digital camera without lcd screen quotation

The rumored Leica M10-D camera is now officially announced and if I read the text correctly, the lever is just an “integrated fold-out thumb rest”, as I have already reported previously.

The new Leica M10-D continues the philosophy that began with the Leica M-D (Typ 262) of using a digital camera with no rear display. The concept is based around the idea of using a camera completely free from distractions, allowing the user to fully focus on their subjects and the core photographic settings at hand.

With no menu or playback on the camera, users can simply focus on the moment and enjoy a classic style rangefinder that operates and looks just like an analog camera. With no “chimping, ” the photographer can be focused on the next shot while they anticipate enjoying their photos later, either back at home when downloading the SD card or when connecting to Wi-Fi on the go.

Based on the Leica M10-P, the Leica M10-D has a redesigned On/Off switch with an integrated hard Wi- Fi On setting. The new Leica FOTOS app is a key aspect of the M10-D, allowing for access to the photos on the SD card and also controls over camera settings such as date/time, JPG/DNG controls, SD card formatting, and more options that are usually needed only once in a while. By combining the analog experience of shooting a digital camera without a display and the mobile connectivity of Wi-Fi, the M10-D becomes the perfect hybrid between analog and connected worlds. The photographer has the freedom to choose how they embrace it and fit it into their life.

The new selector switch for Off / On / On with Wi-Fi is reminiscent of classic ISO dials from Leica analog M cameras, and allows for the addition of a dedicated Exposure Compensation wheel – a first for digital M cameras.

The integrated fold-out thumb rest completes the film camera aesthetic and gives improved handling, especially with heavier lenses. Its function is purely ergonomic. The button to the right of the shutter release is used for checking SD card storage (remaining shots) and battery level in the built-in viewfinder.

The new Leica FOTOS app augments the M10-D much further than any previous Leica camera with no LCD. Now the user can access, download, and share their photos on the go as well as use remote shooting to take pictures via Live View with their smartphone as the viewfinder. Now the first time you see your photos is on the high quality display that is in your pocket, and they are ready to share. Leica FOTOS will launch live to the public on October 24, 2018 for both iOS and Android.

October 24, 2018 – Leica Camera transports the analog experience into the world of digital photography with the introduction of the Leica M10-D. The Leica M10-D combines the benefits of a digital M camera with an unprecedented approach to rediscovering the magic of an analog photographic experience, now augmented with mobile connectivity.

The ultimate experiential camera, the Leica M10-D is inspired by the discreet M10-P. In addition to incorporating the M10-P’s signature near-silent mechanical shutter and classic script logo branding on the top plate, the Leica M10-D’s monitor screen has been purposefully omitted from the camera body, freeing photographers from all distractions and allowing them to always focus on capturing the moment, rather than the camera itself. In lieu of the screen on the back of the camera is a new control ring for switching the camera on and off, with a dedicated hardware setting for activating Wi-Fi – a key piece to modernizing the analog-inspired workflow of the M10-D. Within the rear control ring is a mechanical dial for exposure compensation adjustments, a first for digital M models, harkening back to the ISO film sensitivity dial seen on classic analog M-Cameras.

In keeping with the mechanical spirit, all essential exposure settings on the Leica M10-D are made with mechanical controls. To further enhance the analog look and experience of this camera, the Leica M10-D features an integrated fold-out thumb rest, reminiscent of a classic film advance lever, which aids in the ergonomics and handling of the camera – especially when shooting one-handed. The optional Visoflex electronic viewfinder can also be used with the Leica M10-D to bridge the gap between analog and digital experiences by way of live view capture, and for easier use of wide-angle and telephoto lenses. When paired with the camera’s improved rangefinder and larger field of view, an innovation from the Leica M10, the Leica M10-D and Visoflex allow photographers to truly see the bigger picture from any angle.

With the soul of an analog camera at its core, the M10-D combines perfectly with the brand new Leica FOTOS app to transcend a solely classic shooting style and provide many of the features and functions offered by a modern, high-performance digital camera. By quickly switching the camera to the on position with Wi-Fi, the M10-D can seamlessly connect to an iOS or Android device, making it the perfect hybrid of analog feel and digital connectivity. The Leica FOTOS app allows easy use of the camera when on the go by enabling streamlined portable viewing, sharing of images and the selection of core camera settings. The app can also provide exposure settings and can be used as a remote viewfinder and camera shutter in live view mode. All personalized settings made from the app are saved and stored in the camera, enabling photographers to configure and custom tailor the Leica M10-D to meet their specific needs. The Leica FOTOS app can also be used to transfer pictures to iOS and Android devices for sharing in social media channels and saving to a personal photostream. With the Leica M10-D and the Leica FOTOS app, photographers can choose how analog or how digital they want their photographic experience to be, ensuring they find the perfect balance for their everyday journey in photography.

