Best Camera 2025: Take your photography to the next level

So long as you have the budget to cover their cost, there are plenty of great high-end cameras available on this list, but if you’re after something with more of a mid-range price tag then look no further than the Fujifilm X-E5. What’s impressive however is that in spite of its comparatively mid-range price at £1299/$1699, the X-E5 packs an experience that’ll have even the most skilled photographers fawning at the results.

Part of what makes the X-E5 stand out so much is in how it compares to its predecessors. Even though the Fujifilm X-E4 was slightly cheaper at launch, it featured a plasticky build and somewhat middle of the road specs that did leave us wanting more, but that’s no longer the case here. The aluminium top plate feels sturdy, and there’s more of a heft here that just makes the X-E5 feel like a more confident camera overall.

Still, even with a slim and compact build, the X-E5 really delivers where it counts. With the 40.2MP sensor in tow, it’s almost impossible to take a bad picture with this camera – our reviewer found as much when taking shots around the English coast, with the X-E5 doing an amazing job of highlighting the natural beauty at hand.

If you’re more into portrait photography then you’ll be glad to know that the autofocus has been massively upgraded from the X-E4. Subject detection now also extends to birds, pets and cars, just to name a few. The new Film Simulation dial also lets you jump between Fujifilm’s various visual modes in a pinch, so you can get the exact look you’re after without much hassle.

For anyone who also needs a camera to capture their holidays in high quality, the X-E5’s video recording does a great job here. You can film at up to 6.2K resolution at 30fps, although if you have faster moving subjects then you have 4K 60fps available as an alternative. There’s just a lot to like about this camera, especially when its price tag is weighed up against the competition.

The Fujifilm X100VI is a fantastic compact camera, making it our top choice if you want an all-in-one digital camera for travel or street photography.

The X100VI has a slim, timeless design similar to the X100V that came before it and comes in both black and silver finishes. There’s a 2-way tilting LCD monitor for shooting from different angles, along with a hybrid viewfinder that lets you switch between an OLED EVF and a more traditional optical viewfinder. The Electronic Rangefinder function also lets you see a small EVF on the OVF, so you can get a magnified view of the area in focus along with the view outside of the frame lines.

On the front of the camera is a fixed 23mm f/2.0 lens equivalent to 35mm on a full frame camera. The lens is versatile and well-suited to a variety of subjects. It’s also small enough to keep this camera compact and travel-friendly, but can be paired with wide and tele conversion lenses to achieve different focal lengths.

The high-resolution 40.2-megapixel X-Trans CMOS 5 HR sensor is the same one found in the Fujifilm X-H2 and X-T5, with the same going for the latest X-Processor 5.

Subject tracking and autofocus have been given a boost, with improved Face and Eye AF compared to that on the X100V, as well as the ability to detect animals, birds, cars, motorcycles, bicycles, aeroplanes, trains, insects and drones.

The electronic shutter supports up to 20fps continuous shooting, there’s 5-axis IBIS and there are 20 Film Simulation modes to choose from to create more stylistic looks straight out of camera.

The battery is good for around 450 stills or 45 minutes of 6.2K/30p video and the camera supports F-Log, F-Log 2 and 4:2:2 10-bit video. Despite its decent video specs, the X100VI remains a stills-first camera, best suited to capturing sharp and bright photos in a compact package.

If you’re looking for a capable high-end mirrorless camera with a versatile set of skills, the Nikon Z9 is our top pick.

This camera is particularly great at handling high-speed photography, with a 120fps burst model that includes full autofocus capabilities. The camera features a 45-megapixel full-frame stacked CMOS sensor and a 492-point AF system with 10 AF-area modes and subject detection for nine categories.

Along with 45-megapixel stills, the Z9 can capture stunning 8K/60p RAW video, or sharp 4K/60p oversampled from 8K.

The camera itself is huge, though still smaller and more lightweight than its DSLR equivalent, the Nikon D6. It’s also heavy, weighing in at 1340g and weather-sealed for additional durability. One useful design feature is a second grip and shutter release button for comfortable portrait shooting. This does add to the bulk of the camera, but if you’re someone who likes to move between portrait and landscape intuitively, this is a nice touch.

