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.


Why I love my 100-400mm lens: Richard Pohle

For news photographers, the lens is everything. You need the reach to be able to frame your subjects, you need the speed to be able to freeze the action in all conditions, you need the build that means that carrying the lens all day isn’t going to give you chronic back problems (though some are willing to compromise on that last one). Which lens you end up favouring will depend on the precise nature of your discipline – many photographers who work in all sorts of conditions will favour the workhorse 70-200mm, while those who find themselves needing pin-sharp image quality at a distance will plump for a 500 or 600mm prime.

Some, however, prefer the best of both worlds. At Fixation we’ve long rated the 100-400mm lens as the ideal jack-of-all-trades lens for a working press photographer, and someone who firmly agrees is Richard Pohle, staff photographer at The Times. Winner of the 2019 Arts and Entertainment Photographer of the Year at the UK Picture Editors’ Guild Awards, Richard is a familiar and highly respected face in the industry

Richard’s lens has covered a huge range of the news sphere, from political party conferences to state visits by foreign leaders and huge military ceremonies, and he swears by his Canon EF 100-400mm f4.5-5.6 L IS II USM Lens as the tool to get the job done in a huge number of situations. We were intrigued, so we got in touch to find out why this lens works so well for what Richard does…

EF 100-400mm ƒ/4.5-5.6L IS II USM


Thanks for talking to us, Richard. So how did you get started using the 100-400mm lens for press work?

I cover a lot of events – things with the royals, a lot of military ceremonies. I always used to have to carry around the 400mm f/2.8 and then also have the 70-200mm by my side. And the 400mm f/2.8 especially was always so lumbering and heavy, it was very unwieldy. I saw some of the royal-photography guys use the 100-400mm when it first came out, and I thought, “Wow, what an absolutely practical lens for the type of thing that I need to do.” 

That scope, from 100mm to 400mm in one lens, was exactly the thing that I needed – one, to cover royals, and two, to cover what I especially like doing: military ceremonies and state occasions. 

I’m one of these photographers who doesn’t always necessarily have my camera pointed at the main event – I’m always looking off to the side to see what’s happening there. And when you suddenly turn a 400mm f/2.8 lens away from the main subject to something you’ve seen on the side, you’re knocking out three photographers next to you, and getting a load of abuse for it! So the 100-400mm lens just allows me to be more flexible in where I’m pointing, and means I’m able to go from middle distance to reasonably far distance no problem.

That’s definitely evident from your portfolio – you have a real eye for the moments that are happening a little away from the main action.

When I’m doing state ceremonies or military ceremonies, I arrive early, and I walk around trying to find the moments of people getting ready, which for me always makes for a better picture than the actual event! So I like to wander around and look a bit incognito, but with a large 400mm or a 600mm lens, you can’t do that. With a 100-400mm lens, you can quite easily stand off to the side, and when you see something happening, happily shoot away. You can have it dangling on one shoulder and another camera on another shoulder

Have you seen other photographers making the jump? From the way you describe it, it sounds like a no-brainer!

It does – from the point of view of a practical news photographer, which is what I am. If you’re, say, a royal photographer, you will want to stick with your 600mm or 800mm prime lens, because they’ve got more reach. Also, while it’s less of a problem these days with digital cameras, the f/5.6 aspect of it puts some people off. It’s an incredibly sharp lens all the way through, but if there is a degradation, it would be at the f/5.6 end. For me as a news photographer, it doesn’t matter – for a magazine photographer, it might. 

It’s been a wrench to move away from the 70-200mm, absolutely, and I still find myself going to the 70-200mm when I know I’m not using it for big occasions, but the 100-400mm is the go-to lens when I’m doing state ceremonies or events like that.

What body do you use with it?

Canon EOS 5D Mark IV. 

Okay, so that’s a setup that’ll do basically anything.

Yes, if I’ve got a 100-400mm lens on one shoulder and my 24-70mm on the other – that’s it. I’m completely made up; I’ve covered everything from 24mm all the way up to 400mm in two bodies.

