To capture pin-sharp wildlife images, it’s essential to have lenses suited to wildlife photography. Arguably, it’s a more important consideration than the camera itself, as there are so many factors to think about. As such, we’ve ensured our guide includes options for all the major camera systems, including DSLRs and mirrorless. Whether you shoot with Canon, Nikon, Sony, Fujifilm, Pentax, Panasonic or Olympus/OM System, we’ve picked out the absolute best wildlife lenses on the market, for a range of budgets.

The lenses we recommend here for wildlife are equally relevant to sports and action photographers.

Many of the lenses on this list have been tested and reviewed by our technical team on wildlife and action shoots. We’ve put in a mix of zoom and prime lenses, as both have their pros and cons in wildlife photography. Also, many manufacturers offer high-quality premium wildlife and sports lenses that run up five-figure price tags. As these are not a viable for most people, we’ve excluded many of these. If your budget is very tight, check out our guide to the best affordable telephoto lenses for wildlife photography.

Let’s take a quick look at the key attributes of a good wildlife lens.

How to choose the best lenses for wildlife photography

For wildlife shoots, we need long focal lengths, as wild animals generally won’t let you get close. At least 300mm is ideal, and you will often want more than that.

It’s a question of choice between zoom lenses or primes. Having a zoom provides more shooting flexibility, while prime lenses bind you to a specific focal length, with the trade-off of better optical quality. Zooms also tend to be cheaper, and are generally the best choice for amateurs.

Lenses have plenty more features to take into account. Size and weight are factors when carrying to the shooting location. Dust and weather sealing is also a consideration, given that wildlife photography is a decidedly outdoor pursuit. The minimum focus distance may also matter to those who want to get close-ups of smaller or tamer animals.

Wildlife photography often involves tripod use, so check if the lens comes with a tripod mount (or if one is available as an optional extra). The manufacturer may also offer compatible teleconverters – devices that provide greater reach, usually with a compromise to aperture width. They are more practical on mirrorless cameras than DSLRs, as autofocus tends to work better.

Look also at the maximum aperture. While you may not shoot wide-open very often for wildlife, an aperture larger than f/5.6 may come in handy; be it for creating shallow depth of field, or getting more light when the sun dips. Of course, lenses with larger apertures tend to be both larger and more expensive.

Whatever your needs and budgets, there are some great long telephoto lenses on the market that won’t break the bank (or your back). Here’s our pick of the best ones for wildlife photography – and for some good camera options to go with them, refer to our guide to the best cameras for bird photography.

Looking for the best deal on camera lenses for wildlife photography? Not only will you find the best wildlife photography lenses, you’ll also find some of the best deals, as our ‘Buy now’ buttons are set up to automatically take you to the best prices from trusted retailers, You’ll also find a list of other retailers below each camera, so you can find the right deal for you.

What are the best lenses for wildlife photography? – DSLR users

Canon EF 100-400mm f/4.5-5.6L IS II USM

At a glance:

• 77mm filter thread
• 98cm minimum focus
• 193mm length x 94mm diameter
• Weighs 1640g
• Canon EF mount
• Price: $2,399 / £2,599

All the camera makers produce high-end 400mm zooms. Typically, they offer a decent range in a relatively portable package with fast, quiet autofocus and optical image stabilisation. For many photographers, these are the logical next step beyond 70-300mm type lenses for shooting wildlife.

Canon’s current EF-mount optic is a particularly fine example. It’s a significant improvement on the firm’s original version, being impressively sharp at all focal lengths. While designed for full-frame DSLRs, it also offers a very useful 160-640mm equivalent range on APS-C models. It’s pricey, though, so photographers on a budget may wish to look at alternatives from Tamron and Sigma.

Read our Canon EF 100-400mm f/4.5-5.6L IS II USM field test review.

Nikon AF-S Nikkor 200-500mm f/5.6E ED VR

At a glance:

• 95mm filter thread
• 2.2m minimum focus
• 268mm length x 108mm diameter
• Weighs 2300g
• Nikon F mount
• Price: $1,400 / £1,250

For Nikon DSLR shooters, the 200-500mm f/5.6 is a unique option; a relatively affordable telephoto lens that provides a usefully longer range than conventional 100-400mm design. Use it on a DX-format camera such as the Nikon D500, and this extends to fully 750mm equivalent. Its f/5.6 maximum aperture makes it quite portable considering its range, and light enough to shoot with handheld.

Focusing is snappy and accurate, thanks to the AF-S motor. However, it’s not claimed to be weather-sealed, and being an E-type lens with an electromagnetic diaphragm, won’t work on older Nikon DSLR bodies. So do check compatibility with your camera before buying.

We gave this lens a thorough test in a challenging wildlife shoot, photographing little owls in Wiltshire. The result? Once the owls eventually showed up, we were able to capture a sequence of gorgeous wildlife images, with whip-fast focus (we used the lens on a D500 DSLR) and excellent sharpness. While the lens performs best when stopped down a little, results wide open at f/5.6 are more than acceptable. Plus, the long focal length means you still get great subject/background separation, even with a relatively modest aperture like this. We came away greatly impressed.

Read our Nikkor AF-S 200-500mm f/5.6E ED VR review.

Pentax D FA 150-450mm F4.5-5.6 ED DC AW

At a glance:

• 86mm filter thread
• 2m minimum focus
• 242mm length x 95mm diameter
• 2000g weight
• Pentax KAF3 mount
• Price: $1,797 / £1,759

Rather than slavishly matching its rivals with a 100-400mm telezoom, Ricoh Imaging came up with something a little different. Designed for use on the full-frame K-1 and K-1 Mark II, this longer 150-450mm design is also entirely at home on the firm’s APS-C models, on which it provides an impressive 225-675mm equivalent range. The lens employs a built-in autofocus motor, backed up by Quick Shift Manual focus, and boasts weather-resistant construction. With Pentax SLRs including in-body image stabilisation, this is the only lens on our list that doesn’t include built-in optical stabilisation. Combined with its hefty size and 2kg weight, this means that users may well find a monopod helpful to minimise shake, and aid composition.

Sigma 100-400mm f/5-6.3 DG OS HSM | C

At a glance:

• 67mm filter thread
• 1.6m minimum focus
• 182mm length x 86mm diameter
• Weighs 1160g
• Canon EF, Nikon F and Sigma SA mount
• Price: $800 – $1,100 / £749

Many users can’t justify the cost of long zooms, and don’t want to cart around the weight, either. But this Sigma telezoom addresses these issues: it’s very affordable for a long-telephoto zoom, and noticeably smaller and lighter than most other 100-400mm optics, too. This comes at the cost of maximum aperture, but with the high ISO performance of modern cameras, that’s of lesser concern than it might once have been.

While it’s designed for full-frame DSLRs, this is also a great choice for APS-C cameras, giving a 150-600mm equivalent range. However, users should be aware that it’s not weather sealed. Being designed for hand-held shooting, it doesn’t come with a tripod mount ring either.

Sigma 150-600mm f/5-6.3 DG OS HSM | S

At a glance:

• 105mm filter thread
• 2.6m minimum focus
• 290mm length x 121mm diameter
• Weighs 2860g
• Canon EF, Nikon F and Sigma SA mounts
• Price: $930 – $1,250 / £899

Sigma offers two 150-600mm zooms designed for use on full-frame DSLRs, with the same base specifications. We especially like the Sports version – it’s huge and expensive, but seriously sharp, with impressively fast autofocus. It’s not so big that you can’t shoot it handheld at a pinch, although for extended sessions you’ll probably want a sturdy monopod.