If you’d prefer something with many of the same features but a smaller footprint and smaller HEIF files, the Nikon Z8 provides an easy compromise for around $1600/£1300 less. However, the Z9 carries a larger battery and that dual grip, to name a few benefits to the larger camera.

You’ll need a CFexpress or XQD card to use the Z9, which is an additional cost to consider, and it certainly isn’t a pocket-sized travel camera. However, if you’re looking for a large camera equipped to take on any shooting scenario, the Z9 is very hard to beat.

The Fujifilm X-T5 is a fantastic pro-grade camera for photography that doesn’t break the bank at just $1500/£1600. That’s less than half the price of our current favourite pick, the Nikon Z9.

The X-T5 combines retro good looks with plenty of features and the highest-resolution APS-C sensor on the market to create a camera worthy of taking over the Fujifilm X-T4.

The Fujifilm X-T5 sports a similar eye-catching design to the X-T4 with classic milled dials and an even more lightweight feel than its predecessor. Despite its retro design, the X-T5 is remarkably robust with 56 weather-sealed points to keep out dust and moisture, as well as the ability to operate in temperatures as low as -10 degrees.

Along with a huge 40-megapixel crop sensor, the Fujifilm X-T5 benefits from speedy autofocus and a rapid 15fps burst rate that opens up the camera to wildlife and sports photographers alike.

Subject detection allows the X-T5 to detect humans, eyes, animals, birds, cars, motorcycles, bicycles, planes and trains, while five-axis IBIS with seven stops of compensation ensures that camera shake is kept to a minimum even in low-light conditions and when using longer focal lengths.

Additionally, the battery life on the X-T5 allows for 140 more shots than its predecessor and the X-T5 can be charged on the go using a power bank.

When it comes to video, the Fujifilm X-T5 is capable of capturing 6.2K footage at up to 30p and at 4:2:2 10-bit internally. This means the files can capture a large amount of tonal data that will help with colour grading later down the line. There’s also support for Fujifilm’s F-Log 2 profiles internally, as well as Apple ProRes RAW when captured externally.

Coming back to image quality, we found that RAW files help a huge amount of tonal data, making it easy to recover detail in lighter and darker areas in editing. You can even push beyond the 40-megapixel sensor and capture huge 160-megapixel shots thanks to the Pixel Shift feature that combines 220 frames into a single high-quality image.

If you’re looking for a huge 40-megapixel sensor in a small package with retro flair, the Fujifilm X-T5 is hard to beat.

The Panasonic Lumix GH7 builds upon the strong legacy left by the Lumix GH6, delivering meaningful improvements to image quality, autofocus and 32-bit audio support. The GH7 is the best camera we’ve tested when it comes to video quality and pro-friendly video modes.

Physically, the GH7 is identical to GH6 that came before it, sharing the exact same design and control layout including a wide array of buttons and dials. The camera is quite bulky due to its built-in cooling system which uses a fan to enable unlimited recording times for hi-res video, though this is a worthy trade-off in our opinion.

The camera is dust- and splash-resistant and features the same small but crisp OLED viewfinder and double-hinged 3-inch touchscreen as the GH6.

The phase-detect autofocus system is much faster and more accurate than the contrast-detect AF on the GH6. There’s subject detection of humans, animals, cars, motorcycles, trains and places, with all of them focusing extremely quickly and reacquiring the subject if it moves in and out of frame.

The built-in image stabilisation is excellent, with the system offering up to 7.5 stops of correction resulting in an almost gimbal-like level of performance while walking. This combination of top-tier stabilisation and autofocus makes this camera ideal for vlogging.

The GH7 features the same 25.2-megapixel sensor found in the Panasonic G9 II, addressing the Dynamic Range Boost issue experienced by many on the GH6. Photos and videos look fantastic by Micro Four Thirds standards, going toe-to-toe with the best APS-C cameras in any situation.

The Fujifilm X-H2S is our best mirrorless camera for high-speed photography.

The Fujifilm X-H2S arrived in 2022 as one of two hybrid cameras alongside the identical-looking X-H2. However, where the X-H2 focuses primarily on resolution, the X-H2S is all about speed.

With the X-H2S, Fujifilm has opted for a more neutral look over the retro design of the X-T5. The camera has a small and lightweight body with a 3-inch vari-angle display, an OLED EVF and a monochrome LCD monitor so you can check your settings at a glance.

