Vlogging Guide | Best Cameras For Vloggers 2024

The Ultimate Vlogging Guide | Best Cameras For Vloggers 2024

Welcome to Fixation’s guide to the best cameras for vloggers! If you’re looking to start vlogging, one of the first things to figure out is what camera you’re going to use. You can of course use a smartphone for vlogging – and many people do. However, a dedicated vlogging camera confers all sorts of advantages, both in terms of the quality of your footage and the ergonomics of your setup.

Best Cameras For Vloggers 2024
Best Cameras For Vloggers 2024

At Fixation, we repair, sell and lend out cameras of all different types and sizes, including many that are perfectly suited to vlogging. For this guide, our team of technical experts has picked out the cameras we feel offer vloggers the best value for money, providing a demonstrable advantage over shooting on a phone. 

Whether it’s a larger sensor for better low-light performance, an interchangeable lens mount for shooting flexibility or any of the other standout features of the cameras on this list, any of these models will form the backbone of a brilliant vlogging setup. So, without further ado, let’s get into the best vlogging camera to buy, starting with a fantastic option for beginners…

 

Best vlogging camera for beginners: Canon PowerShot V10

Canon PowerShot V10
Canon PowerShot V10

Key specs:

  • Compact camera
  • 20MP 1-inch sensor
  • 19mm (equivalent) f/2.8 lens
  • 4K 30p, Full HD 60p
  • Ports: Micro HDMI, 3.5mm mic input, USB-C

We’ve been really impressed by the pocketable Canon PowerShot V10 since its release in 2023, and if you’re looking for your first camera for YouTube, it’s an excellent place to start. It’s a compact camera, but as you may have already clocked, it doesn’t look like a typical example of the genre. Its slim, oblong body lacks a handgrip, there’s no top-plate loaded with buttons and dials. What’s going on?

The answer is that Canon has created a vlogging camera by going back to the drawing board and thinking about what vloggers and YouTubers actually need. And so, while the end result could use some refinement in places, it’s much more usable for quick, day-to-day vlogging than many cameras that cost considerably more. The slim body and flip-around screen make it perfect for filming yourself one-handed, while the built-in stand means you can set it up on a desk or other flat surface within seconds. The 19mm equivalent lens gives you a nice, wide perspective that’s exceedingly useful for general-purpose filming.

Video-wise, the PowerShot V10 shoots at a maximum resolution of 4K 30p, which is pretty standard for cameras at this level. Supposedly it can record continuously for up to an hour, though if you’re in a warm environment you may find yourself running into overheating issues before that time limit is up. There’s no optical stabilisation, but there is a digital stabilisation system available for shooting on the move. 

The PowerShot V10 isn’t perfect, but it’s a hugely promising concept, and the ergonomics of it make a lot more sense for the beginner vlogger than a lot of more conventionally designed cameras. For a simple, affordable and easy-to-use vlogging camera, this is definitely recommended. 

 

Best vlogging camera with a zoom lens: Sony ZV-1 II

Sony ZV-1 II
Sony ZV-1 II

Key specs:

  • Compact camera
  • 20MP 1-inch sensor
  • 18-50mm (equivalent) f/1.8-4.0 lens
  • 4K 30p, Full HD 100/120p
  • Ports: Micro HDMI, 3.5mm mic input, USB-C

Sony’s ‘ZV’ cameras represent the manufacturer’s dedicated vlogging range. While Sony E-mount mirrorless and compact cameras have been excellent options for video for a very long time now, the more recently introduced ZV models are specifically tailored to vloggers and YouTubers – offering extensive, flexible video functionality for a comparatively affordable price.

The Sony ZV-1 II is a compact camera equipped with an 18-50mm equivalent zoom lens, giving you a solid level of shooting flexibility. At the wide end of the lens, there’s an f/1.8 maximum aperture – this is especially useful for shooting with a shallow depth of field to throw out the background and keep the viewer’s focus on your main subject. Also, while the ZV-1 II has a 3.5mm socket to attach an external mic, its built-in three-capsule mic does a credible job, and will definitely be good enough for anyone whose beginning vlogging budget doesn’t have room for a mic. 

