digital camera with viewfinder and lcd screen price

Framing and shooting through a viewfinder allows the photographer to stabilize the camera and reduce the shake since it is closer to the body. Besides, Viewfinders come handy under bright sun light where LCD screens are very hard to read under bright sunlight. With the electronic viewfinders, you can also preview your photos without taking your eye off the camera.

Here we have listed the Cheapest 20 Cameras with Viewfinder sorted by price. Fujifilm S9800 is at the top of our list with a Selling Price of $ 159.99, followed by Panasonic ZS60 and Panasonic ZS50.

The fact of the matter is that many small cameras go far beyond your standard point-and-shoot model. They offer stunning image and video quality. Plus, they take up less space than their bulkier and pricier siblings, and they often weigh less, too.

Compact cameras are generally more expensive than they used to be, but if you’re looking for a relatively inexpensive compact camera with a viewfinder, the Panasonic LUMIX DC ZS70K may be the perfect model for you.

Panasonic is one of the strong players in the compact camera arena, and the LUMIX range is very well regarded. The ZS70K packs a 20.3 MP MOS sensor and a Leica DC VARIO ELMAR zoom lens. So despite its lower price, you’re still getting a really great product!

Beginners and casual users will be able to use this camera with ease thanks to its user-friendly interface and automatic shooting modes. But this camera also caters to advanced users, offering manual exposure and RAW-format shooting along with manual focus and focus-stacking options.

For video shooters, there is 4K (UHD) video with a high video bit rate of 100 Mbps and an articulating touchscreen LCD. You can also capture some stunning timelapse footage with this camera.

The built-in electronic viewfinder is quite small but does its job in a more than adequate way. All in all, this is a great camera that has something to offer for photographers and videographers who don’t want to spend a ton of money on their cameras.

It’s not the smallest of point-and-shoot cameras out there, but it’s relatively inexpensive. It also features a whopping 67X optical zoom and is styled to look like a mini DSLR camera.

Optical stabilization technology helps keep photos sharp when a camera shake is detected. It’s got beginner-friendly features like face, smile, and blink detection, and it boasts a variety of scene modes, including Night, Portrait, Panorama, and Sunset.

There is an electronic viewfinder as well as a 3-inch (7.62cm) articulating LCD screen so you can evaluate what you’re doing. The viewfinder features an amplified signal from the sensor to give you a brighter image – this makes it easier to see the preview. The viewfinder also has an adjustable diopter, which you can change to suit your vision.

Other features include built-in Wi-Fi, optical image stabilization, and 27 intelligent shooting modes to cover a variety of shooting scenarios. This makes it perfect for the beginner or casual photographer.

The wide-angle lens lets you capture pretty much anything, from landscapes, group shots, and street photos to wildlife and nature shots. It’s the perfect companion to take on vacation or to a party.

In the age of digital compact cameras, this Fujifilm Instax Wide 300 may seem a bit ancient, but there’s something special about the nature of instant photos you can hold in your hand (just like the old Polaroids).

The Instax Wide 300 produces some of the most consistently good-quality prints with spot-on exposure, color saturation, and clarity. While many other instant film cameras have headed toward the smaller Instax Mini film format, the Instax Wide is the better choice as the photos are similar in size to classic Polaroids.

The Instax Wide 300 can create images 2.4 x 3.9 in (9.91 x 6.1 cm) in size on a 3.4 x 4.3 in (10.92 x 8.64 cm) piece of film. It also features a retractable 95mm f/14 lens with a two-range focus zone setting. This is great for making sure your images are sharp. It also sports a 0.37x optical viewfinder with a target spot to help you compose images.

The Sony Cyber-shot DSC-RX100 III is small enough to fit in a pocket, yet it boasts a high-quality 20 MP sensor. It’s not the newest compact camera with a viewfinder in the Sony RX100 line, but it still offers a lot for the price.

The RX100 III boasts an impressive ISO range of 125-12,800, with a 25,600 ISO available in the multi-frame noise reduction mode. The large maximum aperture throughout the zoom range makes this a good camera for shooting in low light.

Images can be captured in JPEG or RAW format (or in both formats simultaneously). There are advanced manual controls like Shutter and Aperture Priority as well as Manual mode. There are also options for those who are less experienced.

The RX100 III has a 5-axis image stabilization system and a manual-focus assist option. It features a zebra highlight clipping warning. Video fans will enjoy the 4K output, and there is Wi-Fi connectivity and an NFC chip.

Sony has a seemingly endless array of compact cameras, and another excellent option with a viewfinder is the Sony Cyber-shot DSC-HX99. This portable camera has some fantastic features, including its sensor, zoom lens, display screen, and image processor. If you are looking for a versatile device that can take great-quality images, this is a top option.

The viewfinder uses a pop-up design that some people may not like. However, the design ensures that the camera retains its compact shape and that you can use the large touchscreen for composing if needed. The viewfinder is positioned on the left-hand side of the camera for improved convenience.

Aside from the adaptability of the screen and EVF, the Sony HX99 also has an excellent 18.2 MP sensor and uses the BIONZ X image processor (one of the latest processors from Sony).

We like the Zeiss Vario-Sonnar T* lens, which provides an equivalent focal range of 24-720mm. This gives you the flexibility to capture wide-angle landscape photos, close-up wildlife shots, and everything in between. The lens has a control ring, which is usually a feature reserved for pro cameras and lenses. This makes quick settings changes a breeze as you can program the ring to adjust different functions like shutter speed, aperture, and exposure compensation.

Canon has a solid range of compact cameras – although most of the PowerShot range do not have viewfinders. That’s where the Canon PowerShot G5 X excels. It is a high-quality device that has an EVF, which is centrally located and has a great resolution of 2.36 million dots. It also offers edge-to-edge clarity and 100% image coverage.

The camera has a 20.2 MP sensor and uses the DIGIC 6 image processor. It’s an older image processor and other Canon cameras utilize better technology; however, it still does a decent job.

The PowerShot G5 X has a zoom lens with an 8.8-36.8mm equivalent range. This may not offer telephoto capabilities, but the lens has an excellent maximum aperture range of f/1.8 to f/2.8, which makes it ideal for capturing beautiful bokeh.

Another useful feature is the beautiful 1.04M-dot multi-angle LCD touchscreen. And if you want to use the camera for recording, it can capture HD footage at 60p. It offers decent connectivity, too (with both Wi-Fi and NFC capabilities). This means you can download photos and video directly to an external device like a smartphone or laptop after shooting.

