Tag Archives: Cameras & Photography

The ridiculously tiny Kodak Charmera captured our hearts (and lots of shoddy pictures)

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Every once in a while, a product comes along that sparks a bit of joy in our jaded hearts. This is what happened with the Kodak Charmera, a $30 tiny toy camera that was nearly impossible to get ahold of in the first couple of months after its release, selling out immediately over waves of blind box restocks. Despite the gimmick of it all, the Charmera was just too cute for some of us to resist, and we sprang when they finally started becoming more readily available. 

A few of us on the Engadget team have one now, and even with all of its shortcomings, we kind of love this thing. Here's what two of our writers think about it. 

Lately, it feels like a chore to carry around a full-frame mirrorless camera. My Nikon definitely feels like the right tool to precisely capture a moment in time with fast autofocus and plenty of image resolution. Other times, that perfect moment is more casual, like catching up with friends over dim sum or killing time while you're snowed in at a cabin in Vermont. In these cases, there's no reason to carry around a hulking camera and lens to snap a flawless photo that I have to edit later. Instead, something light, discreet and playful feels like the right tool for the occasion.

A low-res image of a tree standing in a snow-covered field, with other trees in the background
Jackson Chen for Engadget

That's where the Kodak Charmera comes in. It's a toy camera with a 35mm lens with a fixed f/2.4 aperture and a 1/4-inch sensor. In other words, the photos this thing takes are about equivalent to what you would get with a crappy flip phone from the 2000s that also plays Snake.

Kodak is clearly trying to wring out the longing for nostalgia within all of us, and has nailed it with the Charmera, which is even inspired by its old-school disposable Fling cameras. It's definitely not as good as the smartphone in your pocket, but there's something disarming about snapping a quick shot with a tiny block of plastic that's lighter than your keys.

Playing around with the Charmera for a few weeks gave me a healthy reminder that the sillier and more transient parts of life don't need the technical prowess of an expensive camera. Obviously, the Chamera produces photos of terrible quality at 1.6 megapixels and can't really capture anything fast-moving or in low light, but it's undeniably fun and hard to resist shooting with. And sometimes, you and your friends are just doing wildly unserious things and you want a camera that matches that energy.

— Jackson Chen, Contributing Reporter

Every time I pull out the Kodak Charmera in public to snap a few pictures, I'm immediately met with a barrage of questions and squeals of delight from full-grown adults: "What is that?"; "Is that a camera?"; "Does it really take pictures?"; "Can I see it?" It is the kind of accessory that doubles as a conversation starter, an effect that's turned out to be as joyous as taking pictures with the camera itself. I've been trying really hard to spend less time on social media and my phone in general lately, and having a two-inch camera clipped to me has made for a pretty fun shift in how I document the day-to-day. 

As the resurgence of compact digital cameras has shown us, a lot of people are yearning for a time of simpler tech — when we had personal devices that could do useful things, like take decent photos and connect us to our friends, but didn't consume our lives entirely. Companies like Camp Snap have shaped their entire brands around recapturing that magic, and some consumers have shown that they're willing to sacrifice in areas like image quality in exchange for a taste of it, too. The Kodak Charmera isn't the kind of product you go into purchasing with high expectations. It is clearly a toy that is only going to be capable of so much. 

Two Sphynx cats, both dark gray with black ears and noses, sit close together cuddled under a light beige blanket, one looking straight at the camera and the other looking off to the side
Cheyenne MacDonald for Engadget

As Jackson noted, the low-resolution 1,440  x 1,080 pictures look about on par with those you'd have taken on a flip phone 15 or 20 years ago. In the right lighting conditions with a clearly defined subject, they're not so bad. But selfies, portraits and nature photos will generally look washed out. It can record videos too — and you should set similarly low expectations for these. 

Despite all that, I've been pleasantly surprised by how much I'm enjoying the Charmera experience. Its crunchy photos are just good enough to feel like they're successfully preserving a moment in time. And being so tiny, it's really convenient to bring everywhere. It even came with me to CES. The Charmera takes a microSD card (sold separately), allowing for tons of storage and easy transferring. There are a bunch of built-in filters you can apply, too, which have been fun to play around with.

If I want high-quality photos, this isn't the camera I'm going to reach for. But it's great for low-stakes situations when all I care about is taking some pictures I can look back on fondly later. Consider me charmed. — Cheyenne MacDonald, Weekend Editor


This article originally appeared on Engadget at https://www.engadget.com/cameras/the-ridiculously-tiny-kodak-charmera-captured-our-hearts-and-lots-of-shoddy-pictures-140000245.html?src=rss

Canon unveils a Limited Edition version of its popular G7 X III compact camera

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Canon released its first PowerShot camera back in 1996 with a 0.5-megapixel sensor, helping kickstart the digital photo revolution. To celebrate that 30-year anniversary, the company has unveiled a Limited Edition version of its still-popular PowerShot G7 X III compact camera. It has a few unique touches but is otherwise the same as the original model released nearly seven years ago.

The limited edition model has a new “graphite” color with a knurled front ring designed to exude “luxury and quality,” Canon wrote. It also carries 30 year anniversary logo printed on the body “to create a special feeling suitable for limited edition models,” the company added in the most Canon-y way possible.

Canon's Limited Edition PowerShot G7 X III compact camera
Canon's Limited Edition PowerShot G7 X III compact camera
Canon

As a reminder, the G7 X III was one of the first cameras announced specifically as a model for vloggers, thanks to its ability to shoot vertical video for Instagram. It features a 20.1MP sensor, flip-up 3-inch touchscreen, 24-100mm f/1.8-2.8 zoom lens and a microphone input. It supports 4K 30 fps video with no cropping and can shoot 1080p at 120 fps. The piece de resistance is direct streaming to YouTube directly over Wi-Fi, then a new thing but now a common feature. It originally retailed for $749.

The G7 X III had been in short supply until recently, but used models became popular with influencers several years ago and started selling way above list price. Possibly because of that viral fame, Canon announced in August 2025 that it was increasing production and the G7 X III started returning to stock a few months later priced at $880.

Canon's Limited Edition PowerShot G7 X III compact camera
Canon's Limited Edition PowerShot G7 X III compact camera
Canon

The Limited Edition G7 X III is selling for a lot more than that at $1,299, though it does come with a limited edition Peak Design cuff wrist strap and 32GB SD card. If you want to one-up the influencers and grab one, shipping will start in April 2026.

Along with the camera, Canon announced a pair of interesting new RF-mount full-frame lenses. The first is the ultra wide angle RF 14mm f/1.4 L VCM prime model priced at $2,599, promising bright, high quality optics. The other is a very interesting $1,899 RF7-14mm f/2.8-3.5 L Fisheye STM zoom lens with up to a 190 degree perspective at the widest setting.

This article originally appeared on Engadget at https://www.engadget.com/cameras/canon-unveils-a-limited-edition-version-of-its-popular-g7-x-iii-compact-camera-040000700.html?src=rss

Sony A7 V review: Awesome speed and photo quality

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Sony A7 series camera launches are eagerly anticipated by camera lovers, as those models are typically a showcase for the company’s latest imaging tech. The new A7 V is a great example of that: it’s equipped with Sony's new 33-megapixel partially-stacked sensor — the most advanced in any midrange full-frame mirrorless model.

The A7 V’s resolution is higher than rivals like Panasonic’s S1 II and the Nikon Z6 III in this category while matching Canon’s R6 III. However, Sony trumps the latter with a faster sensor that promises lower rolling shutter distortion in electronic mode. Sony also boasts that it offers the highest dynamic range of any of its cameras to date. 