It boasts dust and splash resistant construction for outdoor use, while for those who need even longer reach, it can be bought with a 1.4x teleconverter for a £100 premium. The firm also makes a ‘Contemporary’ version that’s smaller, lighter, and much more affordable, at £849, but doesn’t give quite the same image quality.

We put the Sports version of the lens through its paces at a car rally in North Wales. It’s quite a lens to use, with real effort required to turn the zoom mechanism – a by-product of a construction of 24 elements in 16 groups. Still, the focusing is fast and reliable, and when you fire a burst of shots at a fast-moving subject you can be pretty confident that a good handful of them will be nice and sharp.

There is pretty severe vignetting at the 600mm end that’s worth being aware of; otherwise, optical performance is very good. For rough-and-tumble adventures, this hardy lens will do an exemplary job and that makes it one of the best lenses for wildlife photography.

Read our Sigma 150-600mm f/5-6.3 DG OS HSM | S field test.

Tamron 100-400mm F/4.5-6.3 Di VC USD

At a glance:

• 67mm filter thread
• 1.5m minimum focus
• 199mm length x 86mm diameter
• Weighs 1135g
• Canon EF and Nikon F mounts
• Price: used around $800 / £650

This Tamron optic has the distinction of being the lightest 100-400mm lens for DSLRs on the market. It also stands out from its most direct rival from Sigma in offering a tripod mount foot as an optional accessory. Key features include an ultrasonic-type autofocus motor for fast, silent focusing and 4-stop optical stabilisation. The design also boasts moisture resistant construction and fluorine coating aimed to give you peace of mind in bad weather. Last but not least, this lens is compatible with Tamron’s 1.4x and 2x teleconverters, for even greater reach. Just be aware that the viewfinder will get dark and autofocus is unlikely to be reliable, if it works at all.

Tamron 18-400mm F/3.5-6.3 Di II VC HLD

At a glance:

• 72mm filter thread
• 45cm minimum focus
• 124mm length x 79mm diameter
• Weighs 710g
• Canon EF and Nikon F mounts
• Price: around $820 / £430 – £575

All-in-one superzooms aren’t the natural first choice for wildlife, but can be handy in situations where you need to travel light or don’t have time to change lenses. Tamron’s ground-breaking 18-400mm for APS-C DSLRs is the longest lens of its type, with its 22.2x zoom providing an impressive 27-600mm equivalent range.

It’s also dust- and splash-resistant for outdoor shooting, while optical stabilisation is on board to combat camera shake, which is essential with such a long lens. You won’t get as sharp pictures as you would with a premium telephoto lens, but it’ll certainly be better than not getting the shot at all.

As we said in our review, this is a lens that excels when you’re realistic about what it can and can’t achieve. We found the lens does create visible distortion and aberration, so it’s worth shooting in RAW to make these flaws easier to correct. If you’re okay with this, then the sheer versatility you’ll get from the lens simply makes it downright enjoyable to use, and a fun choice for all kinds of different wildlife shoots. Plus, the price makes it a relatively inexpensive addition to your kit bag.

Read our review of the Tamron 18-400mm F/3.5-6.3 Di II VC HLD.

What’s the best lens for wildlife photography – mirrorless systems

If you’re a mirrorless camera shooter, these are some of the best lenses for wildlife photography available now:

Canon RF 100-400mm F5.6-8 IS USM

At a glance:

• 67mm filter thread
• 0.88m minimum focus
• 165mm length x 80mm diameter
• Weighs 635g
• Canon RF mount
• Price: $649 / £640

This unusual optic for Canon’s EOS R-series full-frame mirrorless cameras has the distinction of being the smallest, lightest, and most affordable 100-400mm lens on the market by quite some margin. It achieves this by using a modest maximum aperture that’s a stop smaller than usual for this type of lens.

As a result, you’ll often need to increase the ISO setting by a stop to keep shutter speeds up and avoid subject motion blur. You also won’t get quite so much blur when shooting a subject against an out-of-focus background. But this could prove a small price to pay for a lens that’s highly portable and easy to shoot hand-held.

In our review, we found ourselves highly impressed by how intelligently Canon has gone about making a lens of this type so affordable. The compromises all make sense, and add up to the Canon RF 100-400mm F5.6-8 IS USM being a very tempting proposition indeed for wildlife photographers.

Read our review of the Canon RF 100-400mm F5.6-8 IS USM.

Canon RF 100-500mm F4.5-7.1L IS USM

At a glance:

• 77 mm filter thread
• 0.9m minimum focus
• 208mm length x 94mm diameter
• Weighs 1530g
• Canon RF mount
• Price: $2,600 / £2,500

Rather than simply recreate its DSLR lenses for mirrorless, Canon has routinely come up with something a little different for its RF-mount range. This lens is a case in point: it achieves a usefully extended focal length range while being lighter and only slightly longer than its EF 100-400mm f/4.5-5.6 counterpart.

In other respects, it retains all the features you’d expect from Canon’s pro ‘L’ series, including weather-sealed construction, fast, silent autofocus and effective optical image stabilisation. It’s also compatible with Canon’s RF 1.4x and 2x teleconverters without any significant loss of functionality. It doesn’t come cheap, but it has a lot to offer for demanding wildlife shooters.

We put the Canon RF 100-500mm lens through a thorough testing procedure for a full review, examining how it handled itself in a range of difference shooting situations, including fast action. It’s a superb lens all-around, with impressive sharpness throughout its zoom range. We used it with the EOS R5, a high-resolution camera that demands the best from its lenses, and the RF 100-500mm acquitted itself well. Once you get used to a few of its foibles, like that sheer aperture drop-off at the tele end, it’s a tremendous wildlife lens.

Read our Canon RF 100-500mm F4.5-7.1 L IS USM review.

Canon RF 800mm F11 IS STM

At a glance:

• 95mm filter thread
• 6m minimum focus
• 282mm length x 102mm diameter
• Weighs 1260g
• Canon RF mount
• Price: $999 / £949

This unusual lens is another striking example of Canon’s imaginative optical innovation, being the most portable and affordable 800mm autofocus lens on the market by a huge margin. In fact, it’s light enough to be entirely usable hand-held, which is unprecedented for such a long lens, especially on full-frame. Thanks to its quick autofocus, effective optical stabilisation and sharp optics, it’s also capable of delivering fine results. It’s still rather bulky, though, and the fixed f/11 aperture can be restrictive at times, requiring the use of high ISO settings even in good light. Another drawback is the long 6m minimum focus distance. Canon also makes a similar 600mm f/11 model that’s smaller and lighter, and costs £860.

What’s the best Nikon lens for wildlife photography?

Nikon Nikkor Z 100-400mm f/4.5-5.6 VR S

At a glance:

• 77mm filter thread
• 75cm minimum focus
• 222mm length x 98mm diameter
• Weighs 1355g
• Nikon Z mount
• Price: $2,697 / £1,690

Judging from the specs alone, nothing looks particularly outstanding about Nikon’s Z-mount 100-400mm telezoom. The firm boasts that it’s the lightest in its class, but not by very much. In other respects, it ticks all the boxes we’d expect. It boasts pro-spec weather-sealed construction, employs dual stepper motors for fast, silent focusing, and includes optical image stabilisation rated for an impressive 5.5 stops of shake reduction.