The X-H2S takes advantage of a new processor and image sensor combo, being the first camera powered by the new X Processor 5 and X-Trans CMOS 5 HS sensor. It also benefits from a new autofocus algorithm, which we found did a fantastic job of tracking people and vehicles alike. Then there’s the incredibly speedy 40fps burst mode which makes the X-H2S the fastest Fujifilm X series camera yet.

The camera doesn’t come equipped with the 40-megapixel sensor found on the X-H2, nor does it take advantage of that camera’s 160-megapixel Pixel Shift Multi-Shot mode. What the X-H2S does capture are wonderfully bright and sharp 26-megapixel stills. Colours are vibrant and punchy and Fujifilm’s famous film simulation modes make it easy to replicate a range of looks and styles directly in-camera.

The hybrid camera can also capture sharp 6.2K video at up to 30p or 4K at up to 120p with support for Apple ProRes 422 HQ on board, too.

The X-H2 has a 40-megapixel sensor for those looking to snap even higher-resolution images and you can get a full-frame camera like the Sony Alpha 7 IV for just a few hundred pounds more than the APS-C X-H2S.

However, for those looking for a lightweight camera with fast autofocus and an even more impressive burst mode, the X-H2S is a great choice.

The Panasonic Lumix S5II might just be Panasonic’s most widely appealing full-frame camera to date. The S5II improves upon the Panasonic S5, making it a great buy for young and aspiring content creators.

The Lumix S5II is Panasonic’s first mirrorless camera to adopt phase-detection AF, combining it with its usual contrast-based Depth-from-Defocus autofocus to create a hybrid system comparable to those used by competitors.

The camera also delivers many upgrades over the still-available Panasonic S5, including a new full-frame sensor, a new processor, upgraded image stabilisation and an integrated heat management system to support unlimited 6K and 4K video capture.

The Lumix S5II has a DSLR-style body with a tough and weatherproof magnesium alloy construction. It’s a bit bulkier than the Panasonic S5 due to the integrated cooling system, but the Panasonic S5II is still compact and lightweight for a full-frame camera.

The camera comes with a brand new 3.68-million dot OLED viewfinder, which we found to be wonderfully crisp and detailed with high contrast and a fast refresh rate giving it almost the feel of an optical viewfinder. There’s also a 3-inch monitor with a vari-angle design for versatile positioning and a range of touch controls, including the ability to change settings and set autofocus points.

In-body image stabilisation is excellent for shooting video, as is the new phase hybrid autofocus system. The AF isn’t as snappy as that found on some Sony and Canon cameras, but it’s very capable and a marked improvement over the Panasonic S5.

Photographers can shoot at up to 9fps with the mechanical shutter or 30fps with the electronic shutter and connectivity options are strong, with a full-size HDMI port, 3.5mm headphone and mic inputs and a USB-C port for charging all included.

All-in-all, the Panasonic S5II is a powerful all-rounder for anyone looking to capture full-frame video and sharp photos.

The Canon EOS R6 Mark II is one of the best all-round full-frame cameras you’ll find right now, making it a great pick for anyone considering upgrading from a smaller-sized sensor for the first time.

The R6 Mark II looks very similar to the original Canon EOS R6, sharing the same weight and dimensions as its predecessor. The design is robust with a fair amount of weather-sealing and the grip is well-proportioned to offer users a strong hold over the camera.

One slight difference between the R6 and the R6 Mark II is the control layout. The on/off button has been relocated and there’s now a dedicated switch for toggling between photo and video modes. The joystick that shifts AF points has also been redesigned and there are new Scenes and Creative Features options in the mode dial.

This camera is incredibly versatile, making it a good fit for a variety of scenes ranging from landscapes to sports and even wildlife photography.

The shutter speed is double that found on the older R6 and the Dual Pixel AF II autofocus system supports subject detection for a wider range of subjects. There’s also a Pre Shooting feature that captures the action a half second before the shutter button is fully pressed, along with upgraded Focus Bracketing and up to 8-stops of in-body image stabilisation to fight camera shake.

The camera is capable of capturing 4K video at up to 60p, along with 6K/60p Pro Res RAW footage when paired with an external device like the Atomos Ninja. Slo-mo has also been given an update, now supporting 6x slow motion capture at 180p instead of 120p, and the newer camera supports unrestricted recording times, unlike its predecessor which tapped out at 30 minutes.