13th July 2008 The Queen and Donald Trump photography by Richard Pohle
Queen and Trump 13th July 2018 by Richard Pohle using the EF 100-400mm L mark II lens

Do you think about mirrorless at all? The RF mount has that nice-looking 100-500mm…

All the time. It’s the number-one source of conversation at the moment. It’s just the cost implications of moving over; you’ve got to think about these things carefully, financially speaking. But it is the future, there’s no question. The idea of being completely silent is very very appealing, especially for some of the things I have to photograph, and the tracking mechanism seems absolutely awesome. I’ve had a quick play with it and I was very, very impressed. It is the future, there’s no denying it.

Finally, is there a particular image taken on the 100-400 that you’re proudest of?

The picture that I think of as the best picture I’ve taken on the 100-400mm is when Donald Trump visited the UK and he inadvertently walked in front of the Queen. The Queen had to sidestep out from behind him because he suddenly stopped, and she nearly collided with him. I was the only photographer who got that, because I was on the 100-400mm and I could manage to get it framed and shoot it. And it’s gone on to be exhibited and things like that.

It was actually taken on a hire-in 100-400mm lens; my one was in for repair because I’d dropped it. I was so panicked about doing this event without the 100-400mm that I hired it in. And thank god I did!

Richard Pohle was talking to Jon Stapley. See more of his images at his website, www.richardpohle.com


Flagship Cameras Compared from Canon, Nikon and Sony

When Nikon announced their flagship DSLR the Nikon D6 following the Canon EOS 1DX mark III and the Sony A9 II, the “big three” camera manufacturers had each released a flagship full-frame camera body in the space of six months. In this article we compare the main specifications of all three bodies.

The Nikon D6, Sony A9 II and EOS 1Dx mark III compared

We have not yet had our hands on a Nikon D6 so cannot do a working comparison of the cameras. However, now the specifications are released, we can put the stats of each camera side by side. There are some similarities as the manufacturers compete for the same audience: The cameras all feature built in wifi connectivity as well as Ethernet ports for Wired LAN connections. The resolution is low across all bodies, they are made for fast and high quality image recording, and fast transmission which a low file-size helps with. Mirrorless technology is the main differentiation in the bodies with those brands adopting newer technologies achieving higher burst rates for continuous shooting – significant for sport photography in particular.

Full write ups on the cameras are on our blog for further reading:
[gdlr_button href=”https://www.fixationuk.com/nikon-launches-the-d6/” target=”_self” size=”medium” background=”#FFE100″ color=”#000000″]Nikon D6: Feb 12th 2020[/gdlr_button]
[gdlr_button href=”https://www.fixationuk.com/canon-launches-the-eos-1dx-mark-iii/” target=”_self” size=”medium” background=”#BF1920″ color=”#ffffff”]Canon EOS 1DX mark III: Jan 7th 2020[/gdlr_button]
[gdlr_button href=”https://www.fixationuk.com/sony-a9-mark-ii/” target=”_self” size=”medium” background=”#FFA500″ color=”#000000″]Sony A9 II : Oct 3rd 2019[/gdlr_button]


Nikon D6Sony A9 IICanon EOS 1DX mark III
Camera TypeDSLRMirrorlessDSLR
Launch Price£6,299£4,799£6,499
Sensor SizeFull FrameFull FrameFull Frame
Video (Max)4K UHD 30p
XAVC S 4K 30p
4K Raw 59.94fps
ISO Range100 – 102,400100 – 5,1200100 – 102,400
Extended ISO50 – 3,280,00050 – 204,80050 – 819,200
AF Points105693191
Shooting Rate14fps20fps16fps
Memory CardsDual XQD / CFexpressDual SD UHS-IIDual CFexpress
Lens MountNikon FSony-ECanon EF
USB PortUSB 3.1 Gen 1 (Type C)USB 3.1 Gen 1 (Type C)USB 3.1 Gen 1 (Type C)
LAN Terminal1000BASE-T Ethernet1000BASE-T Ethernet1000BASE-T Ethernet
Wireless LAN built-inYesYesYes
Weight (g)12706781440
Size WxHxD mm160 x 163 x 92129 x 96 x 76158 x 168 x 83
Battery life (CIPA rating)35806902850
Canon EF versus RF: Why use RF lenses image

Canon EF versus RF: Why use RF lenses?

