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Fujifilm X-Pro3 review | Digital Camera World
Digital Camera World Verdict
The Fujifilm X-Pro3 set out with a mission: to keep photographers shooting, rather than chimping (checking your photos as you shoot them). The camera's "hidden LCD" achieves this aim, forcing you to reconsider how you approach your shots, and captures the purity and joy of taking photographs. However, by challenging you to shoot in a traditional way, at times it impedes your ability to shoot in a modern one.
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Pros
- +
Hidden LCD will stop you chimping…
- +
Beautiful Fujifilm IQ and color rendition
- +
Stylish yet seriously resilient body…
Why you can trust Digital Camera World Our 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.
You have to admire Fujifilm's daring and willingness to try something new. When reports of the Fujifilm X-Pro3's then-unnamed "hidden LCD" first hit the rumor sites, it seemed so bizarre that many people dismissed it out of hand as too outlandish to be true. However, it is true – and it's borderline brilliant in its thinking.
The Fujifilm X-Pro 3 has its LCD on 'backwards', so that the screen faces inwards instead of out. The result is that there is no temptation to compose on the back screen, and the hassle of flipping the LCD down between each shot makes you far less inclined to stop and examine every picture you take – the 'ooh ooh ooh' chimpanzee sound!
- Fujifilm X-Pro3 (Black) at Best Buy for $1,799.95
Whether or not you think it's one of the best Fujifilm cameras depends on your thinking – whether you value design, or whether you value, well, value. It does, of course, take all the X-mount Fujifilm lenses , so you could easily use it alongside a more conventional camera like the Fujifilm X-T3 .
Fujifilm's new camera has succeeded in its aim of encouraging photographers to shoot pictures instead of look at them. It embodies a purity of shooting that truly puts you – and keeps you – in the moment, with a mindset fully focused on capturing what's in front of you rather than constantly checking what you just did. By making it harder for you to check your pictures, it makes it easier to concentrate on the act of 'seeing' them in the first place.
The design and handling is based on old 'rangefinder' cameras with rectangular bodies and optical direct vision viewfinders in the corner – that are aligned with the lens but don't show the view through it.
However, this consequently presents a steep learning curve for anyone who isn't familiar with using a rangefinder style camera. Although Fujifilm's hybrid optical/electronic viewfinder does enable you to switch to a digital display too (and check your photos, if you must).
You can view photos you've taken on the rear screen but only if you open it out and fold it down.
The thing is, by inherently challenging you to shoot in more 'pure' way, the camera can impede your inclination to use the tilting screen in situations that actually benefit from it…
Specifications
Sensor: 26.1MP APS-C X-Trans CMOS 4
Image processor: X-Processor 4
AF points: 91 Intelligent Hybrid (contrast and phase detection)
ISO range: 80-51,200 (extended)
Max image size: 6,240 x 4,160
Metering modes: Multi, spot, average, center weighted
Video: 4K up to 30fps (15 mins), 1080p up to 60fps (59 mins) / 120fps (6 mins)
Viewfinder: Hybrid OVF (95% cov, x0.52 mag) and OLED EVF (100% cov, x0.66 mag, 3.69m dots)
Memory card: 2x SD/SDHC/SDXC (UHS II)
Max burst: 11fps mechanical shutter, 20fps electronic (30fps with crop)
Connectivity: Wi-Fi, Bluetooth, USB-C
Size: 140.
5 x 82.8 x 46.1mm
Weight: 497g (including battery and memory card)
Key features
As noted, the key feature of the Fujifilm X-Pro3 is its "hidden LCD", envisioned to encourage shooters to return to a philosophy of "pure photography". In many ways this is the obvious extension of the hybrid viewfinder – the key feature introduced by the Fujifilm X100 and carried over to the X-Pro line.
It's Fujifilm's way of intentionally obfuscating the act of shooting digitally, first by making the default option an optical viewfinder (which you can switch to an electronic one) and now by making the default experience a screenless one. In effect, if you pick up and use this camera as intended, you get an analog experience – except that your files are captured on a memory card instead of film.
