Editor's Note

• Original review date: September 2022
• Still the only 'stacked' APS-C sensor
• Launch price: $2,499 / £2,499 / AU$4,449 (body only)
• Official price now: $2,499 / £1,999 / AU$3,999 (body only)

Update: February 2024. The X-H2S remains the quickest camera around with APS-C sensor. It's the only camera in this format to feature a stacked sensor that offers unparalled speed for action photography and video, with 40fps burst shooting and 6.2K 10-bit internal video, plus in-body stabilization. It's still the most expensive APS-C mirrorless camera, but price reductions particularly in the UK make the X-H2S one of the most compelling video cameras and stills camera especially for sports and wildlife. The rest of this review remains as previously published.

Fujifilm X-H2S: Two-minute review

The Fujifilm X-H2S is an incredibly powerful mirrorless camera for sports and action photographers who also want to shoot pro-quality video. It’s expensive for an APS-C camera and features like 40fps burst shooting will be overkill for many. But the X-H2S is also a hybrid camera with few peers, and its all-round performance also justifies that price tag.

The key to its power is a new, stacked 26MP X-Trans CMOS 5 HS APS-C sensor. So-called ‘stacked’ sensors, which have a design that delivers incredibly fast read-out speeds, have so far only appeared in flagship full-frame cameras like the Nikon Z9, Sony A1 and Canon EOS R3. But the X-H2S brings some of that performance to a camera with the comparatively ‘low’ price of $2,499 / £2,499 / AU$4,449 (body only).

The X-H2S may have a smaller sensor than those full-frame cameras, but it’s definitely capable of pro-quality results. Thanks to the combination of that new sensor and an X-Processor 5, it offers blackout-free continuous shooting at 40fps (with the electronic shutter), plus some impressive subject-tracking skills, and the option of shooting 6.2K/30p or 4K/120p video with 4:2:2 10-bit color depth.

Fans of Fujifilm’s signature retro look, which usually includes the tactile dials seen on old film cameras, might be disappointed by the design of the X-H2S. It’s very much a modern brute of a camera, with a more clinical focus on performance. But while it lacks the charms of the X-T series, the X-H2S is an incredibly fun camera to use.

It has one of the best electronic viewfinders we’ve used, while the subject-tracking autofocus (which now recognizes animals, birds, cars, motorcycles, bicycles, airplanes and trains) makes it by far the best Fujifilm X-series camera for shooting moving subjects. Video shooters are also incredibly well-served by a sparkling spec sheet that includes internal ProRes recording.

There’s no denying that the X-H2S is expensive, and many photographers will probably be better off buying an X-T4 plus a lens or two with the considerable spare change. After all, 40fps burst shooting isn’t ideal for your editing workflow and Fujifilm’s autofocus, which is still a little short of the flagship performance offered by its rivals, is more hit-and-miss in this top mode.

But if you do regularly shoot speeding subjects and also need a pro-quality video camera that’s more travel-friendly than many of its full-frame rivals, the X-H2S makes a very compelling argument for being top of your shortlist. 

Fujifilm X-H2S: Release date and price

• Available to buy now for $2,499 / £2,499 / AU$4,449 (body-only)
• Similar price to some full-frame cameras like the Sony A7 IV
• X-H2S has a smaller sensor but superior performance to its full-frame rivals

The Fujifilm X-H2S is available to buy now for $2,499 / £2,499 / AU$4,449 (body-only). Some new X-H2S accessories are also now available, including the VG-XH vertical battery grip ($399 / £399 / AU$749) and, for video shooters, a FAN-001 Cooling Fan ($199 / AU$369).

This price makes the X-H2S one of the most expensive APS-C cameras around and it’s a pretty big step up from the Fujifilm X-H1, which arrived in 2018 for £1,699 / $1,899 / AU$3,399. But the X-H2S does combine a new 26.1MP stacked sensor with the X-Processor 5, which allows it to make improvements across the board to autofocus, video, burst shooting and more.

The X-H2S faces stiff opposition in its price bracket, including the Canon EOS R6 ($2,499 / £2,499 / AU$4,499), Sony A7 IV ($2,499 / £2,400 / AU$$4,299) and Panasonic Lumix S5 ($1,999 / £1,799 / AU$3,199). 

All of those cameras have larger full-frame sensors, but none offer the speedy all-rounded performance of a stacked APS-C sensor, which is the USP of Fujifilm's new flagship.