Unlike Canon with the R6 III, Sony didn’t bend over backwards to accommodate creators, though. Video resolution is limited to 4K, and the A7 V lacks any RAW video capability, compared to 7K and RAW for Canon’s latest model. All of that means the A7 V may be great for some buyers, but fall short for others.

Like other recent Sony cameras, I didn’t find the A7 V comfortable to hold for long periods of time. That’s because the grip, while deep, is a bit short and too small for large hands. At the same time, it has harder exterior materials than Canon’s cameras and is a bit heavier than the A7 IV at 1.53 pounds (698 grams) compared to 1.45 pounds (653 grams) for its predecessor. 

The handling makes up for the lack of comfort, though. It has two dials for the primary controls (shutter speed and aperture), along with a third for exposure compensation. There’s a dual dial with a shooting mode on top and video/photo/S&Q below, plus a rear joystick, rear dial and nine buttons. The main controls fell nicely to my hands, which made camera control a cinch. 

The A7 V has the same well-organized menu system as other recent Sony models and it's easy to customize dials, buttons and quick menus to your liking. Overall, Sony’s menus are now among the best, and functions are easier to access than on Canon’s R6 III, for example.

The 3.69-million dot EVF display is relatively sharp and on par with the R6 III, but falls short of 5.76-million-dot EVF on the significantly cheaper Nikon Z6 III. The 3.2-inch rear display fully articulates as before, but it also tilts now, so I was able to easily shoot from high and low angles. It’s also slightly bigger and has 2.1 million dots, up from 1.65 million dots on the A7 IV. 

The A7 V has a dual-slot card system with two SD UHS II slots and a faster CFexpress Type A slot. However, Type A CFexpress cards are less than half as fast as the CFexpress B cards used in other cameras. The A7 V includes a full-sized HDMI port for external display, 3.5mm mic and headphone ports, and two USB-C ports — one for charging and one for 10Gbps data transfers. Battery life is decent with up to 630 shots on a charge or 100 minutes of continuous 4K 30 fps capture. The camera isn’t constrained much by temperature limits, as I was able to shoot 4K 30p video for 90 minutes straight with no issues. 

The 33MP partially-stacked sensor has made a big difference in the A7 V’s speed and autofocus accuracy. It can now hit 30 fps blackout-free RAW burst speeds with the electronic shutter (with autofocus and auto exposure enabled), compared to an anemic 10 fps with the A7 IV. That makes it a surprisingly good choice for sports and wildlife photography, or just shooting fast-moving kids or pets. Speeds drop to 10 fps in mechanical shutter mode, which is on par for this category.

ISO 6400, f/2.8, 1/40th
ISO 6400, f/2.8, 1/40th
Steve Dent for Engadget

Rolling shutter distortion is only an issue when shooting super fast subjects like airplane propellers or golf swings. And unlike Canon’s R6 III and other rivals, the A7 V maintains full 14-bit RAW quality during electronic shutter bursts instead of dropping to 12-bit RAW, which allows for higher dynamic range.

As you’d expect with Sony, autofocus is fast and extremely accurate, delivering the best in-focus hit rate of any camera in this price range. When tracking moving subjects like bikes, birds or kids, I rarely saw a blurry shot. This applied even in tricky lighting and chaotic situations with multiple subjects. The A7 V also nailed auto exposure and auto white balance, even when I shot at dusk with a mix of indoor and outdoor lighting.

Sony’s latest AI features make it easy to track nearly anything. Face, eye and body tracking are supported for people, and you can also follow animals, birds, insects, cars, trains and airplanes. The AI has been trained to track people in any position, even if they’re partially obscured or disappear in the frame. This proved to be convenient when I shot street photos in crowds with a specific subject in mind. 

This does bring up one sore point with the A7 V. When using third-party lenses, the burst rate speeds drop from 30 fps to 15 fps. In addition, you may not be able to use some lenses at all in AF-C (continuous) mode without applying a firmware update.  

In-body stabilization is improved significantly over the A7 IV from 5.5 to 7.5 stops with compatible lenses, but falls short of all rivals that hit at least eight stops. Still, I was comfortably able to shoot at shutter speeds as low as a half second handheld without any camera blur. 

Photo quality is where the A7 V shines. Dynamic range is superior to rival cameras, both in the real world and specialized testing. This is due to Sony’s latest dual gain output tech that combines two ISO levels at once integrated with the new 33MP partially-stacked sensor (when using the mechanical shutter). 

I noticed this when taking photos at twilight in several of Paris’ squares. After shooting a statue against a bright sky, I was able to extract noise-free shadow detail from RAW files and easily adjust bright areas. When shooting ducks in water that reflected a bright sky, I saw similarly high levels of detail in both dark and bright picture areas. There is one thing to keep in mind, though: As Photons to Photos noted, there’s a slight drop in dynamic range below ISO 1,000 when using the electronic shutter.

Should you need even more detail and dynamic range, Sony’s new Composite RAW feature that’s borrowed from the A9 III combines four, eight, 16, or 32 RAW images to reduce noise and improve image quality. I used it to photograph some high-contrast scenes on a sunny Paris day and it dramatically reduced noise, but isn’t a good option for moving subjects.

Sony's A7 V has plenty of manual controls for easy operation
Sony's A7 V has plenty of manual controls for easy operation
Steve Dent for Engadget

JPEGs look great straight out of the camera with excellent detail, though noise reduction can be a bit excessive at high ISOs. Sony’s color science has improved over the last model, so colors are accurate and the magenta-hue issues seem to be largely resolved. However,I still find Canon’s cameras capture more accurate skin tones.

The A7 V is a low-light marvel, with relatively noise-free photos all the way up to ISO 12,800 and usable shots at ISO 25,600. What’s remarkable is that the A7 V beats all its 24MP rivals in this regard, despite the nearly 50 percent higher resolution. 

Sony added a new “Compressed RAW HQ” mode with the A7 V, designed to deliver better compressed RAW quality while keeping files smaller than “Lossless RAW.” Note that this new mode is not currently supported by Adobe Lightroom, so I’d avoid using it for now. 

Sony's A7 V can take sharp video but doesn't stand up against rivals.
Sony's A7 V can take sharp video but doesn't stand up against rivals.
Sony

Two or three years ago, the A7 V would have been fine for video but not in 2026. While all its rivals are embracing internal RAW video at 6K or 7K, Sony is sticking with 10-bit 4K MP4 at up to 60 fps, or 4K 120 with an APS-C crop. The video is oversampled from a 7K sensor size so it’s very sharp though, and S-Log3 is available to boost dynamic range. 

Sony likely thinks that creators using this camera will mostly shoot 4K MP4 (as I do), so it didn’t feel that RAW was a must. However, users who do need the benefits of RAW — like minimal degradation when editing, flexible white balance and improved dynamic range — can’t even do external RAW capture. The 4K max resolution and lack of open gate 3:2 is also a downside for creators who like to reframe shots in post or output to social media. 

With that all said, you can capture high-quality 10-bit 4K 60 fps video with the A7 V. The S-Log3 Cine/S-Log 3 option and high data rate 4:2:2 HS video provide flexibility in post, letting you easily correct over- or under-exposed video or tweak colors. As with photos, color accuracy is nearly on par with Panasonic and other rivals. Shooting in low-light is a breeze, especially when you know that noise levels will be minimal even at high ISO speeds. 

Sony has some extra video tricks like focus breathing compensation that eliminates zooming when focusing from a near to a far subject. And the A7 V comes with a new AI Auto Framing mode, which recognizes and crops in on humans, keeping them centered in the frame. I was able to keep subjects centered (while stabilizing the shot) as long as I didn’t move the camera excessively.

Autofocus is just as excellent for video as photos, with the same level of speed and accuracy. AI-powered autofocus supports all the same modes (people, animals, etc.) and usually nails focus of human or animal eyes, like when I captured footage of some ducks and dogs. 