Interestingly the fold-down screen is great for composing street photography inconspicuously – giving you an effective waist-level viewfinder, like those found on old film cameras.
This is carried through in Fujifilm's unique control layout, with aperture being a manual ring consigned to the lens and a dedicated ISO dial on the top mount. It's grudgingly digital, and the company would clearly rather you shot "properly" the way photographers did on old film cameras.
By default, the Fujifilm X-Pro3's rear LCD is hidden, discouraging you from chimping (Image credit: James Artaius / Digital Camera World)Inside, the camera uses the familiar 26.1MP X-Trans 4 / X-Processor 4 combo that debuted in the Fujifilm X-T3 , but on the outside is something very much new. The body itself remains magnesium, but the top and bottom plates are titanium – and the DR Black and DR Silver models also feature Duratect coating, which is ten times as scratch-resistant as titanium.
The X-Pro3 now focuses down to an impressive -6EV, and features in-camera HDR as well as Focus Bracketing (with a clever auto-calculation feature, to determine how many shots are required) – both at the behest of user feedback.
And no new Fujifilm flagship would be complete without a new film simulation – here we get Classic Negative, which gives the feel of everyday film such as Superia 100, with hard tonality and low saturation.
Fujifilm's files are wonderfully rich and detailed, but do feature very deep blacks (Image credit: James Artaius / Digital Camera World)Build and handling
If you've used a Fujifilm X-Pro camera before, you'll know exactly what to expect and you'll feel right at home. The X-Pro3 looks great and feels even better in the hand, giving you sure and precise control with pleasingly tactile dials that just beg to be fiddled with.
Even the regular non-DR body is supremely solidly constructed, feeling like you could hurl it down a bowling alley and knock down ten pins before happily resuming shooting, but the extra Duratect coating takes the build quality to another level. Fujifilm showed us footage of a tester attacking the camera with a Stanley knife and it came away without a scratch, although we didn't dare try that with our sample.
The one downside with the DR coatings, however, is that they are very prone to fingerprints. In much the same way as old brass cameras would pick up smears, so do the Duractect-protected X-Pro3s – while some will see it as a small price to pay for the extra durability, we can't imagine that anyone who buys a Fujifilm camera will be happy at seeing its glorious exterior besmirched by smudges.
We only gave it a test run in a mild spot of rain, but we're assured that the reliable 70-point weather sealing will keep you shooting rain or shine down to -10°C / 14°F (when paired with weather-sealed optics, obviously).
To check what you've shot or shoot at a low angle, you need to flip down the "hidden LCD" (Image credit: James Artaius / Digital Camera World)Performance
As noted in the previous section, "If you've used a Fujifilm X-Pro camera before, you'll know exactly what to expect and you'll feel right at home…" However, if you've never used a Fujifilm camera – let alone an X-Pro – then it will all feel very, very alien!
By now most photographers are aware at just how unique these cameras are, but we've had interactions with a couple of shooters lately who made the switch from other camera systems and felt unprepared for just how big a change it is to shoot on Fujifilm systems.
It's nothing that a few hours of shooting won't sort out, but you certainly shouldn't expect to pick one of these up for the first time and shoot a wedding (which you could conceivably do on most other camera systems).
The new Classic Negative film simulation, Fujifilm X-Pro3 with XF50mm f/2 R WR (1/500 sec, f/2, ISO500) (Image credit: James Artaius / Digital Camera World)The performance of the X-Pro3 can't be faulted; it produces beautiful images with rich, wonderful color rendition that look beautiful straight out of camera, but have plenty of wiggle room for post-processing work. Though we do find that Fujifilm files are quite dense on the blacks, which we actually love, but it's an exposure consideration of you like to pull a lot of detail out of the shadows as the handling is a little different to usual CaNikon images.
The 4K footage is crisp and clean, although it's a shame that recordings are limited to 15 minutes – and the lack of in-body image stabilization means that a tripod or gimbal is pretty much a must, making this less appropriate as a run-and-gun video or vlogging device (though that's really not what this camera is intended for).