The RX100 range of cameras continues to feature some of the best compact cameras with viewfinders, including the Sony Cyber-shot DSC-RX100 VII. This is the latest model in Sony’s RX100 series and has some incredible features for photography and video recording. For instance, the viewfinder pops up and provides you with a high-resolution real-time display.

So that you can take different types of photos, this camera has a Zeiss Vario-Sonnar T* 24-200mm zoom lens. Although it doesn’t have the same zoom capabilities as the DSC-HX99, at 200mm you still get very nice reach. Additionally, it has a fantastic maximum aperture range of f/2.8 to f/4.5.

You can expect superior image quality due to the 20.1 MP sensor. Pair this with the BIONZ X image processor, and you have a potent point-and-shoot camera capable of taking professional-grade photos. We like that it has an ultra-fast (20 FPS) burst mode with no display blackout.

The AF uses AI technology that helps improve tracking. The autofocus has an eye-AF mode for humans and animals, which makes it a great portrait and pet photography camera.

If you’re considering upgrading your kit, downsizing your kit, or want a second camera, then a compact camera with a viewfinder will fit the bill. Technology moves fast and newer models are coming out frequently, but the Panasonic LUMIX DC ZS70K will still serve you well, and the Sony Cyber-shot DSC-RX100 III is a great higher-end alternative.

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The best compact cameras are perfect "second" cameras for DSLR or mirrorless owners who want to travel light now and again. They give little away in features or image quality, but they are small enough to slip into a jacket pocket. These are the ones we rate the highest.

With this guide, we"re picking physically compact cameras which nevertheless have sensors large enough for high-quality images and the mix of automatic and manual controls that enthusiasts and experts will be looking for, and that we are used to getting in a DSLR or mirrorless camera. If you want something cheaper and simpler, we"ve got that covered too in our guide to the best point-and-shoot cameras(opens in new tab).

1) Prime vs zoom lenses: With a compact camera is that the lens is non-interchangeable, so the one it comes with will have to do all the jobs you want the camera for. You may be happy with a single focal length prime lens, or you may prefer the extra scope of a zoom.

2) Viewfinders: If you find you use the rear screen on a camera most of the time, you may not need a viewfinder – and this does give you more scope with cameras. Some photographers, though, would be lost without a viewfinder.

So there are a couple of things you"ll need to think about when choosing the best compact camera. With that in mind, we think these are the best compact cameras you can get right now.

The Fujifilm X100V is styled like a classic rangefinder camera and is the latest model in a highly successful line. It has a new, sharper lens than previous X100 models, in order to do full justice to the latest sensor, and the tilting touchscreen on the back makes this camera much easier to use at awkward angles, without compromising its slimline design. The improved autofocus and 4K video capabilities bring this classic camera design right up to date. The X100V has external lens aperture, shutter speed, and ISO dials which, for those raised on film cameras like much of the DCW team, are just wonderful to use – and it"s amazing how they encourage all the key exposure skills we still need but which are easily forgotten about with "P" modes and digital interfaces. It also has a clever hybrid optical/digital viewfinder which is not just super bright and clear but lag-free too.

Aimed at vloggers, the Sony ZV-1 might just look like another variant from the RX100 range but in reality, it"s so much more. If you"ve used one of the RX100"s, the sensor and lens will probably be quite familiar. Where this camera excels is the controls, rear screen, and body. It too has the poplar zoom range of 24-70mm with a variable aperture of f/1.8 - f/2.8 however, there is a big change in minimum focusing distance as you zoom which is annoying especially if you"re using it to record video. The SteadyShot active stabilization wasn"t the best however the autofocus is very impressive. It has a vari-angle, rear tilting screen that means it"s perfect for recording yourself or taking selfies and it comes with a mic-wind shield which means its audio quality even with the built-in mic is still pretty good. Unlike the Sony RX100 cameras, it doesn"t have a viewfinder, but it produces high-quality images, is even better at the video and, best of all, it"ll cost you less.

After months of leaks and teases, we"ve finally got a glimpse at the future of the M-series in the form of the Leica M11, and it"s one of the most technologically advanced rangefinders ever made. Leica hasn"t tinkered too much with the formula of a rangefinder camera but has added lots of smart tweaks and features. The triple-resolution full-frame sensor is a real standout, letting you shoot at 60MP, 36MP, or 18MP, all of which use the sensor"s full width. This is great for speeding up your workflow with smaller file sizes, and shooting at 18MP also gives you the advantage of an unlimited burst buffer.

The M11 makes use of a new electronic shutter that gives users the option of a 1/16,000sec shutter speed. It does away with the bottom base plate, giving easier access to the battery and SD card. And in another neat touch, the camera also has 64GB of internal storage, making it easy to record simultaneous copies of your images. Leica has beefed up the battery and added USB-C charging; what"s more, if you can afford a little extra on top of the considerable price tag, you can add a new Visoflex 2 electronic viewfinder to augment the rangefinder experience. Designed in conjunction with the M11, it has a 90-degree tilt function.

Leica cameras are a bit like Marmite – you either love them or hate them. No matter where you stand, you can"t deny they are incredible cameras that offer exceptional image quality. The Leica Q2 features an impressive full-frame 47-megapixel sensor. It has a fixed 28mm f/1.7 lens, making it one of the fastest prime lenses available on a compact camera. It doesn"t shoot in 4K but if you can cope with full HD it can still record good quality video.

The biggest downside of this camera is the thing that will put most people off – the price. It"s an insanely expensive bit of kit and it would probably be higher on our list if it didn"t cost an arm and a leg. You could pick up one of the best mirrorless cameras and a lens for less, but sometimes the experience of using a Leica is worth the money. Other than the price, they"re relatively hard to get hold of so if you have your heart set on one, you might have to hunt for one first.

The trouble with big sensors is that you need big lenses to go with them, so there goes any kind of pocketability. Usually. But Panasonic has really hit the sweet spot with the Panasonic LX100 II. It combines a Micro Four Thirds sensor that"s not much smaller than the ASP-C sensors in mode DSLRs, with a miniaturized lens assembly that powers down into a camera body slim enough to carry around anywhere. The LX100 II is a brand new version of the original LX100, which was, admittedly, starting to show its age. The new model has a 17-megapixel ‘multi-aspect’ sensor, which means you can use its native 4:3 aspect ratio, the 3:2 ratio used by most DSLRs and mirrorless models, or a 16:9 ‘wide’ format without losing lots of megapixels through cropping. With its external shutter speed dial, lens aperture ring, and aspect ratio switch, we just love this camera.