With a slim body and a rubberised grip, the Sony ZV-1 II fits nicely in the hand and is easy to use. It also has a much better touchscreen interface than the original ZV-1, with quick access to key features and shooting menus. Even if you’re never used a camera before, the ZV-1 II is relatively easy to get to grips with, which counts for a lot in a beginner vlogging model.

There’s no optical stabilisation on the ZV-1 II, though Sony’s ‘Active’ electronic stabilisation is available to help smooth out footage a little. A better solution, if your budget allows, might be to pick up Sony’s GP-VPT2BT wireless shooting grip, which provides additional stability.

 

Best mirrorless vlogging camera: Nikon Z30

Nikon Z30
Nikon Z30

Key specs:

  • Mirrorless camera
  • 20.9MP APS-C sensor
  • Nikon Z lens mount (DX)
  • 4K 30p, Full HD 120p
  • Ports: Micro HDMI, 3.5mm mic input, USB-C

The clever little Nikon Z30 is the vlogging-oriented member of Nikon’s larger Z-mount mirrorless family. If you have an interest in vlogging on Nikon kit, it’s unquestionably the best camera to start with. With a flip-around screen, sensibly laid-out controls, a pocketable body and an APS-C sensor that offers consistently excellent video quality, it’ll do everything you need and more. 

The Nikon Z mount on the Z30 gives you access to some absolutely sublime lenses. The Z30 also has a stereo microphone built into its top plate for decent audio straight out of camera – though serious vloggers will probably want to spring for an external mic and plug it in via the 3.5mm mic input. It shoots 4K video at up to 30p using the full width of its sensor – even the Sony ZV-E10, probably this camera’s closest rival, has to crop in a little to do the same.

The buttons and controls on the camera are customisable, meaning a little investment of time setting them up can allow you to get the camera working just the way you want it to. You also have plenty of internal shooting options too, with Nikon’s ‘Flat’ profile providing low contrast and low saturation in order to maximise flexibility when you come to colour grade your footage. It’s essentially a simpler alternative to Sony’s Log profiles, and as such may be quite tempting for vloggers who are starting to dip their toes into colour grading.

Overall, the Nikon Z30 is a well-priced and capable mirrorless camera that’s been cleverly designed to appeal to vloggers. It’s a great first step into one of the most exciting mirrorless systems on the market right now. 

 

Best action camera for vlogging: GoPro Hero 12 Black

GoPro Hero 12 Black
GoPro Hero 12 Black

Key specs:

  • Action camera
  • 27MP 1/1.9-inch sensor
  • Fixed lens with 156-degree field of view
  • 5.3K 60p, 4K 120p
  • Ports: USB-C. With Media Mod upgrade: micro HDMI, 3.5 mic input, USB-C

If you’re the adventurous type, someone who’s going to be taking your vlogging into tricky conditions, then an action camera could well be the best buy. With superb video quality and a fixed wide-angle lens, action cameras make for natural vlogging tools even when you set aside their tough and waterproof credentials. And for the best of the best in action cameras right now, you really can’t go wrong with the GoPro Hero 12 Black.

It’s likely you know the basics of what a GoPro is. The essential pitch of a little waterproof cube that shoots great-looking video has remained pretty much unchanged since the first Hero model hit the market, but has been refined and improved with every iteration. This means that the Hero 12 benefits from all the upgrades that have come before, whether it’s the class-leading HyperSmooth stabilisation system, or the 27MP 8:7 sensor that makes it easy to capture vertically oriented footage – perfect for TikTok – as well as classic 16:9.

The Hero 12 is a fairly iterative upgrade. The main focus here has been on improving the battery life, as well as opening up accessory options with additions like Bluetooth mic support and a 1/4″ tripod thread – great for vloggers as it allows the use of mini tripods like Joby’s flexible Gorillapods. 

Otherwise, down the line it’s another camera showcasing everything GoPro does best – great-looking video in a waterproof, shockproof, everything-proof body. 