In practical use, it turns out to be an excellent lens that’s a fine match for the firm’s high-speed, high-resolution flagship Nikon Z9. Our testing proved the Nikkor Z 100-400mm f/4.5-5.6 VR S to be capable of delivering sharp images, time after time. It’s the kind of lens you can rely upon to deliver, no matter how difficult the conditions.

See why we gave the Nikon Nikkor Z 100-400mm f/4.5-5.6 VR S five stars

Olympus M.Zuiko Digital ED 150-400mm F4.5 TC 1.25x IS Pro

At a glance:

• 95mm filter thread
• 1.3m minimum focus
• 314mm length x 116mm diameter
• Weighs 1875g
• Micro Four Thirds mount
• Price: $7,500 / £6,700

Sizeable and seriously expensive, this beast of a lens demands inclusion in our list by virtue of its extraordinary telephoto reach. Built for use on Micro Four Thirds cameras such as the OM System OM-1, it offers a 300-800mm equivalent range; engage the built-in switchable teleconverter, and this extends to 375-1000mm equivalent at an aperture of f/5.6. In the unlikely event this isn’t long enough, it’s also compatible with 1.4x and 2x Olympus teleconverters, giving 1400mm and 2000mm respectively.

The lens isn’t just good for distant subjects, either; its 1.3m minimum focus distance enables super-telephoto macro shooting, with 1.0x equivalent magnification. Other key features include optical stabilisation with Sync IS, and full weather-sealing.

Read Andrew Fusek Peters’ review of the Olympus M.Zuiko Digital ED 150-400mm F4.5 TC 1.25x IS Pro

Olympus M.Zuiko Digital ED 300mm F4.0 IS Pro

At a glance:

• 77mm filter thread
• 1.4m minimum focus
• 227mm length x 92.5 diameter
• Weighs 1270g
• Micro Four Thirds mount
• Price: $3,000 / £2,400

Before the appearance of the 150-400mm, this superb prime had established itself as the go-to option for Olympus users in need of top-quality glass for wildlife photography. Offering a 600mm equivalent range in a relatively compact package, it’s also compatible with 1.4x and 2x teleconverters, giving barely any drop in performance with the 1.4x converter in particular. At 1270g, it weighs less than most high-end telephoto zooms, making it an excellent choice for pros and enthusiasts looking for a highly mobile set-up. It’s designed for shooting in difficult conditions, being dust, freeze and splashproof. It also benefits from the firm’s class-leading Sync IS system to combat camera shake and give sharp images hand-held.

What’s the best lens for wildlife photography on a budget?

Panasonic Lumix G Vario 100-300mm F4-5.6 II Power OIS

At a glance:

• 67mm filter thread
• 1.5m minimum focus
• 126mm length x 74mm diameter
• Weighs 520g
• Micro Four Thirds mount
• Price: $550 / £499

If there’s one lens that epitomises the size advantages of Micro Four Thirds for telephoto shooting, it’s this hugely popular 100-300mm zoom. One of Panasonic’s earliest lenses for its Lumix G system in its original guise, it gives a 200-600mm equivalent range in a very compact package, complete with optical image stabilisation and fast, silent focusing.

The updated ‘mark II’ version adds weather-resistant construction and compatibility with Panasonic’s Dual IS system, in a smart all-black finish. It may not quite match the image quality of higher-end optics, especially at the long end of the zoom, but makes up for this with its bargain price.

Even though this lens is a few years old now, it’s still one of our favourites. Its full feature-set and reasonable asking price make it one of the best-value choices for Micro Four Thirds users who want to photograph wildlife. It’s so much lighter than equivalent full-frame lenses, and delivers a capable shooting experience at a fantastic price point.

Why we love the Panasonic Lumix G Vario 100-300mm f/4-5.6 II Power OIS.

Panasonic Leica DG Vario-Elmar 100-400mm ASPH F4-5.6 OIS

At a glance:

• 72mm filter thread
• 1.3m minimum focus
• 172mm length x 83mm diameter
• Weighs 985g
• Micro Four Thirds mount
• Price: $1,398 / £1,499

Micro Four Thirds users have two optically fine 200-800mm equivalent telephoto zooms to choose from, but in practical terms, we prefer Panasonic’s Leica-badged offering. Weighing in at under a kilogram, it’s one of the most portable 100-400mm lenses available, and considerably smaller and lighter than its Olympus counterpart. This makes it the ideal choice for wildlife photographers looking to travel light while packing serious telephoto range. This premium optic also features weather-sealed construction for outdoor shooting, along with extremely effective optical stabilisation that makes it easy to use hand-held. As the icing on the cake, its 1.3m minimum focus distance is great for shooting small subjects such as insects.

Fujifilm XF 100-400mm F4.5-5.6 R LM OIS WR

At a glance:

• 95mm filter thread
• 1.75m minimum focus
• 211mm length x 95mm diameter
• Weighs 1375g
• Fujifilm X mount
• Price: $1,899 / £1,699

Unlike other 100-400mm zooms, Fujifilm’s is optimised purely for use on the firm’s APS-C X-system cameras, giving an impressive 150-600mm equivalent range. If you need to go even longer, the lens is also compatible with Fujifilm’s 1.4x and 2x teleconverters, which have surprisingly little impact on the lens’s excellent autofocus performance.

Key features include highly effective optical image stabilisation that’s rated for 5 stops of blur suppression and includes automatic panning detection. The lens is dust and water resistant and will operate in conditions down to -10 °C. Thanks to its reasonably lightweight build, it’s also a lens that you can happily shoot handheld all day.

We gave this lens a test shooting cars at the track, and it turned in a fantastic performance. The image quality really is impressive, especially if you stick between 100mm and 300mm, and the expected softening at the tele end isn’t enough to seriously compromise images. There’s barely any vignetting no matter where you stick the zoom, and aberrations of any kind are all but completely absent. Hugely impressive stuff, this lens will make for a pitch-perfect complement to any of Fujifilm’s fast-shooting cameras.

Read our Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS review.

Fujifilm XF 150-600mm F5.6-8 R LM OIS WR

At a glance:

• 82mm filter thread
• 2.4m minimum focus
• 315mm length x 99mm diameter
• Weighs 1605g
• Fujifilm X mount
• Price: $1,999 / £1,799

One of Fujifilm’s more recent optics goes a step further than its 100-400mm sibling, in offering a staggering 900mm equivalent range at a surprisingly affordable price. Yet this comes in a reasonably lightweight design that’s entirely usable for hand-held shooting. It achieves this by using a small f/5.6-8 maximum aperture, which keeps the size manageable, but means it’s best suited to shooting in relatively good light.

The lens is compatible with Fujifilm’s 1.4x and 2x teleconverters for even longer range, although with even smaller effective apertures. As part of Fujifilm’s premium ‘red-badge’ range, the lens boasts high-end optics and built-in stabilisation. It employs a matte silver finish for shooting in hot weather and is fully weather-sealed.

In our review, we found that the Fujifilm XF 150-600mm F5.6-8 R LM OIS WR delivers excellent sharpness, with the stabilisation system kicking in well to keep things steady even at the outer edge of the focal range. At at 900mm equivalent, that is no small thing!

Read our Fujifilm XF 150-600mm F5.6-8 R LM OIS WR review

Sigma 100-400mm F5-6.3 DG DN | C

At a glance:

• 67mm filter thread
• 1.1m minimum focus
• 197mm length x 86mm diameter
• Weighs 1135g
• Sony E and L mount
• Price: $800 / £899

For E-mount and L-mount users looking for a portable and affordable long telephoto option, Sigma has come up trumps. Designed from the ground up for full-frame mirrorless cameras, it can also be used on APS-C models, giving a 150-600mm equivalent range. Highlights include a dual action zoom design, either by rotating the zoom ring or pushing and pulling the lens hood, and four-stop optical image stabilisation with a dedicated panning mode.