• Price: 4.5/5

Fujifilm X-H2S: design

• Has ‘PASM’ control setup rather than Fujifilm’s traditional dials
• Excellent 5.76-million dot viewfinder and articulating screen
• Tough, weather-sealed body with useful top-plate LCD

The Fujfilm X-H2S looks and feels like a professional camera. This may disappoint fans of Fujifilm’s retro dials, but its pronounced grip, top-plate LCD screen and overall heft helps to balance out the longer lenses you'll likely want to pair it with. The X-H2S also has one of the best electronic viewfinders (EVF) we’ve used on any camera.

Weighing in at 660g, the X-H2S is slightly smaller and lighter than the X-H1. But it also borrows many of its design cues from Fujifilm’s medium format GFX series. Its top plate, for example, is pretty similar to the one on the Fujifilm GFX50S II.

This all means that the X-H2S does away with Fujifilm's signature array of manual dials, instead adopting the PASM (Program, Aperture, Shutter Speed, Manual) approach favored by its rivals. You’ll largely be changing shutter speed or ISO using the front and rear dials, which will be a comfortably familiar experience for most non-Fuji fans.

While some may miss the dedicated dials of the X-T series, this approach makes sense on a camera like the X-H2S, where settings like shutter speed will be largely tweaked while looking through the viewfinder at speeding subjects. Fuji has also previously stated that many photographers have been put off from switching to the X-series because they find its dials too confusing.

This PASM dial, with its seven custom modes, sits to the left of the viewfinder, though it’s a shame there’s no handy ‘drive mode’ switch underneath for quickly switching between. Still, on the right-hand side of the top plate you'll find that useful LCD screen (for quickly checking settings like shutter speed, aperture and ISO) on the right next to buttons for ISO, white balance and video recording. 

Unlike cameras like the Canon EOS R7 and Sony A7 IV, the X-H2S only has a standard hot-shoe rather than a 'multi-function' one that can power or transfer data to external accessories. If you regularly use flashes or external microphones, you might find the setup of those rival cameras to be a bit simpler and cleaner due to the lack of cables.

Around the back, the Fujifilm X-H2S is pretty similar to the X-H1. There's a fully articulating touchscreen, which flips around the front for video shooters. One of the main changes is a new AF joystick, which is larger than before and has moved up next to the viewfinder. While we initially found this AF stick to be a bit of a stretch for our thumb, we soon got used to it and found the X-H2S to be very comfortable to shoot with.

One significant upgrade that the X-H2S has over the rest of the X-series is that impressive 5.76-million dot OLED viewfinder. Thanks to its size (it has an equivalent 0.8x magnification), resolution and 120fps refresh rate, we found it to be one of the best viewfinders we’ve used. The resolution remains high whatever focusing method you’re using and it makes the EVFs on the rest of the X-series, and even rivals like the Sony A7 IV, look dated.

Overall, the X-H2S has great handling and is a lot of fun to use. The lack of a drive mode switch beneath the main dial is a bit annoying, as is the absence of a focus mode switch on the front. We also wish the front and rear dials were still clickable like on other Fuji cameras. But the X-H2S otherwise offers a very polished, and customizable, shooting experience for both stills and video shooters.

• Design and handling: 4.5/5

Fujifilm X-H2S: features and performance

• Maintains 40fps speeds for over three seconds with CFexpress card
• Impressive subject-tracking autofocus, if not quite class-leading
• Useful in-body image stabilization and no overheating issues

The X-H2S is by far the most powerful Fujifilm camera to date and one of the best hybrid cameras for stills and video that you can buy. It may not offer the dynamic range or low-light performance of full-frame rivals like the Sony A7 IV, but it more than compensates with the burst shooting, autofocus and video skills that are unlocked by its stacked sensor. 

Like the OM System OM-1, the X-H2S focuses mainly on speed for wildlife and sports shooters (hence the ‘S’ in its name). It can blast through stills at 40fps (raw or JPEG) when using the electronic shutter, all with full AF / AE tracking and with no blackout in the viewfinder. But how usable is this burst shooting in practice?

We did some burst-shooting tests using both a CFexpress card and SD card to find out. You can see our results below. The conclusion is that you’ll definitely want to use a CFexpress card to unlock the true potential of the X-H2S. 

This will let you hit the top 40fps speed for just over three seconds until the buffer slows things down, or over five seconds when shooting at 30fps. While the 20fps mode isn’t quite unlimited, we found you can keep going for at least 15 seconds at these speeds, which is more than enough for most situations.

