digital camera without lcd screen price

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.

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At Casual Photophile, we love film cameras for many reasons; notably their historical significance, their ability to make world-class images, and their low cost compared to their digital counterparts. But I think most of the writers here appreciate and maybe even prefer film cameras for one very specific reason – they feel incredible. Film cameras are creations from a time when physical mechanisms drove the world, and it’s rare to find such haptic joy in the modern era in which consumer goods are often thought of as disposable, or at least inevitably replaceable.

All of that said, there’s no denying that we also love certain digital cameras. While many digital cameras seem bland and, as stated, disposable, there does exist a handful of really phenomenal digital cameras that not only make amazing images, but also feel like the classic mechanical cameras that we love so dearly. It’s also hard to argue against the speed and efficiency of the digital workflow (there’s a reason all of the product shots here and in my camera shop are made with digital machines, after all).

The writers and I decided to sit down and brainstorm which five digital cameras currently selling today are best for those of us who love film cameras. Here they are.

When the original Fujifilm X100 debuted at Photokina in late 2010, it made a massive splash. In an early 2011 writeup, DPReview described the X100 as “…a firm favorite in the dpreview offices.” Adding that “Its drop-dead gorgeous looks and excellent build make it a camera that begs you to pick it up and take it out with you,” and later describing the image quality of its 12.3 MP APS-C sized CMOS sensor as “…nothing short of superb.”

The original X100 and subsequent models in the series are such great cameras for people who love film because they’re all characterized by some very “film camera-like” features. They all look and handle like the classic compact or rangefinder cameras that film-shooting street photographers lust over (think Canon’s Canonet or even Leica’s M series). They feature a traditional optical viewfinder (with a decidedly trick hybrid electronic viewfinder system), they have classic physical controls for shutter speed, aperture, and more, just like film cameras of the past, and they all feature a number of “Film Simulation” modes which reproduce the look of classic Fujifilm emulsions.

Since the release of the original X100 (actually called the FinePix X100 – all later cameras dropped the FinePix nomenclature) Fuji has released three additional X100 models. The X100S refined the user interface and ergonomics while replacing the original X100’s excellent 12.3 MP CMOS sensor with a 16.3 MP Fuji X-Trans CMOS II. The third model, the X100T, retain the sensor, lens, and core functionality of the previous model, but improve on the X100S in incremental ways. Most interesting to film lovers might be the addition of the “Classic Chrome” film simulation.

The fourth and latest X100 is the X100F. This camera is naturally the most advanced X100 yet, packing a 24 MP X-Trans CMOS III sensor into the traditionally compact X100 series body, as well as introducing a veritable cornucopia of new improvements. These include a new image processor, built-in ISO dial (a friendly addition for us film camera fans), a larger battery, an improved 91-point autofocus system, a 60 frames per second electronic viewfinder refresh rate, and a Fuji Acros film simulation mode. This last addition is especially interesting considering that Fujifilm discontinued production of their Acros film last year, and just recently announced plans to introduce a new Acros film after hearing the public outcry from film photographers.

The X100F has been the recipient of numerous awards in the photography press, and has successfully convinced the world that the X100 is a true professional photographer’s camera.

Which X100 camera should you buy? Well, the thing about the Fuji X100 series is that every single model in the series is fantastic. My advice is to first decide on your budget and then buy the newest X100 you can afford. Even if that ends up being the original X100 with the 12.3 MP sensor, you’ll be getting an incredible machine that will make phenomenal images. Anything more than that is just a bonus.

At around $1,200 the X100F is one of the more expensive cameras on the list. But for those of us looking to save money, the original X100 can be bought on eBay for an astoundingly low price – around $300.

The Ricoh GRIII is an obvious choice for any film shooter whose preferred film camera is a compact point-and-shoot. It’s a strong digital stand-in for the premium point-and-shoots from Contax, or the ever-popular compact cameras from Olympus and Yashica. And of course the Ricoh GRIII is the perfect digital camera for anyone who lives and dies by the earlier Ricoh GR1 film cameras.