Shooting with a Leica rangefinder is as challenging as it is rewarding. First, you have to be able to afford the dang thing---no small feat, as a Leica digital rangefinder costs at least five grand. That"s before you spend a few thousand more on a top-notch lens.

From the front, the M-D looks a lot like the red-dot-free Leica M-P; both cameras ditch the Leica logo from the front in the name of arguably less-conspicuous Leica ownership. In terms of specs, the M-D is a lot like the display-equipped Leica M: A 24-megapixel full-frame sensor, manual-control dials for shutter and aperture, ISO settings ranging from 200-6400, a rangefinder peephole, an SD slot, and that"s it. One would assume it gets way better battery life than any other digital camera, as there"s no LCD screen sipping juice.

If the M-D"s premium no-frills feature set sounds familiar, you"re probably thinking of the Leica M "Edition 60." Like the M-D, it dropped the LCD screen in favor of a ginormous ISO dial and had a similar ethos: Forget all the trappings of modern cameras and just take pictures. If you were drawn to the Edition 60 and simply couldn"t afford it, good news! At a shade under $6,000, the new M-D costs less than a third of the Edition 60"s $19,000 asking price.

It"s true: Leica is really releasing a high-end, luxury digital camera without an LCD for reviewing snapped photos. The company is breaking away from what"s usually seen as a fundamental piece of modern cameras so that it can "bring back the joy and anticipation of waiting to see how pictures turned out." See, I"m the kind of person who would substitute "joy and anticipation" with "anxiety," so clearly this camera isn"t for me. Anyway, the Leica M-D (Typ 262), as it"s officially branded, doesn"t include a screen of any sort. Where one would normally go, you"ll instead find an ISO dial. It"s certainly... different looking. Looking beyond that, the M-D has a pretty great all-black design that omits Leica"s famed red logo in the name of consistency.

Without a screen or any kind of Live View, there"s also no menu system to be found. You get physical controls for the essentials (shutter speed, aperture, and ISO), but producing quality images is all up to you. Sure, some of those dials have an automatic option, but without any way of reviewing your photos on the fly, there"s really no way of telling whether you got the exposure you were trying for — other than sheer intuition and hope, maybe. Then again, most people buying this will probably be incredibly well-versed in manual photography.

And this is still a Leica, so the images that it puts out look rather stunning. As far as the technology inside, the M-D is largely similar to the Leica M Typ 262, with the company"s Maestro image processor and a 24-megapixel CMOS sensor. That"s for stills only; did you expect this LCD-less camera to record 4K video? You don"t even get the option of shooting JPGs; the M-D automatically saves all images in RAW DNG format. If you want to see what a $6,000 camera with no LCD can do, Leica has put together this gallery with some sample shots by photographers far more skilled than you or I. At least some people can pick up the M-D and capture incredible shots; I"ll have to stick with my Fuji X-T1 with not one but two screens; one on back, one in the viewfinder. But if you"re in the market for this, you can order one beginning right now for $5,995.

Some of the older budget digicams of a few years back didn"t have screens; and before that, the first wave of pro DSLRs didn"t either. Some model numbers that come to mind are Apple QuickTake, Kodak DC40, Kodak DCS-420.

I never would have thought about the kids spending too much time peering into their camera screens, but now that you mention it, it sounds like a good idea to ban the things. Camp is supposed to be about the outdoors and, one would hope these days, getting the kids away from the tiny LCD screens many have their noses buried in today -- music players, cell phones, game systems, cameras, etc... I think it sounds like a very good rule, from that standpoint.

Why even entertain such thoughts? Often in product development subtracting an essential component is, paradoxically, an existing product is a route to innovation (an iPhone is like a Blackberry without the keyboard; a mirrorless camera is like a DSLR without the mirror box). Specifically, getting rid of the rear LCD screen might have some direct benefits (e.g. lower cost, lower weight, lower battery consumption, more room on the rear of the camera for direct manual controls, such as switches for focusing and metering modes) as well as some indirect effects (e.g. preventing "chimping", forcing the cameras to be coupled wirelessly to smartphones to set custom settings, improving the user interface so that all needed functions could be accessed without resort to menus, etc.) Clearly, there"d be some disadvantages, such as the inability to review exposure and framing, check live histograms or focus via liveview and more. In a mirrorless camera with an eve-level EVF but without a rear LCD screen some of these disadvantages are removed, while the benefits of simplifying the user interface might remain.

Other than some Minox digital cameras and the Japanese lineage of very small USB keychain cameras, of which a recent iteration is the Fuuvi Pick USB Mini Camera, I can"t recall a digital camera without a rear LCD screen. Even the diminutive Sony Qualia 016 had a diminutive LCD screen!