Video stabilization is also very good, just behind Panasonic’s S1 II and ahead of the Canon R6 III. In regular optical-only mode, it removes shaking from handheld video without too much movement. When you engage the “Active” mode, it adds electronic stabilization with a small crop for panning or tilting, and “Dynamic Active” lets you walk with surprisingly smooth results. Rolling shutter is rarely an issue for most types of shooting, including walking, unless you really whip the camera around. The lack of rolling shutter skew also makes it easier to apply stabilization in post with Adobe Premiere or DaVinci Resolve.

ISO 800, f/2.8, 1/500th
ISO 800, f/2.8, 1/500th
Steve Dent for Engadget

The A7 V is an incredible camera for photography, with speeds, autofocus accuracy and image quality ahead of rivals, including the Canon R6 III, Panasonic S1 II and Nikon Z6 III.However, Sony isn’t keeping up with those models for video. The A7 V is missing RAW, native resolution and open gate capture, all of which can be found on the aforementioned cameras. That makes it hard to recommend for serious video users or creators who use full-frame open gate to export high-quality vertical video. 

There’s one intangible, though. I enjoyed taking pictures with the A7 V more than other cameras I’ve tested lately because of the AF accuracy and image results. For anyone who wants a fast, reliable and easy-to-use camera for photography, I can’t recommend it enough. For video creators, though, I’d look at Canon’s R6 III, the Panasonic S1 II, or if you’re on a budget, Nikon’s Z6 III.


This article originally appeared on Engadget at https://www.engadget.com/cameras/sony-a7-v-review-awesome-speed-and-photo-quality-130000592.html?src=rss

Canon EOS R6 III review: A video powerhouse that’s also great for photography

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With video features like RAW now the norm on midrange mirrorless cameras, Canon decided not to mess around with its latest model, the 33-megapixel EOS R6 III. It’s a veritable cinematic beast, allowing up to 7K RAW video capture internally with fast and reliable autofocus and rock solid stabilization. 

At the same time, it's a solid photo camera with high burst speeds and warm, accurate image quality. The R6 III has stiff competition with Sony’s 33MP A7 V, though, as the latter delivers higher dynamic range. The price could also be an issue for buyers, as the R6 III costs $300 more than its predecessor. Whether it’s worth that extra money depends on what you’re planning to do with it.  

Canon EOS R6 III
Canon EOS R6 III
Steve Dent for Engadget

The EOS R6 III is quintessentially Canon in terms of design. It strongly resembles the R6 II and EOS R5 II, with the same button and dial layout at the rear. In terms of functionality, this is a good thing as everything falls perfectly to hand, letting you control it by feel once you’re used to it. However, the R6 III’s design is a bit bland, so if you’re looking for a stylish camera a la Fujifilm, this is not the one. 

Holding the R6 III is also a pleasure thanks to the grippy, soft rubber exterior, though at 1.5 pounds it’s a bit heavier than the A7 V. It’s comfortable to hold and use all day, unlike Sony’s A7 V which felt uncomfortable after prolonged usage because of the harder material and sharp crease around the fingertip area. 

The R6 III’s 3.69-million dot, 120 fps electronic viewfinder (EVF) worked fine for me to check color and focus, but falls short of the one on the much cheaper Nikon Z6 III. The flip-out 3-inch 1.65-million-dot rear touch display is on par for this category and does the job well. For storage, the R6 III supports CFexpress Type B cards for capturing RAW video, along with SD UHS II for MP4 video and photos. 

Other key features include headphone and microphone ports, a full-sized HDMI input (instead of microHDMI as before, thankfully) and a USB-C port for charging and transfers. Battery life is decent for this category with a maximum 510 shots per charge or 620 shots if you engage the power saving mode or about 90 minutes of continuous 4K capture. However, you can roughly double those figures with Canon's optional $150 BG-R20 battery grip.

Canon's EOS R6 III offers fast burst speeds and skin-tone friendly colors
Canon's EOS R6 III offers fast burst speeds and skin-tone friendly colors
Steve Dent for Engadget

The R6 III offers a boost in shooting speeds over its predecessor thanks to an all-new 33MP sensor. It has a faster readout speed than the R6 II as well, allowing for faster bursts and lower rolling shutter skew. In comparison, Sony’s A7 V also has a 33MP sensor but it’s partially stacked, so it delivers less distortion when shooting fast-moving subjects. 

With that new sensor and a 34 percent faster Digic X processor, the R6 III can shoot bursts at up to 40 fps in electronic and 12 fps in mechanical shutter modes (with continuous AF and AE enabled). That’s second only to the Panasonic S1 II (70 fps) in this price range. You can fill the buffer in about 3.7 seconds at that speed (150 RAW frames), which is a decent amount for a midrange camera.

You usually want to avoid the electronic shutter with fast-moving action due to rolling shutter distortion, but the R6 III’s faster sensor can handle objects that are moving reasonably quickly. I also caught a few photos of babies, bikes and dogs I might have otherwise missed by using the new pre-capture mode that records up to 15 photos before fully declencing the shutter.

The new sensor and processor also make the R6 III’s autofocus system faster and more accurate than before. When shooting bursts for fast moving action like dogs running or biking, less than five percent of my shots were out of focus. And the EOS R6 III can now track animals, birds and vehicles, on top of the faces, eyes and bodies of people. 

This camera also has a couple of new autofocus tricks, including one called Register People Priority. That lets you save up to 10 individuals on camera that it can identify and automatically switch to. I found it handy in a large gathering, helping me focus on my niece enjoying her second Christmas. However, the R6 III lacks a few autofocus features found on the R5 II like “action priority” for sports, eye control AF and AI upscaling. 

In-body stabilization is also excellent, keeping the sensor rock-steady for handheld shooting with 8.5 stops of shake reduction. With that enabled, I was able to nicely blur action on the streets while keeping the background sharply in focus at shutter speeds down to a full second. 

With a 33MP sensor instead of a 24MP sensor, the R6 III offers quite a bit more sharpness and a touch more dynamic range than its predecessor. When shooting RAW, I was able to coax a lot of detail out of high contrast shots on sunny days with dark shadows. However, Sony’s A7 V soundly beats the R6 III in terms of dynamic range, thanks to its innovative new sensor. 

The R6 III’s high ISO performance isn’t too bad for a higher-resolution camera either, with noise staying under control up to ISO 12,800. As is typical with Canon models, skin tones are warmer and more flattering than on Sony and Nikon cameras, due to the slightly more yellow-biased pink tones. Those pleasing colors were consistent, even at high ISOs, when I shot kids and adults at a couple of indoor gatherings. If you don’t want the hassle of RAW, JPEG rendering is excellent straight out of the camera, with well balanced sharpening and noise reduction.

Note that switching to electronic shutter mode drops the sensor to a 12-bit readout, which helps burst speeds but hurts image quality. This is a pretty big downside compared to the A7 V, which maintains 14-bit quality even when shooting at the camera’s maximum rate at 30 fps. So while on paper the R6 III wins the speed race, the 10 extra fps won’t be worth the drop in quality for many photographers. 

Canon’s EOS R6 III
Canon’s EOS R6 III
Steve Dent for Engadget

Canon has improved video on the R6 III in every way, putting it nearly on par with the more expensive R5 II. Though it can’t shoot 8K, it can handle 7K RAW video at up to 60 fps (on CFexpress only) and 4K at 120p, with less rolling shutter than the R6 II. It also supports 3:2 “open gate” video that uses the full sensor area so you can output high-res vertical video and other formats.