No, the performance of the X-Pro3 will come as little surprise; the practice, however, is another matter. Used as intended, this camera is as close as you can get to shooting analog without feeding a roll of Portra in the back of a body. And that is indeed a beautiful experience; to be free of the urge to constantly check the back screen after every shot, and to feel the thrill of shooting on a rangefinder using an optical finder, is genuinely liberating.
Fujifilm X-Pro3 with XF 8-16mm f/2.8 at 16mm 1/140sec at f/2.8, ISO1000 (Image credit: Chris George/Digital Camera World)Fujifilm X-Pro3 with XF 60mm f/2.4 Macro 1/1600sec at f/7.1, ISO1600 (Image credit: Chris George/Digital Camera World)
Yes, the digital assists are there, but Fujifilm has done everything in its power to hide them from you. Using the EVF requires flicking a switch, looking at the LCD screen requires flipping it down – and there is almost a feeling of defeat, that you've somehow failed, if you choose to do so when shooting.
Clearly this isn't a camera designed for newcomers, but it does engage a certain feeling of elitism – that the only 'proper' way to use it is with the assists disabled. On the one hand, this does encourage you to get truly lost in the moment of shooting; on the other, though, it also discourages you from doing things like flipping down the screen to shoot at a low angle, where such facility is genuinely useful.
The result is often wonderful; that you go out shooting for the purity of shooting, and you enjoy the process and come home with great photographs. However, it also has the potential for pain; there's a risk that it will make you miss potentially magic moments because you were trying to shoot 'properly', instead of using 21st Century tools that are designed to make photography more practical and productive.
Fujifilm X-Pro3 with XF50mm f/2 R WR (1/125 sec, f/2, ISO250) (Image credit: James Artaius / Digital Camera World)Fujifilm X-Pro3 with XF 35 f/2 1/75sec at f/2.
5, ISO4000 (Image credit: Chris George/Digital Camera World)
Lab tests
Premium rangefinder-style cameras are a rarity in the digital camera world (the actual world, not just this website). We've selected the Leica M10-P and Fujifilm X-E3 as comparison cameras with which you can judge the X-Pro3's performance in our lab tests. Both sport the rangefinder look and feel, with the Leica being much more expensive than the X-Pro3 and the 'real thing', and the X-E3 substantially cheaper and smaller but with the rangefinder 'look'. Alternatively, if you can forgo the X-Pro's style, you could join the full-frame club with the Canon EOS RP, and it'd actually cost you less than the X-Pro3.
(Image credit: Future)Signal to noise ratio
Our signal to noise test measures image clarity, specifically the ratio of the actual image 'data' you want to capture, versus the image noise that you don't want, but will inevitably be visible when shooting at higher ISO sensitivities.
The higher the score at a given ISO sensitivity, the better.
Here the X-Pro3 scores very well, almost matching the full-frame Canon EOS RP. However, the far cheaper Fujifilm X-E3 scores very nearly as high as the X-Pro3, despite its X-Trans sensor being a generation older. Conversely, the far pricier Leica M10-P trails the pack, albeit not by much.
(Image credit: Future)Dynamic range
When it comes to dynamic range, Fujifilm is the brand to beat, with the X-Pro3 and X-E3 level-pegging throughout most of the sensitivity scale. The M10-P stays with them at lower sensitivities, but its dynamic range is hit much more noticeably as the ISOs increase. The EOS RP is consistently around 1-stop of dynamic range down on both Fujifilm cameras at all sensitivities.
(Image credit: Future)Resolution
With all the cameras in the 24-26MP resolution range, it's small wonder they score almost identically in our resolution test. The M10-P is absent here due to its supplied lens not being able to focus close enough to correctly frame our test chart.
Verdict
We loved our time shooting on the Fujifilm X-Pro3. In a world of modern digital photography, where most cameras feel and behave exactly the same, this is a body that is truly unique and actively challenges you to approach your craft in new (well, old) ways.