As you might be able to tell, I would like something like a Nikon Df without the rear LCD screen. I realize that would be a gutsy move for a manufacturer, but would also open up interesting opportunities, both for forcing more integration between the camera and smartphone (I already carry around a nice LCD screen in my pocket, why do I need another one on my camera?), for adding more room on the camera for more mechanical switches and buttons, and for changing the way we interact with the camera in use. Just wondering what other people think.

Digital Camera Parts└ Replacement Parts & Tools└ Cameras & PhotoAll CategoriesAntiquesArtBabyBooks & MagazinesBusiness & IndustrialCameras & PhotoCell Phones & AccessoriesClothing, Shoes & AccessoriesCoins & Paper MoneyCollectiblesComputers/Tablets & NetworkingConsumer ElectronicsCraftsDolls & BearsMovies & TVEntertainment MemorabiliaGift Cards & CouponsHealth & BeautyHome & GardenJewelry & WatchesMusicMusical Instruments & GearPet SuppliesPottery & GlassReal EstateSpecialty ServicesSporting GoodsSports Mem, Cards & Fan ShopStampsTickets & ExperiencesToys & HobbiesTravelVideo Games & ConsolesEverything Else

A point-and-shoot camera is a really handy bit of kit if you don"t want to carry anything heavy or fuss about complicated settings. They can fit in your pocket so you can take them everywhere with you and lots of them come with a built-in flash for when it"s dark. You"ll instantly notice the upgrade in image quality compared to shooting on a smartphone but you won"t need to spend any additional money on lenses.

With so many point-and-shoot cameras on the market, choosing the right one for you can be a challenge. It"s a good idea to think about how advanced you need it to be, what features you can live without and how much you"re willing to spend. Cheaper cameras with much smaller sensors and likely won"t be able to shoot in RAW but if you"re happy to splurge a bit, you can get some seriously advanced bits of kit that will fit in your pocket. Whether you"re looking for an upgrade from your smartphone to take on holidays, day trips, or special occasions, we"ve put together a list to suit all needs and budgets.

Even the most expensive point-and-shoot will still cost you a lot less than one of the best DSLRs or best mirrorless cameras plus you don"t need to buy additional lenses or a flash. Many professional photographers will own a point-and-shoot as well as their main camera which they keep on them at all times should a photo opportunity arise.

We think the cameras on our list are fantastic value for money. There"s a mix of older and newer models because we think some point and shoots just can"t be beaten such as the Panasonic ZS80/TZ90(opens in new tab). What you want to shoot and how much time you want to spend processing them after using some of the best photo editing software will define which camera to go for.

Cheap and simple– Even the most basic point-and-shoot cameras will offer better image quality and more zoom capabilities than your phone. They might not have some of the more advanced features of more expensive models but at they"re affordable and will get the job done.

Waterproof– Whether or not you"re an outdoorsy person, a waterproof camera is a great option as they"re more robust and can be used near water or in the rain without any qualms. They"re great for beach holidays, using by the pool, or taking on adventures as they are rugged enough to handle getting dropped.

Longer zooms – One of the advantages of point-and-shoot cameras with a smaller sensor is that often they have longer zoom ranges. Most basic cameras will have a zoom range of 3-5x but some of the more expensive models will give you a 30x optical zoom. These larger zoom ranges are great for taking on holiday where you might want to photograph objects in the distance.

Better quality – The best point-and-shoot cameras will have larger sensors which make them better in low light, the lens is often capable of wider apertures down to f/2.8 and sometimes you can even set the camera to shoot in raw - perfect if you didn"t quite expose an image properly. The more advanced cameras do cost more but the features often make it worth it.

Now that the best camera phones(opens in new tab) produce such good-quality images you might wonder why you"d bother investing in a point-and-shoot but believe us, there is a massive difference in image quality. Even the smallest sensors in the cheapest point and shoots are usually bigger than the tiny ones in your smartphone. Features such as the built-in flash will also be much better quality than a phone flash and the zoom will cover a bigger range.

If you are looking for a really high-end point-and-shoot, check out our guide on the best compact cameras which covers more advanced and more expensive models. However, if you"re just looking for a camera that is a step up from your phone camera and won"t cost you much, scroll below to see the best point-and-shoots available.

Why you can trust Digital Camera WorldOur expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out more about how we test.

The Ricoh WG-6 is an impressive setup from its predecessor, the WG-60(opens in new tab) with a 20MP sensor, 4K video at 30fps, and a max ISO of 6,400 thanks to a built-in multi-application ring light fitted to the front of the camera. Not only is it waterproof to 20m, it"s shockproof too which means it can handle a bit of rough and tumble making it one of the best cameras for kids(opens in new tab)too!

If you want a camera that does what it says on the tin the Olympus Tough TG-6 is exactly what you need. It might have a small 1/2.3-inch sensor but all things considered, it produced good image quality and it can shoot 4K video. It has a 25-100mm with an aperture of f/2 at the wide end and f/4.9 when it"s at its maximum zoom. It includes lots of interesting features that really come to life when shooting in clear water such as Macro and Microscope modes which allow you to get up close and personal.