There are a few caveats to add to this, though. Firstly, we found the autofocus performance to be a little more hit-and-miss when shooting fast-moving subjects like motocross riders at 40fps. 

This means that you’re better off switching to ‘only’ 20fps or 30fps during particularly challenging scenes. Also, while the rolling shutter is minimal when using the electronic shutter, it hasn’t been completely eliminated for fast panning shots. This means you’ll still want to use this camera’s 15fps mechanical shutter mode on some occasions.

Lastly, the final thing to bear in mind when shooting at 40fps is that it’ll leave you with some considerable photo-culling to do before editing. So while it’s definitely a useful more to have for extreme situations, you may not ultimately use it that often for those reasons.

How does the X-H2S’ autofocus perform overall? In our tests, very well. It isn’t a huge leap up from the Fujifilm X-T4, and its tracking isn’t quite as unerringly confident as the systems on flagship rivals like the Canon EOS R5 or Sony A7 IV. 

But it’s still certainly good enough for high-end sports and wildlife shooting, once you’ve tailored it to your needs.

Alongside the usual ability to track human faces and eyes, the X-H2S can track animals, birds, cars, motorcycles, bicycles, airplanes and trains, as long as you’ve selected the right one in the menu. 

One day, cameras will be able to automatically apply the right AF mode to whatever you’re looking at, but for now you still need to manually pick your subject in the menus.

We found the eye detection worked well for portrait shots or soccer matches, proving pretty sticky whether our subject was moving or not. Animal detection, meanwhile, was versatile enough to recognize subjects like foxes and lock onto their eyes. 

Switching to car and bike autofocus mode at the Goodwood Festival of Speed produced similarly impressive results, with the X-H2S quickly drawing a tracking box around our speedily-moving subject before locking onto a face or head. 

For cars, it’d often default to the front of the car if it couldn’t find a helmet through the windshield. Our autofocus hit-rate was again best when using either the 15fps or 20fps burst modes, so we generally stuck to these for the best results. 

When it comes to stabilization, the X-H2S is pretty similar to the Fujifilm X-T4. On paper, these cameras offer six-to-seven stops of compensation when shooting handheld, although in our experience that’s closer to four-to-five stops with most lenses and does vary depending on which lens you’re using. 

Still, you certainly get a useful helping hand when using longer lenses and the combination of in-body stabilization with Fujifilm’s digital image stabilization (DIS) can produce tripod-style results when handholding. It’s less useful for moving shots, though, so you’ll definitely still need a gimbal when doing walk-and-talk style vlogging.

Lastly, battery life and overheating. The X-H2S offers a fairly standard battery performance for a high-end mirrorless cameras, lasting for 390 shots per charge when using the EVF or 580 when shooting with the LCD. That might sound a bit limiting, but you’ll get a lot more shots than that in reality when using burst mode – we took over 1,000 photos before needing to change batteries. You can also add an optional VG-XH grip ($399 / £399 / AU$749) to triple the camera’s endurance.

Video shooters will be pleased to hear that the X-H2S doesn’t have any overheating limitations either. Without any of the old recording limits that we’ve seen on previous Fujifilm cameras, we were able to shoot in 4K for over two hours before the battery gave out. This makes it a good choice for those looking to shoot longform interviews, particularly as the eye-tracking works best in fairly static scenes.

• Features and performance: 5/5

Fujifilm X-H2S: image and video quality

For photos, the Fujifilm X-H2S offers no major image quality upgrades over its cheaper siblings like the X-T4. That might sound a bit disappointing considering the camera’s price, but the benefits of its new 26.1MP X-Trans CMOS 5 HS sensor are its fast readout speeds, which mainly affect autofocus and burst shooting (alongside video).

Those features can definitely help you get shots that aren’t possible on cameras like the X-T4, particularly when it comes to moving subjects. But because the X-H2S has the same 26.1MP resolution as previous X-Trans IV cameras, you won’t see any major quality improvements in the shots themselves.

This is no bad thing. We’ve long been impressed with the results produced by X-series cameras, including the ‘color science’ behind that unique X-Trans design. And it’s no different on the X-H2S, which produces some lovely JPEGs and raw files with a good few stops of editing leeway.

Our ISO tests produced very similar results to our X-T3, with results very acceptable up to ISO 6400 before smoothing becomes visible due to some increased luminance noise. This is where full-frame cameras still have the slight edge, but the X-H2S’ results from ISO 12800 or above are still certainly usable in emergencies.