We’ve written about the reasons the GR1 series of film cameras are such incredible point-and-shoots in our article earlier this year, and many of the core superlatives that characterize those film machines are carried over to their counterparts in the digital GR series. In his video review of the new GRIII, Kai Wong called the Ricoh GRII one of his “…favorite cameras of all time,” and went on to describe the GRIII as “..something truly great.”

Kai’s not wrong. The Ricoh GRIII was released just a few months ago and it offers everything you’d expect from a brand-new, world-class digital compact while retaining the core concept that has made the GR series a camera loved by street photographers and snap-shooters for decades. It’s incredibly small and well-made, features one of the best 28mm (equivalent) lenses in the photographic world, has in-body image stabilization, excellent high-ISO capability, and an incredibly quick start-up time for capturing snapshots at a moment’s notice.

It’s an especially great camera for those of us who love compact film cameras because while it offers everything we’ve mentioned plus countless modern conveniences, it’s really a simple camera like the compact film machines we all love. It’s as “point-and-shoot” as it gets, without sacrificing anything in terms of image quality or tech. Oh, and it’s got some pretty fantastic film simulation modes too, if you’re into that (and we are).

[Friend of the site and former president of Pentax USA, Ned Bunnell has been shooting the GRIII since it released earlier this year and he’s been posting his images and experiences with the new camera on Instagram. He’s also been posting a collection of film simulation shots made with the camera, which you can see via the hashtags #NedsGR3bw

I’ll admit that some of the allure of classic film cameras, for me, is just how gorgeous these old machines look. There’s something about the proportions, something about the finish of satin metal contrasting against black or brown leatherette or vulcanite; film cameras are beautiful objects. It’s especially intoxicating when these gorgeous machines also happen to be extremely capable image-making devices. Which brings us to our third pick, and it comes from a legendary camera maker – Olympus.

Olympus is celebrating their centennial this year, and like they’ve done for many of the last hundred years, it seems Olympus is content to get down to the business of quietly making exceptional cameras and lenses. Without a lot of fanfare or marketing hullaballoo, Olympus has recently released a truly impressive digital compact in the form of the Pen-F Digital.

Like its earlier film ancestor, the Pen-F digital is uncommonly small. The Maitani-designed Pen F film camera was a half-frame camera, while the newest Pen-F Digital is a micro 4/3rds machine. This makes it well-suited for travelers and lifestyle shooters, or for event photographers looking for a pocketable camera for candids.

Like earlier Olympus designs, the Pen-F digital has outsized dials and knobs and switches for all the most important controls in photography. Big, mechanical dials click into place with directed force, controlling exposure compensation, firing modes, aperture, shutter speed, and more. And it feels dense and solid while never feeling heavy or awkward. Put the Pen-F Digital into the hands of a film photographer and he or she will instantly feel at home.

The tiny camera is packed full of incredible features – a 20 MP sensor (with 50 MP high-res shot mode), five-axis image stabilization, 10 FPS sequential shooting mode, an exceptional OLED electronic viewfinder, 81 point autofocus, and… a tilty-flippy screen. If you can’t get the shot with the Pen-F, it’s probably not the camera’s fault.

Interchangeable lenses from Olympus’ famed Zuiko line complete an imaging ecosystem that can compete with much larger (and more expensive) cameras. When we see the images that Olympus’ micro 4/3rds cameras can make it becomes obvious that the lesser-celebrated brand is still a powerhouse in optics – they’ve been doing this for a hundred years, after all. Oh, and the Pen-F Digital is (in my opinion) just about the prettiest camera on the market today. That counts for something.

The Nikon Df was released in 2013, and marketed by Nikon as a return to the purity of their earlier F series film cameras. With a full-frame sensor, dedicated physical dials to control the most important aspects of photography, a full metal construction including top plate and metal controls, and removal of the video mode often found on DSLRs, the Df does indeed seem like a perfect film-like interpretation of the DSLR.

The top plate is packed with big metal control dials for exposure compensation, ISO, shutter speed, shooting modes, and more. And in this way it truly does look and feel like one of Nikon’s modern classic SLRS, the F4 or the F5. But the rest of the camera is decidedly a digital machine. The back has everything you’d find in one of Nikon’s contemporary to the Df DSLRs, the D610 or the D750 for example. Which is good, but also somewhat confusing.