The R6 III supports 4K 10-bit MP4 shooting at high data rates too if you’d rather save storage space or shoot on SD cards. You also get CLog 2 on top of CLog 3 capability for improved dynamic range. Oddly though, Canon made it a bit of a pain to switch to log modes compared to past models, forcing you to slog through a bunch of menus to do so. 

Video autofocus is excellent across all resolutions, with rapid subject acquisition and reliable tracking. Face and eye detection work very well, and I only occasionally noticed slight autofocus lag with fast-moving subjects, particularly when they were moving toward the camera. 

As for stabilization, I could smoothly shoot handheld with no crop, provided I didn’t move the camera too aggressively. Digital stabilization allowed even more movement and the enhanced setting let me shoot smoothly while walking (7K doesn’t work in the digital stabilization modes, though). Panasonic’s S5 II is still the best in this regard with slightly smoother stabilization, but the R6 III isn’t far behind.

Video on the EOS R6 III is extremely sharp in RAW and the HQ modes, particularly with supersampled 4K HQ. Other 4K modes are subsampled, but nearly as sharp. Rolling shutter is better managed than before, but you’ll still want to avoid things like whip pans, sudden jolts or rapid subjects like propellers or golf swings. 

In a variety of shooting scenarios in bright and dark conditions, Canon’s excellent color science delivered warm skin tones and accurate colors. Shooting RAW video allowed me to widely adjust shots in post, while the CLog 2 mode drastically improved dynamic range while I was shooting in contrasty conditions. For instance, I shot the famous Paris department store windows and was able to extract detail from the very bright and dark parts of the video.

Overheating has been an issue in the past on Canon’s R6 models, but the R6 III never shut down for me, even during a few tests of over 15 minutes. Overall, it reliably delivered outstanding video quality and I actually preferred it to the R5 II due to the smaller RAW file sizes. 

Canon EOS R6 III mirrorless camera
Canon EOS R6 III mirrorless camera
Steve Dent for Engadget

Canon’s EOS R6 III is now the best midrange camera for creators thanks to the RAW video, rapid and accurate autofocus and excellent handling. At the same time, it’s a solid camera for photography with high burst speeds, extra resolution and, again, reliable AF. If it’s mainly photography you’re interested in, though, Sony’s $2,900 A7 V is a better choice. It matches the R6 III’s resolution, price and autofocus but offers superior dynamic range and lower rolling shutter distortion.

Other video-centric options may be more attractive for other reasons — including budget. Nikon’s 24MP Z6 III offers similar capabilities, has a partially stacked sensor and retails for $2,400, but can often be found on sale for less. Panasonic’s S1 II is also a good pick due to its RAW video and creator-centric features, though it costs more at $3,200. 

Which one to buy, then, depends on your budget, usage (video or photography) and whether you already have lenses in one system or another. With that said, if it’s a Canon camera you’re after and you lean toward content creation, the EOS R6 III is your best choice. 


This article originally appeared on Engadget at https://www.engadget.com/cameras/canon-eos-r6-iii-review-a-video-powerhouse-thats-also-great-for-photography-153000494.html?src=rss

The best cameras for 2026

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Cameras had an interesting year in 2025, with the launch of some long-delayed models like Sony’s 61MP RX1III, wholly original cameras (the Fujifilm X Half and Sigma BF) and much anticipated updates like the Sony A7 V and Canon R6 III. All told, there were 27 new cameras launched last year that joined the 20 new models on the market from 2024.

Those ranged from compacts to mirrorless to very high-end models, with every price range included. The question is, which one is right for the type of videography or photography you do? Whether you’re an aspiring action or wildlife photographer, an extreme sports junkie or a content creator, we’ll help you find the perfect camera to match your budget and requirements.

Mirrorless is the largest camera category in terms of models available, so it’s the best way to go if you’re looking for something with the most advanced features. Canon and Nikon recently announced they’re discontinuing development of new DSLRs, simply because most of the advantages of that category are gone, as I detailed in a video. The biggest selling feature of a mirrorless camera is the ability to change lenses depending on the type of shooting you want to do.

The most important features to look for in an action cam are image quality, stabilization and battery life. GoPro has easily been beating all rivals recently in all those areas, but DJI has taken a lot of its business with the Osmo Pocket 3 gimbal camera.

This category has fewer cameras than it did even a few years ago and many models are older, as manufacturers focus instead on mirrorless models. However, I’m still a big believer in compact cameras. They’re a noticeable step up from smartphones quality-wise, and a lot of people will take a compact traveling or to events when they’d never bother with the hassle of a DSLR or mirrorless camera.

Compacts largely have type 1-inch sensors, but a few offer larger options, particularly Fujifilm’s XF-100V. Another popular model, Sony’s XV-1, is primarily aimed at content creators looking to step up. In any case, desirable qualities include image quality, a fast lens, relatively long zoom, flip-out display, good battery life, a high quality EVF, decent video and good pocketability.

Smartphones might get better for video and photos every year, full cameras still have an edge in many ways. The larger sensors in mirrorless cameras let more light in, and you have a wide choice of lenses with far superior optics. Dedicated cameras are also faster for shooting things like sports or wildlife, offer superior video for content creators and create more professional results.

There are a few key things to consider to get the most out of a camera. The first is sensor size: in general, the larger the sensor, the better (and usually more expensive) the camera.

Full frame is the largest sensor size for mainstream cameras, and it’s available on models like the new Panasonic S9, the Nikon Z III and Canon EOS R5 II. At a size equivalent to 35mm film (36 x 24mm), it offers the best performance in terms of image quality, low-light capability and depth of field. But it’s also very expensive and finicky. While bokeh looks incredible at an aperture of f/1.4, the depth of field is so razor thin that your subject's eyebrow might be in focus but not their eye. This can also make shooting video difficult.

The next size category is APS-C (around 23.5 x 15.6mm for most models and 22.2 x 14.8mm for Canon), offered on Fujifilm's X Series lineup, the Canon R10, the Sony ZV-E10 II and the Nikon Z50. It's cheaper than full frame, both for the camera body and lenses, but still brings most of the advantages like decent bokeh, high ISOs for low-light shooting and relatively high resolution. With a sensor size the same as movie cameras, it's ideal for shooting video, and it’s easier to hold focus than with full-frame cameras.

Micro Four Thirds (17.3 x 13mm), a format shared by Panasonic and Olympus, is the next step down in sensor size. It offers less bokeh and light-gathering capability than APS-C and full frame, but allows for smaller and lighter cameras and lenses. For video, you can still get reasonably tight depth of field with good prime lenses, but focus is easier to control.

The other common sensor size is Type 1 (1 inch), which is actually smaller than one inch at 12.7 x 9.5mm. That's used mostly by compact models like Sony’s ZV-1 vlogging camera. Finally, action cameras like the GoPro Hero 11 and DJI’s Osmo 3 have even smaller sensors (1/1.9 and 1/1.7 inches, respectively).

For photographers, another key factor is autofocus (AF) speed and accuracy. Most modern mirrorless cameras have hybrid phase-detect AF systems that allow for rapid focus and fast burst speeds. The majority also offer AI features like eye-detect AF for people and animals, which locks in on the subject’s eyes, face or body to keep them in focus. However, some models are faster and more reactive than others.

The electronic viewfinder (EVF) and rear display are also crucial. The best models have the sharpest and brightest EVFs that help you judge a shot before taking it. For things like street photography, it’s best to have as bright and sharp a rear display as possible, so it’s easy to see your subject and check focus in all manner of lighting conditions. You may also want a screen that flips out rather than just tilting, too.