 

Best mid-range vlogging camera: Fujifilm X-S20

Fujifilm X-S20
Fujifilm X-S20

Key specs:

  • Mirrorless camera
  • 26.1MP Fujifilm X-Trans IV APS-C sensor
  • Fujifilm X lens mount
  • 6.2K 30p, 4K 60p, Full HD 240p
  • Ports: Micro HDMI, 3.5mm mic input, 3.5mm headphone output, USB-C

The Fujifilm X-S20 is one of the best hybrid cameras ever made, and is a superb mid-range choice for the vlogger or YouTuber. Pairing a 26.1MP APS-C sensor with the Fujifilm X lens mount, the X-S20 makes it relatively easy to produce superb-looking, dynamic footage. At maximum resolution, it captures 6.2K video using the full width of its sensor, and with a broad range of presets, shooting modes and film simulation looks, it provides a lot of welcome shortcuts to making your shots look good.

As it’s a relatively recent camera, the X-S20 benefits from up-to-the-minute features. Its in-built stabilisation system is good for up to seven stops of effective compensation, providing you with a super-smooth shooting platform even while running and gunning. It also has subject-recognition autofocus at its disposal, and we came away especially impressed with the battery life of the camera, which has received a good bump from the previous iteration (the X-S10, still worth a look, especially second-hand).

Thanks to Fujifilm’s hard work expanding the X-mount lens ecosystem, users of the X-S20 will have one of the richest lens catalogues in the business to assemble their setup from. The camera is quite portable and balances well – though it’s worth being aware that it isn’t weather-sealed. 

 

Best full-frame vlogging camera: Panasonic Lumix S5 II

Panasonic Lumix S5 II
Panasonic Lumix S5 II

Key specs:

  • Mirrorless camera
  • 24.2MP full-frame sensor
  • L lens mount
  • 6K 30p, 4K 60p, Full HD 180p
  • Ports: HDMI, 3.5mm mic input, USB-C

If you have the budget and inclination to shoot on full-frame, you’ll be rewarded with handsome, crisp imagery, with improved dynamic range compared to crop-sensor cameras. It’s also easier to shoot at vlog-friendly wide-angles on a full-frame camera, as there isn’t the crop factor incurred by smaller sensor sizes. A 20mm lens that’s mounted to a full-frame camera behaves like a 20mm lens, allowing you to fit more into the frame. If you want a cost-effective full-frame vlogging solution, our suggestion is the Panasonic Lumix S5 II.

Released in 2022, the Panasonic Lumix S5 II brought something to the table that Lumix shooters had been desiring for some time – phase-detection autofocus. Finally kissing goodbye to the undeniably dated contrast-based ‘Depth from Defocus’ system, Panasonic gave the S5 II glorious phase-detection autofocus in stills and video, and it’s just so much better.

The S5 II records video at up to 6K resolution, using the full luxurious width of its sensor. This means you have enormous flexibility when it comes to cropping your footage for different formats and aspect ratio – or for cropping losslessly into a shot to provide some visual variation in the edit. There’s also a built-in cooling system that means recording times are essentially unlimited in all modes – it adds a bit of bulk to the camera, but it’s worth it in our book. The body itself is dust-resistant and splash-resistant. You wouldn’t want to dunk it in seawater, but it’ll certainly survive a rainshower.

Panasonic’s Lumix S system uses the L lens mount, developed in conjunction with Sigma and Leica. This means users of the S5 II are absolutely spoiled when it comes to lens choice, with some seriously standout lenses available from some of the best in the business.

 

Essential accessories for vloggers

Essential accessories for vloggers
Essential accessories for vloggers

If you’re looking for the kit you need to start vlogging, a lot of accessories will be pushed on you, billed as the things that will be the difference between success and failure for your channel. Some will be essential, some will be handy in certain circumstances, and some will be things you can almost certainly do without.

For this section of the guide, we’re going to recommend a few accessories we think are essential (or close-to), helping you build up your setup without having to spend a fortune. Remember, of course, that everyone is different, and there is no product that is universally suitable to every single vlogger on the planet. With that said, here are our top recommendations…

 

External microphone

Rode VideoMic Go II
Rode VideoMic Go II

All the cameras we’ve listed in this guide offer the option to connect an external microphone – most commonly via a 3.5mm input connection, though you can also often use Bluetooth. A dedicated microphone is the single best way to improve the audio quality of your vlogs at a stroke, and this is vital. Bad audio quality will kill a viewer’s interest in your video exceptionally quickly.