The Canon G1 X Mark III might be pretty pricey but it"s practically a DSLR in a compact body. It boasts an impressive 24-megapixel APS-C sensor, the same sensor you"ll find in the Canon EOS 80D DSLR. The lens has a versatile 24-72mm focal range and retracts into the camera to make it perfectly pocket-sized when you"re not using it. Unfortunately, it doesn"t have a fixed aperture, so at 24mm you can shoot as wide open as f/2.8 but at 72mm the aperture will drop down to f/5.6, which isn"t great.

The Panasonic LX15, which goes by the name LX10 in North America, lacks a viewfinder, and rather than including a Micro Four Thirds sensor it has a smaller 1-inch 20-megapixel sensor. However, it is capable of recording 4K video and it has a super-responsive touch screen which makes focusing really easy. It has a zoom range of 24-72mm and a really fast variable aperture of f/1.4-2.0, making it the fastest compact zoom lens available.

Overall, it"s a great little camera that has a perfect balance of features, performance, and pricing. It"s small enough to fit in a pocket but is powerful enough to take some stunning photos. It"s just that... having used both, we"d rather pay the extra for the LX100 II.

The Ricoh GR has a long history, both as a premium-quality compact 35mm film camera and now as a digital model. However, its specs and its performance are now looking a little behind the curve compared to its latest rivals. GR fans, or GRists as Ricoh calls them, will love this update of an iconic camera. But in the world of multi-lens camera phones, the wider appeal of this fixed lens compact will probably be limited. This is a beautiful-sized APS-C compact, ideal for carrying around in the pocket, and for discrete street photography. But this is sold at a luxury price that we do think is hard to justify for the features it offers.

We test cameras(opens in new tab) both in real-world shooting scenarios and, for DSLRs and mirrorless cameras, in carefully controlled lab conditions. Our lab tests measure resolution, dynamic range and signal to noise ratio. Resolution is measured using ISO resolution charts, dynamic range is measured using DxO Analyzer test equipment and DxO Analyzer is also used for noise analysis across the camera"s ISO range. We only use real-world testing for our guides to instant and compact cameras - comparing results against similar models that we have tested.

While some photographers like the natural view offered by an optical viewfinder, an electronic viewfinder brings the advantage of being able to see the effect of the exposure, white balance and Picture Style settings being applied. If you apply the Monochrome Picture Style, for example, the image you see in the EVF will be mono, while with an OVF it will remain colour. This means you can use the image in an EVF to assess whether your settings suit the scene and to be confident you will get the result you want before pressing the shutter button. That"s especially helpful if, for example, the subject is backlit and you might need to use some exposure compensation.

In this way, an EVF is especially useful for relatively inexperienced photographers, because it enables you to see the effects of camera settings at the shooting stage, not just assess them afterwards. For many, it makes photography more intuitive.

Another advantage of an EVF is that it can compensate for low light levels, which means you always have a clear view of the subject. Conversely, with an optical viewfinder you"re seeing the scene with the ambient light level, which means that in dark conditions it can be difficult to compose a shot or to focus.

On the other hand, because the image you see in an EVF has to be processed before it can be displayed, all EVFs suffer from some degree of lag. Although the latest mirrorless cameras such as the EOS R5 have EVFs with a refresh rate of 120fps and the lag is only a matter of milliseconds, this can still matter if you"re shooting fast-moving action and split-second timing is critical. As technologies continue to develop, the lag is likely to get shorter and shorter, but an OVF works at the speed of light, which means in effect no lag at all. For this reason, many photographers shooting sports, wildlife or other subjects involving fast action still prefer a DSLR.

In addition, when you"re using an EVF you"re actually looking at a small screen, and even though this has a very high refresh rate, an OVF can be more comfortable over a long period of usage. This means that if you"re shooting wildlife or sports where you have to keep your eye to the viewfinder for a very long time waiting for the action to happen, an OVF could be preferable.

When I used a film SLR I used to take meticulous notes of the settings that I used when taking photos – noting frame number, aperture and shutter speed down after most shots so that a week or two later when I got my photos back from the lab I could compare my notes with the shots and work out how I might improve my photography.

The LCD screen on digital cameras cuts out the need for this process as images can be viewed immediately after they are taken and adjustments can be made to improve your shots straight away.

If you like to record your images settings for future analysis, most digital cameras will do this for you – to be viewed later either on your camera (using the ‘info’ function when in playback on many cameras) or on your computer.

One question I get asked a lot by readers is whether they should use their digital camera’s LCD screen or viewfinder to frame their shots. I suspect that the majority of camera owners do use the LCD but there are a number of arguments both for and against it. Let me explore a few:

Convenience – Perhaps the main reason that people use the LCD is convenience. Rather than having to fire up the camera, raise it to your eye, squint through it (on many point and shoot models it’s quite small) etc… using the LCD means you simply switch the camera on and from almost any position you can snap a shot.

Size – As I hinted above – many models of digital cameras have very small view finders and when compared with the LCD (usually between 1.5 and 2.5 inches these days) there is really not that much of a comparison.

Instant Playback – shooting with the LCD means that after you take your shot you will immediately see the shot you’ve taken flashed onto the screen. You can see this if you use the viewfinder too by lowering the camera but it adds another action to the process.

Creativity – using the LCD opens up all kinds of creative opportunities for your photography by meaning that you don’t have to have the camera at eye level to be able to get your framing right. You can instead put it up high or down low and still be able to line things up well.

Framing Inaccuracy of Optical Viewfinders on Point and Shoots – one of the most common complaints about using the viewfinder on digital cameras is that what you see through it is slightly different to what the camera is actually seeing as the view finder is generally positioned above and to the left of the lens which means it is slightly different (a problem called parallax). Most viewfinders that have this will give you a guide as to where to frame your shot but it can be a little difficult – especially when taking close up/macro shots. (note that not all point and shoot cameras have optical viewfinders – some have electronic ones (see below).

Obstructed View – on some models of point and shoot digital cameras a fully extended zoom can actually obstruct the view from your viewfinder. This can be quite frustrating.