The ability to capture RAW stills and shoot at up to 20fps also make this camera a very good choice. The best thing of all is that it can really take a bashing making it perfect for families with little ones. It"s a superb travel camera that benefits from excellent waterproofing - perfect for the more adventurous (or clumsy) type.

Despite being five years old, the Panasonic Lumix ZS70/TZ90 is still one of the best, most affordable compact cameras you can buy, in our opinion. It has an enormous 30x zoom which is equivalent of 24-720mm. Even when fully zoomed in, the picture quality isn"t bad and built-in image stabilization helps with camera shake. If you"re going traveling, the combination of a massive zoom, small body, and WiFi capabilities make it the perfect companion.

It features a small viewfinder as well as an LCD screen for you to view your images. The 49-point focus system isn"t the most advanced but it"s speedy enough to capture most things. Image quality is pretty good considering it"s only got a 1/2-3 sensor and its metering system helps to balance exposure no matter where you"re shooting.

There is actually a newer version of this camera but it doesn"t have such a large zoom and you end up paying more. If you wanted a camera that has better low light performance you might be better off checking out the Panasonic Lumix ZS200/TZ200 as it has a larger 1-inch sensor.

If you"re after a camera with incredible zoom capabilities look no further than the Canon PowerShot SX740 HS with a focal range equivalent to 24 - 960mm on a full-frame camera. It has a 20.3MP 1/2.3-inch sensor and an LCD screen that can be flipped to face the front making it perfect for selfies.

For anyone looking to shoot video too, it can film in 4K and as a max continuous burst shooting mode of 10fps. The Canon PowerShot SX730 HS can be found slightly cheaper if you don"t need 4K video and it still has Full HD recording. The image quality and autofocus performance on this camera is pretty good and overall it"s an excellent camera for the price.

If you want a point-and-shoot camera that also delivers a visible jump-up in picture quality from a camera phone, you need one with a larger sensor. The Panasonic LX15, which goes by the name LX10 in some territories, has a 1-inch 20-megapixel sensor that does the job perfectly. It"s true that there is no built-in EVF, which might put some people off, and the smooth finish to the body might make it look stylish but doesn"t make for the firmest handgrip.

The Canon PowerShot G9 X Mark II is a rather sophisticated-looking point-and-shoot camera, courtesy of its rather minimalist yet traditional appearance and streamlined controls, which have the benefit of keeping the body endearingly dinky. Despite this, it"s something of a beast under the bonnet, with a 1-inch sensor paired with a wide-angle 28-84mm equivalent lens, whose maximum aperture at wide-angle is a respectable f/2.

There"s no viewfinder, but the 3-inch LCD on the rear also responds to touch, which again ensures that physical controls can be kept to a minimum. To sum up, this is a neat-looking, well-specced point-and-shoot compact camera that can produce vastly superior images to a camera phone – and it"s rather nice to look at and use.

While the RX100 VI does cost more than most point-and-shoot buyers are willing to countenance, we couldn’t include it here for the simple reason that this series represents pretty much the best the world of compact cameras has to offer. As the name implies, the VI is the sixth iteration in a series that Sony has been perfecting for many years, providing an exceptional blend of image quality and portability. While the VI has since been superseded by the VII, we reckon this model offers an outstanding balance of power and value for money.

Super-smooth 4K footage and dynamic burst shooting – it’s all here, and there are plenty of extra features that many cameras on this list don’t offer, such as the pop-up electronic viewfinder. And all this is housed in a camera small enough to pop into a pocket – provided you don’t mind a few of the controls being a little fiddly to use, it’s a boon for travel photography and videography alike.

If you like the sound of the RX100 VI but are still put off by the cost, then check back through previous models in the RX100 series, as they are without exception very good, and most of them are popular enough to still be in production. And, alternatively, if you"ve got more cash to splash then definitely take a look at the current flagship, the Sony RX100 VII(opens in new tab).

We test cameras both in real-world shooting scenarios(opens in new tab) and 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 use both real-world testing and lab results to inform our comments in buying guides.Round up of today"s best deals

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 popular 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 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.

Compact cameras with prime lenses or short-range zooms can feel limiting. While a 24-72/75mm focal length is still pretty good, you"ll still struggle to shoot anything that"s a little way away. The Canon G5X Mark II comes with a zoom range that covers 24-120mm, however, and has a variable aperture of f/1.8-/2.8 which means that at the telephoto end of the zoom range you can still use fast shutter speeds and achieve a shallow depth of field.

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.

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.

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!)

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.

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.

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.

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 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.

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.

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 for your jeans pocket.