One of the biggest, best surprises of 2018 was Canon’s announcement of its full-frame mirrorless EOS R system. No longer was Sony the only full-frame mirrorless game in town — suddenly photographers who wanted a small, fast camera with a large sensor were spoilt for choice.

Canon have updated the range with two professional full frame camera bodies and four new lenses. Read all about the EOS R5 and EOS R6 bodies here and the new lenses here.

Given how long Canon has been in the game, many photographers have of course built up substantial collections of EF lenses for its EOS system, and it therefore came as something of a surprise for some that the new EOS R system would be debuting with a new lens mount — the RF mount — and a selection of new lenses for it that would be arriving throughout 2018 and 2019. No doubt as a way of mollifying some photographers’ concerns, Canon assured everyone that the EOS R would be released with an option EF-EOS R adapter, allowing old lenses to be used on the new camera.

So, many photographers have got to wondering — why use RF lenses at all? Surely I can take the plunge on the EOS R system and keep using my EF lenses as well, right?

Well, we reckon that would be a mistake. RF lenses have many distinct advantages, and are specifically designed to compliment the EOS R and EOS RP cameras, allowing your images to reach their full potential.

To that end, we’ve assembled a list of the top five reasons to use RF lenses with EOS R cameras…


1. The short, wide lens mount

When designing the RF mount and the way that RF lenses connect to EOS R cameras, Canon managed to reduce the flange-back distance (the distance between the lens mount and the imaging sensor) from 44mm to 20mm, bringing it in line with comparable systems like Sony FE or Nikon Z. The lenses are also physically wide, with a large 54mm inner diameter.

Why is this advantageous? It allows for a large element to be placed at the rear of the lens, which reduces the scope for optical aberrations and means lenses can be designed with fewer overall elements, which means they can be made smaller.

These large lenses can also provide other advantages. Let’s take a look, for example, at the upcoming RF 28-70mm f/2L. Its nearest EF equivalent in focal range terms would be something like the EF 24-70mm f/2.8L II USM, and you’ve probably already spotted the difference between the two — that large constant aperture of f/2 throughout the zoom range. It’s the design specific to RF that makes such things possible, and opens up your options in low light and more.

2. Super-fast lens/camera communication

RF mount lenses employ a 12-pin connection between the camera and lens — for comparison, the EF-mount uses 8 pins. What does this mean? Faster data transfer, which means lightning-fast autofocus, enhanced image stabilisation thanks to better communication between the camera and lens, and also provides general optimisation of image quality.

3. RF mount can provide superior image stabilisation

Let’s expand for a moment on the above point and explore how and why the RF mount provides better image stabilisation. RF lenses with image stabilisation (and it’s worth noting that not all of them have it) use a dual gyro sensor system to detect inadvertent movement, and this information is relayed across the fast connection to the Canon camera’s DIGIC 8 processor. At the same time, the sensor is also on the lookout for blur that is caused by these movements, and it also sends this data to the processor, essentially providing confirmation that the inadvertent movement is occurring, and allowing the camera to correct for it. It’s a well-engineered system, augmented by the super-fast connections of RF mount lenses.

4. The DLO (Digital Lens Optimizer)

While this interesting feature has made it onto some EF-mount lenses, it’s on RF mount lenses as a matter of course. The DLO uses the lens’s built-in memory capacity to allow it to store data on any aberrations that occur, meaning it can instantaneously and automatically correct these aberrations in the future.

5. It makes sense to have a dedicated second system

It’s unlikely that any working professional is planning to jump ship wholesale from the EOS system to EOS R. These mirrorless cameras make sense as a second system, whether that’s for jobs where a bulky DSLR would be a disadvantage or simply when shooting for pleasure. As such, it makes sense that if you’re going to have a dedicated second system, you have a dedicated selection of lenses for it. Laboriously swapping your EF 70-200mm f/2.8 lens from the EOS 5D Mark IV to the EOS RP every time you want to switch systems is going to be a cumbersome process, and you’ll find you get much more use out of the second system if it’s always set up and ready to go.