Fans of Fujifilm’s Film Simulations – which are based on its classic film stock – will also be pleased to see that all 19 options, from Classic Chroma to Eterna, are available to add a quick bit of personality to JPEGs.

But it’s video where the X-H2S really does feel like a step up from previous X-series cameras, particularly when it comes to the resolutions, frame-rates and bit-depths that are available. 

You can shoot 6.2K/30p video internally with 4:2:2 10-bit color depth, or 4K/120p slo-mo video if you're prepared to accept a 1.29x crop. Unfortunately, there is also a slight crop when shooting Full HD/240p video and that mode is pretty soft, but the sensor's speedy read-out speeds largely control any rolling shutter issues.   

Pro videographers will also be pleased to see support for the flat F-Log2 profile, which offers 14 stops of dynamic range for color-grading in post. If you bring a CFexpress card to the party, there's also support for three Apple ProRes codecs: ProRes 422 HQ, ProRes 422, and particularly useful ProRes 422 LT. Perhaps our only complaint here is how labyrinthine all the menus are.

Whatever settings you choose, the X-H2S’ video quality is generally clean and crisp, even if its slo-mo modes are slightly disappointing – the 4K/120p mode incurs a 1.29x crop, while the 240p mode is best avoided. But overall the X-H2S is a powerful, pro-quality video camera, which is pretty impressive when you consider how capable it is for stills, too.

• Image and video quality: 4.5

Should I buy the Fujifilm X-H2S?

Buy it if...

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Fujifilm X-H2S: also consider

Testing scorecard

Editor's Note

• Original review date: February 2022
• Video-focused model with Panasonic's older contrast detection AF
• Launch price: $2,199 / £1,999 / AU$3,699 (body only)
• Official price now: $2,199 / £1,399 / AU$3,699 (body only)

Update: February 2024. It's been two years since Panasonic launched the GH6 and back then it was the best video tool for the money albeit with one weakness; its autofocus performance for video. Since then, Panasonic has introduced an all-new and improved phase detection AF system for video in its full-frame Lumix S5 II / S5 II X and the micro four thirds Lumix G9 II. However, the GH6 can be had for less in 2024 and still packs a powerful punch for video creatives, especially if autofocus isn't crucial to your workflow. It still very much merits its place in our best video cameras guide, but will it get directly replaced with a newer model with phase detect AF? Let's wait and see. The rest of this review remains as previously published.

Panasonic Lumix GH6: Two-minute review

Last year’s Panasonic Lumix GH5 II was just the appetizer: for would-be filmmakers looking for a small camera with huge creative potential, the Panasonic Lumix GH6 is the true main course. 

And what a feast it is: the new flagship in Panasonic’s Lumix G range of mirrorless interchangeable lens cameras based on the Micro Four Thirds mount, the 25.2MP GH6 fits a dizzying array of movie skills into its compact body. There’s 5.7K video at 60fps and Apple ProRes 422 HQ recording, 7.5 stops of in-body image stabilization, 4-channel XLR audio recording and a monitor that can be tilted in almost any direction.

With full-frame cameras proving popular with filmmakers right now, some might question whether a Micro Four Thirds camera like the GH6 remains an attractive proposition. To us, its appeal is clear: while full-frame sensors might perform better in low light, make it easier to achieve a shallow depth of field in shots and deliver a wider dynamic range, Micro Four Thirds cameras are generally smaller, lighter and more affordable. And because the sensor is smaller, it’s easier to stabilize more effectively.

All of the above applies with the GH6, and its thoughtful design, superb handling and the sheer wealth of video options on offer make it a tool that’ll suit all but the most demanding of mirrorless movie makers. It’s no slouch when it comes to still photography either – its contrast-based autofocus performance (while still not as impressive as some hybrid systems from Panasonic’s rivals) seems markedly improved over the GH5 II’s, and small touches like the dual tally lights and record buttons make a difference too.

After a couple of weeks with the GH6 we’re left in no doubt that this is Panasonic’s most powerful Micro Four Thirds camera to date, and the best MFT camera for filmmakers full-stop. It's also one of the best YouTube cameras out there right now, and certainly one of the best video cameras.

Panasonic Lumix GH6: Price and release date

The Panasonic Lumix GH6 is available to buy now for a body-only price of $2,199 / £1,999 / AU$3,699. If you don't have any Micro Four Thirds lenses to get started, you can also get a 12-60mm zoom lens kit for $2,799 / £2,199 / AU$4,799. 