DSLRs and mirrorless cameras let you change lenses, but you're stuck with what's built into a compact camera. While that's great for portability, a single lens means you're going to sacrifice something along the way. The Fujifilm X100V, for instance, has a fast but fixed 35mm-equivalent f/2.0 lens and no zoom. The Sony RX100 V has a 24-70mm zoom, but it's slower at the telephoto end (f/2.8) and less sharp than a fixed focal (prime) lens.

When choosing a lens for a mirrorless camera, you’ll need to consider the focal or zoom length, along with the minimum aperture. Smaller numbers like f/1.4 for a prime lens or f/2.8 for a zoom are best, as they let you work in darker environments and maximize background blur to isolate your subject. However, those lenses are more complex and thus more expensive.

When it comes to video, there are other factors to consider. Some cameras combine or skip over pixels (line skipping or pixel binning) for video recording, which is not ideal because it can reduce sharpness. Better cameras tend to read out the entire sensor and then “downsample” to improve video sharpness (camera manufacturers don’t often say if video is pixel binned, but will say if it’s downsampled). Another important factor is sensor speed, as slower sensors tend to have more rolling shutter that can create a “jello” effect that skews video.

In addition, how’s the battery life? How do you like the handling and feel? How long can you shoot before the camera heats up or stops? Does it support 10-bit HDR video? Is there a microphone and/or a headphone jack? (If you record a lot of interviews, it's preferable to have both.) How's the video autofocus? All of these things play a part in your decision.

This article originally appeared on Engadget at https://www.engadget.com/cameras/best-cameras-151524327.html?src=rss

Nikon ZR review: A highly capable cinema camera at a reasonable price

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Video used to be an afterthought for Nikon, but since the company purchased RED last year, content creators are now high on its priority list. A perfect example of that is Nikon’s new $2,200 ZR: a full-frame mirrorless model that stands up against dedicated cinema cameras for a fraction of the price.

It’s the first consumer camera to capture video using RED’s 12-bit RAW format, but unlike RED’s Hollywood cameras, it has a fast and accurate autofocus system. It also comes with a huge display, pro video monitoring tools, in-body stabilization and 32-bit float internal audio recording. After shooting a short film that tested its capabilities, I can confirm that the Nikon ZR offers incredible video quality at this price.

Body and handling

While a bit lighter than Nikon’s Z6 III, the 1.19-pound (540-gram) ZR feels solid. It has a boxy design like Sony’s FX2 but a much smaller grip because it’s designed to be rigged up for cinema shooting with cages and handles. However, unlike the FX2 which has multiple 1/4-inch mounting threads to do such rigging, the ZR unfortunately has only one of those on the bottom.

The ZR also lacks an electronic viewfinder like the FX2, but it more than makes up for that with its huge 4-inch display — the largest I’ve ever seen on a mirrorless camera. At 1,000 nits, it’s bright enough to shoot on sunny days, extremely sharp (3.07 million dots) and flips out for vloggers. All of that makes it a perfect primary display for checking the image and controlling the camera.

Nikon has nailed the ZR’s handling, too. While it’s not covered with buttons and dials like some models, it does have two shooting dials to control exposure and a joystick for autofocus. There’s also a camera/video switch, two record buttons, a power switch and five customizable buttons. Many of Nikon’s lenses come with control rings as well, so extra manual control is available.

The menu button is unusual: you press once for the quick menu and hold to see the full menu. Given the large number of settings, I would advise anyone buying this camera to learn all the important adjustments, then customize the controls to avoid wading through dense menus while shooting.

Another unique feature is in the battery compartment. There’s a single fast CFexpress slot to handle RAW video, plus a microSD slot for proxies. The lack of a second CFexpress slot or fast SD card slot for backup isn’t ideal for a professional camera, though.

Finally, the ZR runs on the same N‑EL15c batteries as other Nikon mirrorless cameras. They allow 90 minutes of HD shooting on a charge, or 390 photos per CIPA standards. That’s mediocre, so if you’re planning long shoots, stock up on batteries.

Nikon ZR review: A highly capable cinema camera at a bargain price
Steve Dent for Engadget

The Nikon ZR has the largest selection of RAW video settings I’ve seen. The centerpiece is RED’s RAW R3D NE light codec (designed by RED for Nikon) with RED’s Log3G10 log format. It also supports Nikon’s N-RAW, ProRes/ProRes RAW and H.265 with resolution that ranges from 6K at up to 60 fps to 4K 120 fps and 1080p at 240 fps. Despite the smallish body, it can capture 6K RAW video continuously for 125 minutes without overheating.

The 24MP sensor uses a dual ISO system with native 800 and 6,400 ISOs, providing a nice range for indoor and outdoor shooting. The company claims 15+ stops of dynamic range, which is more than just about any other mirrorless camera. Other key video features include five-axis in-body stabilization with seven stops of shake reduction, waveform and vectorscope monitoring and a false color display for manual focus.

To test the camera’s features and video quality, I shot a short film in a mix of indoor low light, outdoor daytime and a mix between the two. I also shot handheld (including running with it) to test the stabilization. I primarily captured in R3D RAW, as well as Nikon’s N-RAW at the native 800 and 6,400 ISOs to maximize dynamic range. (You can take 24MP photos with this camera, but I’m focusing on video as it’s mainly designed for that.)

In order to not see a flat log profile when shooting, you’ll need to apply a look-up table (LUT) designed for RED cameras, like "Achromic," "Bleach" or "Caustic." Those are only for in-camera previews and not baked into the video, but you can apply those LUTs later in Adobe Premiere or DaVinci Resolve to get the same look.

Nikon ZR review: A highly capable cinema camera at a bargain price
Steve Dent for Engadget

With such a high native ISO, I was able to shoot inside with a single studio light. Video quality was outstanding with little noise in shadow regions, even after boosting black levels in post. Meanwhile, the RED R3D codec and Log3G10 gave me extra latitude to reveal shadow detail and dial down highlights when I shot the subject against a bright window.

When you use the R3D codec, exposure is strictly manual with no ability to set auto shutter speed (shutter angle) or f-stop. So, for a scene with varying light, I used Nikon’s N-RAW to see if it would give me the correct exposure at the beginning and end of the scene. It did a good job, with no noticeable jumps during the shot.

Video in sunlight at ISO 800 was also sharp with accurate colors after downscaling to 4K from 6K in DaVinci Resolve. ISO 800 is a relatively high native setting, though, and the ZR doesn’t have a built-in ND filter to reduce exposure. That means you’ll need to buy ND filters for outside shooting or the high shutter speeds will result in choppy video.

Cinema cameras from Blackmagic Design, Arri or RED are manual-focus only. But the ZR is a Nikon camera, and it has the best AF system I’ve seen on any of the company’s models, consistently nailing focus even with moving subjects. You can also automatically track vehicles, birds and other animals. At the same time, the ZR handles manual focus well. That’s thanks to a built-in display that’s big enough to check focus accurately and Nikon’s focus peaking setting with three levels of sensitivity.

Nikon ZR review: A highly capable cinema camera at a bargain price
Steve Dent for Engadget

In-body stabilization on the ZR wasn’t up to par with Panasonic’s S1 II, however. Video was smooth for handheld shooting if I panned the camera gently, but all my running and walking shots showed noticeable camera shake. That said, the ZR at least has in-body stabilization, unlike most cinema cameras, and most filmmakers will use a gimbal for running shots, regardless of which camera they use. (Note that the rattling you hear when the ZR is turned off is the sensor, which floats by design.)

Finally, I was able to capture good audio quality via an external microphone without any clipping worries thanks to the Nikon ZR’s 32-bit float internal audio capture. The company also touts directional capture using its built-in mics, but as with any such system, audio quality isn’t high enough for production use.

With the ZR, Nikon has shown that it’s finally catching up to and even surpassing its rivals for content creation. Whether you’re doing social media, YouTube, documentaries or even film production, this camera is versatile and powerful with few compromises. Video quality and ease of use even beats models that are double or triple the price.