Should you choose to use this camera with all the mod cons – the electronic viewfinder with the back screen flipped down – you will have a sure and reliable shooting experience, but you will undoubtedly miss the magic that it offers (and much of the reason for the X-Pro3's existence).
Should you choose to use it as Fujifilm intends – with the "hidden LCD" firmly folded away and the hybrid viewfinder set to optical – you will have a pure and potentially profound shooting experience, but you will undoubtedly miss the mark on an image or two that you would otherwise have nailed.
Where most cameras are simply there to record photos, the X-Pro3 is about the whole experience of using unique photographic took to see and capture images.
It's not a Leica, but it has something of the Leica philosophy, where it's not about the money, it's about the quality of the experience.
But as much as we really do love what the X-Pro3 is trying to do, there remains a very cynical part inside us; you can, after all, get this very same experience by using a DSLR with a fully articulating screen (anything from a Canon EOS 600D to a 6D Mark II) and just flipping the LCD around so you can't see it, shooting solely through the optical viewfinder…
Read more:
The best Fujifilm cameras in 2019
Fujifilm X-T3 review
Fujifilm X-Pro3: Price Comparison
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Chris George has worked on Digital Camera World since its launch in 2017. He has been writing about photography, mobile phones, video making and technology for over 30 years – and has edited numerous magazines including PhotoPlus, N-Photo, Digital Camera, Video Camera, and Professional Photography.
His first serious camera was the iconic Olympus OM10, with which he won the title of Young Photographer of the Year - long before the advent of autofocus and memory cards.
Today he uses a Nikon D800, a Fujifilm X-T1, a Sony A7, and his iPhone 11 Pro.
He has written about technology for countless publications and websites including The Sunday Times Magazine, The Daily Telegraph, Dorling Kindersley, What Cellphone, T3 and Techradar.
Panasonic GX9 review | Digital Camera World
Digital Camera World Verdict
The GX9 ticks all the right boxes in terms of specifications, size and price, but despite its traditional-looking exterior and external dials, it relies heavily on its menus and touch-screen interface and can feel fiddly to set up. Its image quality, however, can hardly be criticised.
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Pros
- +
Size and build quality
- +
Tilting EVF and rear screen
- +
4K video and photo modes
Cons
- -
Display lag in burst mode
- -
Reliance on digital interface
- -
Small rear control dial
Why you can trust Digital Camera World Our 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.
Panasonic is feeling pretty bullish. The total size of the interchangeable-lens camera market might be down to 95% of last year’s figures, but that includes declining DSLR sales; Panasonic says the market for mirrorless cameras has actually increased 135% on last year. This includes 181% growth for the Panasonic Lumix G range, with the most recent G9 and GH5 producing 65% of that grown between them.
That’s the background to the launch of the new GX9 . It’s a step down from the G9, with a smaller rangefinder-style body, though it maintains the same 20.3MP sensor resolution. It’s designed as a premium street-photography camera, and it does not replace any other model, which means the similar-looking but cheaper GX80/GX85 carries on.
Read more:
• Best Panasonic cameras in 2019
• Panasonic announces GX9
• Best retro cameras
- Panasonic Lumix GX9 (Black) at Amazon for $797.
99
Features
- 20.3MP Micro Four Thirds sensor, no OLPF
- 4K video recording and 4K PHOTO modes
- 5-axis Dual I.S. combines in-body and lens I.S for 4-stop compensation
- In-camera focus stacking for 4K Post Focus mode
- 9fps continuous shooting, 6fps with continuous AF
- EVF with 2.76m dots and 90-degree tilt action
- 3in tilting, touchscreen LCD, 1.24million dots
- L. Monochrome mode
- Grain effect
- 260/250-shot (LCD/EVF) battery life (900 shots with Power Save Mode)
- Wi-Fi and Bluetooth LE
- Silent mode
Inside the rectangular-shaped body is a 20.3MP Micro Four Thirds sensor with no optical low-pass filter, together with a 5-axis in-body image stabilisation system. This works alongside Panasonic’s image-stabilised lenses to provide a hybrid Dual I.S. system.