We recommend: Rode VideoMic Go II. Cheap, straightforward and easy to use, this plug-and-play microphone will make a dramatic difference to your audio quality.

 

Stabilising gimbal

DJI RS 3 Mini
DJI RS 3 Mini

Yes, many cameras have better and better stabilisation systems these days. However, if you’re engaging in run-and-gun filming, you really can’t beat a stabilising gimbal for reliably getting usable shots while you’re moving with the camera. These clever devices allow you to capture Steadicam-level footage with one hand, and many will also offer loads of handy extra functions, such as the option to quickly swap to vertical orientation. 

They’re not essential for everyone of course – if you’re doing all your shooting in the studio, there’s no need to bother. But if you’re spending time on location, or if you want to introduce dynamic, hand-held camera movement to your vlogs, a gimbal should be high on your priority list.

We recommend: DJI RS 3 Mini. Designed for smaller interchangeable-lens cameras, this portable gimbal delivers exceptional stabilisation. If you’re using a larger full-frame camera or longer lenses, consider upgrading to the full-size RS 3.

 

Tripod or stand

Manfrotto Element MII Aluminium Tripod
Manfrotto Element MII Aluminium Tripod

While you probably don’t need a full-size photographer’s tripod, getting hold of some way to keep your camera stable, level and freestanding is pretty much a no-brainer for a vlogger. A travel tripod will work well. Many vloggers like the flexible Joby GorillaPod for its versatility and ability to be set up pretty much anywhere. This is all true, though for pure stability, you may find you prefer a more traditional tripod. 

We recommend: Manfrotto Element MII Aluminium Tripod. A simple, inexpensive tripod from one of the most reliable manufacturers in the photo accessory business. This versatile camera support provides excellent stability, a generous working height and long-lasting durability.

 

LED light

Lume Cube Panel Mini
Lume Cube Panel Mini

Video lighting is an immensely complex discipline once you really start looking into it. However, for most vlogging purposes, all you really need is a dependable, adjustable LED light that can give you a quick burst of illumination at the points where you need it. This doesn’t have to cost the earth, and plenty of manufacturers have jumped at the chance to offer affordable options in this space.

We recommend: Lume Cube Panel Mini. This panel is available at a tempting price, especially compared to market leaders like Rotolight, and it offers good ranges of brightness and colour temperature settings. Bear in mind you may also need to get a stand to mount the light on, so that you can position it wherever you need it.

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Terms & Conditions

Terms & Conditions of Repairs & Services

In any communication please quote the job reference number.

Conditions of repair

These conditions apply to any agreement between Fixation and any customer (individual or organisation) entrusting us with goods for evaluation or adjustment.

Fixation is a trading name of Warehouse Express Limited, 13 Frensham Road, Norwich. NR3 2BT. Company registration number 03366976. The Fixation London workshop and showroom is located at 250 Kennington Lane, London, SE11 5RD. The Fixation Manchester repair counter is located within Wex Photo Video Unit 4, Downing Street Ind Est. Charlton Place, Manchester M12 6HH

Important Note: All repairs/services are thoroughly checked before release but it is expected that a final check of the equipment be made by the user. Customers are asked to check that their camera has been restored to their preferred settings before use. Fixation cannot accept any liability for consequential loss due to failure of repair or delayed return.

Manufacturer’s Warranty

Any claim under the manufacturer’s warranty must meet the terms and conditions set out by the maker.Claims must be accompanied by the appropriate paperwork.As a minimum this means an acceptable proof of purchase; an applicable warranty certificate may also be required.Failure to provide the correct documentation may result in a chargeable repair.Be aware that warranties on digital products may be regional and therefore only valid in the designated area in which the manufacturer intended it to be sold.Grey imports and overseas purchases may therefore be exempt.