6. You’re future-proofing yourself

It’s an exciting time to be an EOS R photographer. Canon has mapped out the future of lenses for the system and it looks fantastic. To name just a few, there’s the upcoming RF 70-200mm F2.8L IS, covering the workhorse focal range beloved by many pros, which incorporates Canon’s Nano USM lens motors for the fastest autofocus possible. It’s definitely a sign that the firm is taking this system seriously, and the best part about it? It’s tiny. Remember how fewer elements means that lenses can be made smaller? We’re certainly seeing that with the RF 70-200mm F2.8L IS, which is practically half the size of its EF counterpart. Also upcoming are the RF 24-240mm F4-6.3 IS USM, a great all-rounder for travel, and the RF 24-70 F2.8L IS USM we’ve already mentioned, a high-performing standard zoom that’s perfect for weddings and documentary.

This is clearly a system that’s going places, offering features and functionality that you simply won’t get anywhere else. That, more than anything, is why we reckon you’re best off pairing EOS R cameras with RF mount lenses.

Chris Schmid shooting natural world with Alpha Mirrorless image

Chris Schmid shooting natural world with Alpha Mirrorless

Wildlife pro Chris Schmid tells us why his Alpha mirrorless cameras have changed the way he shoots the natural world.

The advantage of EVF

“One of the benefits of an electronic viewfinder,” says Chris, “is that the exposure you see in the EVF is what you’re going to get in the picture.” Chris always shoots in manual exposure mode, so the EVF has an added benefit – in tricky lighting, it means not only does he have total control, but also there is no need to shoot additional frames because of guesswork.

©Chris Schmid

With old-fashioned optical viewfinders on DSLRs, there’s often guesswork involved which can put some photographers off working in manual mode, but with an EVF nothing is left to chance. “So when I’m shooting a subject that’s backlit, or in shadow,” says Chris, “I don’t need to shoot extra frames to get it right – I can concentrate on capturing the moment.”

Silent Shooting

“Sony’s Silent Shooting mode is perfect for me,” Chris tells us, “because even a small shutter noise can cause an animal to react”. Total silence means a more truthful image – it’s more natural and that’s when you know that you’re capturing the animal’s real behaviour.

“Last year I was photographing gorillas, and with the silent shutter it was an amazing experience. I could enjoy that moment without any noise from the camera, just hearing the birds, the wind, and with no intrusion on feeling. It was just perfect – a pure joy really.”

©Chris Schmid

Image quality

“To shoot the way I do, you need a big dynamic range,” Chris explains “because I often like to capture the animal’s environment, rather than a straight portrait. When I compare the shots from my α9 and α7R III to cameras from even five years ago, it’s amazing. All the details in the highlights of skies or the shadows of the bush are much easier to retain.”

Something else Chris relies on from his Alphas is great noise performance at higher ISOs. He explains that, “because I’m shooting early or late in the day I often need to push the ISO, maybe to 1600 or more. It’s vital for hunting and other behavioural shots that take place at those times of day.”

©Chris Schmid

Fast, reliable focus

Moving subjects or those hidden by the environment need fast and accurate Auto Focus to find and follow them, because, as Chris says, “the magic is only there for a couple of seconds and you need to react quickly to catch it.”

Most of the time, he relies on the proven Continuous AF of his α9 and α7R III, using the tracking mode to follow an animal, and only switching occasionally to Single AF when an animal is static and he can place the focus point on the eye.

Even the Focus Peaking mode comes into play on some occasions: “If I’m shooting, say, a lion in the bush, the leaves and grass in front can confuse the focus, so if that’s the case I just switch to focus peaking in manual and can see clearly what’s sharp in the EVF. There’s something for every situation.”

©Chris Schmid

Chris is a Sony Europe Imaging Ambassador and you can see more of his work at www.sony.co.uk/alphauniverse


1 2 3 5
Hi, how can we help?