You can buy a more feature-rich, versatile full-frame interchangeable lens camera like the Sony a7III for the price of the RX1 RII, and still have some change in your pocket for a new lens… so why would you invest in this one?

After spending a few weeks road testing the Sony RX1 RII, it was clear to me that this is a very unique camera. Sure, you could buy something more versatile and with better value for money, but that would be missing the point. The Sony RX1 RII is by far the most enjoyable, most involved, and most tactile Sony mirrorless camera I’ve ever used. It’s more like… dare I say it… a Fujifilm than a Sony!

Investing this much money into the RX1 RII is like trying to explain why to buy a Ferrari over a Tesla S – both get you from A to B really fast, but ask any Ferrari driver how it feels to drive. The same can be said for this camera.

With a fixed 35mm Carl Zeiss Sonnar f/2 lens, this camera is arguably all you’d ever need as an everyday camera – this is why it’s perfect for professionals, who are no doubt sick and tired of carrying multiple lenses with their ‘work’ mirrorless and DSLR cameras.

The Sony RX1 RII offers most of the functions of a high-end Sony camera that you’d expect – tilting LCD screen (though no touchscreen), good WiFi/NFC connectivity, decent electronic viewfinder (that retracts into the body when not in use), customisable dials/buttons and a dedicated exposure compensation dial.

Everything feels amazing – the build is great, and the manual controls are reassuring solid-feeling The on/off switch is reminiscent of an old range-finder, and far more satisfying than pushing a button, which is the usual way to fire up most cameras.

Auto Focus is good and includes Sony’s enviable Eye AF, which is akin to black magic at finding the eye of your subject (though not nearly as good as the latest Sony a7/a9 series cameras).

I love being able to control the aperture on the lens ring like a rangefinder, and the macro mode is similarly located. The lens in general just feels great – the movement of the rings is reassuring and fun to operate. I’d go as far to say that this is the first Sony I’ve ever used that doesn’t feel like a mini-computer, and for that, I love it! It feels like an old-fashioned camera body, despite housing some incredible, modern technology.

The Sony RX1 RII doesn’t make much sense on paper, nor when you try and explain it to your peers after splurging so much on something when there are many better value options… but it’s still an endearing camera that will bring you joy every time you pick it up, not to mention whenever you view the gorgeous high-resolution files on your computer screen.

In summary, I’d confidently recommend the Sony RX1 RII to any professional photographer, no matter what brand they usually shoot with. It’s a Sony camera like no other Sony camera – truly unique in the lineup.

If you’re in a line-up of one of the most popular compact camera series of all time, you have a lot to live up to… fortunately, the Sony RX100 VII doesn’t disappoint.

I spent a few weeks shooting this powerful little camera for a full Sony RX100 VII review, and have decided to name it the top compact camera for travel.

I also love the fact that LCD displays the optical zoom focal length as you’re zooming, so you can set it to 35mm for example, and leave it there if that’s your preference when shooting primes – this is what I found myself doing since I rarely shoot at 24mm.

High ISO performance is decent, with clean images up to 1600, then quickly degrading after 2000 – as is expected on a camera with a 1-inch CMOS sensor.

The Sony RX100 VII offers a tilting touchscreen, albeit a limited one. You’re able to touch to change AF points, focus, and then shoot – is a really handy feature for capturing candid travel moments, especially when combined with the tilting display. On the VI the tilt is 90 degrees down and 180 degrees up, making it perfect for vlogging.

I’m not even a big fan of zoom lenses, preferring normally to ‘zoom with my feet, but I found myself constantly zooming in and out with this fun little camera, often just to see ‘how far I could see’! It’s convenient being able to zoom in to 200mm on some distant action before your subject has noticed your presence, and having such range on a compact camera is a huge plus while traveling, since it’s not always possible to physically move closer.

Why on earth Sony would design such an incredible camera and make it have all the ergonomics of a pane of glass is beyond me! The first thing I’d recommend you do is purchase this grip – at least it’s cheap!

Then there’s the battery life, which is pretty poor at around 260 shots or 30 minutes 4k video per charge. On the plus side, you can charge the camera via micro-USB, and spare batteries are affordable.

The pop-up LCD is good in bright sunlight and I’m glad they included it, but I didn’t find myself using it much otherwise – it’s a little cramped, as is to be expected on a camera of this size.

Overall, the Sony RX100 VII is a helluva lot of pocket camera squeezed into something the size of a deck of playing cards. The zoom range is astounding, auto-focus performance mind-boggling, and frame rate is something that none of the other best compact cameras on this list can match.

If you’re looking for a feature-packed compact camera for travel with incredible stills and 4k video performance, that’s so small that you can have it in your pocket every day and not even notice it’s there, look no further. This is it.

I feel a little bit sorry for Ricoh’s photography division. Despite Ricoh being a large, successful company, their cameras are still relatively unheard of… at least, to the uninitiated.