In our review, we praised this lens highly for the value for money it offers. Optical performance is highly impressive, especially for such a compact lens, and its ability to nail the shot consistently, even at the outer edge of its zoom reach, is highly commendable.

A tripod mount ring is available as an optional accessory. The main concession to its relatively low price is that the lens isn’t weather-sealed, although it does have a seal around the mount to help protect the camera.

Read our five star review of the Sigma 100-400mm F5-6.3 DG DN | C

Sigma 150-600mm F5-6.3 DG DN | S

At a glance:

• 95mm filter thread
• 2.8m minimum focus
• 266mm length x 109mm diameter
• Weighs 2100g
• Sony E and L mounts
• Price: $1,249 / £1,199

Sigma’s longest telephoto lens for full-frame mirrorless cameras combines the best features of its two DSLR offerings with the same focal length range. It promises the superb optical quality of the older ‘Sports’ lens, but in much more compact dimensions similar to the ‘Contemporary’ version. It also includes Sigma’s dual action zoom design, allowing quick push/pull zooming, with the zoom torque switchable between ‘tight’ and ‘smooth’. The barrel boasts dust and splash resistant construction, and the lens comes with a detachable tripod foot that features an Arca-Swiss type profile for clamping directly onto many tripod or monopod heads. The L-mount version is also compatible with 1.4x and 2x teleconverters.

Sony E 70-350mm F4.5-6.3 G OSS

At a glance:

• 77mm filter thread
• 1.1m minimum focus
• 142mm length x 77mm diameter
• Weighs 625g
• Sony E-mount (APS-C)
• Price: $998 / £769

Smaller sensors bring inherent advantages for shooting distant subjects such as wildlife, as they allow long telephoto reach to be attained using lighter, more compact optics. Designed for use on Sony’s A6000-series APS-C cameras, this lens offers a 105-525mm equivalent range in a package that’s smaller, lighter, and more affordable than the firm’s full-frame 70-300mm f/4.5-5.6 design. As part of the G-series range, it boasts premium optics and is one of only a select few E-series lenses to include weather-sealing. It also boasts an AF-stop button and physical switches for controlling focus and stabilisation modes, making it an ideal companion to Sony’s top-end A6500 and A6600 APS-C bodies.

Sony FE 100-400mm F4.5-5.6 GM OSS

At a glance:

• 77mm filter thread
• 98cm minimum focus
• 205mm length x 94mm diameter
• Weighs 1395g
• Sony E mount
• Price: $2,498 / £2,149

Perfectly matched to Sony’s high-speed full-frame mirrorless cameras, this stunning lens combines fantastic image quality with super-fast, near silent autofocus and extremely effective image stabilisation. While it’s full-frame compatible, it can also be used on APS-C bodies such as the Alpha 6600, giving a 600mm equivalent reach.

For those who need to go longer, it’s also compatible with Sony’s 1.4x and 2.0x teleconverters, while retaining autofocus. Of course, there’s no getting away from the fact that this lens is seriously pricey compared to third-party offerings from Sigma and Tamron. But in return, it’s a reliable workhorse that’s guaranteed to keep up with the Alpha 1’s 30 frames per second shooting.

We gave the Sony FE 100-400mm f/4.5-5.6 GM OSS a thorough test, putting it through its paces shooting super-fast jets at the at the Royal International Air Tattoo. Quite the baptism of fire for any lens, but the G Master lens passed with aplomb. The speed and accuracy of this lens really is quite impressive – ideal for wildlife – and sharpness is consistent the whole way throughout the aperture range. It just nails the shot, again and again. As we said at the time, pair with a fast-focusing Sony body, and the whole thing starts to feel a bit like cheating.

Read our Sony FE 100-400mm f/4.5-5.6 GM OSS review.

Sony FE 200-600mm F5.6-6.3 G OSS

At a glance:

• Filter thread 95mm
• 2.4mm minimum focus
• 318mm length x 111.5 mm diameter
• Weighs 2115g
• Sony E mount
• Price: $1,998 / £1,559

For Sony wildlife shooters in need of a versatile long telephoto zoom, this is a particularly strong contender. Unlike older 600mm zooms designed for DSLRs, it employs an internal zoom design for dramatically improved operability. This makes it much quicker and easier to zoom between the extremes of the range, with the balance also remaining unchanged for more comfortable hand-held shooting. Autofocus is fast and accurate thanks to Sony’s Direct Drive SSM system, and the image quality is excellent, too. The lens is fully weather sealed and incorporates three customisable focus-hold buttons. It’s still quite large and weighty, as befits a 600mm zoom, but the price comes as a pleasant surprise.

Read our Sony FE 200-600mm F5.6-6.3 G OSS review.

Tamron 150-500mm F/5-6.7 Di III VC VXD

At a glance:

• 82mm filter thread
• 60cm minimum focus
• 210mm length x 93mm diameter
• Weighs 1728g
• Sony E mount
• Price: $1,199 / £1,049

Tamron is no stranger to long telephotos, having produced the first 150-600mm zoom for full-frame DSLRs. With mirrorless it’s taken a different direction, producing a 150-500mm optic that’s not dramatically larger or heavier than typical 100-400mm designs. This means that you can pack it into a smaller bag than you’d probably expect for a 500mm lens. Built for use on full-frame cameras, it includes such desirable features as optical stabilisation for hand-held shooting and autofocus powered by a quiet, precise VXD linear motor. Tamron also says it’s fully compatible with Sony’s advanced features such as Eye AF and in-camera optical aberration correction. A removable Arca-Swiss compatible tripod mount ring comes as standard.

Text by Claire Gillo, with contributions from Andy Westlake and Jon Stapley

Now that you’ve found the best lenses for wildlife photography, have a look at these articles to learn more:

• How to check a second-hand lens for faults
• How to capture fast moving birds and animals
• Best cameras for wildlife photography
• Beginners guide to wildlife photography

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We review every Nikon mirrorless camera that comes out, meaning we’ve tried and tested every model on this list. If a camera doesn’t pass muster for our expert reviewers, we won’t recommend it – hence why you won’t yet see the new Nikon Z50 II on this list, as we’re still putting it through its paces. You will however find recent models like the Nikon Z6 III and Nikon Zf, both of which earned high plaudits from our reviewers.

New to Nikon? Don’t fret – we’ve put an explainer section at the bottom of this page, complete with some of the questions we most frequently get asked about mirrorless cameras and the Nikon range, to help give you a grounding in the basics. Want more options? We also have a guide to the best Nikon DSLRs, and an explainer on the pros and cons of DSLRs vs mirrorless if you’re still on the fence about which type is right for you. For now though, let’s look at the best Nikon mirrorless cameras to buy right now.

The best Nikon mirrorless cameras – here is our quick list:

Looking for the best deal on Nikon cameras? Not only will you find the best Nikon cameras, but you’ll also find some of the best Nikon camera deals, as our ‘Buy now’ buttons are setup to automatically take you to the best prices, from trusted retailers, plus you’ll also find a list of other retailers below each camera, so you can find the right deal for you.