Is shooting the Nikon Df like shooting a film camera? Not really. Sure, it’s got physical controls, but it’s really quite a massive camera with very DSLR-like ergonomics. It’s the least pleasant camera on this list to shoot for those of us who just don’t get excited by DSLRs. And on this site, that will include a lot of readers as well.

Where the Nikon Df might become the perfect digital camera for the film shooter is when we discuss Nikon specifically. If you’re already shooting a bunch of Nikon cameras, say an original F, an F4, and even a Nikon DSLR, the Nikon Df could be a great fit. That’s because it’s the only Nikon DSLR that can mount and shoot every Nikon lens that’s been made since the original F mount was introduced in 1959. That’s pretty incredible. But then again, the new Nikon mirrorless Z6 and Z7 can do that too (with adapters). Decisions.

For many film photographers, the Leica M series is the perfect combination of all the things that make film cameras special. A beautiful, timeless design encapsulating nothing but gears and levers and steel and brass, the early M cameras especially are mechanical masterpieces (see our guides to the Leica rangefinders and their SLRs). Even today, Leica still makes two mechanical film cameras, the meter-free M-A and the light meter-equipped M-P.

With this pedigree and continued ability to create what could be the best film camera in the world right now, it’s no surprise that Leica should make some truly impressive digital cameras. While the brand seemed to struggle to find its footing in the digital age, their latest releases, the Leica CL, the Leica Q and Q2, and their newest M, the M10, are all grand slams.

Each of these cameras feels like a classic film camera in the hands. The dials and controls are simple and straightforward. The mechanisms actuate with incredible precision. The ergonomics and methodology are simplified down to the basics of ISO, shutter speed, and aperture. In many ways, shooting a CL or a Q2 or an M10 feels like shooting a Leica M3 from 1954 or a CL from the 1970s. And that’s a good thing.

The M10-D is a recent release, and it’s the purest expression of the film camera ethos in a digital machine. The M10-D is essentially a Leica M10 that recalls the look and feel of the original M series camera. It loses the Leica Red Dot logo and replaces it with the more film-traditional Leica Script engraving. There’s a thumb rest on the top of the machine that flips out, looking and actuating almost exactly the same way that the film advance lever of the M3 does. The on/off switch is a ring surrounding an exposure compensation wheel that’s a clear reference to the film speed reminder of the oldest M film cameras (or the ISO selector on later M film cameras). This on/off and exposure compensation dial sits on the rear of the camera, exactly where most digital cameras would show their LCD display (this space is available because the M10-D simply doesn’t have an LCD display). This is the M10-D’s boldest move.

For a digital camera in 2019 to not have an LCD screen is weird and, some would say, silly. And it’s an easy thing to poke fun of when we’re talking about the extremely pricey products that Leica creates. In case you’re not keeping track, I’ll tell you – the M10-D costs approximately $1,500 more than the M10. Why would anybody spend more money for a digital camera with fewer features than the camera from which it’s derived? There’s something to be said for staying in the moment and eliminating distractions, sure, but is that worth $8,000?

It’s a question that I won’t answer in a definitive way. Different strokes for different folks. But if you’re looking for the closest experience to shooting an incredible film camera but want those digital files and digital workflow, the M10-D might be the pinnacle of modern machines. (Even if I’d never buy one).

The best retro cameras provide a shooting experience like no other. Blending the best of old and new, they take bodies with the classically cool look and feel of the film SLRs and rangefinders from years gone by, and pack them full of cutting-edge tech and many of the conveniences modern photographers have come to expect.

And this isn"t just the hobby horse of a few niche weirdos, like us. It"s big business – retro cameras are really popular. Fujifilm basically turned its fortunes around as a company in the early 2010s by introducing the retro-styles X-series of compacts and mirrorless cameras, and other companies like Olympus and Panasonic have since hopped on the bandwagon.

Then there"s also Leica, which has been producing cameras that blend digital technology and old-school handling for years. If you want to use a modern rangefinder, Leica is pretty much the only game in town.

Retro cameras can be defined in a number of ways. Our own Rod Lawton came up with a neat categorization system for retro cameras(opens in new tab), which I"ll borrow and tweak slightly for this guide. The ten entries on this list have been split into two types:

• Cheap and simple: these are cameras that look retro, but handle more like modern digital mirrorless cameras in terms of their controls. This is the most affordable way to get the retro look, though you don"t quite get that retro feel.

