of detail, plenty of dynamic range and a very good high-ISO noise performance.

Compared to one of the Z6 II’s closest rivals, the 20.1MP Canon EOS R6, the extra pixels here give you that bit more flexibility when it comes to framing and cropping, whereas the EOS R6 has a slight edge at higher sensitivities. Comparing the Z6 II to its other close rival, the Sony Alpha A7 III, there’s really not much between them when it comes to results.

While the sensor remains the same, Nikon has equipped the Z6 II with a second EXPEED 6 image processor. This brings a number of performance improvements, most notably an increase in burst shooting speed, from a maximum of 12fps to 14fps. That’s faster than the Alpha A7 III, and a match for the EOS R6 (although the R6 can shoot at 20fps using its electronic shutter).

The extra processor has also allowed Nikon to improve on the 273-point AF system that’s in the Z6. As well as general performance improvements and the ability to focus in darker conditions, human and animal eye/face detection are now available in Wide area AF mode. It’s a solid system that’s great for general photography, although if you’re going to be shooting lots of action (or portraits), then the focusing systems in both the EOS R6 and A7 III have the edge here.

The Z6 had a strong set of video specs, including the ability to shoot oversampled 4K for footage with plenty of detail. For the Z6 II, Nikon has tweaked the video capabilities to enable 4K capture up to 60p, although this won’t be available until around February 2021 via a firmware update. The Z6 II also gains a number of output options that include the capture of 10-bit HLG HDR footage to an external recorder. For these reasons, we think the Z6 II is one of the best video cameras you can buy right now.

With the Z6 II using the same design as the Z6, there are few surprises when it comes to build quality and handling. The magnesium alloy body parts, weather sealing and comfy grip make the Z6 II feel more durable than rivals, while Nikon has managed to squeeze in a UHS-II SD card slot alongside the XQD/CFexpress card slot, resolving one of the key weaknesses of the Z6.

There’s no getting around the fact that the updates found in the Z6 II are modest at best; however, while existing Z6 owners shouldn’t be tempted to upgrade, if you’re looking for a quality full-frame mirrorless camera you’re not going to go far wrong with the Nikon Z6 II. It's undoubtedly one of the best cameras for photography.

While rivals might outclass it in some areas, the Z6 II has consistency on its side, performing strongly across the board. If you can live without the upgrades though, do check out the Z6 – it’s still on sale for now, and the money you’ll save over a Z6 II will go a long way towards a new lens.

Nikon Z6 II: Release date and price

The Nikon Z6 II launched on October 14, 2020
It costs $2,600 / £2,549 / AU$4,399 with the 24-70mm f/4 lens
You can also buy the Nikon Z6 II body-only

The Nikon Z6 II was announced in October alongside the Z7 II, and is available to buy now.

Like the Z6, the Z6 II can be purchased with the excellent Nikon 24-70mm f/4 S standard zoom for $2,600 / £2,549 / AU$4,399. If you’re looking to upgrade or invest in a second body you can buy the Z6 II body-only for $2,000 / £1,999 / AU$3,399, while those looking to pair the Z6 II with their F-mount DSLR lenses can add the FTZ lens adapter for around $150 / £150 / AU$250.

The Nikon Z6 II will naturally be compared to Sony’s Alpha A7 III, while the arrival of the Canon EOS R6 means many will also see that camera as a key rival. The A7 III is almost three years old now, but it still packs a serious punch and will cost you in the region of $2,880 / £2,650 / AU$4,640 with Sony’s 24-105mm f/4 G, which is a little more versatile than Nikon’s kit lens.

The EOS R6 is also priced a bit higher than the Z6 II at $2,799.99 / £2,849 / AU$4,799, although this comes bundled with the relatively slow and variable-aperture 24-105mm f/4-7.1 lens, which isn’t quite a match for the lenses paired with the Z6 II or A7 III.

Nikon Z6 II: Design

Design is virtually identical to the Z6
Now features a second card slot
Tilt-angle display not perfect for video

The Nikon Z6 II arrives just over two years since the Z6 launched, and Nikon has opted to keep the new camera’s design virtually identical to that of its predecessor.