That makes the GH6 slightly more expensive than the Panasonic Lumix GH5 II, another video-focussed hybrid mirrorless Micro Four Thirds model. That camera costs £1,499 / AU$2,499 body only or £1,699 / AU$2,699 with the same 12-60mm lens. 

The GH6 is also pricier than the full-frame Panasonic Lumix S5, an L-mount mirrorless model that costs $1,999 / £1,799 / AU$3,199. It isn't Panasonic’s most expensive video-centric mirrorless camera, though: the Netflix-approved Panasonic Lumix S1H L-mount camera launched for $3,999 / £3,599 / AU$5,999 (body only).

In terms of rivals, the GH6 is in a similar bracket to the Sony A7 IV ($2,499 / £2,400 / AU$$4,299), Canon EOS R6 ($2,499 / £2,499 / AU$4,499) and Nikon Z6 II ($2,600 / £2,549 / AU$4,399) but, depending on where you live, slightly cheaper than all three. 

The Blackmagic Pocket Cinema Camera 6K Pro ($2,495 / £2,254 / AU$3,935) is also an interesting alternative given it can also record Apple ProRe, but it does lack many of the creature comforts (like continuous tracking autofocus and a functional stills shooting mode) that the GH6 provides.

Your decision on whether to go for the Panasonic Lumix GH6 or one of its many rivals could also hinge on the discounts we see in the incoming Black Friday camera deals. While the GH6 is a relatively new camera, we did see the Lumix GH5 II get some impressive discounts in Amazon's Prime Day sales earlier this year. So if you're on the fence, we definitely recommend waiting to see what the Black Friday deals bring. 

Panasonic Lumix GH6: Design and handling

The GH6’s body shape is immediately familiar: it’s that well-worn, DSLR-inspired design used by most of Panasonic’s Lumix G series. It might not be particularly original, but it works: there’s a big textured grip to wrap your right hand around while your left supports the lens, and a nice clear OLED electronic viewfinder with 3.68-million dots for composing, previewing and reviewing your shots no matter how bright the weather conditions.

Speaking of weather conditions, the body is sealed against dust and water ingress (it’s not officially IP-rated as far as we can see, but Panasonic calls it “dust and splash resistant”) and is built on a rugged magnesium alloy frame for toughness. It’ll also work to temperatures as low as -10ºC/14ºF.

The physical buttons, wheels and dials are thoughtfully positioned, and as frequent users of the GH5 II we found the GH6 to be pleasingly familiar to control and use. Panasonic has considerately placed a second video record button on the front of the camera (the first is up on the top plate), which is really helpful for vlogging and other self-shooting work. There are also tally lights both front and back to make it clear when you’re recording, which you don’t get on the GH5 II.

The 3-inch touchscreen is the best we’ve seen on a recent Panasonic Lumix GH model, with a super-flexible design: not only does it flip and twist, it also tilts – just like the screen on the full-frame Panasonic Lumix S1H. Not only does that give you greater scope for shooting at unusual angles, it also lets you attach both a USB and a full-size HDMI cable to the GH6 without blocking your view of the screen.

The body itself is lightweight and compact considering its impressive array of specs – a key benefit of the small physical size of its image sensor. Without a lens attached but with an SD card and battery inserted, the GH6 weighs just 823g, and measures 138.4 x 100.3 x 99.6mm, which makes it only slightly bigger than the GH5 II. The added bulk here seems to come as a consequence of the new forced-fan cooling system, which causes the screen to bulge out from the back slightly. But it’s still a fairly trim package overall, with handling that makes it a joy to use in the vast majority of situations.

Panasonic Lumix GH6: Features and autofocus

Being a video-first hybrid, the connectivity of the GH6 appears to have been given lots of thought. 

There’s a full-size HDMI Type A that can output video up to C4K 4:2:2 10-bit at 60fps, headphone and microphone ports and XLR microphone compatibility (via the optional DMW-XLR1 accessory), while the USB-C port with 10Gbps transfer speed that can also be used as a constant power supply, a battery charger and (following a recent firmware update) for direct recording to a 2TB external SSD.

There are two card slots, one for standard SD and the other for CFexpress Type B cards (a first on a Lumix G camera, and vital for recording video in some of the more demanding formats like ProRes). CFexpress cards are expensive, so do factor that in when budgeting.

The contrast-based DFD autofocus setup is similar to that of the GH5 II, with a wide range of options available, including automatic tracking of moving objects and detection settings that will recognize and track human, animal and eye/face subjects. The tracking generally works well – a lot better than on previous Panasonic cameras, we feel – but you do occasionally notice a “pulse” when the AF system is hunting down a lock.