Panasonic says the new camera has improvements both in resolution and in dynamic range over previous models, as well as improved tracking autofocus using 3D measurement of the entire image.
The AF sensitivity has been improved too, with the previously seen Starlight AF feature for shooting in low light included.
Read more: Panasonic G9 review
The autofocus system makes use of Panasonic’s DFD (Depth From Defocus) technology, although it's based on contrast-detect AF, rather than on a hybrid system that combines contrast- and phase-detect AF. Even so, it’s fast and effective, and the lack of phase-detect AF points doesn’t seem to harm its performance at all.
Externally, Panasonic has given the electronic viewfinder a 90-degree tilt mechanism, and the touch-sensitive rear display tilts up and down by 80 degrees and 45 degrees respectively. There are two control dials – one on the top plate to the left of the shutter-release button and one inset into the rear where your thumb rests – and stacked mode and exposure compensation dials.
There’s also a new L.Monochrome Photo Style, plus an optional Grain effect for adding a film look to your photos.
The new camera also gets Bluetooth and a built-in flash, together with the option of using a separate grip. Naturally, the GX9 also shoots 4K video, but only up to 30fps; it’s more of an all-rounder than a video specialist like the GH5 or GH5S.
Panasonic continues to develop its 4K PHOTO modes, and these now include Auto Marking, where key moments in your 4K bursts are tagged automatically for easy navigation later. There's also a new in-camera focus stacking option for merging post-focus frames into a single shot with full near-to-far depth of field. It's possible to extract 8MP frames from footage, and also select key frames in a 4K burst before merging them into a single multiple-exposure image.
In the UK, the camera is set to go on sale from 12 March, with a body-only price of £699. It will also be sold in a variety of lens bundles, with the Lumix G VARIO 12-32mm f/3.5-5.6 ASPH. MEGA OIS, the Lumix G VARIO 12-60mm f/3.5-5.6 ASPH. POWER OIS and Panasonic 14-42 mm f/3.
5-5.6 LUMIX G VARIO II OIS ASPH optics.
The Micro Four Thirds sensor used by Panasonic is significantly smaller than the APS-C sensors used in most mirrorless cameras, so you might expect the GX9’s body to be correspondingly smaller. And yet, it isn’t; it’s actually about the same size as the Sony A6500 and Fujifilm X-T20 .
On the plus side, this does make it substantial enough to get a proper grip, and one of the key advantages of the Micro Four Thirds system is not so much that the bodies are smaller but that the lenses are.
If you go for the GX9 and 12-32mm f/3.5-5.6 ASPH. MEGA OIS lens combination, you end up with quite a compact package for travel and street photography. This lens does need to be physically twisted to extend it before it’s ready for use, but after that its mechanical zoom action is much more positive than the zoom-by-wire Olympus M.ZUIKO DIGITAL ED 14-42mm f/3.5-5.6 EZ Pancake (for those still deciding between brands), and the autofocus is quick and positive.
The 12-32mm lens has an equivalent focal range of 24-64mm in 35mm terms, which is on the short side, so for better image quality and/or zoom range you might want to look at the aforementioned 12-60mm or 14-42mm kit lenses.
Of course, the appeal of rangefinder-style cameras like the GX9 is their size, so larger zooms will tend to undermine that appeal; the GX9 is perhaps better suited to Panasonic’s smaller zooms or prime lenses. It will work with any of them, but it’s a question of balance.
The external controls work well for the most part. The exposure compensation dial has a good, firm feel, and you can spin it with your thumb. The main mode dial, stacked directly above it, is smaller and even firmer, so that’s not quite so easy to budge. Unless you’ve got a massively powerful thumb, you’ll probably need to release your grip and turn it with your thumb and forefinger.
The top-mounted control dial feels positive, offering just the right amount of resistance and feedback when you turn it with your forefinger.
The rear control dial, which falls under you right thumb, is slightly less accessible and a tad more vague; it has a click action too, so you might inadvertently press it while you’re trying to get a proper grip with your thumb.