Ask any street photographer worth their salt to name two camera brands synonymous with capturing some up-close pavement action, and their answers will include: one expensive German brand… and Ricoh. Not Ricoh in general, either, but the Ricoh GR series.

A few years ago I tried a previous generation of this camera. I was quite impressed by the image quality coming out of this little compact but the sluggish auto-focus annoyed me a bit too much to invest in it. The Ricoh GRIII Ricoh is much improved and things are much snappier.

Speaking of ‘snap’, there’s a focus option on the GRIII (and other Ricohs) called ‘Snap Focus’, which basically forces the camera to immediately focus on a specified distance, increasing in 50cm increments from 1m to 5m, then to infinity.

You can set up the camera to ‘snap’ to the pre-defined focal distance when you fully press the shutter (as opposed to half-pressing it, which would engage the regular focusing).

This is one of the features that make the Ricoh GRIII so well-suited to street photography. Sure, you can ‘zone focus’ using any camera, but with this one, you essentially have a zone-focusing system and a regular auto-focusing system in one shutter button – ingenious!

The autofocus isn’t the only improvement over the GRII. The Ricoh GRIII boosts just about every critical feature. The sensor is now up to 24MP, the lens much sharper and now with macro capabilities, and the battery life is much improved. There’s even image stabilisation and a touchscreen.

The 3-axis sensor stabilisation is a welcome addition – in practice, I was able to blur motion without the use of a tripod with shots as slow as 1/2 second. See Kai Wong’s video above for an example of how this could be used in the street.

The touchscreen on the Ricoh GRIII is snappy and responsive, with that all-important tap-to-focus-and-shoot function, allowing for the most inconspicuous photos – perfect for incognito street photography.

I keep mentioning how this is the best small digital camera for street photography, but the reality is, I didn’t actually get to test it out on ‘the street’!

The lens width remains the same – 18.3mm (28mm equivalent), and I’m happy about that. A 28mm focal length is fun and easy to shoot. It gives you a unique perspective that immerses the viewer into the shot, without overdoing it and becoming too wide or adding in too much distortion.

As for the design and ergonomics, I love that the Ricoh GRIII is the most ‘stealth’ camera I’ve ever come across. The exterior has minimal branding, the rubberized grip conforms perfectly to the hand, and the buttons blend nicely into the camera body.

It’s not easy to be one of the smallest and lightest digital cameras out there while maintaining excellent ergonomics, but the Ricoh GRIII manages to pull it off.

It’s grippy enough to be used one-handed all day long and can slide inside a shirt pocket. Yes, you read that right, shirtpocket. This is truly a miniature marvel of a camera.

So what don’t I like about it? Well, the battery life could be better (I got 280 shots per charge), and I do wish the touchscreen flipped… but then again, that would probably ruin the overall design.

It’s also not the best at focusing in low light, and the LCD, despite being beautifully sharp, tends to reflect a lot in bright sunlight – since there’s no viewfinder, this can sometimes be annoying. There’s also no pop-up flash, but no one needs one of those for street photography anyway.

Also, the camera seems to take a split second to render images on the LCD during playback – it’s barely perceptible at first, but once you see it, it’s hard not to notice it again.

All in all, though, I’m struggling to find bigger reasons not to love this camera. Trust me, the Ricoh GRIII is a truly unique compact that deserves a lot more attention than it’s been receiving. It’s well worth checking it out, and if you have a bigger budget, look more to the newer GR IIIx.

Jokes aside, after shooting portraits and landscapes solidly with the Q2 for a week, I’ve now had a taste of that delicious Leica Koolaid, and have decided that this camera-come-work-of-art is actually worth the money. Yep, I know – crazy, right?!

The coldness and heft of the solid metal body, the reassuringly solid feedback of the dials and buttons, the ingenious rubber grip that blends into the facade, even the curiously addictive electronic shutter sound… all this adds up to an experience that’s unlike any other camera I’ve ever used.

I don’t think I’ve written so many paragraphs on how a camera looks and feels before, so I’ll move on… how does the Q2 perform when you actually switch it on?!

Macro mode is easily accessed with a firm twist and satisfying click of the lens ring, as is manual mode, which is engaged in a similar way, with focusing aided via peaking and magnification – every movement on the camera seems meaningful and engaging. It all adds up to a thoroughly enjoyable handling experience.

It’s wrong to try and compare the Sony RX1 RII with the Leica Q2, just because they’re both small-ish full-frame cameras. They’re completely different beasts.

‘X factor’ image quality aside, the Leica Q2 is a reassuringly powerful camera to shoot with. 10fps may not sound so impressive next to the other cameras in this article, but considering the Maestro II image processor is pushing such enormous 47.3MP files around, this is no mean feat.