Images captured by the 24-megapixel sensor are vibrant without appearing saturated and the camera handles digital noise extremely well. There’s also support for 14-bit RAW files that capture a huge amount of tonal details and make it easier to fix brighter and darker areas later down the line.

If you’re wanting to move up from the original R6, the changes might not be worth the upgrade. However, for those interested in picking up their first full-frame shooter, the Canon EOS R6 Mark II offers a versatile and good value experience all-round.

If you’re searching for a camera to snap high-resolution images, the Fujifilm GFX100 II is certainly worth considering.

The GFX100 II sits at the top of Fujifilm’s current GFX line-up with its huge 102-megapixel medium format sensor capable of snapping large, detailed images with vibrant colours and great contrast straight out of the camera.

Despite the chunky sensor, the camera remains more compact and lightweight than some similarly-priced full-frame cameras, including the Nikon Z9 and the Canon EOS R3. That said, the GFX100 II definitely isn’t dainty at 1080g without factoring in the lens. The camera has a solid build with a new Bishamon-Tex pattern adorning the grip and has space for two card slots and a variety of ports, including USB-C, HDMI Type-A and Ethernet.

Alongside the main 3.2-inch three-direction tilting touchscreen, there’s a removable EVF with a 120fps refresh rate and a third sub-LCD monitor for glancing at settings atop the camera.

When it comes to features, many of the upgrades on the GFX100 II are powered by the X-Processor 5 – the same image processor found in the Fujifilm X-H2 and X-T5. This includes the new prediction AF algorithm developed for high-speed photography and subject detection for animals, birds, cars, motorcycles, bicycles, aeroplanes, trains, insects and drones.

The camera also includes a faster burst rate of 8fps, along with an increased eight stops of five-axis image stabilisation. The 40fps Canon EOS R6 Mark II and the 120fps Nikon Z9 and Z8 both offer significantly faster burst rates but with smaller, full-frame sensors.

The battery life is solid, delivering 540 stills or around an hour of 8K/30p recording, while the video quality is incredibly sharp with true-to-life colours and good stabilisation. If you’re looking to capture very high-resolution stills and video, the Fujifilm GFX100 II is a great choice.

The Nikon Z f is a fantastic full-frame camera, combining the retro handling of a film camera with all the bells and whistles of a modern mirrorless one.

The Z f features a design that is heavily inspired by the Nikon FM2, an iconic 35mm film camera from the 1980s. This isn’t the only retro-looking camera on this list with the Fujifilm X-T5 and X100VI also making the cut. However, it is the only camera of the three to boast a large full-frame sensor.

Of course, not everything about the design is traditional. There’s a 3.2-inch vari-angle touchscreen and a bright 3.69m-dot EVF. The small grip plate on the camera makes it best suited for smaller lenses as opposed to larger zoom lenses, though you can use these too.

The camera also inherits plenty of features and functions from the Z9, Z8 and Z6 II. It has a 299-point autofocus system, impressive subject detection manual focus and 8 stops of AI-assisted Vibration Reduction allowing you to shoot handheld at slow shutter speeds. There’s also up to 30fps continuous shooting, though this camera isn’t specifically designed for sports or wildlife photography.

The image quality is excellent thanks to the same 24.5-megapixel full-frame CMOS sensor featured in the Nikon Z6 II and the Expeed 7 processor found in the flagship Z9. 4K video is supported up to 30fps or 60fps with a 1.5x crop, or 1080p at up to 120fps for slow-motion capture. Footage can be captured in the H.265/HEVC (8 bit/10 bit) and H.264/AVC (8 bit) codecs with standard profiles, while there’s also the flat N-Log profile for extended dynamic range and colour grading and HDR (HLG) video support.

If you enjoy the vintage style and tactile controls of a film camera but want to retain the benefits of a modern camera, the Nikon Z f is a wonderful choice.

There’s a good chance that if you passed someone on the street using the Sigma BF, you might mistake the camera for a completely different device altogether. The BF is so sleek, with its design that’s constructed from a single block of metal, that If you ever wondered what it might look like if Apple ever manufactured a camera, this serves as a solid proof of concept.