Glasses Wearers – if you wear glasses you might find using the viewfinder of your Digital camera more difficult. Many these days do come with a little diopter adjuster to help with this.

Battery Killer– the LCD on your camera chews up battery power faster than almost any other feature on your camera. Use it not only for viewing shots taken but lining them up and you’ll need to recharge a lot more regularly.

Camera Shake – when shooting with the LCD as a viewfinder you need to hold your camera away from your body (often at arms length). This takes the camera away from your solid and still torso and into midair (only supported by your outstretched arms) – this increased the chance that your camera will be moving as you take the shot which will result in blurry shots.

Competing Light – one problem that you will often have with framing your shots using the LCD is that for many cameras, shooting in bright light will make it difficult to see the LCD – leaving it looking washed out. Digital camera manufacturers are trying to overcome this with brighter and clearer screens but using the viewfinder instead of the LCD will generally overcome the problem.

DSLRs – most DSLRs do not give you the opportunity to use the LCD as a viewfinder at all. I suspect that this feature will become more available however as I hear it being asked for quite a bit. I’m not sure I’d ever use it though as DSLR view finders are generally larger and are a WYSIWYG (what you see is what you get) meaning you can be sure that what you’re looking at through the view finder is what the image will be when you shoot.

Electronic View Finders (EVF)– another type of view finder that is found on some point and shoot digital cameras is the EVF one. This overcomes the problem of your viewfinder and camera seeing slightly different things by giving you an exact picture of the scene you’re photographing in the viewfinder. This happens simply by putting a little LCD in the viewfinder.

Ultimately the choice in using the LCD or viewfinder will come down to personal preference. I have used a variety of digital cameras over the past few years and find myself using both methods depending upon the shooting situation and the camera. Some cameras have large and clear viewfinders (like my DSLR) and so I use them. Others have tiny viewfinders (in fact my latest point and shoot, the Fujifilm Finepix F10, doesn’t have one at all).

Given the choice between a great viewfinder and great LCD I’d probably opt for the viewfinder – call me a traditionalist but it just feels right for me.

An articulating or vari-angle LCD – commonly called a flip screen – is a useful addition to a camera. The screen is mounted on a swivel, allowing you to flip the screen away from the camera body and rotate the LCD 360 degrees.

Flip screens have traditionally been useful for taking photos at unusual angles. For instance, framing a bug’s-eye view from ground level used to mean setting your camera down low and awkwardly trying to see through the optical viewfinder. There was usually a lot of guesswork involved.

With a vari-angle, or flip screen, you can now set the camera up at ground level and angle the articulating LCD up towards you and frame the scene in live view.

Likewise, a flip screen allows you to shoot overhead by swivelling the screen down. Street photographers might also appreciate a swivel screen because it can let you shoot more discreetly. Shooting from the hip is a lot easier with a flip screen and gives you more control. Hold the camera against your body and angle the swivel screen upwards so you can frame your shot, then shoot discreetly.

Despite all these advantages for shooting stills, it’s probably the rise of vlogging that has seen the popularity of cameras with flip screens soar. Like shooting self-portraiture, vlogging requires placing yourself on the other side of the camera, and before flip screens were a thing this required a lot of careful setup and trial and error.

But swivel LCD touchscreens mean you can now place your camera in front of you, frame your shot accordingly and simply tap the screen to take a picture or start recording. If you have even modest ambitions to post videos on YouTube, a camera with an articulating screen will undoubtedly be the best option for you. In this guide we’ll round up the best cameras with flip screens.

Metering: 384-zone metering with Evaluative metering (linked to All AF points), Partial metering (approx. 6.1% of viewfinder at centre), Spot metering: Centre spot metering (approx. 3.1% viewfinder at centre), Centre weighted average metering

Autofocus: Dual Pixel CMOS AF II with Advanced Animal AF (recognising dogs, cats and birds) supported in all video modes with 100% coverage and up to 1053 "AF segments"

The Canon EOS R5 leaves little doubt that Canon is now serious about the mirrorless camera market. It has phenomenal specification with features like a 45Mp full-frame sensor, phase detection autofocusing that covers the whole frame, eye AF for humans and animals that works in video and stills mode and a class-leading viewfinder paired with a vari-angle touchscreen.

The Canon EOS R5 is built to a similar standard to the Canon EOS 5D Mark IV and has a magnesium alloy construction along with weatherproof seals. Its handling is also similar, but the control arrangement has changed to accommodate the vari-angle screen.

It’s great to have a vari-angle screen on the EOS R5. It makes it much easier to shoot video from above or below head-height while keeping the kit size and weight down. Also, as the screen is touch-sensitive you can control the camera with a few taps.

Autofocus: Dual Pixel CMOS AF II with Advanced Animal AF (recognising dogs, cats and birds) supported in all video modes with 100% coverage and up to 1053 "AF segments"

While the R6’s viewfinder is the same size as the R5’s (it’s a 0.5-inch type), its resolution is lower at 3.69million dots instead of 5.76million. That’s the same as in the EOS R and on par with the electronic viewfinders in the Sony A9 and Nikon Z7. It’s a great EVF specification for a camera of this level.

There’s also a 3-inch vari-angle touchscreen with 1.62million dots. We’re a fan of vari-angle screens because they make shooting portrait or landscape format images from above or below head-height much easier than a fixed screen. And a tilting screen is only of help with landscape format images.

Both the viewfinder and the screen provide an accurate preview of the image as it will be captured. Overall, Canon’s control arrangement on the R6 and use of touch control is excellent and the vari-angle screen is a real asset.

Autofocus system: Hybrid AF with 759 phase detection points and 425 contrast detection points, Still images: Human (Right/Left Eye Select) / Animal (Right/Left Eye Select) / Bird, Movie: Human (Right/Left Eye Select), sensitive down to -4EV

After we reviewed the Sony A7 III, a flip-out touchscreen was at the top of our wishlist for improvements we’d like to see on the next iteration of Sony’s full-frame all-rounder. Sure enough, Sony has given the A7 IV a vari-angle screen that can be flipped face forward or be angled to help compose low- or high-level shots in either landscape of portrait orientation.

What’s more, the A7 IV’s 3-inch 1,036,800-dot screen is touch-sensitive and users can now navigate the menus and settings with a tap. In previous Sony touchscreen LCDs, you were limited to setting the AF point via touch.