A warranty claim will also be refused if examination shows the cause is anything other than a manufacturing fault, including but not necessarily limited to:

  • Improper use, damage or defects caused by incorrect storage, impact, excessive shock, liquid damage or damage by foreign substances.
  • Repairs, modifications, tampering carried out by an unauthorised third party
  • Damage caused by incorrect voltage input
  • Use of spare parts or software not compatible with the product.
  • Damage in transit.

Estimates

The estimates we provide are based on examination and diagnostic tools. Estimates may be subject to later revision if the internal condition of the equipment is not as anticipated (e.g. unforeseen damage or third party tampering), or if on further examination we find additional work is required.In these circumstances we will provide a re-estimate of the work and costs.

Our estimates should be suitable for insurance purposes, we would advise contacting your insurer for their policies and claim procedures.If additional letters are required further charges may apply.

Estimates are valid for 30 days from the date of the estimate.

Refusals

No refusal charge is incurred, but Fixation has insufficient storage space to hold items indefinitely and the return of the goods must be arranged within 4 weeks.  Applicable arrangements include collection, payment of dispatch charge (£10 + vat for standard, overnight delivery by courier) or authorisation to dispose of the goods on site.  In the absence of such arrangements, a recorded letter or email will be sent and, in accordance with the Disposal of Uncollected Goods Act, the uncollected item will be disposed of after 3 months.  We may charge storage fees if extended storage is requested. Fixation cannot accept any liabilities for disposed items after the 3 months notification.

Sensor cleaning

While performing the sensor cleaning, Fixation may change your camera settings to adjust quality and resolution to ensure cleaning has been successful. Fixation advises customers to back-up any data before sending the equipment to our workshop. Please note that Fixation does not accept any responsibility for any damages or loss of data. Customers are responsible to ensure that the camera settings are set after the cleaning service.

Due to the nature of the equipment usage, and the variability of storage conditions from each customer, that may increase the chance of fungus, debris, and dust in the equipment, no warranty is provided for sensor cleaning.

FoCal versus focus calibration

We advise customers to look at our REIKAN FOCAL TEST & ADJUSTMENT page to understand the difference between both services.  Please note Fixation may change your camera settings to adjust and calibrate your equipment. Fixation advises customers to back-up any data before sending the equipment to our workshop. Please note that Fixation does not accept any responsibility for any damages or loss of data.

Firmware updates

If you request a firmware upgrade or if we need to update the firmware during the service, please note that the updates may change the settings of your equipment and turn it back to the original setting. Fixation advises customers to do a back up of any data before sending the equipment to our workshop for firmware updates. Please note that Fixation does not accept any responsibility for any damages or loss of data.

Repair Times

All effort will be made to minimise turnaround time. Actual times will fluctuate according to demand and technician availability, but estimated turnaround times are updated on our website.

Any dates quoted by Fixation for completion of repair work are approximate and not guaranteed; we cannot accept liability for any consequential loss suffered as a result of a delayed repair. Some delays may occur whilst we await supply of spare parts required to complete a repair. Every effort will be made to keep the customer informed of progress, but such delays are beyond Fixation’s control and influence. 

Payment

Repaired items will only be released on receipt of payment, where applicable.  Payment is expected within 4 weeks of notification that the repair is complete.

Payment may be made in person upon collection of goods, or by telephone when arranging dispatch.  We accept payment by cash (collection only), debit/credit card or Bank transfer (goods will only be released when funds have cleared into our account).

For card holders’ own security when taking telephone payments, anti-fraud checks are made based on matching the address of the registered card-holder.  For this reason, we reserve the right not to accept payment by cards registered to non-UK addresses and in these circumstances a Bank transfer may be required.

Where, despite documented reminders (by email and letter), items are not collected or paid for after three months, in accordance with the Disposal of Uncollected Goods Act, this equipment shall be disposed of in order to retain from the proceeds of such sale any amount sufficient to defray costs of repairs and expenses incurred in attempting to trace and notify the customer. The customer will be entitled to any balance, but no interest shall be payable on any amount retained by the company.