The ZR’s primary competition is in the low-end cinema cameras, particularly Sony’s $2,998 FX2 and the $3,899 Canon R5C. While more expensive, both come with an electronic viewfinder that the ZR lacks, and the R5C can shoot up to 8K video. Another option is Blackmagic Design’s Pyxis 6K camera, but it only offers basic autofocus capabilities and lacks in-body stabilization.

Compared to those options, Nikon’s ZR delivers better dynamic range thanks to the inclusion of RED’s R3D RAW codec. It also comes with an excellent autofocus system and decent in-body stabilization. If you’re a creator looking to get the best video quality for the money without losing those niceties, I’d highly recommend the ZR.

This article originally appeared on Engadget at https://www.engadget.com/cameras/nikon-zr-review-a-highly-capable-cinema-camera-at-a-reasonable-price-152634311.html?src=rss

Sony’s much-anticipated A7 V is here with a faster 33MP sensor and 4K 120p video

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Sony has launched its mid-range flagship mirrorless camera, the A7 V, with a strong emphasis on speed but a bit less on video than some may have hoped. The new model sports a 33MP partially stacked full-frame Exmor RS sensor and an all-new Bionz XR2 processor with built-in AI, powering what the company calls its fastest, most accurate subject-detect autofocus ever. At the same time, it can shoot 14-bit photos at up to 30 fps with 16 stops of dynamic range, the highest ever on a Sony (or nearly any other) camera. 

On the video side, the A7 V now supports 4K 10-bit S-Log3 video at 60 fps using the full sensor width with supersampling from 7K. Note that to get full-width video in 4K 60 fps mode, you must turn on a feature called Angle of View Priority that turns off in-camera noise reduction but doesn't affect quality, according to Sony. 4K at 120 fps is also possible with an APS-C crop. The graphite heatsink disperses heat well, so you can record 90 minutes continuously at 4K 60 fps. 

However, the A7 V doesn't offer any resolutions beyond that, unlike its primary rivals in this price range: the Canon R6 III (7K 60 fps), Nikon Z6 III (6K at 60 fps) and Panasonic S1 II (6K at 60 fps). Also surprisingly, there's no internal or external RAW capture, unlike all three rival cameras, with recording limited to Sony's XAVC (H.265 and H.264) formats.

Sony's much-anticipated A7 V is here with a faster 33MP sensor and 4K 120p video
Sony

Sony told Engadget that rather than RAW or 7K, it preferred to focus on features that it believes creators really want, namely sharp, high-quality 4K 60 fps that won't fill up your hard drive (along with fast and precise autofocus, of course). It also prioritized speed with the partially stacked shutter in order to reduce rolling shutter for full-frame video. 

The company has a point that while RAW video provides extra quality, a single minute can take up gigabytes of space and requires a powerful PC for processing. That said, I'd personally like to have a 6K or 7K capture option in case I need to reframe a shot or output high-resolution vertical video. However, the A7 V can kind of do that itself with its Auto Framing mode that keeps a human in the scene and crops in on them automatically, like robotic cameraperson. 

With all the extra speed, the A7 V can shoot 30 fps blackout-free RAW bursts with accurate AF and auto exposure in electronic shutter mode (with 14-bit RAW quality rather than 12-bit as before), or 10 fps with the mechanical shutter. There's no fully uncompressed RAW option, but it does support lossless compressed RAW and a new lightweight RAW format. It also supports extended RAW processing on PC with high-resolution output, along with 12 creative look presets with custom parameters. 

With the new sensor and image processor, Sony is promising precise AF down to EV-4.0 in low light conditions, with 759 phase-detection points that cover about 94 percent of the image area. It also supports pre-capture and speed boost so you won't miss important moments in wildlife or sports photography. In terms of AI recognition, it now supports Human, Animal, Bird, Insect, Car/Train and Airplane detection, along with Auto Recognition of the target. 

Sony's much-anticipated A7 V is here with a faster 33MP sensor and 4K 120p video
Sony

The A7 V's five-axis in-body stabilization delivers up to 7.5 stops of shake reduction, compared to 8.5 for Canon and Panasonic's latest models. It offers both Active and Dynamic Active modes depending on how energetically you're handling the camera, with the latter introducing some cropping. 

The 2.1-million-dot rear display flips out for vloggers as before, but also tilts up and down for easier hip-level photography. The OLED electronic viewfinder has the same 3.69-million dot resolution as the A7 IV. Battery life via Sony's NP-FZ100 battery stretches out to 750 shots (CIPA), the best of any camera in this category. Rather than the dual-dual card slot configuration of the A1 II, the A7 V offers a hybrid CFexpress Type A (that only Sony uses) and SD UHS II slot, along with single SD UHS II slot. Other features include 3.5mm mic and headphone ports, a full-sized HDMI port, Wi-Fi 6 and two USB-C ports.

With the extra speed, high resolution compared to rivals and gain in picture quality, Sony's A7 V should appeal to hybrid shooters who focus on photography and so some video. It's now on pre-order starting at $2,899 ($3,099 with a kit lens) or $3,699/$3,899 CAD. It's due to start shipping on December 18, 2025, but only in limited numbers to start with. 

This article originally appeared on Engadget at https://www.engadget.com/cameras/sonys-much-anticipated-a7-v-is-here-with-a-faster-33mp-sensor-and-4k-120p-video-140403371.html?src=rss

Our favorite Aura digital photo frame is $40 off for Black Friday

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Putting together a photo album is a sweet way to share memories with loved ones, and a digital frame lets you package those feelings in a device that can be constantly updated with new pictures. Aura makes some of the best frames we've tested, and for Black Friday you can get our favorite digital picture frame the company makes for $139. That's $40 off the normal $179 price of the Aura 10.1" Carver Mat Frame, and one of the lowest prices we've seen the frame hit this year.

The Aura Carver Mat has a 10.1-inch display that's bright and high-resolution enough to show off a rotating collection of photos and videos without worrying about glare. The display is designed to be used in landscape orientation, and Aura's software can intelligently pair portrait photos together so the screen isn't left with awkward negative space.

Better yet, actually getting photos on the frame is a breeze. You can add whatever photos or videos you choose through a handy smartphone app, and even organize photos in albums if you want them to be displayed together. By default, the Aura Carver will shuffle through what you've uploaded, but you can also manually swipe through photos via a touch panel at the top of the frame if there's something particular you want to display.

In terms of quality and ease-of-use, the Aura 10.1-inch Carver Mat Frame is the top pick in our list of the best digital picture frames for a reason. Parents and grandparents find it kind of magical to have a frame that you can randomly update with new photos, and of the Black Friday deals we've spotted this year, it's a guaranteed crowd-pleaser.

This article originally appeared on Engadget at https://www.engadget.com/home/smart-home/our-favorite-aura-digital-photo-frame-is-40-off-for-black-friday-202715971.html?src=rss

The best Cyber Monday camera and drone deals: Get up to 52 percent off from Sony, DJI and others

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Cyber Monday is a good time to consider picking up tech you may have had your eye on for a bit. That means big ticket items like cameras, drones and the like. Major camera and drone makers including Sony, Canon, DJI, Nikon and GoPro are still offering substantial discounts across a wide range of products ranging from hundreds to thousands of dollars. Those include options from our guide to the best cameras, so you'll get great value for tried and tested gear. These are the best Cyber Monday camera deals you can get for 2025.

Sony A7 IV for $1,998 (26 percent off): Sony's A7 IV is still one of the best hybrid cameras you can get thanks to the high resolution, fast shooting speeds and 4K 60p video. Autofocus is incredible for both video and stills, and it comes with in-body stabilization to help smooth your shots. And for photographers, image quality has never been better thanks to the high dynamic range and enhanced resolution compared to the A7 III.