Autofocus is apparently better than the original Q, but it definitely can’t keep up with the Sonys of this world. Whether you’ll be wanting this camera to shoot fast-moving action, though, is unlikely.

I also found continuous AF to constantly ‘flutter’ back and forth (annoying, but apparently all digital Leicas do this until the subject actually moves), and in really low light, the AF occasionally struggled to lock on to subjects.

Dynamic range is fine too – nothing outstanding for a full-frame sensor, but enough latitude to underexpose by 4 stops and return a clean file at lower ISOs. Shooting landscapes in low light with this camera results in beautiful files – the compressed JPEG below doesn’t really do it justice.

The LCD touchscreen is amazing – sharp and responsive with a matte finish – I wish all cameras offered this. The EVF is similarly excellent – one of the best I’ve used. Startup time is great too.

One unique feature of the Leica Q2 is the in-camera frame cropping options, which allows you to shoot with a 35mm, 50mm and 75mm frame ‘outline’, which results in 30, 14,7 and 6.6MP images respectively.

If you shot a whole succession of in-camera crops, it could get rather annoying during post-production with all the ‘duplicates’, but I guess this feature is intended for the ‘odd shot’, rather than regular use.

I also found it a little odd trying to compose with the cropped frame outline within the original 28mm viewfinder – I definitely prefer the APS-C crop mode implementation on other mirrorless cameras, which zooms the actual viewfinder display.

I also wasn’t a fan of the placement of the rear dial, which seemed a bit too close to the edge of the camera for my liking. I’m sure I’d get used to it, though.

Why don’t I recommend it as the top compact camera for professionals? Well, even though pros will be looking for the best image quality out of a camera of this size, I think they’d also be looking for a slight size/weight saving on their main ‘workhorse’ body… and the Leica Q2 is of comparable dimensions to most full frame MILCs.

Then, of course, there’s the question of whether the average pro would be comfortable carrying a camera that’s probably more expensive than their main camera, just as an everyday/holiday camera. I know I wouldn’t, despite thoroughly enjoying my time with the Q2.

I thoroughly enjoyed my time shooting all the cameras used in this guide. There’s something about having a camera that’s small/light enough to have on you every day that I find endearing – I love the feeling of having a capable device to capture all of life’s precious moments.

Buying a compact camera is an investment, but rightfully so – without spending appropriately, you’ll only be left with something that’s as good as, or potentially worse at capturing an image than your smartphone.

All the cameras in this guide are able to produce stellar images. A larger sensor will yield more pleasing bokeh and low light performance, but the flip side is usually a larger camera body too.

Decide what’s most important for you – do you need something pocketable with lightning-fast auto-focus? Or are you able to neglect those features in favour of the absolute best image quality and bokeh that can rival a much larger camera?

Introducing you to a selection of cameras that cost less than $500 is important for me as a professional photographer since I want you to experience photography without the huge price tag.

The cameras selected above all offer excellent build quality, image quality, handling and value for money… often performing far better than you’d expect for their sub-$500 price.

To speed your research up, I’ve categorised each section by the most popular camera formats, with a foreword about the benefits of each type: Best DSLR Cameras under $500

If you’re able to stretch your budget a little further, I recommend you check out my guide to cheapest full frame camera – both investigate a selection of higher-priced cameras which offer more features.

Read on below to see my reviews, including what I consider to be the best camera under $500 of the year so far. I’ve also included some videos on each camera that I think you’ll find useful.

Despite the growth in popularity of mirrorless cameras, the humble DSLR camera still has pride of place as the number one format in use by photographers in 2022.

DSLRs typically offer better ergonomics, longer battery life, more competitive pricing, and better reliability, so recommending a handful of the best DSLR cameras under 500 bucks was a no-brainer.

The popularity of the Nikon D3400 with 18-55mm lens has mainly been due to its price – for less than $500, you’re getting a helluva lotof camera for your money! I’m a big fan of entry-level DSLR cameras. Typically, the technology from the more expensive ‘flag-ship’ models trickles down the ranks, so the cheaper cameras in the line up can also take advantage of class-leading features.

I tested a Nikon D3400 over the holidays and was very impressed with its performance (see my Nikon D3400 review). Coming from a DSLR costing 5x the price, I did of course miss all the bells and whistles of my pro-level camera, but this compact DSLR still did a fine job.

I say ‘compact’, but entry-level DSLRs are more like a jacket pocket size. They’re small and light enough to palm easily, but still retain excellent ergonomics, providing adequate comfort for all-day shooting – this isn’t the case with most mirrorless cameras and compact cameras.

They also allow you to blow up your prints to be displayed on your wall, which is exactly what I intend to do with a shot of my son taken with this camera, like the one below.

The camera’s ‘guide mode’ is perfect for beginners, teaching you how to shoot in various situations. This is one of the main reasons I chose this as one of the best entry-level DSLR cameras.