Sony has also carefully thought through the design, as well, placing the A7 IV’s mic port just above the screen on the side of the camera so it can still move freely when an external mic is plugged in.

OM System has given the OM-1 a very bright 1.62-million dot vari-angle touchscreen. It’s a 3-inch screen and like on the OM-D E-M1 III and OM-D E-M1X and it’s mounted on a vari-angle hinge. This vari-angle hinge means the screen can be angled for clear visibility whether you’re shooting in landscape or portrait orientation.

Like the screens on existing Olympus Micro Four Thirds cameras, the OM-1’s screen is touch sensitive. It responds quickly to a tap and it’s a shame that OM System’s hasn’t extended the touch control to the new main menu.

In overcast conditions and indoors, the OM-1’s screen gives an excellent view it also performs well in brighter conditions. my toughest test for this was when skiing on a bright sunny day trying to video my companions ahead of me. Keeping them framed as we all moved over the piste was challenging, but thankfully, I was able to see them on the screen.

Key video specifications: 4K (3840x2160) 4:2:2 10-bit LongGOP H.264 29.97/23.98p/25p and 150Mbps for up to 30mins, 4K (3840x2160) 4:2:0 8-bit LongGOP H.264 29.97/23.98p/25p and 100Mbps unlimited, Full HD (1920x1080) 4:2:2 10-bit LongGOP H.264 59.94/29.97/23.98p/50/25p and 100Mbps unlimited

Although Panasonic Lumix S5 is smaller than the GH5, it has a well-proportioned and ergonomically shaped grip. A rubber-like coating also ensures that the camera feels secure in your hand. It’s also weather-sealed so you don’t need to worry if the weather changes when you’re out on a shoot.

Despite the shrinkage in size and weight, the Panasonic Lumix s5 has both a 3-inch 1,840,000-dot vari-angle touchscreen and a 2,360,000-dot OLED electronic viewfinder built-in.

The Panasonic GH5 has a vari-angle screen and it was high on the request list for the S-series camera when their development announcement was made. However, the S1 and S1R have 3-way tilting screens. These are useful if you’re shooting in landscape and portrait format images, but they’re not as intuitive or flexible to use as a vari-angle screen and they can’t be seen from in front of the camera.

Happily, the Lumix S5’s screen delivers what many were hoping for and it can be flipped around to face forwards. It means that the S5 could also be a good full-frame vlogging camera.

Further good news is that, like the viewfinder, the S5’s screen provides an excellent preview of the image. If you’re shooting outdoors in bright conditions it’s worth activating the Live View Boost to brighten screen to make the scene easier to see. The screen is also very responsive to touch.

Sensitivity range: Stills (normal): ISO 100-25600 (expandable to ISO 50-25600), (V-Log) ISO 250-12800 (expandable to ISO 125-12800), Video: (Normal) Dynamic Range Boost OFF (Base ISO 100): Auto / 50 (Extended ISO) / 100-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 800): Auto / 800-12800 (V-Log) Dynamic Range Boost OFF (Base ISO 250): Auto / 125 (Extended ISO) / 250-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800 (Hybrid Log Gamma) Dynamic Range Boost OFF (Base ISO 250): Auto / 250-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800

Maximum stills continuous shooting rate: Mechanical shutter: H: 14 frames/sec (AFS/MF), 8 frames/sec (AFC) (with Live View) M: 6 frames/sec (AFS/MF) (with Live View), 5 frames/sec (AFC) (with Live View) L: 2 frames/sec (AFS/MF/AFC) (with Live View) Electronic shutter: SH75: 75 frames/sec (AFS/MF) SH60: 60 frames/sec (AFS/MF) SH20: 20 frames/sec (AFS/MF) H: 14 frames/sec (AFS/MF), 7 frames/sec (AFC) (with Live View) M: 6 frames/sec (AFS/MF) (with Live View), 5 frames/sec (AFC) (with Live View) L: 2 frames/sec (AFS/MF/AFC) (with Live View)

The Panasonic GH6 has a 3.0-inch 1,840K-dot tilt and free-angle touchscreen with an aspect ratio of 3:2 on its rear. The tilting aspect of the screen isn’t immediately obvious, but pressing the button underneath the monitor’s bottom left corner releases the mechanism so the screen can be tilted up from the bottom.

There are two stop points in the screen’s tilt movement. The first one is at the right point to enable the screen to be flipped out to the side of the camera without catching on the viewfinder while the second one at about 45° gives a more comfortable viewing able when shooting at waist-height.

To the uninitiated, the tilt and free-angle combination may seem a bit over the top but it means that the screen can be flipped out and twisted to face forwards, up or down, without fouling on any of the cables that may be connected to the ports on the left side of the camera (mic, USB-C and full-size HDMI).

With 1.84-million dots, the 3-inch screen gives a good view of the scene and doesn’t suffer to badly from reflections even in sunny conditions (at least not in March in the UK). However, even when shooting video, there are times when it’s preferable to use the 3,680k-dot 0.76x OLED viewfinder. This has a contrast ratio of 10,000:1 and gives a sharp, accurate preview of the scene.

The GH5 is Panasonic’s flagship compact system or mirrorless camera and it has a mini-DSLR design, featuring a high-quality electronic viewfinder and vari-angle touch-screen. As a Micro Four Thirds camera it’s compatible with an extensive collection of Micro Four Thirds mount lenses from Panasonic and Olympus as well as third-party manufacturers.

While its viewfinder is still a 21mm OLED device, its resolution has been bumped up from 2,360,000 dots to 3,680,000 dots from the GH4 and the magnification is 0.76x rather than 0.67x. It provides a very clear and detailed view of the scene.

Panasonic has also upgraded the rear screen and it now measures 3.2-inches across the diagonal and has 1,620,000 dots. It’s still a vari-angle unit but instead of an OLED screen it’s an RGBW LCD. It provides a nice sharp view and the revised menu, which has fewer pages but more lines, is clear. The screen also responds quickly to tap of your finger.

The GH5 is a complex camera and it will take some getting to know, but all the main controls that you want on a shot-by-shot basis, for example to adjust exposure and white balance or to set the AF point are within easy reach. There are also plenty of customisable buttons to help you get it working as you want.