Repair Warranty

All repair work is guaranteed for a period of 6 months from the date of invoicing. Should any customer not be satisfied with work carried out, they must contact Fixation within a period of 3 months from the time of collection/dispatch.  All repairs are thoroughly checked before being released, but it is expected that a final check of the equipment be made by the user. Non-use of the equipment does not extend the guarantee period. Fixation shall not be responsible for any consequential loss or damage whatsoever claimed by reason of repairs carried out, or subsequent failure thereof.

The re-repair guarantee covers failure under normal operating conditions of previously repaired/replaced components and the associated labour.

All re-repairs are subject to inspection and at the discretion of the technician.Rejection of any claim (for example if the camera has suffered any physical damage or the subsequent fault is unrelated to the previous repair) will result in a new estimate and return shipping charges will apply. 

Shipping charges may also apply if the camera proves to be working to specification with no further repair necessary. 

Repairs covered by our repair guarantee will be returned via standard shipping at our expense (other shipping methods will be chargeable).

Goods in transit

We can advise on likely delivery dates, but these may not be 100% guaranteed.We cannot accept liability for any consequential loss arising from delayed deliveries.Consignments dispatched via our main shipping options are insured and a signature will be required upon delivery.

Should the equipment appear to be damaged upon unpacking, please retain the item and the packaging (even if unmarked) and notify the Service Department immediately to initiate the claim procedure.

Terms & Conditions of Courtesy Equipment Loan

These terms and conditions are raised in addition to and should be read in conjunction with our standard Hire Terms and Conditions.  They apply to any courtesy loan of equipment for whatever reason. The term “hirer” refers to the customer who is being loaned the equipment by Fixation.  Acceptance of Courtesy equipment is taken as acceptance of these Terms and Conditions, whether or not this document is signed where indicated by the hirer.

Circumstances

Fixation may agree to loan courtesy equipment under certain circumstances, including but not limited to the following:-

a. Where a customer has purchased new Nikon or Canon equipment from Fixation and suffers a failure of the equipment during the warranty period, which is not due to customer misuse or abuse.  If Fixation is satisfied that the fault is a valid warranty claim, and is unable to complete satisfactory repairs within two working days of the equipment being submitted to Fixation for inspection, then Fixation will issue loan equipment for the period until repairs are completed.  Whilst Fixation will endeavour to provide replacement with the same model, if this is not available for whatever reason, we will supply the next most appropriate model. 

b. Fixation may agree to loan courtesy equipment where a customer believes that a repair carried out by Fixation’s own workshop has not been satisfactorily completed.  Fixation reserves the right to inspect the equipment before issuing a loan to verify the customer’s claim.  Whilst Fixation will endeavour to provide replacement with the same model, if this is not available for whatever reason, we will supply the next most appropriate model. 

c. If a customer suffers a service failure due to an oversight or error by a member of Fixation staff, or by an agency outside of our business through no fault of the customer, if appropriate, we may, without prejudice and as a gesture of goodwill, offer to loan alternative equipment to enable the customer to continue their business activities.

In all circumstances, if the customer requests a replacement unit to be sent before Fixation have satisfied themselves of the fault or error, then such equipment will be issued on a chargeable basis, and may be altered to courtesy loan subsequently if circumstances meet the necessary conditions.

Shipping or Courier charges

Fixation will bear the cost of sending Courtesy equipment to the customer.  The cost of returning the equipment to Fixation shall be borne by, and be the responsibility of the hirer.

If Fixation is sending equipment out, we reserve the right to request proof of address for non-account customers, and we will only ship to this address.

Period of Loan of Courtesy Equipment

It is a strict condition of this agreement that the period of loan expires 48 hours after Fixation has informed the customer that their repair is completed and ready for collection.  Fixation will make all reasonable effort to contact the customer by email, telephone, text message or any other means at Fixation’s disposal to inform the customer that their repair is complete.  If the customer fails to return the Loan equipment within 48 hours, the loan will become chargeable at our normal rates.

All other normal terms and conditions relating to Liability, Deposits, Insurance, Loss and Damage, Availability, and Accessories also apply to this agreement.

Sony a7R V

Sony has launched a new full frame camera body in their Alpha mirrorless lineup. Sony Alpha 7RV is the next evolutionary step of the ultra high resolution R range of Sony professional full frame mirrorless cameras. This new camera is more powerful thanks to its advances image processing engine driving autofocus improvements and enhanced colour science for skin tones – ideal for event, portrait and beauty photography.