This camera is outrageously futuristic, and there’s definitely some appeal here for any smartphone users who have been tempted to upgrade to a dedicated camera, but haven’t been won over by the often retro-infused aesthetics of most cameras nowadays. The minimalist design keeps things simple, with the removal of a viewfinder paving the way for a nice, large display, while the scaled back inputs keep it all from ever feeling convoluted.

Just like the rest of the cameras on this list however, the Sigma BF really brings its A-game when it comes to image results. The 24.6MP stills are meant to be marvelled at, capturing plenty of colour in a way that catches your eye, without the composition ever feeling saturated. If you’re someone who prefers to dabble in portrait photography, you’ll appreciate the AI-enhanced autofocus which does a great job of recognising subjects and establishing a natural separation from the background.

The Sigma BF isn’t just concerned with stills photography however, as you can also shoot video at up to 6K. By having a strong photo and video presence in a single camera, the BF is ideal for content creators who want to have an all-in-one device that’s perfect for documenting events, without being weighed down by kit.

Another reason why the Sigma BF may feel more at home to folks who are upgrading from a smartphone is the use of onboard storage. Unlike most cameras which require you to bring SD or Micro SD cards into the mix, the BF has a sizeable 230GB of storage built-in, so you don’t have to worry about needing to bring any extra components with you when you want to head out on a shoot.

The Sony A1 II is the perfect blend of features that makes it an easy recommendation to professional photographers and content creators who need an all-in-one device that can really go the distance. It’s definitely one of the pricier options on this list but if you’re going to make full use of its feature set then it is well worth the cost of investment.

On the surface this is a 50MP 30fps full-frame mirrorless camera, and when it comes to stills photography, it’s hard to imagine that you’ve seen better results (unless you’re coming from a super high-end camera already). Every image that we were able to take with the A1 II had an unparalleled degree of crystal clear detail, which still made itself visible even when we cropped in after the fact.

The detail captured pairs well with the amount of colour that the camera is able to take in. It’s a palette that’s vibrant to the eye but not at the expense of looking unrealistic or saturated. For photographers who love to capture smaller moments in the great outdoors, you’ll get on perfectly well with what’s on offer here.

We mentioned of course that this camera has ambitions beyond stills photography and that’s because it has the capacity to shoot video footage up to 8K/30p. While you’ll never need all of that detail in the final edit, having it in the raw footage does give you more flexibility in how it can be tweaked without ever losing clarity. For smoother footage that doesn’t need to be downscaled at the final hurdle, there’s also 4K/120p recording as well.

As any vlogger loves to hear, there’s a flip-out LCD screen on the A1 II so you’ll always know whether or not you’re framed correctly, and the chassis itself is incredibly robust. This is a hefty camera, one that’s meant to withstand the elements, so you won’t have to worry about it looking worse for wear after back to back shoots.

Sony really kicked off the trend with video-first cameras for vloggers and content creators way back with the Sony ZV-1, but in the time since, Canon has managed to step up its game and take the market to new heights with the outstanding Canon EOS R50 V. For an all in one device, it’s hard to argue with what the company has put together here.

Starting with the video side of things, we were immensely impressed with the quality of footage that we were able to capture on the R50 V. With the ability to record at 4K 60p, you have the ability not just to nab crisp and detailed video in a pinch, but also faster paced recordings such as if you’re trying to capture the action at a football game. 

The LCD screen swivels out so if you do want to film to-camera content then you’re perfectly able to frame yourself correctly and eradicate any guesswork. This can also be a huge boon if you’re trying to record an interview as the last thing you’d want is for one participant to be in frame whilst the other isn’t.

If you need to capture high-resolution stills, either as for thumbnails for your videos or for social media posts, then the R50 V still has you covered. With the ability to capture 24MP images via an APS-C sized sensor, you’d have a hard time taking a bad shot with this thing. All of our sample stills came out beautifully, and the natural bokeh that forms makes this a great option for taking jaw-dropping portrait shots. 

It’s also worth noting that the in-body stabilisation is great for shooting smooth footage as you move, so you won’t have to worry about having to correct anything in the editing process. For anyone who’s been using their smartphone for content creation but is ready to take things to the next level, the Canon EOS R50 V is one of the best options out there.