GoPro Hero 13 Black for $319 (26 percent off): GoPro’s Hero 13 Black is now available with a new family of modular lenses called the HB series (ultra-wide, anamorphic and macro), making it far more versatile for action creators. It also has a slightly bigger battery that allows longer capture times, up to 90 minutes for 4K 30fps video. Other specs remain the same, including up to 5.3K at 60fps in 10-bit color, along with the excellent Hypersmooth stabilization. And if you want an even wider field of view, grab the Hero 13 Black Wide Edition for $329.

DJI Osmo Pocket 3 for $529 (34 percent off): When DJI's Osmo Pocket 3 came out I said was "maybe the only vlogging camera you need." It has a big one-inch sensor that boosts image quality considerably, particularly in low light. You also get a large swiveling touchscreen that makes it easier to switch between horizontal and vertical video. What really makes it great for vlogging, though, are the follow modes combined with face tracking. When working solo, you can simply set it up and it’ll rotate and tilt to follow you around — so you don’t have to worry about focus or even pointing the camera at yourself. There’s very little not to like about the Osmo Pocket 3, but it’s not ideal for photos and is also quite expensive. But with the Black Friday deal and Pocket 4 on the horizon, it's a great time to get one.

Canon EOS R100 with 18-45mm kit lens for $499 (27 percent off): Canon's EOS R100 is the best deal on a mirrorless camera with a kit lens, and this is the lowest price we've seen to date. It comes with a 24-megapixel APS-C sensor that delivers great picture quality with Canon's pleasing skin tones, offers rapid and accurate autofocus and lets you shoot 4K (cropped) video at up to 24 fps.

DJI Osmo 360 for $357 (35 percent off): DJI’s Osmo 360 is a worthy rival to Insta360’s X5, thanks to the innovative sensor and 8K 50 fps video. It also matches or beats its rival in other areas, with similar battery life and superior low-light capability. Other positives include seamless 360 stitching, compatibility with DJI's mics and accessories, and excellent ease of use. The one negative is the editing app, which lacks some features found on Insta360's app. 

OM SYSTEM Olympus E-M10 IV with 14-42mm kit lens for $700 (22 percent off): OM Systems' Olympus OM-D E-M10 Mark IV offers a great mix of photography and video features and is on sale with a solid kit lens. You get up to 15 fps shooting speeds, 4K 30p or HD 120p video, and it’s one of the few cameras in this price category with built-in five-axis stabilization. It’s portable and lightweight for travel, and the lenses are compact and affordable. The drawbacks are an autofocus system that’s not as fast or accurate as the competition, and a small sensor size.

DJI Osmo Action 5 Pro for $259 (24 percent off): The Action 5 Pro features a large 1/1.3-inch sensor that makes it better than the Hero 13 in low light. It also tops the action cam battery life charts at two hours-plus while shooting 4K 60fps. Another nice feature is 47GB of internal storage, a big help if you forget your microSD memory card. And the Osmo Action 5 Pro works directly with DJI’s noise-cancelling Mic 2 and Mic Mini wireless microphones, providing an easy way to record high-quality sound. You can also grab the Action 4 Pro with the same sensor for just $199, or 31 percent off the regular price. 

DJI Mini 4K drone Fly More Combo for $359 (20 percent off): The Mini 4K is a beginner-friendly drone, but it's still got plenty of nifty features. As the name suggests, it can capture 4K video at up to 30 FPS. It can also record 2.7K footage at 60 FPS. There's 2x digital zoom, a 3-axis gimbal and electrical image stabilization. The drone can transmit 1080p video from up to 10km away.

Panasonix Lumix S9 in green for $1,398 with 18-45mm kit lens (22 percent off): The S9 may be Panasonic's smallest full-frame camera but it comes with the same 24MP sensor and similar video features to the popular S5 II. To that end, it offers up to 6.2K video, in-body stabilization and reliable autofocus. The key feature though is a special LUT button that lets you easily choose a custom cinematic look designed by professional creators.

Fujifilm X-T50 with XC 15-45mm lens for $1,599 (6 percent off): Fujifilm’s X-T50 is a big improvement over the X-T30 II, thanks to its higher resolution sensor, in-body stabilization and upgraded video capabilities. It's relatively small and lightweight and has solid autofocus and decent shooting speeds of up to 13 fps. Fujifilm cameras rarely go on sale, so if you're in the market for this model, now's the time to act. 

Canon EOS R50 for $679 (13 percent off): Canon's 24-megapixel APS-C EOS R50 is great for travel, parties, street photography and more thanks to the portable size and built-in flash. It offers nice image quality with warm, human friendly photos and is capable for creators as well with 4K 30fps supersampled video, with 10-bit and HDR capability. It comes with a kit lens that's solid for vlogging or photography with a 24-70mm full-frame equivalent zoom range.

Panasonic Lumix S5 II for $1,498 (25 percent off): The Lumix S5 II is an ideal vlogging camera, thanks to its excellent 6K 10-bit video, powerful stabilization system and phase-detect autofocus. It also offers features that creators need like excellent monitoring tools and advanced audio features, along with the 3.68-million dot EVF and flip-out display. 

Nikon Z6 III for $2,097 (22 percent off): The Nikon Z6 III is one of the best hybrid creator cameras you can buy, thanks to the incredible performance of its partially stacked sensor. You can shoot RAW bursts at up to 20 fps in electronic shutter mode while nailing sharp shots thanks to the much-improved autofocus. On the video side, it supports 6K RAW at up to 60 fps, or 4K 120p. The only thing holding it back from dethroning Sony is image quality that’s compromised a bit by the relatively low resolution and reduced dynamic range.

Sony A7R V for $3,298 (21 percent off): With a 61-megapixel sensor, Sony’s A7R V shoots sharp and beautiful images at a very respectable speed for such a high-resolution model (10 fps). It has equally fast and reliable autofocus, the sharpest viewfinder on the market and in-body stabilization that’s much improved over the A7R IV. Video has even improved, with 8K and 10-bit options now on tap, albeit with significant rolling shutter. 

Canon EOS R5 Mark II for $3,899 (11 percent off): The EOS R5 II comes with a high-resolution 45-megapixel stacked sensor, but still lets you shoot blackout-free bursts at up to 30 fps (and it can pre-capture up to 15 photos when you half press the shutter button). The updated autofocus with AI tracking is as good as anything offered by Sony and it's also highly capable for video, with up to 8K 60p RAW and 4K 120p shooting. 

Nikon Z8 for $3,496 (18 percent off): Nikon's Z8 offers the same specs as the company’s Z9 flagship in a smaller body but costs a lot less. It’s one of the highest resolution full-frame cameras with 45 megapixels, but also one of the fastest with burst speeds up to 30 fps. At the same time, it has powerful video capabilities with 8K RAW video at up to 60 fps. Autofocus isn’t on par with Sony’s A1, but the Z8 is a better camera for the price.

Osmo Mobile 7P for $103 (20 percent off): This three-axis gimbal keeps your smartphone video as smooth as can be with DJI's ActiveTrack 7.0, and includes a magnetic snapping mechanism so you can install your mobile device in seconds. The latest feature is native tracking that follows you around, thanks to the included Multifunctional Module.

K&F Concept 20L camera backpack for $66 (20 percent off): This multifunction backpack can store not only cameras, lenses and even drones in the bottom section, but a couple of changes of clothes up top. It has a laptop compartment, ventilated elastic back, auxiliary straps and more.