 

Sony A7R V camera body

New features:

The Sony A7R V builds on the bones of the already impressive Sony A7R IV camera body. The mark IV and mark V both boast an impressive 61 megapixel back illuminated imaging sensor capable of remarkable high resolution images. The new A7R V adds a new image proccessing engine to get the most out of the 61 million pixels on offer. The BIONZ XR image proccessing offers:

1. Improved AI Autofocus: The deep learning focus algorithm can now recognise limbs and recognise a subject that has left and returned to the frame, making focus tracking even more reliable.
2. Recognition of body shapes as well as faces allows for auto exposure and auto white-balance to generate more accurate colours in difficult lighting conditions.
3. Advanced in-body image stabilisation – keeping the sensor stable involves tracking movement readings in multiple directions and at variable acceleration rates. The increased processing power should deliver a higher degree of stability, when paired with Sony lenses featuring optical stabilisation this should deliver the best stabilisation in an alpha camera to date.
4. 8K video making the A7R V a video and stills all-rounder. 8K or 4K60P video with 10-bit 4:2:2 recording requires the additional processing power of the new BIONZ XR processing engine.

Ergonomics & hardware – the A7R IV has a four-axis tilt and fold-out screen combining the flip out screen Sony A7 IV, with the tilt screen found in the Sony A1 for a robust multi-angle live view shooting from all angles. The body has a comfortable deep grip ideal for long shoots. Memory cards dial CFexpress type A media slots reduce buffering and allow for higher shooting rates.

Our view:

We can’t wait to get our hands on this camera which should be an event photographer’s dream body. While the high resolution 61 megapixel imaging sensor will apeal to portrait, fashion and beauty photographers working in controlled environments it is the new processing power to deliver results in challenging lighting conditions that will make this body stand out for event and social photogrpahy.

The Sony A7R V is available to order just contact our sales team on sales@fixationuk.com or call us on 0207 582 3294.

Services for the press following the death of Her Majesty The Queen

Following the death of Her Magesty the Queen the UK’s and world’s press will be arriving in London.

From Thursday 15th to Saturday 17th we will be offering complementary sensor cleaning and camera check-ups for the Press, agency photographers and @thebppa members at our London Showroom and Workshop.

Fixation with Wex Rental will be opening on Saturday 10am – 5pm with repair technicians and additional rental equipment on hand.

We will be closed on Monday 19th September.

Our carpark, just outside of the congestion charge zone, is available over the weekend and on Monday to members of the press. If you require a space please contact our sales team directly for further information: sales@fixationuk.com

Our current gallery display highlights Royal images from The British Press Photographers’ Association and from customers gifted to us throughout our 34 years serving the press community.

The map image shows the Laying in State procession route in Yellow, The Queue route in Blue and the border of the congestion charge zone in Red.

ProFiles | Steve Best

As both a stand-up comedian and a photographer, Steve Best enjoys unparalleled access behind the closed doors of the comedy circuit. His stylish, artful images show a different side of people we recognise from panel shows and comedy clubs. Sometimes they’re nervous, sometimes they’re excited, sometimes they seem decidedly contemplative.

It’s this knack for capturing a different side of his funny-people subjects that has made Steve such a popular figure on the comedy circuit – a popularity that has also translated to two successful photobooks. 

Steve owns a few bits of kit from Fixation, so we were thrilled when he agreed for a sit-down to chat about his work and his ongoing ‘Comedians’ project. So, let’s get into it!

Steve Best, . Photo Steve Best
Photo Steve Best

Fixation: Thanks for talking with us Steve. Your ‘Comedians’ project is a favourite on the comedy circuit and beyond – how did it all come about?

Steve Best: I’ve always been interested in photography. I’d been doing stand-up for years and years, and I had a little Ricoh point-and-shoot film camera which I’d take on my holidays. I really loved that camera, and then I got the digital version of it. Because it was so small, I used to just slip the camera into my pocket, and so I’d take it to gigs. And there, I would just take a snapshot of a comedian backstage I was speaking with at the time. That was how it started. 