• Best professional Nikon mirrorless: Nikon Z9 – Buy now
• Best Nikon mirrorless for beginners: Nikon Z50 – Buy now
• Best Nikon mirrorless for low light: Nikon Zf – Buy now
• Best hybrid Nikon mirrorless: Nikon Z6 III – Buy now
• Best budget full-frame Nikon mirrorless: Nikon Z5 – Buy now
• Best high-resolution Nikon mirrorless: Nikon Z7 II – Buy now
• Best all-round Nikon mirrorless: Nikon Z6 II – Buy now
• Best Nikon mirrorless for wildlife: Nikon Z8 – Buy now
• Best second-hand Nikon mirrorless: Nikon Z7 – Buy now
• Best Nikon mirrorless for vlogging: Nikon Z30 – Buy now
• Best Nikon mirrorless for style: Nikon Z fc – Buy now

Read on to learn more about each camera’s strengths and weaknesses, based on the findings of our review team. Once you’ve chosen a Nikon mirrorless camera, you’ll want some of the best Z-mount lenses for Nikon to go with it. First, here are our best Nikon mirrorless cameras you can buy…

Best professional Nikon mirrorless: Nikon Z9

At a glance:

• Price $5,497 / £4,999 body-only
• 45.7 megapixel full-frame sensor
• 30fps shooting (120fps at 11 megapixels)
• 6-stop in-body image stabiliser
• 8K video
• AI subject-detect autofocus
• 3.69-million-dot electronic viewfinder

What a camera this is. The Nikon Z9 is the firm’s mirrorless professional flagship, a spiritual successor to its single-digit DSLRs like the D5 and D6. For years these cameras were a mainstay of professional sports shooters, and the incredible speedster that is the Z9 continues in that grand tradition.

First, the headline specs. The Nikon Z9 is capable of shooting 45.7MP full-resolution raws at 20 frames per second, and can do so for more than 1,000 frames. Switch to JPEGs and it’ll manage 30 fps – drop the resolution down to a still-useable 11MP, and it’ll shoot at a staggering 120fps.

This is all paired with an intelligent, class-leading subject-detection autofocus system that’s capable of recognising such specific things as faces, animals, cars, birds and more. What’s more, unlike Canon and Sony’s system, there’s no need to specify in advance what it is to look for. Whether the subject is moving or in the corner of the frame, this system hits it with almost unerring accuracy.

We speak from experience here, having put the Nikon Z9 through an extensive testing procedure. It is an incredible camera that just works.

It powers up in seconds and keeps going for ages on a single battery charge. It can shoot completely silently, and has a high-efficiency raw format that keeps file sizes down with no noticeable impact on image quality – incredibly useful for those fast burst speeds! On occasion, but not often, the autofocus landed on the wrong subject, or saw a face where there wasn’t one.

Of course, it all comes at a cost. The Nikon Z9 is a high-end pro camera and is priced as such. For many users it will simply be out of reach. If it’s within your budget, however, it is quite simply one of the best cameras we’ve ever tested.

Best for: action, wildlife and sport photography, professional photographers

Read our Nikon Z9 review

Best Nikon mirrorless for beginners: Nikon Z50

At a glance:

• Price $857 / £899 body-only
• 20.9 megapixel APS-C sensor
• Tilting touch screen
• 11fps shooting
• 4K video
• 2.36-million-dot electronic viewfinder

Completely new to Nikon mirrorless cameras? Start here. The Nikon Z50 is one of the cheapest models in the line-up, and is a solid all-rounder that’s ideal for getting to grips with the system. It was the first in the series to use an APS-C sensor (or DX-format, as Nikon calls it), and while it’s not outwardly as stylish as, say, the Fujifilm X series of APS-C cameras, the Nikon Z50 has a lot going for it.

With 11fps burst shooting, it is quite rapid, and the hybrid autofocus system does a great job of keeping up with the action. Its 209 phase detection AF points cover the vast majority of the frame, and both Eye and Face Detection AF are on board. The viewfinder and touchscreen are also first-rate for a camera of this class, providing an immersive handling experience.

At the time of the Nikon Z50’s release, there weren’t very many natively DX-format lenses for Z-mount. Several years later and there still aren’t; which is annoying if you’ve invested in a camera like the Z50. The full-frame lenses will still work on the Z50, but tend to be both bulky and expensive, which sort of negates the point of buying a cheaper APS-C camera.

At the tail end of 2024, Nikon announced a long-awaited update to this camera – the Nikon Z50 II. It has attracted some controversy by sticking with the tried and tested 20MP DX-format sensor, with some commentators including landscape photographer Nigel Danson feeling that 20MP simply isn’t enough in today’s market.

Elsewhere, however, the Z50 II has gained plenty of enticing new features, including the sophisticated autofocus options from the flagship Z9 and Z8, with subject detection and 3D tracking. We’re finishing up our tests of the Z50 II, and once we’ve published our full review we’ll be able to determine whether it replaces the original Z50 as the best Nikon mirrorless for beginners. For now though, stick with the cheaper Z50 – particularly if you are primarily a photographer, since many of the Z50 II’s upgrades relate to video.

Best for: travel, entry-level photographers

Read our Nikon Z50 review

Best retro Nikon mirrorless for low light: Nikon Zf

At a glance:

• Price $1,997 / £2,149 body-only
• 24.5MP full-frame sensor
• 14fps shooting
• 4K video
• 3.69-million-dot electronic viewfinder

Nikon’s newest entry on the block, the fabulous Nikon Zf is successor to several different cameras at once. On the surface, it’s the latest entry in the Z series, and can be seen as a bigger brother to the similarly retro-styled Nikon Z fc, which has an APS-C sensor rather than a full-frame (see further down for more on that camera).

However, the Zf is other things too. It’s a throwback to Nikon’s immensely admirable heritage in film SLRs, with a body styled after famous analogue cameras like the Nikon FM2. It’s also something of a re-work of the Nikon Df DSLR; a retro throwback that was rather overpriced at launch (and can be picked up more reasonably second-hand now) – a concept that was interesting, but missed the mark.

The Nikon Zf is more than just an aesthetic joy, though. It’s a comprehensively featured full-frame mirrorless camera. And, thanks to advancements in Nikon’s latest Expeed 7 processor, is one of the best low-light shooters on the market. The Zf offers a native ISO sensitivity up to 64,000, expandable to 204,600; and with a full-frame sensor of fairly low resolution of 24.5MP, produces ultra-clean images even at higher sensitivities. Having eight stops of in-body stabilisation is helpful, too.

Read our Nikon Zf review.

Best Hybrid Nikon mirrorless: Nikon Z6 III

At a glance:

• $2,497 / £2,699 body only
• 24.5 MP partially-stacked full-frame CMOS sensor
• ISO 100-64,000 (standard)
• Up to 20fps shooting
• 6K 60fps N-RAW video recording
• 8-stop in-body stabilisation
• 5.76m-dot electronic viewfinder
• 3.2in, 2.1m-dot fully articulated screen

The Z6 III features a first of its kind partially stacked CMOS sensor that carries the same benefits as a full-stacked sensor, however at a lower cost. These advantages are faster, more responsive focusing, reduced rolling shutter distortion with the electronic shutter, faster continuous shooting, improved video specs, and a more fluid viewfinder experience.

The electronic viewfinder has been updated to an extremely bright 4000nits with improved colour gamut this results in a large, sharp, super-bright viewfinder that displays natural-looking colours.

Another important improvement over its predecessor is the Nikon’s 3D tracking technology first time featured in the Z6 line, alongside its capable subject detection system that recognises people, animals, vehicles, and planes; eye-tracking is also onboard. Autofocus is specified to work in staggeringly low light of -10EV.