The camera’s minor functions are accessed via buttons on the rear and the four-way D-pad. We say ‘minor’, but they’re actually quite important. They include the ISO setting, white balance, drive mode and focus mode. Here, the camera’s firm and positive exterior controls give way to the on-screen interface, with its menus and touchscreen controls. Adjustments now become a little more complicated, and it can take a while to navigate to some of the more esoteric options provided by the camera. Despite all the external controls, you’re also going to have to spend a lot of time swiping and tapping on the screen.
You can save yourself a little time by assigning your favourite features to one of three different Fn buttons, and there's also a physical focus lever on the back of the camera with settings for AF-S/AF-F, AF-C and Manual focus modes.
To change drive modes, though, you have to press the down button on the four-way controller on the back. It’s also the only way to access Panasonic’s clever 4K PHOTO modes.
Overall, the GX9 feels substantial and well-made, and it's easy to get good purchase. The size of the body, however, does limit the number and size of the external controls, which results in a camera that's chunky and satisfying to use but occasionally fiddly to adjust.
Panasonic’s Depth From Defocus (DFD) autofocus system is very fast and feels as quick as the hybrid phase- and contrast-detect AF systems used by rival makers – and for single-shot photography it works really well.
The Face/Eye detection mode identifies features almost instantly, while the Tracking mode, once locked on, follows a subject around the frame quickly and reliably. There's also a 49-Area mode that just picks a focus point for you, while the Custom Multi mode lets you pick a focus zone for the camera to use. With 1-area and Pinpoint modes on top of this, you've got all the accuracy and control you could need.
Unfortunately, it's a different story when set to continuous shooting. We found the Tracking mode quickly lost focus with any subject movement and framing changes, and while the Custom Multi mode did maintain focus pretty well with changing subject distances, it didn’t always look that way in the viewfinder. A combination of screen blackout and display lag meant that it was hard to judge focus while shooting, and we had to trust the AF to get it right (which it mostly did). This is something we noticed with the Panasonic G9, too . Our GX9 was a production model with the latest firmware, but still an early version.
In fairness, the GX9 is not billed as a sports specialist. It can shoot at a decent frame rate when required, but if this is your main area of interest you’d be better off with a camera designed for the job, not least because the GX9’s rectangular shape is better suited to more compact zoom and prime lenses rather than long and heavy telephoto types.
Image quality, however, is very good. It’s true that Panasonic’s Micro Four Thirds sensor is smaller than the APS-C sensors used by many mirrorless rivals, but you wouldn’t know it from looking at the pictures. The difference in sensor size only appears at higher ISO settings, where the Panasonic’s images start to lose detail and smooth over more quickly than those captured with larger sensors, but you would need to be shooting at ISO 3200 and above before this became particularly apparent.
Click the top-right-hand corner to enlarge the image
At low to medium ISO settings, the GX9’s images are sharp, saturated and detailed, with little noise. We tested it with Panasonic’s retracting Lumix G VARIO 12-32mm f/3.5-5.6 ASPH. MEGA OIS –a capable performer, but probably not Panasonic’s best – and still got very good results. Panasonic bakes optical corrections into both its JPEGs and Raw files image files, so if there's any curvilinear distortion or chromatic aberration, you’ll almost certainly never see it.
Dynamic range is very good too – another thing smaller sensors are not supposed to be good at – and both the exposure and white balance systems appeared to perform perfectly during our time with the camera. Now and again you will have to apply exposure compensation to cope with unusually dark or light subjects, or high-contrast lighting where you want to base the exposure on a particular area, but that’s the same with any camera.
Click the top-right-hand corner to enlarge the image
The GX9’s ability to cope with artificial indoor lighting is especially impressive. We took a series of handheld shots in a small museum with mixed lighting, and the camera produced consistently natural-looking colours.
The L.Monochrome mode produces nice results too, with a little more depth than the regular monochrome mode. The new grain effect does a convincing job of simulating film grain, but it’s a little too strong on its High setting.
While it looks fine on the camera’s LCD, it’s a little heavy at normal viewing sizes and, in the L.Monochrome mode, seems to create some faint vertical banding.