SmallRig Camera Tripod for $49 (30 percent off): This 2-in-1 tripod easily transforms into a monopod depending on your needs. It comes with a 360-degree detachable ball head, supports up to 33 pounds and lets you adjust the working height from 16- to 71-inches in seconds.

Rode Wireless Micro for $83 (10 percent off): Another great wireless mic option is Rode's Wireless Micro designed for smartphone users. The receiver connects to the bottom of your smartphone via USB-C and the microphones attach to the subject via integrated clips or magnets. They capture pristine sound well above what your smartphone can do, with a 20-20 kHz frequency range and 73 dB signal-to-noise ratio.

DJI Mic 2 for $199 (26 percent off): DJI's Mic 2 can not only be connected to a mirrorless camera like other mics, but also supports Bluetooth audio so can easily be connected to a smartphone as well. It picks up audio from your subject at a range of up to 820 feet (less with a Bluetooth connection) and automatically reduces background noise like wind, city sounds and even drone noise. And unlike the Mic 3, it lets you plug in an external microphone. This deal includes two mic transmitters, a receiver for your camera, a charging case and wind muffs.

DJI RS 4 Mini $289 (22 percent off): The RS 4 Mini is one of the best handheld camera stabilizers on the market thanks to features like its 4.4 pound payload and automatic axis lock. On top of that, the company introduced automatic tracking via its RS Intelligent Tracking Module to keep human subjects in frame no matter where they go. It also offers smoother gimbal tracking, longer battery life and faster charging.

SanDisk 512GB Extreme PRO SDXC UHS-II Memory Card for $280 (15 percent off): High speed SD memory cards rarely go on sale, but you can grab one of the best ones for a cool 15 percent off the regular price. It'll let you capture longer photo bursts and high-bandwidth MP4 video with no issues. 

Lexar 64GB Professional 2000x SD Card $48 (31 percent off): If you need very fast SD UHS II memory, Lexar currently has an excellent deal on its 64GB 2000x memory card. It offers 300MB/s read and 260Mb/s write speeds, quick enough to capture high data rate video or bursts of high-resolution photos. Amazon is also offering a solid discount on 256GB memory in the same lineup at $165 or 23 percent off.

Samsung Evo Select 512GB microSD memory card for $33 (30 percent off): This card offers a lot of storage for the money at this price, but it's fast enough to handle 4K video for drone and action camera storage. 

Samsung P9 512GB microSD Express memory card for $75 (25 percent off): If you want a fast card for your drone or action cam that can also be used on a Switch 2, Samsung has the answer. It's P9 512GB microSD express card is on sale for just $75, or 25 percent off the regular price. It can run at speeds up to 800MB/s on the Switch 2, and transfer files in compatibility mode at up to 160Mbps. 

Lexar 512GB Professional Silver CFexpress Type B memory card for $110 (24 percent off): If you just bought a new camera with a CFexpress slot and are wincing at the card prices, this is a great deal. You get 512GB of storage with sustained write speeds up to 1,150 MB/s, fast enough for RAW capture in most formats. 

Lexar 160GB Professional CFexpress Type A Card GOLD Series for $90 (52 percent off): If you have a recent Sony camera CFexpress Type A slots and are waiting for a deal, this is a great one. Save $100 from Lexar's regular price for this card and a cool $140 off what Sony charges for its own cards. 

Aputure MC RGBWW LED Light for $72 (20 percent off): This is a popular video light that can provide primary illumination or be used as a background light for interviews and more. I can attest that this product rarely goes on sale, so now's the time to snap one up. 

Manfrotto Befree GT PRO 4-section travel tripod $299 (36 percent off): Belying its miniscule 4.23 pound weight, this model offers ultra-stable performance for timelapse and other shots, even in bad weather. It's also great for video thanks to the integrated 3-way pan/tilt head, featuring fluid cartridges for precise control and seamless movements.

Lexar 2TB Professional CFexpress Type A memory card for $509 (15 percent off): For those looking for fast and copious storage for modern mirrorless cameras, Lexar's 2TB Professional CFexpress Type A Silver 4.0 memory card is a good solution. It offers 1,750 MB/s read and 1,650 MB/s write speeds fast enough to handle RAW video from most cameras.

Canon Mount Adapter EF - EOS R for $149 (38 percent off): If you recently bought a new Canon mirrorless EOS RF camera and have a bunch of older EF lenses, you'll need this. It not only adapts EF lenses perfectly to the RF mount, it gives you full electronic autofocus and exposure control. 

Panasonic Lumix G 25mm f/1.7 lens $197 (34 percent off): Panasonic and Micro Four Thirds users on a budget in need of a fast 50mm equivalent prime should check this one out. It offers beautiful bokeh and fast speeds in low light, but costs nearly half the price of f/1.4 models.

Sony FE50mm f/1.8 lens for $228 (19 percent off): With a fast f/1.8 aperture, this lens produces great bokeh to help you separate your subject from the foreground. With this sale, it's Sony's cheapest prime portrait lens that still offers excellent sharpness. 

Nikon Nikkor Z 50mm f/1.4 Lens $497 (17 percent off): If you want a fast 50mm portrait lens but don't have a ton to spend, Nikon's Nikkor Z 50mm f/1.4 lens is on sale for just $497, making it one of the cheapest full-frame options available. At the same time, it offers exceptional sharpness and excellent color rendition, with beautiful bokeh that will flatter your subjects.

Panasonic Lumix S 85mm f/1.8 lens $448 (31 percent off): I own this lens and it's fast, sharp and versatile for portraits while offering considerable savings compared to an f/1.4 portrait. It's also great for working pros due to the dust-, splash- and freeze-resistant design and very light weight next to other brands.

Nikon Nikkor Z 35mm f/1.4 Lens $577 (15 percent off): If you're looking for a fast full-frame Nikon Z prime in the 35-50mm category for portraits, architecture or street photos, Nikon has a stellar deal. The Nikkor Z 35mm f/1.4 lens is fast and sharp with painterly bokeh thanks to the 9-blade iris design. It's great for video as well, with the silent STM mechanism offering silent autofocus and suppressed focus breathing.

Canon RF24-70mm F2.8 L lens $2,299 (12 percent off): If you've been eyeballing a fast Canon RF mount zoom, now's the time to act. The RF24-70mm f/2.8 L lens rarely goes on sale, but is now available with a $200 (8 percent) discount. It offers an f/2.8 aperture across the entire zoom range so you get awesome bokeh for portraits and high versatility in low light situations.

This article originally appeared on Engadget at https://www.engadget.com/deals/the-best-cyber-monday-camera-and-drone-deals-get-up-to-52-percent-off-from-sony-dji-and-others-082305849.html?src=rss

Sony teases the A7 V, its next flagship midrange camera

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Sony appears to be ready to announce another addition to its Alpha camera lineup. The company shared an image on the Sony Alpha Instagram account with the text "Chase your dream" and the date December 2 at 9AM EST, which could be a teaser for its next mirrorless camera.

It's possible the company has something else in mind, but the giant "V" or Roman numeral five in the background of the image seems like a clear reference to an unannounced Sony A7 V, a follow-up to the Sony Alpha 7 IV. Considering there was around a four year gap between the release of the A7 III and A7 IV, releasing the new camera in 2026 would make the timing lineup, too. 

Rumors suggest the A7 V could feature a new 33MP "partially stacked sensor" designed by Sony, along with the ability to capture 4K / 60 fps video. The company is also rumored to be announcing at least two new lenses to go with the new camera. Since the Alpha 7 IV started at $2,500, it seems safe to expect that these upgrades could cost even more when the camera is officially announced in December.

This article originally appeared on Engadget at https://www.engadget.com/cameras/sony-teases-the-a7-v-its-next-flagship-midrange-camera-224000370.html?src=rss