Sensitivity: Video: ISO 80-102,400 expandable ISO 40-409,600. ISO base in S-Log is ISO 640 but it can be expanded down to ISO 160. Stills: ISO 80-102,400 expandable 40-409,600

Autofocus system: Hybrid with 759 phase detection points and 425 contrast detection points, Real Time Eye AF (Human and Animal for stills, Human for video)

Slow and Quick (S&Q) mode options: NTSC: 1fps,2fps,4fps,8fps,15fps,30fps,60fps,120fps, 240fps4, PAL: 1fps,2fps,3fps,6fps,12fps,25fps,50fps,100fps, 200fps

Maximum continuous shooting rate: 10fps with mechanical or electronic shutter for up to 1000 uncompressed raw files when a CFexpress Type 1 card is used

Like previous A7S models, the Sony A7S III has a full-frame sensor with 12.1 million effective pixels. Keeping the resolution down benefits its low-light capability by keeping noise levels down.

As well as a host of improvements to its video specification, the Sony A7S III introduces the highest-resolution electronic viewfinder we’ve seen to date and it’s the first Sony A7-series camera to feature a vari-angle screen.

According to Sony, the 3-inch vari-angle screen wasn’t a request for the A7S III, it was a demand. It’s certainly something I’ve mentioned on many occasions.

In the past, the argument against one has been that a vari-angle hinge is less robust than a fixed screen and that ‘most dedicated videographers use an external monitor’. Those two points may still be true, but one of the key benefits of using a camera like the A7S III is its small size. If you start having to add an external monitor it makes it bigger and heavier.

Sony is also at pains to point out that the A7S III is for new videographers as well as experienced shooters and many of those people are unlikely to want to also lash out on a monitor.

It’s good to see that there’s an option to show a red outline around the on-screen image when the camera is recording. There are times when this is more useful than the usual flashing red dot.

After the 8K-capabilities of the Canon EOS R5, the Sony A7S III might seem a bit of an anti-climax. We’re sure some videographers were hoping for a big jump in resolution from the 12mp A7S II. However, Sony already has the 61Mp A7R IV and the 24Mp A7 III, so sticking with 12Mp means that the A7S III has even better low-light capability than its predecessor but with a much better autofocus system, a vari-angle screen and the highest-resolution viewfinder around.

As with Canon’s full-frame mirrorless cameras, including the flagship Canon EOS R3, the R7 has a vari-angle touchscreen. This is great for composing low- and high-level shots in landscape or portrait orientation. Because Canon has embraced full-touch control, it’s also useful for changing camera settings with a tap.

Overall, Canon’s new flagship APS-C mirrorless camera has a layout and design all of its own, yet it retains some of those signature Canon design marks that will help people quickly adapt to using it.

Although the 0.39-inch 2.36million-dot electric viewfinder on the Canon EOS RP doesn’t match those in recent high-end mirrorless cameras for resolution, it still provides a decent preview of images. And let’s not forget, the RP is much more affordable than other new full-frame mirrorless cameras.

With Exposure Simulation activated, you get an accurate view of the final image’s brightness as well as the colour. However, if you want to see the depth of field, you’ll need to customise one of the camera’s buttons to that purpose. Or of course, you can take a quick shot. That could be avoided, however, if Canon showed the preview with the selected aperture applied.

Like the EVF, the 3-inch screen’s 1.04-million-dot resolution doesn’t really wow these days, but the fact that it’s mounted on a vari-angle hinge is great. That means you can twist it around to give you a clear view whichever angle you’re shooting from. And unlike a tilting screen, it’s useful if you’re shooting in portrait or landscape orientation.

We love that Canon has enabled the RP’s touchscreen to be used for browsing the Quick and main menu, selecting settings and browsing through images as well as setting the AF point. It really speeds using the camera and makes it more intuitive. It’s also good that this isn’t at the expense of physical buttons and dials.

Autofocus system: Intelligent Hybrid with up to 425 points plus subject detection for humans, animals, birds, automobiles, motorcycles, aeroplanes and trains

Viewfinder: 0.5 inch 5.76 million-dot OLED Color Viewfinder with 100% coverage Eyepoint: approx. 24mm Diopter adjustment: -5~+3m-1 Magnification: 0.8× with 50mm lens

Among the many improvements Fujifilm put into the X-H2S over the X-H1 is an upgrade of the LCD screen. Instead of the 3-way tilting screen of the X-H1, the X-H2S has a vari-angle screen that can be flipped out and rotated to face forward for vlogging. This means it’s useful when the camera is above or below head-height in landscape or portrait orientation.

There are a number of handling changes in the X-H2S in comparison with the X-H1, and anyone looking at the camera with fresh eyes cannot fail to be impressed by its build and capability.

The X-T3 was a great camera, but one of our few complaints about it was that its screen has a dual-tilt mechanism that is a little more fiddly and less intuitive than a normal vari-angle screen.

It also solves another issue with the X-T3 when shooting with the camera below eye-level, the viewfinder blocks the view of part of the screen, even when it’s tilted. With the X-T4, you just need to swing the screen out the the side and angle it for a clear view.

When I shop for a new digital camera, one feature I look for is a viewfinder because it’s difficult to see an LCD screen in bright sunlight. There are also other reasons that a viewfinder is a plus too – for example, you don’t need to put on your reading glasses! And if you’re used to using film cameras, then having a viewfinder makes the transition to digital way easier! It’s just more natural to look through the camera and frame your shot than trying to do so on a screen.

Unfortunately, many point and shoot cameras don’t have a viewfinder. And this is even more true if you’re on a budget and looking for a relatively cheap digital camera.

Here are the bestselling cameras that have viewfinders. They range in price from under $100 to about $500. I’ve picked them based on popularity, ratings, and the most important feature: a viewfinder!

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Most modern digital cameras have two ways to let the user see what he/she is going to shoot and to compose their images. The first way is using the viewfinder, and the second way is using the LCD screen on the back of the camera.

Although choosing between the two ways depends upon your personal preferences, the shooting conditions, and the subject. However, are there any advantages to using one or the other?

In this article, we will explain the differences between them, cover the pros and cons of both options, and we will explain why you might prefer to use one over the other.

A viewfinder is one of the most basic elements of any camera, it is the part of the camera that you hold up to your eye and look through it to preview an image before you take your shot. There are two types: Optical Viewfinder (OVF), which is usually found only on DSLR cameras, and electronic viewfinder (EVF), which is common in a compact, bridge, and mirrorless cameras.