Colour error
We pitched the GX9 against three close rivals – the Canon EOS M5, Fujifilm X-T20 and Olympus PEN-F – and found that all four showed moderate colour error, with the PEN-F the worst.
Signal-to-noise ratio
The GX9 and Fujifilm X-T20 were very close for noise performance, with the Olympus and the Canon a little way behind. Panasonic does seem to have nailed noise control.
Dynamic range
Again, the Panasonic GX9 takes the lead, narrowly beating the X-T20 for dynamic range. The Olympus PEN-F and especially the Canon EOS M5 are a little disappointing here.
Early verdict
The GX9 is pretty convincing as a portable and responsive camera, and its autofocus system is fast and effective for everyday still images.
It’s less convincing in its continuous shooting mode, but then we have the G9 for that kind of photography.
Read more: Panasonic G9 review
The GX9 certainly appears to tick all the right boxes. It has a relatively compact, rectangular, rangefinder-style body, and it feels solid and substantial – quite heavy, in fact – in your hands. The electronic viewfinder is very good, as is the tilting screen on the rear.
Even so, despite some reassuringly solid external controls, the GX9 still heavily relies on its digital interface. This is where it becomes obvious just how much this camera can do, but also how much patience and dexterity you might need to get the most from it.
You do get a lot for your money in terms of build quality, performance, features and image quality, but somehow the GX9 lacks that magical X-factor that makes a camera desirable. It’s extremely efficient but it doesn’t have the physical appeal of, for example, a typical Fujifilm or Olympus model.
Read more: The best mirrorless cameras
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Rod is an independent photography journalist and editor, and a long-standing Digital Camera World contributor, having previously worked as DCW's Group Reviews editor. Before that he has been technique editor on N-Photo, Head of Testing for the photography division and Camera Channel editor on TechRadar, as well as contributing to many other publications. He has been writing about photography technique, photo editing and digital cameras since they first appeared, and before that began his career writing about film photography.
He has used and reviewed practically every interchangeable lens camera launched in the past 20 years, from entry-level DSLRs to medium format cameras, together with lenses, tripods, gimbals, light meters, camera bags and more. Rod has his own camera gear blog at fotovolo.com but also writes about photo-editing applications and techniques at lifeafterphotoshop.com
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Choosing a mirrorless camera for your summer trip / Buyer's guide
Publication date: 07/27/2016
Going for new experiences? It will be useful to take care to save them in the best possible way. A mirrorless camera will do the job just fine. It's compact and lightweight, with a large sensor, interchangeable lenses, fast autofocus, and reliable electronics so you can capture every vivid scene with confidence. Some cameras look like vintage ones, others, on the contrary, stand out with ultra-modern design and have dust and moisture protection, and still others are workhorses. In this guide, we have collected the most interesting mirrorless models of the summer.
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Canon EOS M3
The Canon EOS M3 is a powerful photo tool in a compact body. The resolution of the APS-C sensor is 24 MP with a maximum ISO of 25,600 units. If you already have lenses from Canon SLR cameras, you can try mounting them on this mirrorless camera using an inexpensive adapter. Control via a 3-inch swivel touch screen makes shooting as comfortable as possible. At the same time, the camera is very friendly: a creative assistant is installed in it, which will set the optimal parameters for a specific plot. You can download another electronic assistant from Canon to your smartphone, which will tell you about the capabilities of the camera and teach you how to work with it. At the service of advanced photographers is the classic manual control, which is also available when shooting videos. The flash mount and mic input let you expand the creative possibilities of the Canon EOS M3 with optional accessories. nine0077
Olympus OM-D E-M10 Mark II
In the early 1970s, Olympus created the very compact and practical Olympus OM SLR camera, which subsequently became wildly popular.