That must have been the year two thousand and… something! But eventually I did that first little book, Comedy Snapshot. It’s a chunky little book with more than four hundred comedians – I took a snapshot of them, and then they all gave me a one-liner joke, and four or five facts.

They were just little portrait snapshots, but they went down so well with the comedy community that I decided to lose a lot more money and do another book!

So we did another book, very similar to the first, called Joker Face. It was nearly twice the size, chunky-wise – which I got told off for, because the spec was meant to be the same, but I just kept on adding comedians. 

And for my photography, that was when I started upping my game a bit. I got into Fujifilm – I had the X-Pro1 at the time. The pictures are still snapshots; they’re not, you know, ‘proper’ portrait shots, but that’s what I want it to be. It was never meant to be stylish; it was just me being backstage, having access to these comedians. 

Mike Gunn, through the curtain at the Hammersmith Apollo. Photo Steve Best
Mike Gunn through the curtain at the Hammersmith Apollo. Photo Steve Best

Fixation: I was wondering about your shooting process – do you approach different people in a different way? Or do you have a more set process that seems to work every time?

Steve Best: I think because I’m accepted in that world – I’m ‘one of them’, as they say – their guard does kind of come down slightly. So I know that they will not play up to the camera, and I can just chat with them. For instance, there are quite a lot of mirror shots where I’m looking at the comedian, I’m chatting with them as well, and I’m just surreptitiously pinging the shutter.

That kind of backstage work is actually one of the reasons why recently I got a Leica Q, which I really love because it’s so quiet. It’s so nice. So I can just muck around – even with the big names, as I know most of them now. That’s how you’re kind of let into this world. I think the backstage photographs are slightly more interesting than the front-of-stage photographs – because people see the front of the stage, but most people don’t see backstage.

Fixation: You mentioned you’re shooting on the Leica Q, which is a gorgeous camera. Do you have much else in your setup at the moment?

Steve Best: I’ve always had a Fuji. Fujifilm has been really good to me. I bought myself a Fujifilm X-Pro1 to start with, and Fujifilm lent me a load of gear early on, so I’m very loyal to Fuji and I really love their stuff. I’ve moved on to the medium format for my portrait stuff – a GFX 50S, which I bought second-hand through Fixation. I’ve got the 32-64mm lens, and the 80mm. The 80mm has taken me so long to get used to the focusing, but for portrait work it’s really great.

I’ve actually used medium format live as well – I’ve found a way of using it for shooting live performances, which I love, I think it’s fantastic. It’s sluggish, but it’s great to get a different kind of image. 

Michael Fabbri and Joe Rowntree, Photo Steve Best
Michael Fabbri and Joe Rowntree, waiting to go on stage, and you can see he’s a bit stressed. Photo Steve Best

Fixation: Is there a particular image of yours that’s a favourite, or one you look on most fondly?

Steve Best: I think maybe there are two. The one of Mike Gunn through the curtain at the Hammersmith Apollo is the one people often comment on, and it got shortlisted for the Royal Academy Summer Exhibition. I like that one because although it’s an on-stage image, I’m backstage, peeking through the curtain. I like the light, and the fact that he’s on his own – even though he’s actually in front of three and a half thousand people, it’s quite a lonely picture. 

I do also like the one of Barry Cryer. But the other one I was thinking of is one of the first pictures I took, which is one of Michael Fabbri and Joe Rowntree. Joe’s head is on the doorframe; he’s waiting to go on stage, and you can see he’s a bit stressed. And Michael Fabbri, he’s just finished his set, so he’s lying on the couch, and is very relaxed.

Barry Cryer, . Photo Steve Best
Barry Cryer, relaxing. Photo Steve Best

Fixation: Lastly, you’ve photographed absolutely loads of comedians, but are there any you haven’t photographed yet whom you’d like to?

Steve Best: Tim Minchin. I think he’s a great performer. And I’ve never got hold of Bill Bailey, which would be nice as well. There are still a few people out there. I’m always trying to collect people.

Steve Best was talking to Jon Stapley. See more of his books and prints at stevebest.com.

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