Battery life is excellent, at approximately 1,200 shots per charge – more than twice as many as most mirrorless cameras, and a huge advantage if you plan to take this camera on holiday.

Despite this lens being capable (see my sample images), I recommend upgrading to a ‘prime’ lens as soon as you feel comfortable with the camera since a lens such as the Nikon 35mm f/1.8G (reviewed lens recommendations for the Nikon D3400.)

After my 3 weeks with the Nikon D3400as my holiday camera, I have no hesitation in recommending it as one of the best DSLR cameras under $500 available in 2022 – the only challenge you may have is finding it in stock!

It still offers that excellent 24MP sensor for rich, vivid and detailed RAW and JPEG files. If you’re going to be spending $500 on a digital camera, you’ll want the images to be much better than your smartphone’s, and thankfully this is the case here.

The ISO range runs from 100-12,800, which is less than the D3400’s 25,600 maximum ISO. However, this should be taken with a grain of salt, since on an APS-C camera of this calibre, the sweet spot of low-light ability:image noise is around ISO 6,400, so the higher ISOs are largely left unused.

The main reason I actually prefer the Nikon D5300 over other entry-level Nikon DSLR cameras is the 3.2” articulating screen, which allows you to get more creative with your shooting angles and compositions.

If you’re photographing children, in particular, you’ll want to get down to their height when taking the shot, and the tilting LCD screen helps enormously in getting a quick, candid shot.

Pro Tip: Tilting the screen to face upwards allows you to hold the camera at chest height, and still see the screen to be able to compose the image. This helps you to take candid photos of your subject, who usually won’t notice the camera since it’s held much lower. I do this all the time with my wedding photography and it works a treat!

The 18-55mm lens is versatile and delivers great results, but as mentioned before, I’d recommend you invest in the Nikon 35mm f/1.8G to get the most from your camera purchase later down the line.

Pro Tip: it’s always a good idea when buying a camera to think about what lenses you might want in the future. Consider focal lengths, maximum apertures, and cost… when you invest in one brand, you usually need to stick to that brand’s lenses, so it’s good to plan ahead.

Mirrorless cameras are the technology of the future. Small, light, and crammed with useful functionality not available on DSLRs, the best mirrorless cameras under $500 deliver a lot for the money.

In short, mirrorless cameras offer the main advantage of being able to ‘see’ your exposure before you take the shot. Whereas on a DSLR the viewfinder is essentially a ‘window’, a mirrorless camera offers an electronic viewfinder or an LCD screen, both of which show the effects of aperture, ISO and shutter speed, before you take your image.

There’s no right or wrong here – I love the shooting process with DLSRs as much as I do with mirrorless cameras. However, the format is quickly gaining popularity this year, and the number of amazing mirrorless cameras under $500 in this roundup proves it.

Before you yell, “but where are the cameras under $500?!”, remember that you’re getting a Sony a5100 mirrorless camera body with a lens included. That’s damn good value for money if you ask me!

Sharing many features as its elder sibling the excellent Sony a6000 (a camera I highly recommend if you can stretch your budget – check out my Sony a6000 review and this Sony a6000 vs a5100 guide), the Sony a5100 sports a 24.3MP APS-C CMOS sensor with its AF points covering 92% of the frame.

What this means is that there’s an AF point ready to be moved exactly where you want focus, or you can let the camera track focus automatically for you, updating the focus point as the subject moves across the frame.

If you’re looking for a compact camera with a viewfinder, you’ll have to look elsewhere since the Sony a5100 only sports a rear LCD display – a gorgeous 3” touchscreen which can flip 180 degrees for simple selfies or for vlogging.

On the mirrorless Sony a5100 however, the lack of a mirror means autofocus during video recording works well, and the phase-detection AF points track your face around the screen eerily well.

The 16-50mm f/3.5-5.6 kit zoom performs well and complements the tiny Sony a5100 body perfectly. If you’re looking for a pocketable digital camera set-up, pairing a compact mirrorless camera with a small lens is the best option.

When we reviewed the Sony a5100 in more depth, our reviewer chose to pair it with the excellent Sony FE 85mm f/1.8 lens – ‘FE’ lenses refer to ones made predominantly for the full-frame sensor, but they also work with APS-C crop sensor cameras like the one on the a5100.

Pro Tip: Whether you think you’ll be upgrading to a full-frame camera in the future or not, it’s a good idea to consider full-frame lenses, even if you have a crop sensor body. Despite being larger, heavier and more expensive than lenses designed for APS-C bodies, full-frame lenses usually offer better image quality and more robust build quality.

On the Sony a5100, you can use the control wheel next to the screen to control exposure compensation, shooting modes, ISO and aperture – basically, everything you need to take a well-exposed photo, or get creative with under/over-exposing your subject.

Sharing photos is a lot of fun with the built-in WiFi and NFC – if your smartphone supports it