• Real-deal retro: these cameras use physical dial-based controls that feel much more like a classic film camera. They’re often built to discourage excessive use of the rear screen (“chimping”), some making the screen harder to access mid-shoot and others doing away with it entirely! These cameras tend to be more expensive, as some are designed for professional photographers, but you also get a larger sensor and generally better features.

We should note before we start that we"re dealing with retro digital cameras exclusively here. If you want to go all the way and use a film camera for that analog touch, our guide to the best film cameras(opens in new tab) is a good place to start. We also have a guide to the best instant cameras(opens in new tab) if your retro leanings are towards the knockabout fun of a Polaroid.

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.

Nikon had a good go at a retro digital camera in 2013 in the form of the Nikon Df – a DSLR now discontinued. While it had its fans, it strained its full retro concept by virtue of the fact that most of its lenses had no aperture rings, and it came at a chunky premium price.

Fast forward eight years and we’re trying again with the Nikon Z fc, a retro camera that sensibly targets a more entry- to mid-level market. It’s the second APS-C camera for Z mount and comes with dial-based retro controls – though if you prefer not to use them, you can capture shots in a much more digital way by tapping the touchscreen. But we"re not sure you"d want to – in our Nikon Z fc review, we found the dial-based controls a joy to operate, making the camera fun to use, with few compromises made for its bags of style. Images look great, and the 4K UHD video is no slouch either.

If you don’t care about its stylish retro looks, the Nikon Z50(opens in new tab) is basically the same camera for less money – though given that you’re reading a guide to the best retro cameras, we’ll assume you do.

We don’t mind admitting we’re big fans of the Olympus OM-D E-M10 Mark IV. It brings the superb quality of the OM-D series into a beginner-friendly – and, crucially, affordable – camera body, and does it all with retro style. What’s there not to like about that? This is the fourth entry in the E-M10 series, and while it doesn"t reinvent any wheels, it makes a number of incremental improvements that had our reviewer hugely impressed.

The Olympus Pen series of fashionable, retro-styled mirrorless cameras had lost its way somewhat in previous years but came back with a bang with the Olympus Pen E-P7. Using the same Micro Four Thirds sensor as the E-M10 Mark IV, replacing the aging 16MP model on previous Pen cameras and giving you 20MP to play with.

In our Olympus PEN E-P7 review, we were particularly impressed by the IBIS (in-body image stabilization), which is something of an Olympus specialty and makes the camera especially good for video. Indeed, with 4K 30p video, this one is definitely pitched towards vloggers – pure stills shooters may bemoan the lack of a viewfinder.

As you can see, the Panasonic Lumix GX9 absolutely looks the part of a retro camera, resembling an older rangefinder-style camera. In practice though, it operates much more like a digital camera, and when we reviewed the Lumix GX9, we found that operating it relies quite a lot on navigating its menus. It"s got retro looks, but not so much that retro feel – if that doesn’t appeal, best look elsewhere.

It’s a really strong street photography camera though, with snappy autofocus and decent burst modes – though if you really want to make sure you don’t miss the moment, the 4K Photo modes allow you to extract sharp, high-res stills from 4K footage. Having the MFT lens mount means there are plenty of lenses to choose from, and the electronic viewfinder is hugely impressive for a camera at this price point. The GX9 may not tick all retro boxes, but it ticks plenty of its own.

The “hidden” LCD of the Fujifilm X-Pro3 caused quite a stir upon release – it’s essentially a tilting LCD that’s upside-down, so you can’t easily check it while you’re shooting. This is designed to stop “chimping” (excessive checking of the screen between shots) and provide a purer, retro-style shooting experience.

This, paired with Fujifilm’s sublime image quality thanks to its X-Trans sensors, makes for an immensely satisfying camera to use. If you can live with this uncompromising control system – indeed, if you suspect you might prefer it – then the X-Pro3 handles like a dream. In our review we found the X-Pro3 to be an absolute delight to use – but of course, we"re camera enthusiasts, and we were always going to. You basically have to be willing to play the way the X-Pro3 wants you to.