Optical viewfinders (OVFs) are part of the known design of the DSLR cameras. It presents an unfiltered and unaltered view of the scene as you compose your shot. A DSLR (Digital Single Lens Reflex camera) is so-called because it has a reflex mirror. This reflects light coming in through the lens up into an optical viewfinder (OVF) via a pentaprism that ensures you see the scene the right way round through the camera’s eyepiece. This means that with an OVF you are seeing what the lens sees, reflected but unprocessed.

Looking through an optical viewfinder is no different than looking through a window: nothing is changed in any way, shape, or form. An OVF lets you see exactly what your shot will look like, and it shows you a world that’s clear and contrasty, and real.

OVFs have no issue with accurate color rendition or screen refresh rates, nor do they struggle in low light; they are just like windows. Camera manufacturers provide the viewfinders with information along the bottom of the screen, such as an exposure bar, key camera settings, etc. OVFs also have indicators for focus points as well as framing guides.

A phenomenon is known as viewfinder blackout (You can’t see the image while pressing the shutter button), because, the mirror in a DSLR camera flips up and out of the way to let light pass through to the image sensor. During this process, the OVF goes completely dark. It is not an important issue, but when you are shooting fast-moving subjects, the short viewfinder blackout period can be enough for the subject to move around quite a bit.

In a mirrorless camera design, the mirror and the pentaprism are removed from the design, so there is no optical viewfinder. Instead, an electronic viewfinder (EVF) is adapted.

The electronic viewfinder (EVF) uses the information from the imaging sensor to display an image on a small LCD or OLED screen. This means that an EVF shows the image that the sensor outputs, which can be significantly different from the view through the lens.

Electronic viewfinders will show exactly what your scene will look like when photographed, and let you see instantly, in real-time, whether your shot is exposed correctly or not.

Viewfinders are smaller compared to LCD screens. As a result, you may not be able to see everything you’re capturing in the viewfinder accurately. This drawback is very important for photographers who want to preview every single detail when taking a picture.

However, it is a completely different matter when it comes to DSLR, although it is still possible to compose images on the rear screen in what is known as

When you switch a DSLR to Live View mode, the reflex mirror is lifted out of the way and the shutter is opened. Light can now pass through to the CMOS sensor, where the image is formed, and this is displayed live on the rear LCD display. In this way, Live View works just like using a mirrorless camera.

When using the LCD screen you can zoom in close on a specific area to make sure it is focused and can easily judge whether it is tack sharp or just a bit fuzzy. For most DSLRs, there will be an option in one of the menus to enable a button on your camera to zoom in during Live View and even set the percentage of zoom which tells you how much it will magnify the image.

When you are shooting at a lower or higher angle (not at eye level), framing can be much more difficult. Many people can’t take a picture while lying on the ground using a viewfinder. This is where LCD screens come in. Flexible LCDs make it easier for you to capture images when you can’t reach awkward angles.

Some modern cameras have the ability to do various types of effects like selective coloring, miniature, and black-and-white, among many others. Think of them as though you are adding filters, but in real-time. Using the LCD screen allows you to experiment with different types of creative image effects, and see how they can affect your photography before you even click the shutter.

The LCD screen has a distinct advantage in low light where the image on the LCD will be brightened so it is easier to see your subject and compose, whereas the viewfinder will become dim as the light fades.

The biggest drawback with LCD screens is probably shooting in sunlight. Depending on the quality of the screen, you may not be able to use it in bright sunshine because of the glare. All you see are reflections off the screen. In addition, the crystals contained within LCD screens tend to flare in bright sunlight, making the situation worse.

Holding the camera at arm’s length while looking at the LCD screen, and then keeping the camera steady while zooming in on a subject takes effort. When you use the LCD screen this way, you often end up with a blurry image. It is better to use

In most cases, it is best to use the viewfinder. However, if you like the convenience of an LCD, or you wear glasses, use the LCD. It is mostly a matter of personal preference.

Using an LCD screen is most useful when shooting static subjects as looking at the rear LCD panel at arm’s length and trying to take pictures is not recommended. Instead, the camera should ideally be placed on a tripod to allow the full benefits to be attained. This makes the LCD screen perfectly suited to still life, landscape, architectural photography, and EOS Movie shooting.

I love the convenience of having a pocket camera, ready to capture a high-quality image of anything I come across. I also find myself using them more at home, around the kids.

Whether that’s the ability to shoot in RAW, longer zooms, faster operation, better low-light capabilities, or simply better ergonomics, there are still plenty of good reasons to invest in one of the best compact cameras on this list.

To keep things simple, we’ve chosen 5 amazing fixed-lens compact cameras (as opposed to those with interchangeable lenses, which tend to be bulkier), that will help you get stunning photos in all conditions.

All the options are over $500 – spending less isn’t recommended if you want better images than your current phone can take. That said, we include one budget compact camera in our recommendations too.

This small digital camera is the one that started my craze for fixed-lens compact cameras… and I’m guessing that’s true for a lot of photographers out there.

As with past iterations of the X100 series, the X100V fixed 23mm f/2 makes an excellent travel lens, and thanks to a broad range of improvements, its capabilities put it up there with the Fuji flagship models.

For those of you who still haven’t heard about this remarkable X-Series camera, let’s have a closer look at why it’s still my favourite pocket camera of the year.

Image quality should be top of the list when researching cameras. If the final image doesn’t look notably better than a photo taken with your smartphone, there’s little point in wasting your money on a dedicated camera.

Thankfully the images out of the Fujifilm X100V are nothing short of incredible, regardless of if you are shooting RAW or JPEG. The X100V is the most aesthetically beautiful camera I’ve ever used – it pains me to say it, but if you can’t afford a Leica and want something just as beautiful, get one of these…

I’ve shot many different cameras over my years as a photographer, but the ones that really resonate with me are the ones that produce images with a certain something else – that ‘X’ factor (pun not intended!)

With the Fujifilm X100V, a combination of Fujifilm’s legendary imaging know-how, the unique and new f/2 23mm version 2 (35mm equivalent) lens, and the latest 26.1MP X-Trans sensor deliver rich, contrasty images with excellent skin-tones.

When shot wide open at f/2, bokeh is beautiful, with subject separation normally only reserved for cameras with much larger sensors (and lenses) – the sensor in this camera is APS-C, but you’d be forgiven for assuming you’re shooting full frame – the image quality really is that impressive.

Thanks to the 17 Fuji film simulations, as well as new colour chrome and colour chrome blue effects, you can create punchy, contrasty images that look like they’ve been taken on your favourite Fujifilm film stock with a 35mm film camera.