Featuring 8 stops in body image stabilisation and internal 12-bit RAW video recording at 60fps, in either 6K or 4K resolution, also record slow-motion footage in Full HD at 240fps, complete with audio the Z6 III is a hybrid shooter’s dream.

Read our FULL review of the Nikon Z6 III.

Best budget full-frame Nikon mirrorless: Nikon Z5

At a glance:

• Price $1,297 / £1,249 body-only
• 24.3 megapixel full-frame sensor
• 4.5fps shooting
• 4K video
• 3.69-million-dot electronic viewfinder

For a cheaper full-frame mirrorless, the Nikon Z5 is good value. It has a well-performing full-frame sensor and similar great handling to the more expensive Z6 II; albeit with some key compromises.

Although the resolution of the sensor is similar to that of the Z6 II, the Z5’s is not back-side illuminated, so does not perform quite so well in lower light conditions. It’s also not quite as quick, especially when it comes to frame rates – so is not optimal for shooting action, sports or wildlife.

What you do get is a good performer for static subjects, and access to the full-frame system without spending a fortune – which makes it ideal for beginners and those upgrading to full-frame for the first time.

Best for: beginners, those new to full frame

Read our Nikon Z5 review

Best high-resolution Nikon mirrorless: Nikon Z7 II

At a glance:

• Price $2,297 / £2,949 body-only
• 45.7 megapixel full-frame sensor
• Up to 10fps shooting
• 4K video
• 5-stop in-body image stabiliser
• Eye-detection autofocus
• 3.69-million-dot electronic viewfinder

A high-resolution full-frame model for serious enthusiasts and professionals, the Nikon Z7 II delivers a comprehensive shooting experience while fixing some of the flaws of the first version. It’s got two card slots now, with a second UHS-II SD slot in addition to the CFExpress B/XQD slot from the original Z7.

In testing, we found the Nikon Z7 II to deliver exactly the kind of sublime quality we’ve come to expect from the series, thanks to its 45.7MP back-illuminated full-frame sensor. The camera performs beautifully at all its standard ISO settings, and while noise starts to creep in at ISO 12,800 and 25,600, results are still perfectly acceptable.

The electronic viewfinder is big and beautiful enough to give pause to even the most die-hard DSLR enthusiast (though its raw resolution lags behind that of rivals from the likes of Canon and Sony). Plus, the Z7 II can achieve a decent burst speed of 10fps, with a deep shot buffer.

It’s not the biggest upgrade over the original Z7, and isn’t supposed to be; the original camera is still on sale as a compelling, cheaper alternative. In either case, you get an exceptional mirrorless camera, with perfectly pitched handling, and the ability to produce superb images. It’s hard to ask for more than that.

Best for: landscape photographers, macro photographers, portrait photographers

Read our Nikon Z7 II review

Second-best all-round Nikon mirrorless: Nikon Z6 II

At a glance:

• Price $1,597 / £1,999 body-only
• 24.5 megapixel full-frame sensor
• 14fps shooting
• 5-stop in-body image stabilisation
• 4K video
• 3.69-million-dot electronic viewfinder

The Z6 II is a solid all-rounder that for many Nikon mirrorless photographers is likely to be the sensible choice. Its megapixel count of 24.5MP does not compete with the Z7 II, it’s still a highly effective camera with a lot going for it – and having a less pixel-crowded sensor does offer a few advantages of its own.

The Nikon Z6 II does an excellent job in low light, focusing accurately and producing clean, low-noise images in dim conditions. You can nudge the ISO levels up to 12,800 and still get perfectly usable images.

While the autofocus system offers the same 273 phase detection AF points as the previous Z6, it boasts an improved algorithm. In use, the system is reliably accurate and generally seems to intuit your intentions much better than the Z6 ever did. Having Face- and Eye-detection is also handy, especially for street and portrait work.

We have completed a Nikon Z6 II long-term test in addition to our full review, and it really is an impressive camera. The lack of a fully articulating touchscreen may annoy some, but otherwise, it really is a camera that’ll do just about everything.

Best for: All-rounder photographers without a huge budget

Read our Nikon Z6 II review

Best Nikon mirrorless for wildlife: Nikon Z8

At a glance:

• Price $3,797 / £3,789 body-only
• 45.7 megapixel full-frame sensor
• 20fps shooting (120fps at 11 megapixels)
• 8K video
• AI subject-detect autofocus
• 3.69-million-dot electronic viewfinder

The Nikon Z8 is a serious camera for serious shooters. On its release, Nikon explicitly drew comparisons with the D850, one of the most popular DSLRs of all time. The D850’s combination of high resolution and high-speed shooting made it a particular hit with wildlife photographers – the Nikon Z8 is a continuation of that tradition.

Of course, the Nikon Z9 already did that, so in practice, the Nikon Z8 is basically a slimmed-down, cheaper version. This is no bad thing; the Z9 is spectacular, but expensive and bulky, so the Z8 makes more sense for a lot of users. You still get to shoot 45.7MP images at high frame rates, and take advantage of Nikon’s AI-powered subject-detection autofocus. The fastest shutter speed is a lightning-fast 1/32,000sec, and you even get the Z9’s 11MP 120fps shooting mode for those times you need to be faster than fast. 8K video is on board, too.

There is little to criticise about this camera, as we discovered in our in-depth Nikon Z8 review. It’s pricier than the Z7 II, which sports the same resolution, so is only really worth the money if you really need the speed. Some photographers may prefer two UHS-II SD slots rather than one SD and one CFexpress (or XQD) as this necessitates a more expensive card – but that’s to nitpick. If the Z8 fits your budget, and you want the speed it offers, there’s every reason to snap one up.

Best for: Professionals needing a powerful, durable and compact camera

Read our Nikon Z8 review

Best second-hand Nikon mirrorless: Nikon Z7

At a glance:

• Used price around $1,700 / £1,150 body-only
• 45.7MP full-frame BSI CMOS sensor
• 9fps shooting
• Single XQD card slot
• 4K 30p video
• 5-axis stabilisation

The original Nikon Z7 was one of the first cameras out of the gate for the Z system. As such, it’s an interesting object to look back on, exemplifying many great things about the series as well as the mis-steps Nikon made on its first go.

So, let’s get the cons out of the way: the Nikon Z7 only has one memory card slot. Booooo. This is a bit of a head-scratcher as it instantly makes the camera a non-starter for photographers who need an extra card as backup insurance against data corruption – wedding photographers, event photographers, photojournalists etc.

To make matters worse, the single slot in question was designed to accept only the expensive and increasingly irrelevant XQD card format (it has since been patched to accept CFexpress, which is still expensive, but is at least widely used).

However, if you can get over this, the Nikon Z7 delivers the exact same full-frame resolution as its successor, the Z7 II, and does so for about half the price on the second-hand market. This kind of full-frame quality for about $1,600 / £1,500 is a hell of a deal, storage quirks notwithstanding, and the handling of this camera is wonderful. It’s nicer to use than its Sony contemporaries, sitting comfortably in the hand, and its viewfinder is gorgeous.

The image quality is simply stunning in pretty much any lighting conditions, and the 5-axis stabilisation is highly effective – even more so when paired with stabilised Z-mount lens. While it doesn’t boast the kind of futuristic AI-powered subject-detection autofocus we’d later see on the likes of the Z9, it still does an excellent job of locking onto and tracking moving subjects. Like all the best Nikon cameras, it just works.

Read our full Nikon Z7 review.

Check out second-hand prices for the Nikon Z7 on MPB.