There isn’t a lot else to criticize here. The X-Pro3 does have pretty limited 4K recording times, but if you are planning to buy a camera with a hidden LCD screen as your main video shooter, may we politely suggest not doing that. Otherwise, it’s just the fact that it’s pretty expensive.

With dial-led controls, superb images straight out of the camera, and new extra features like optional converters for altering the lens’s field of view, the X100V is the best version of this camera yet. In our review, we appreciated the new, sharper lens that makes images from the X100V even better, as well as the improved autofocus that makes it really feel like a modern camera, without losing that retro shooting approach.

The Fujifilm X-T5 is the latest in Fujifilm"s range of incredibly popular cameras amongst street and travel photographers. With looks like these they are also appreciated by anyone who wants a compact, very well-built, and stylish camera they don"t mind being seen out and about with. With lots of manual dials like a vintage camera, you can take full manual control in a snap, with Fujifilm"s excellent range of compact XF lenses also providing aperture rings like a classic camera.

It isn"t just a pretty face though, the X-T5 packs all the latest tech you would need from a top-level camera, with a generous 40-megapixel sensor, in-body image stabilization, and an incredible internal 10-bit 4:2:2 video at 6.2K/30P.

Leica M cameras are unlike any other digital camera you’ve used(opens in new tab). They’re digital versions of rangefinder-style cameras, which were already starting to look outdated when film SLRs arrived. They’re expensive, difficult to learn, and harder still to master.

So why do people use Leica M cameras? Because once you get the hang of a rangefinder, it’s a sublime experience, reliant on reflexes and feels rather than knowledge of tech specs. The 40MP Leica M-10R is capable of producing images unlike any other full-frame camera and does so in a way that is unashamedly, unabashedly retro. As we noted in our Leica M-10R review, there"s really no word for the optical experience other than retro – it"s for those who a really committed to the shooting experience of yesteryear.

If you want to be even more of a purist, there"s also the M10-D, which does away with an LCD screen altogether! However, this camera is getting harder to find, so we’re sticking with the M10-R as our pick for this guide.

Some thought the Fujifilm X-E series was abandoned, but these rumors proved to be greatly exaggerated! With the X-E4, the firm puts the power of the X-T4(opens in new tab) into a much smaller and more pocketable camera, with a classic rangefinder-style design that should win over retro fans.

In our Fujifilm X-E4 review, we appreciate the camera"s diminutive size, which is great for crafting a slimline set up with a small lens. It does get a little unbalanced if you’re using longer, telephoto lenses though, which is why for street shooting and wide-angle work, this camera is at its best. We love the old-school shutter speed dial and the fact that so many of the excellent X-mount lenses have an aperture ring. It all adds up to a great retro experience!

Leica has made a few monochrome-only cameras, but this might be the best. The Leica Q2 Monochrom is a compact camera that comes equipped with an electronic viewfinder and a high-resolution full-frame sensor with no color filter array – it’s completely incapable of capturing images in color.

A new frontier in medium format photography, the Hasselblad 907X 50C is a terrific camera in its own right but is also more than that. It can be used as a digital back for Hasselblad V-system cameras that date back to 1957, potentially breathing life into shelves of dusty, untouched cameras.

When we reviewed the Hasselblad 907X 50C, we were genuinely excited by what it represents: the first step in a hugely flexible modular system. It’s a genuine bridge between old and new, in a way that a lot of other retro cameras only pretend to be. If you crave digital medium format, a Fujifilm GFX camera offers a lot more bang for your buck, but this Hasselblad creation is something completely unique.

When we test cameras(opens in new tab), we do so both in real-world shooting scenarios and in carefully controlled lab conditions. We use our lab tests to measure resolution, dynamic range, and signal-to-noise ratio, providing a peerlessly accurate representation of what the sensor can do. We measure resolution using ISO resolution charts and track dynamic range using DxO Analyzer test equipment, which we also use for noise analysis throughout the camera"s ISO range. We test in the real world to get a sense of how a camera feels to use, how it handles, and how enjoyable it is to shoot with. This is extra important with retro cameras, where that old-school feel is just as important as the old-school looks!

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?

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.

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.

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.

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.

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