This just seems to be a side-effect of contrast detection, and one that users will need to accept, but the GH6 does seem markedly better here than the GH5 II. One useful way you can avoid too much hunting here is to use the new autofocus limiter option, which lets you set a range for the AF – it won’t attempt to focus on anything outside of that; handy if you’re filming a subject that isn’t moving about too much.

A lot of filmmakers use manual focus, of course, and the GH6 is impressive here, too: when you begin to twist the lens ring to focus, the screen or viewfinder shows a zoomed-in preview of your subject to help you get things perfect, and you can also turn on focus peaking to identify the sharpest areas in a contrasting color.

Last and certainly not least, the GH6’s 5-axis image stabilization system has been given an algorithmic upgrade over the GH5 II’s, and Panasonic claims it now offers up to 7.5 stops of correction – to the point where you can shoot a 100MP photograph in the image-stacking High Resolution mode handheld (previously, a tripod was required). 

We tried that and it worked really well, but it’s superb for video too: if you want to record to-camera vlogs while walking, or film moving subjects with an almost gimbal-like steadiness, the GH6’s stabilization makes it one of the best cameras we’ve seen at smoothing out motion in a way that seems natural.

Panasonic Lumix GH6: Image and video quality

There’s a truly mind-boggling level of customizability to the video here. We were impressed by the GH5 II’s wealth of formats, resolutions and frame rates, but the GH6 takes things to even greater heights. 

The lengthy list of video options might seem like overkill to the casual user, but filmmakers will be rubbing their hands together at the creative possibilities offered by the likes of Apple ProRes, 5.8K anamorphic, 5.7K resolutions and variable frame-rate recording, as well as the fact that almost all the recording modes are 10-bit rather than 8-bit.

At launch, ProRes 422 and 422 HQ is available only for 5.7K recording (at 60/50/24fps), but a forthcoming firmware update should add options for using it at lower resolutions including Full HD and Cinema 4K ProRes. Currently, you can also shoot 4K at up to 120fps and Full HD at up to 240fps (ideal for slow motion playback and speed ramping) and 10-bit Cinema 4K 4:2:2 at up to 60fps.

Panasonic has included a wide range of picture profiles (called “photo styles” here) including Cinelike D2, Cinelike V2, Like709, V-Log and HLG. So there’s a lot of scope for filmmakers who want to color grade their footage afterwards. 

The GH6 also comes with a new feature called Dynamic Range Boost which Panasonic claims expands V-Log’s dynamic range from 12+ stops to 13+ stops. In testing, we didn’t spot a big difference coming from using it, but we suspect it’s something that will be more noticeable to those meticulously grading and color correcting their footage in Premiere, Final Cut Pro or Resolve.

Unlike some of its mirrorless rivals, the GH6 shouldn’t experience overheating issues that limit the length of its recording times and necessitate a long cooling-off period before recording can resume. Panasonic has fitted it with a new forced-fan cooling system which it claims will remove all overheating problems, so the only thing limiting recording length should be storage capacity. We certainly experienced no issues with heat during our testing period.

The only imaging issue we suspect the GH6 might face is its low-light performance. The small physical size of the sensor on Micro Four Thirds cameras often means their light-gathering abilities seem limited in comparison to the larger APS-C and full-frame sensors employed by other mirrorless cameras. But if you're aware of that and are willing to work around it, we can’t see it being a huge barrier to achieving good results. As you can see from our test footage above, our twilight shots came out fairly well.

While the video side of the GH6 is definitely the one getting all the attention, like previous GH Lumix cameras it’s a hybrid camera with a lot of thought put into the still photography side of things. There’s a mechanical shutter, the standard M/A/P/S selection of shooting modes and a wide range of options for specialist stills shooting, including the aforementioned 100MP image-stacking High Resolution mode and some extremely fast burst shooting (up to 75 shots per second with the electronic shutter).

The small sensor size and relatively small ISO range (50-25600 for still photography in extended mode, or 250-12800 in V-Log) hint at the GH6’s main issue when compared to full-frame rivals: it’s not particularly comfortable in low-light situations. It will do a passable job, but we wouldn’t advise anyone to shoot an indoor wedding or concert photos with one of these – it’s far more comfortable outdoors in abundant light.

Should I buy the Panasonic Lumix GH6?

Buy it if...

Don't buy it if...

• Check out our guide to the world's best YouTube cameras