Best Nikon mirrorless for vlogging: Nikon Z30

At a glance:

• Price $607 / £699 body-only
• 20.9 megapixel APS-C sensor
• 11fps shooting
• Single card slot
• No viewfinder
• Uncropped 4K video

Aimed squarely at vloggers, the Nikon Z30 shapes up as a natural rival to similarly priced vlogging cameras like the Sony ZV-E10, with the same APS-C sensor. But as the Z system is much younger than Sony’s E-mount, you won’t have such a gargantuan selection of optics to choose from.

Still, on its own terms, the Nikon Z30 is an impressive camera. As we found in our full test and review, its comfortable grip makes for solid handling. The camera is easy to use one-handed, with the flip-around screen handy for self-taping. There’s no viewfinder, but a vlogging camera does not really need one, and it help keeps the weight down to a slender 405g. Not bad!

Video footage looks excellent, with uncropped 4K available at up to 30p, and a Flat colour profile that is is ideal for grading (it’s not quite a Log profile, but it’s close). Full HD is also available at up to 120p, bringing slow-motion into play.

There are a couple of omissions. We found that the lack of a headphone jack compromises the Z30’s usefulness somewhat for video – having no way to accurately monitor your audio mid-shoot could cause problems. Also, while the lack of in-body stabilisation was presumably a sacrifice to keep the cost and weight down, it does make it harder to use the Z30 for run-and-gun shooting (and the cost-savings are somewhat negated anyway if you end up having to buy a gimbal).

Best for: vloggers on a budget

Read our Nikon Z30 review

Best Nikon mirrorless for style: Nikon Z fc

At a glance:

• Price $957 / £899 body-only
• 20.9 megapixel APS-C format sensor
• 11fps shooting
• 4K video
• Vari-angle screen
• Retro-styled body
• 2.36-million-dot electronic viewfinder

Using the same base specifications as the Z 50, the Z fc should appeal to all of those that want something that not only performs well, but also looks the part too.

With its attractive retro styling, it’s quite possibly the best looking Nikon Z camera – or at least, it was before the Nikon Zf arrived. But it’s not just a looker – another advantage is the use of a vari-angle screen, which is a bit more flexible and useful than the tilting version found on the Z50.

Which you opt for may also come down to price – sometimes the Z50 is cheaper, sometimes its the Z fc – so it’s worth shopping around to make sure you get the best deal.

Best for: vloggers, travel, entry-level photographers

Read our Nikon Z fc review

How to choose a Nikon mirrorless camera – key specs explained

What is a mirrorless camera anyway? As the name implies, it lacks a mirror in the camera body, unlike a DSLR, which uses a reflex mirror system to reflect an image into an optical viewfinder. There are plenty of other camera types that don’t use mirrors, like compacts and action cameras, but the term ‘mirrorless’ has come to refer specifically to interchangeable-lens cameras. See our piece on DSLR vs mirrorless for a more detailed explanation.

Focusing specifically on Nikon mirrorless cameras, here are the key specs you’ll want to pay attention to when choosing the right model for you.

Sensor: Sensor size is an important consideration when choosing any camera. In the Nikon mirrorless system you have two choices: full-frame, or a smaller APS-C sensor (Nikon calls them FX and DX, respectively). The larger full-frame sensors are better for image quality, especially in low light. However, APS-C cameras are not only more affordable, but also lighter weight and good to travel with. We have a full outline of the key pros and cons of sensor sizes in our guide to full-frame vs APS-C.

Resolution: This refers to how many pixels the sensor has, expressed in megapixels (MP). The more megapixels, the more detail in images. This is great for printing, but demands more storage space and does increase the cost of the camera.

Screen & viewfinder: Almost all of Nikon’s mirrorless cameras have electronic viewfinders – only the vlogger-focused Z30 leaves it off. Size and resolution are the key specs to pay attention to here; the bigger the EVF, the better the shooting experience. Screen-wise, all Nikon mirrorless cameras have LCD screens that offer some kind of movement, either tilting or fully articulating. The latter is useful for video, especially recording pieces to camera, though photographers can also make use of it to explore unusual shooting angles.

Image stabilisation: All of Nikon’s full-frame cameras include in-body image stabilisation (IBIS). None of Nikon’s APS-C models offer it, which is something to think about – particularly if you’re likely to be using them with long lenses or in low light with slow shutter speeds. That said, you can mitigate for the lack of IBIS by always using lenses with stabilisation (Nikon calls it VR, or ‘Vibration Reduction’), or by using a tripod.

Frame rate: Also referred to as burst speed or continuous shooting speed, this is how fast the camera can fire off shots sequentially. A high burst rate is useful for capturing fast action – though it’s also worth checking a camera’s buffer depth, i.e. how many shots it can capture in a burst before it has to slow down and catch up.

Video: All Nikon mirrorless cameras can shoot 4K video, and the flagship Z9 and Z8 even offer 8K for high-end users.

Lens options: You might be thinking this is a redundant category, given that all the cameras on this list use the Z mount. However, things work slightly different with the APS-C DX-format models in the series (currently the Z50, the Z30 and the Z fc), as their smaller sensor incurs a 1.5x crop factor on the focal length of the lens.

This means, for example, a lens that provides a 35mm focal length on the Nikon Z7 II will provide a 52mm equivalent focal length when mounted to the Z50. There are a few Z-mount lenses specifically designed for DX-format cameras, though admittedly not very many so far.

Best Nikon mirrorless cameras: frequently asked questions

Looking to learn a little more about Nikon’s mirrorless range? Here, we answer a few of the questions we most commonly see about all things Nikon mirrorless.

Which is the best Nikon mirrorless for wildlife?

There is a straightforward answer to this question, albeit one that a lot of people aren’t going to like – the best Nikon mirrorless camera for wildlife is the Nikon Z9. It just is. Out-of-this-world burst shooting capabilities, the intelligent subject-detect autofocus that can lock onto animals and birds, the sublime 45.7MP image quality – it all works seamlessly in tandem, and makes the Nikon Z9 not just one of the best Nikon mirrorless cameras for wildlife, but one of the best wildlife cameras you can buy, full-stop.

Of course, with a price tag of $5,500 / £5,000 for just the body, the Nikon Z9 is not going to be a realistic option for a lot of people. The Nikon Z8 is essentially a slimmed-down version of the Z9 with a lot of the same internals; however, at $3,800 / £3,800, it’s still not exactly budget-friendly.

For a more modestly priced option, the Nikon Z6 II is a good choice for wildlife. Its focusing system is reliable and accurate, and it keeps on going when the light gets low. Its full-frame sensor produces great-looking 24.5MP images, and wildlife photographers can take advantage of the 14fps burst mode. It costs around $1,600 / £2,000.

If this is also too high a price, then an APS-C model could be a good choice. The Nikon Z50 ticks a lot of boxes for wildlife photographers, with a compact, portable body and 11fps burst shooting. It’s a reliable little all-rounder, and it’s hard to argue with the street price of around $860 / £900.

Plus, the small sensor size means the effective focal length of your lenses will be extended by 1.5x – so, for example, a 50mm lens will behave like a 75mm lens. This can be immensely useful when hunting for images of shy wildlife subjects.

Can you use Nikon mirrorless cameras with F-mount DSLR lenses?

Yes, you can mount Nikon F-mount lenses to your Nikon Z-mount camera, and in many cases still enjoy full functionality of features like autofocus and stabilisation. All you need is a Nikon FTZ adapter, which slots between the camera and lens. There’s also an FTZ II adapter at $250 / £249, which is basically the same but has a redesigned construction that keeps out of the way of some of the function buttons on the Z9. Adapters are easy to find; you can get the FTZ adapter from MPB for around $160-170 / £155.