While this might seem unimaginative on Nikon’s part (and also a way to save some R&D costs), the decision to use the same body is no bad thing – the Z6 is one of the best-handling mirrorless cameras out there, with controls falling easily to hand and key settings quick to access. The joystick (officially known as the sub-selector) is also weighted nicely, while all this is complemented by a large and comfy hand grip and well-defined thumb rest.

Simply put, the Z6 II is one of the most pleasant mirrorless cameras to shoot with.

Sticking with the same design does, however, mean the Z6 II uses the same tilt-angle display as the Z6. This shouldn’t be too much of an issue if you’re predominantly shooting stills, but those shooting video (and self-shooters in particular) might be disappointed not to see a fully articulating vari-angle display worked into the design of the Z6 II.

That gripe aside, the Z6 II feels really durable, with magnesium alloy top, front and back covers, and the same excellent level of weather sealing as Nikon’s pro-spec DSLR, the D850.

Not everything has stayed the same though. One thing that compromised the Z6 was its single XQD card slot. While this is a media format that can be incredibly reliable, XQD cards are significantly more expensive than even the best SD cards.

Nikon listened to complaints about this, and on the Z6 II it’s managed to squeeze in a second UHS-II SD card slot to accompany the XQD/CFexpress slot. The addition of the SD slot makes the camera more accessible to more users, while those upgrading from the Z6, or who already use the XQD format, will be able to use their existing cards.

There are benefits when it comes to shooting too, with the extra slot providing options for simultaneous backup, overflow storage or recording JPEGs while the XQD/CFexpress slot takes care of raw files.

Nikon Z6 II: Features

Full-frame 24MP BSI CMOS sensor
3.69 million-dot electronic viewfinder
4K video recording up to 60p

For the Z6 II, Nikon has opted to stick with the same full-frame 24.5MP BSI CMOS sensor that’s in the Nikon Z6. This enables a native ISO range that runs from ISO100 to 51,200, and which can be expanded to ISO50-204,800.

While the Z6 II keeps the same sensor, Nikon has managed to squeeze in a second EXPEED 6 processor. This delivers a number of improvements, the most notable of which is an increase in burst shooting speed to an impressive 14fps, up from an already quick 12fps on the Z6.

The Z6 II also uses the same 273-point AF system as the Z6, though there have been some improvements here too. Overall performance has been improved, while human or animal eye/face detection is now available in the Wide-Area AF modes, rather than just the Auto-Area mode. Focusing in low light should also be better, as the Z6 II can focus in light levels as low as -4.5EV (improving on -3.5EV of the Z6), while a low-light AF mode sees the Z6 II able to achieve focus at an incredible -6EV.

The Z6 already had some impressive video credentials, and the Z6 II improves on these further. As well as using the full width of the sensor to capture 4K footage at up to 30p, the Z6 II is also able to shoot 4K60p.

A little caveat here though: there will be a 1.5x crop when shooting at this rate, and the upgrade won’t be available until around February 2021 via a firmware update. The Z6 II will also be able to continue shooting when connected via USB-C for recharging, which wasn’t possible with the original Z6.

Other key features remain the same though, including the excellent 3.69 million-dot electronic viewfinder (EVF) and 5-stop in-body image stabilization (IBIS) system.

Nikon Z6 II: Performance

Fast burst shooting speed
Very capable AF performance
Better battery life than the Z6

While the Nikon Z6 II can shoot at 14fps, the details are in the small print – at this maximum rate, you’re limited to 12-bit raw files and a single AF-point.

If you want a little more dynamic range in your files, and want to take advantage of the Z6 II’s tracking AF, this drops to a still very good 12fps – that’s faster than the Alpha A7 III’s 10fps, and a match for the EOS R6’s 12fps (though the R6 can shoot at up to 20fps using its electronic shutter). The buffer should be more than enough for most scenarios as well, with the Z6 II able to handle 124 12-bit raw files or 200 JPEGs at its highest frame rate.

The Z6 II’s 273-point AF system has 90% coverage across the frame, which is good in isolation, although it’s left trailing the 693-point system in the Alpha A7 III and the class-leading 6,072-point AF system in the EOS R6.

Image 1 of 3

Image 2 of 3

Image 3 of 3

Those predominantly shooting people (or pets) might favor the systems in the Z6 II’s rivals, as they’re a bit more sophisticated when it comes to eye and face tracking, but the Z6 II still does a very good job here, locking quickly and accurately on to the subjects we tested it on.