The Olympus OM-D E-M10 Mark II is the most affordable of the series. It stands out for its retro design and meets modern technological standards. There's a 5-axis Image Stabilizer, a large swivel LCD screen, a bright electronic viewfinder and a fast focusing system. A wide range of fine-tuning options and convenient manual control give real pleasure in the process of shooting. By the way, this system has 40 specially designed lenses to help you push your creative limits. For lovers of exclusive things, Olympus periodically releases limited editions of OM-D cameras. nine0077
Olympus PEN-F
When it comes to a legend like PEN-F, you can't make mistakes. The design of this camera is timeless. The camera inspires new shots with its very appearance. There is a special disk with a choice of style modes. Note the whole series of limited accessories. With them, you can not only think through your image to the smallest detail, but also make photography more enjoyable and convenient.
There is no doubt about the strength of the technical equipment of the camera. All the latest developments of the company are implemented in this compact masterpiece of photographic equipment. nine0077
Sony α7R II
The Sony α7 lineup is a large lineup of full-frame mirrorless cameras, with more advanced cameras being added year after year. The Sony α7 cameras are larger than conventional mirrorless cameras and feature full-frame lenses. However, they are much smaller and lighter than their full-frame DSLR counterparts. According to the manufacturer, Sony α7R II brings photo quality to a new level. This model has a 42-megapixel sensor with backlight technology and a maximum value of ISO 102400, it is possible to record 14-bit RAW files, and 4K video recording is carried out with full data readout without pixel binning. The main thing when choosing a Sony α7R II is not to forget to buy a few fast memory cards to fully realize its functionality. nine0077
Sony A6000
The Sony A6000 is a great DSLR replacement if you want to get the most out of your budget.
With 179 focus points and shooting speeds up to 11fps, the Sony A6000 is perfect for action scenes. You will like it if you like everything modern. The Sony A6000 has the ability to download applications from the Sony store with creative ideas, firmware updates and tutorials. A 24-megapixel APS-C sensor, Full HD support up to 60 frames per second, a tilting LCD screen and an electronic viewfinder make this camera a true workhorse. nine0077
Panasonic Lumix DMC-GX8
The Panasonic Lumix DMC-GX8 has gained a lot of popularity among travel photographers over the past few years due to its compact size, high image quality, and a wide range of optics from Leica, Panasonic and Olympus. Convenient control combined with great flexibility allows you to customize the camera for a variety of needs. The tilting LCD screen and bright electronic viewfinder add to the comfort of shooting from various angles. By the way, at the same price, Panasonic Lumix DMC-GX8 has more megapixels than Olympus cameras.
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Panasonic Lumix DMC-Gh5
If you take not only photos but also videos while traveling, then pay attention to the Panasonic Lumix DMC-Gh5. With a comfortable classic DSLR design, this mirrorless camera records 4K video at a maximum resolution of 4K pixels and has a microphone input as well as a headphone input. For it, as for other Panasonic mirrorless cameras, a wide fleet of optics from different manufacturers is available. Housing Lumix DMC-Gh5 has dust and moisture protection. nine0077
Fujifilm X-T1
The retro design and analog controls make the Fujifilm X-T1 look like it's from the 70s. However, it has a fast autofocus, one of the best electronic viewfinders and high shooting speed. The body of the camera is dust and moisture resistant. In addition to high-quality optics and unique color reproduction, there are simulation modes for the company's famous photographic emulsions. Despite the release of the updated Fujifilm XT-2 model, the Fujifilm XT-1 camera will not lose its relevance for a long time.
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Nikon 1 V3
“Little Ones” is how users affectionately call Nikon system cameras with a collection of their own lenses. By the way, Nikkor lenses can be mounted on them through an adapter. The Nikon 1V3 model is one of the most advanced. The camera has a hybrid autofocus system with 171 points and a shooting speed of up to 20 frames per second, so you will definitely not miss the decisive moment. Note the minimalistic, beginner-friendly design. It does not have a large number of buttons, and the control is carried out through a rotary touch screen. The capabilities of the Nikon 1V3 can be expanded by purchasing an external electronic viewfinder or an additional grip for a more comfortable grip. nine0077
How to choose a mirrorless camera for travel
When we choose a country, city or place we want to visit, we first of all are interested in what attracts us most, and only then we compare the chosen route with our capabilities. When choosing a mirrorless camera, you should do the same.