The film simulations are all way better than any other small camera system on the market. Fujifilm’s film stock know-how has clearly come into play here, with film simulation that’s simply unrivalled… and a whole lot of fun.

If you’re tired of having to edit countless RAW images in front of your computer, the X100V is like a breath of fresh air – simply shoot regular JPEGs or choose one of the film simulations… and you’re done!

As an additional time-saving workflow hack, you can mark your favourite images during playback, and have them automatically transfer, wirelessly, when you next pair your smartphone or tablet – all via the free Fujifilm app.

As for shooting RAW, it’s nice to know that the RAWs contain enough data to push/pull every spare pixel and really get the most out of the dynamic range.

Aside from its gorgeous retro design which begs to be picked up, the manual dials and minimal layout encourage fast muscle memory – you quickly develop a kinship with this camera.

Further to this, it drives a love of photography and being able to control every aspect of your photographic experience. The hybrid optical + electronic viewfinder really is unique, and a whole lot of fun to use.

The tactile, silky smooth click-click of every knob, dial and button on the Fujifilm X100V adds to the whole experience too – I love customising the rear dial to exposure compensation and leaving the rest to the camera (with auto ISO, auto WB and aperture priority taking care of it all).

I owned previous models of the X100 series and will be the first to admit that AF performance was terrible, even for an expensive point and shoot camera.

The Fujifilm X100V digital compact camera, however, now delivers exceptionally fast autofocus performance combined with the coveted, flagship-standard eye and face detect feature.

Another nice update is the LCD tilting touch screen, which allows you to compose low angle shots without bending down, and take over-head shots with ease.

The tilting touchscreen implementation is excellent and much better than any Sony cyber-shot camera that exists. You can flick through photos during playback, pinch/double-tap to zoom, and even focus and shoot using any of the AF modes.

Using face/eye-detect, there’s really no need to use the new joystick AF point selector at all – you simply point the camera at your scene, and let it recognise any people, or just tap on the screen wherever you want it to focus and/or shoot.

I would have loved it if Fujifilm had taken a leaf out of Leica’s book with their rubberised fronts – the look would remain the same, but the camera would be much easier to grip one-handed.

Of course, to amp up the retro style and look you can pair it with the Fujifilm half leather case that provides a significant amount of extra grip – see my article on the best accessories for Fuji cameras.

A key change in this model is the movie performance as it now supports 4k video at 30p. While this will never be a video camera, it does have a surprisingly good output which is more than enough for capturing your holidays.

In fact, it now shoots 4k video in both DCI (4,096 x 2,160) and Ultra HD (3,840 x 2,160) resolutions at 24 or 30fps, with a bit rate of 200 megabits per second. It can even output 10-bit 4:2:2 video over HDMI into an external recorder!

The hugely popular Canon Powershot series attracts many photographers of all standards, due mainly to the promise of great image quality, those fabled Canon colours, and useful features trickled down from their pro-line, all for at attractive prices.

With the Canon Powershot G7X Mark II, Canon has made a big improvement over the first iteration, with a host of great features, and still managed to keep the price nice and low – that’s why it’s still our choice as the best budget compact camera of the year.

The design remains largely unchanged from its predecessor, with the most notable addition (at least for me, with my large hands and clumsy fingers!), is the new grip, which is moulded, tactile and perfectly placed on the front and rear of the body.

Due to the pocketable dimensions of the Canon G7X Mark II, the grip is a welcome addition and makes for a comfortable shooting experience, not to mention a lot more security when holding it with one hand for long periods.

The LCD screen can now also be articulated downward by a full 45 degrees, allowing you to hold the camera above your head and compose for an interesting viewpoint.

The screen still faces the front and does so in one quick and simple action which you can perform with one hand. Face detection does a fine job for the all-important selfie!

The touchscreen itself is a joy to use – responsive, fast and full-featured – far better than the crippled Sony touchscreen offering. Being able to tap any menu item seems logical in 2022, and is an enjoyable way to navigate the camera.

This allows for a practical and enjoyable shooting experience, with one hand controlling the shutter button and the other left to support the camera and adjust the lens ring.

Image quality is excellent, as we have come to expect from the world leader in camera imaging technology. Colour rendition is excellent, with skin tones having that warm, slightly-reddish tone to them, typical of Canon files.

When the light begins to drop, you have two options with the Canon G7X Mark II – use the pop-up flash, or crank up that ISO dial (which is either within the menu or assigned to the lens ring).

Thankfully, there’s still a decent amount of image data in the RAWs, so if you know what you’re doing with post-production, it’s pretty easy to salvage even a noisy image – the one below was taken at ISO10,000, but with a quick tweak in Lightroom using the ‘Texture’ slider, the black & white edit looks fine!

Autofocus performance is good, with face-tracking working ok during testing. Don’t underestimate the importance of this feature – trying to chase a subject around the screen with a single AF point is a painful experience!

A couple of caveats here, though – tracking doesn’t seem to work while using burst mode, and it takes a while for the buffer to clear, during which time the camera’s playback or settings mode is frozen.

It should be remembered, however, that the maximum aperture of f/1.8 can only be used before zooming the lens (i.e. at 24mm) – this is the sacrifice with most zoom lenses found on small digital cameras, with the plus side being just how small the camera can be when the lens is retracted – the Canon G7X Mark II is the smallest camera on the test, and only marginally heavier than the next smallest option from Ricoh.

Controlling the camera with the Canon Camera Connect App was painless, and worked well for controlling the camera from a distance, or simply transferring JPEGs to my iPhone.

Overall, I found the G7X Mark II enjoyable and intuitive to shoot, with the biggest pluses for me being its overall responsiveness and the impressive image quality.

It’s the kind of camera that packs enough performance to warrant using it over your smartphone but still retains the dimensions to ensure it’s always in your pocket.

As such, it’s a camera you can slip into a coat pocket that offers unrivalled image quality – beautifully creamy shallow depth of field, great dynamic range for expanded latitude when post-processing, great high ISO performance… basically amazing image quality that’s superior to 99% of other cameras in its size class.

You do pay a pretty price for the Sony RX1 RII, though. Squeezing a big sensor into a small camera body evidently still costs a lot for manufacturers, and due to the nature of the sensor size, the lens needs to be a certain size to accommodate – while small, this isn’t a camera f