It’s a similar story if you’re tracking subjects – use the Z6 II in isolation and you’ll be very impressed with the speed of acquisition, but it’s not quite a match for the EOS R6 (which uses pretty much the same AF system as the flagship Canon EOS-1D X Mark III).

The built-in 5-stop image stabilization system in the Z6 II is a consistent performer. Again, it’s not quite as impressive as the EOS R6’s 8-stop system (which is lens-dependent), but you can happily shoot at super-slow shutter speeds and come away with sharp, shake-free images.

Another key area Nikon has addressed with the Z6 II is the battery. The Z6 could only achieve an official figure of 310 shots (though it performs better in real-world scenarios), and the Z6 II gets an improved EN-EL15c battery that’s rated for 410 shots using the LCD and 340 with the viewfinder. This is a welcome improvement, although here again the Z6 II still lags behind rivals like the EOS R6 and Alpha A7 III.

Nikon Z6 II: Image and video quality

Same image quality as Z6
Excellent sharpness and detail
Good high-ISO performance

As we’ve mentioned, the Z6 II uses exactly the same sensor as the Z6 – and that’s good news, as results from the Z6 were pretty much class-leading.

The full-frame 24.5MP BSI sensor in the Z6 II delivers excellent levels of detail. If you need to regularly print above A3 you might be swayed by the 45.7MP sensor in the Z7 II (or the D850), but the resolution on offer here should satisfy most shooters.

Image 1 of 7

Image 2 of 7

Image 3 of 7

Image 4 of 7

Image 5 of 7

Image 6 of 7

Image 7 of 7

Thanks in part to the back-illuminated technology in the Z6 II’s sensor (which is missing from the lower-priced Z5), it performs well across the sensitivity range, delivering great results at higher ISOs, although if you’re shooting JPEGs it’s worth bearing in mind that the default noise reduction can be a bit heavy at higher ISOs, which can result in the unnecessary loss of detail.

Dynamic range is also very good if you’re shooting in raw, with plenty of flexibility in post to recover detail in the shadows and pull back highlights.

A quick note on lenses to conclude – the 24-70mm f/4 is a solid choice that performs very well, but since its launch more than two years ago Nikon’s S-series lens range has expanded significantly, and includes some excellent f/1.8 primes and f/2.8 zooms.

Should I buy the Nikon Z6 II?

Buy it if...

Don't buy it if...

These are the best cameras for photography you can buy right now

Sony A6100 review

1:23 am | February 20, 2020

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: ISO, NFC, USB | Comments: Off

Editor's Note

• 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.

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.

Image 1 of 3

Image 2 of 3

Image 3 of 3

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.

Image 1 of 3

Image 2 of 3

Image 3 of 3

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.

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.

Image 1 of 5

Image 2 of 5

Image 3 of 5

Image 4 of 5

Image 5 of 5

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.

Image 1 of 5

Image 2 of 5

Image 3 of 5

Image 4 of 5

Image 5 of 5

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.

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.

These are the world's best cameras for photography

Sony A6100: Also consider

Image 1 of 3

Canon EOS M50

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.

Read our in-depth Canon EOS M50 review

Image 2 of 3

Nikon Z50

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).

Read our in-depth Nikon Z50 review

Image 3 of 3

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.

Read our in-depth Fujifilm X-A7 review

These are the world's best mirrorless cameras

Nikon D7500 review

12:47 am | November 21, 2019

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Comments: Off

Editor's Note

• 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.

Image 1 of 8

Image 2 of 8

Image 3 of 8

Image 4 of 8

Image 5 of 8

Image 6 of 8

Image 7 of 8

Image 8 of 8

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.

Image 1 of 2

Nikon D7500 on an athletics track — (Image credit: Future)

Image 2 of 2

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.

Canon vs Nikon: what DSLR should you buy?

Build and handling

Weighs 640g / 1lb 6.6oz
5% lighter than the D7200
Comprehensive weather sealing

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.

Image 1 of 3

Image 2 of 3

Image 3 of 3

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.

10 settings you need to learn to master your Nikon DSLR

Performance

8fps burst shooting
180K-pixel metering sensor
950-shot battery life

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.

Image 1 of 5