digital camera without lcd screen in stock

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.

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.

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.

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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).

Before you invest in the best 4K camera for video, you"ll need to think about what type of content you want to shoot. Whether you"re looking for a camera that shoots high-quality stills as well as 4K video, or you"re a filmmaker looking for a video-focused camera, our list includes the best of both worlds.

In this guide, we generally concentrate on interchangeable lens cameras that also offer strong 4K video capture capabilities. These hybrid cameras(opens in new tab) are ideal for photographers moving into video, or filmmakers who don"t want or need dedicated cinema cameras(opens in new tab), and the expense and technical complexity that goes into them.

Below you"ll find our best picks in the rapidly growing list of hybrid stills/video cameras that can handle all types of content creation. This is where all the action is happening at the moment, as mirrorless cameras(opens in new tab) move upmarket and start to eat into the territory of professional cinema cameras – at a fraction of the price.

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 Fujifilm X-H2S(opens in new tab) is the fastest camera in the Fujifilm X-mount range and can capture 4k video at 120fps. With a chunky pro-spec body and handling, a top-mounted status panel, and a fifth-generation sensor, it offers four times the speed of its predecessor.

As far as APS-C compact cameras(opens in new tab) go, the Fujifilm X-T4(opens in new tab) is up there with the best. It offers video capabilities such as 4K at up to 60P which will give you a smooth, 2x slow-motion effect. It can also capture 10-bit video internally whereas most 4K cameras only capture 8-bit. If you connect it to an external monitor, the Fujifilm X-T4 is also capable of saving video at 10-bit 4:2:2 which means it can detect way more replicate colors more accurately than when shooting at 4:2:0.

The X-T4 is the first camera in Fujifilm"s X series to benefit from in-body stabilization which not only reduces or eliminates the need for a gimbal, it means you can shoot at a much slower shutter speed when in low-light environments.

The Sony A7 IV(opens in new tab) supersedes the A7 III(opens in new tab), it’s an altogether more advanced camera that targets a higher-level audience. Stills photographers can revel in its 33MP resolution and incredible burst mode, while videographers get a camera that leaves the previous A7 III far behind.

The Panasonic Lumis S5(opens in new tab) comes a very very close second to the Fujifilm X-T4 with its impressive video and photo capabilities. In fact, as far as full-frame cameras go, this is probably the best value you can get. It benefits from a smaller build than the Panasonic S1 but uses the same 24-megapixel CMOS sensor.

For stills photographers, it offers a high-resolution shooting mode that combines 8 shots into a 96MP image resulting in raw files that are 165Mb in size. The one downside is that it uses contrast-detect AF rather than phase-detect AF which is what the Sony A7 III(opens in new tab) and Canon EOS R6(opens in new tab) use but there are lots of features that make it one of the best 4K cameras.

The Sony ZV-E10(opens in new tab) is Sony"s latest APS-C camera release, offering 4K video, a 24.2MP sensor, and 11fps in continuous burst mode. It"s more compact than the A6000 range and unlike the Sony ZV-1(opens in new tab), it has an interchangeable lens mount with more than 60 lenses to choose from.

The Canon EOS R5 has paved the way for the future of Canon camera(opens in new tab)s. With a 45MP sensor, 20fps burst shooting, and super-fast autofocus, as far as a stills camera goes it"s hard to beat. Its video capabilities are equally impressive. Despite the bad rep it has received for overheating when recording 8K video the Canon EOS R5 is still a landmark camera.

The Sony A7C(opens in new tab) offers great practical performance, from its handy vari-angle screen to its excellent AF system. But why have we included this and not the mighty Sony A1? Because the A7C does the right job at the right price, whereas the A1 is overkill for most users.

In terms of video the Canon EOS R7(opens in new tab) is quite the powerhouse, capable of un-cropped 4K 60p, 4K 30p oversampled from 7K, and 1080p up to 120p – and Canon tells us that you can record around 60 minutes of video before overheating and record limits come into play. The camera features Canon Log-3, clean HDMI out, as well as a microphone input and headphone jack.

The Sony A7S III(opens in new tab) might not boast the 6K or 8K video resolution of some of its rivals, and with only 12.1MP it’s not a powerhouse super-stills machine either. But apart from a big and expensive cinema camera, it’s the only camera that can shoot 4K at 60p full frame with no crop, recorded internally, in 10-bit 4:2:2 with no limitations on recording time and with all the advanced AF functions still working.

If you"re primarily a filmmaker or videographer and looking for a camera strictly for video, the Blackmagic Pocket Cinema 4K(opens in new tab) is a cine camera without the high price tag. Even though it was launched back in 2018, it"s still a popular choice among filmmakers who need Pro-Res and Raw recording. It has a Micro Four Thirds sensor which means there are a huge number of Olympus, Panasonic, and third-party lenses available both brand new and secondhand.

The Canon EOS C70(opens in new tab) is Canon"s first RF-mount cinema camera offering powerful video capabilities. It features Canon"s Super35 sensor, Dual Gain Output, a massive 16 stops of dynamic range, and 4K 120fps / 2k 180fps. It also includes a game-changing touchscreen which makes accurately focusing quicker and easier. The C70 boasts the deep learning iTR AFX system from the Canon EOS-1D X Mark II which offers head detection and extremely accurate autofocus.

With the Lumix S1H(opens in new tab), Panasonic has used its considerable video experience to bring many of its high-end VariCam features to the Lumix S range. The controls, the interface, and certainly the hardware have been built for video and cinematography, and the fact it’s also a very serviceable 24MP stills camera is a bonus. It’s a truly compelling ‘bridge’ between conventional system cameras and higher-end cine gear, especially for existing Panasonic videographers.

It"s expensive, though, and specialized too, so not necessarily the first choice if you need to keep the cost down – though it does make the "regular" S1 seem like second best now. Its official Netflix accreditation is a major plus point, but its continuous AF proved pretty patchy in our tests so that, combined with this camera"s considerable size and weight, rules it out for vlogger-style run-and-gun style videography.

However, a recent upgrade to offer ProRes RAW output via HDMI to Atomos Ninja V devices adds to the credentials of the S1H as a cinema camera offering at a regular camera price point.

We test DSLR and mirrorless cameras both(opens in new tab) in real-world shooting scenarios 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.

These days, mirrorless cameras have such amazing 4K capabilities that they can really challenge professional cinema cameras. The powerful Panasonic Lumix S1H(opens in new tab) and the remarkable Panasonic Lumix S5(opens in new tab) are two cameras paving the way for 4K-ready mirrorless cameras. If you want even more resolution, the Canon EOS R5(opens in new tab) and the Sony A1(opens in new tab) are now capable of shooting in 8K video(opens in new tab) which sounds great on paper but is probably a bit overkill for most vloggers, commercial photographers, and filmmakers.

For most scenarios, a camera that shoots decent 4K video is more important than one that shoots at higher resolutions due to the massive file sizes and processing power needed to edit them. Let"s not forget that these videos also take a very long time to transfer and share!

RF2C82CC6–Vertical rear view shot of a digital camera showing a big blank LCD screen on a white background. Camera is mounted to a Gimbal Head on a tripod.

RF2C82AA2–Vertical rear view shot of a digital camera showing a big blank LCD screen on a white background. Camera is mounted to a Gimbal Head on a tripod.

RF2H0XR0W–Professional wedding photographer looking through LCD screen of digital camera composing before taking pictures. Bokeh background. Selective focus.

RF2HJ8560–Image of donuts and a glass of milk top view in a lcd Screen of a DSLR or Mirrorless camera with rim light on top, concept of food photography