Be aware that this process only works in one direction – you can’t adapt mirrorless Z lenses onto F-mount DSLRs. This is because DSLRs have a thicker body to allow room for the mirror, so any Nikon Z lens would be mounted too far from the sensor to focus.

Which Nikon mirrorless cameras have an articulating screen?

The Nikon Z6 III, Nikon Zf and the Nikon Z fc have fully articulating screens, as does the vlogging-focused Nikon Z30. The Nikon Z9 and Z8 receive half points here, as they have two-way tilting screens that are pretty close to fully articulating.

Other Nikon mirrorless cameras, including the Z5, Z50, Z6 II, Z7 II, Z6 and Z7, use various types of tilting screens, rather than fully articulating.

What do FX and DX mean on Nikon cameras?

‘FX’ and ‘DX’ are the terms Nikon uses to denote sensor size. Its full-frame cameras are ‘FX’ cameras, while its APS-C models are labelled ‘DX’. This also applies to lenses; a DX lens is one that only fits APS-C cameras, while an FX lens will work with both. For more on the difference between sensor sizes, check out our rundown of full-frame vs APS-C.

How many megapixels do I need in a Nikon camera?

The answer to this question will vary from user to user – but if you have to ask, then chances are good that you don’t need that many. The Nikon Z50 offers 20.9MP of resolution, whcih has historically been considered fine for the average photo taker, though some now consider it a little meagre. If you are planning to make prints of your images, or want the flexibility of being able to losslessly crop into your images in editing, then a camera with more resolution will be beneficial – just be aware that with more pixels comes the need for more storage on cards and hard drives.

Do professionals use Nikon?

Emphatically yes. Nikon has long been and continues to be a highly used brand among professional photographers, alongside Canon and Sony. While mirrorless is increasingly dominant in the professional space, there is also still a contingent of pros who stick with their beloved Nikon D850 DSLR (hence Nikon’s attempt to woo them over by branding the Z8 as a ‘new D850’). Our list of the best professional cameras includes lots and lots of Nikon-made models, and if you show up to a professional shoot toting Nikon gear, nobody is going to have a thing to say about it.

Text by Amy Davies, with contributions from Jon Stapley.

Once you’ve found the perfect camera for you, have a look at some of the best Nikon Z-mount lenses. Or have a look at more buying guides, and our latest reviews. 

Related reading:

• The 12 best Nikon DSLR cameras ever
• Best full-frame mirrorless cameras
• The best mirrorless cameras you can buy right now
• Nikon invites you to the cloud for firmware updates, free colour profiles

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The post Best Nikon mirrorless cameras to buy in 2025 appeared first on Amateur Photographer.

We test and review every full-frame mirrorless camera that is released, and if a camera doesn’t impress our team, it doesn’t make it into a buying guide. Our expert team of photographers recently finished up testing the mighty Sony A1 II, as well as the Canon EOS R5 Mark II and the Nikon Z6 III, all of which made it onto this list. We also look at price and value for money when testing cameras, so you’ll find a mix of options at different price points on this list – not just the expensive stuff.

If you’re still getting your head around what we mean when we talk about full-frame cameras, scroll to the bottom of the page, where we’ve put together a quick explainer on how to choose the right one for you. And if you’re on a tight budget, check out our guide to the best cheap full frame cameras, where we include both DSLRs and mirrorless models. Otherwise, read on to see the best full-frame mirrorless cameras we’ve picked.

Here’s a list of our picks of the best full frame mirrorless cameras available, with quick links to the best prices:

Looking for the best deal on full-frame mirrorless cameras? Not only will you find the best full-frame mirrorless cameras, but you’ll also find some of the best full-frame camera deals, as our ‘Buy now’ buttons are setup to automatically take you to the best prices, from trusted retailers, plus you’ll also find a list of other retailers below each camera, so you can find the right deal for you.

• Best full frame camera for professionals: Canon EOS R5 Mark II – buy now
• Best full frame camera under $1,000 / £1,000: Sony A7 II – buy now
• Best full frame camera for all-round use: Canon EOS R6 Mark II – buy now
• Best full frame mirrorless camera for wildlife: Nikon Z8 – buy now
• Best full frame camera for enthusiast photographers: Nikon Z7 II – buy now
• Best full frame mirrorless camera for beginners: Canon EOS R8 – buy now
• Best full frame camera for weddings and events: Nikon Z6 III – buy now
• Best full frame mirrorless camera for video: Sony A7S III – buy now
• Best hybrid full-frame for photo and video: Panasonic Lumix S5 II – buy now
• Best full frame mirrorless camera for landscapes: Sony A7R V – buy now
• Best full frame mirrorless camera for sports: Canon EOS R3 – buy now
• Best full frame Sony camera for professionals: Sony A1 II – buy now

If you’d like to learn more about these exceptional cameras, then simply read on…

Best full frame mirrorless camera for professionals: Canon EOS R5 Mark II

At a glance:

• 45MP sensor
• ISO 100 to 51,200
• 30fps burst mode shooting (electronic shutter)
• Eye Control Focus technology,
• Built-in cooling channel, and optional cooling fan grip
• 8K 60fps internal raw video recording
• Weight approx 746g
• $4,300 / £4,500 body only

The top of the mirrorless camera market is a competitive place – but Canon might just be reigning supreme at the moment with the superb, intelligent, class-leading EOS R5 Mark II. The original EOS R5 felt like a big step forward in many ways, offering world-class stills performance and high-res 8K video. However, it was hobbled by its much-publicised overheating issues, which led to truncated recording times. Fixing this was obviously priority one, but Canon has also brought a lot more to the party with this go-around.

For instance, the EOS R5 Mark II has gained the Eye Control focus system from the sports-focused EOS R3. It’s just as it sounds, an autofocus system that is controlled by the movements of your eye in the viewfinder – and it really works! Of course, if you don’t truck with it, you can also take advantage of the superbly capable subject detection autofocus, which can automatically recognise different types of subject, with no ned to pre-specify which one it’s looking for.

In use, the Canon EOS R5 Mark II is slick, polished and highly capable – just as all pro mirrorless cameras are these days. Its 8K video capabilities also impress, and yes, the overheating problems of the original have been fixed.

While it’s an expensive proposition, it’s worth noting that like all EOS R camera, the EOS R5 Mark II works seamlessly with old EF DSLR lenses, which opens up plenty of possibilities for cheap glass. As we said in our review, it’s very difficult to think of a significant flaw with this camera. It does everything pros need it to, and more. 

Best for: Professionals

Read our full Canon EOS R5 Mark II review

Best full frame mirrorless camera under $1,000 / £1,000: Sony Alpha A7 II

At a glance:

• 24.3MP sensor
• ISO 50 to 25600
• Video resolution Full HD (1,920 x 1,080) at 60fps
• 3.0″ type TFT LCD
• Weight approx 556g
• $949 / £899

The Sony A7 II was announced way back in 2014 so doesn’t have the benefits of some newer models, like the higher resolution of the Sony A7 IV, or the faster focusing features of the Sony A7 III. It remains one of the best in terms of value for money, though, hence it makes our list. One of its flagship features is its in-body 5 axis image stabilisation feature; it was in fact the first full frame digital camera to ever include this technology.

For a no-thrills simple mirrorless shooter primarily for taking still images, the Sony A7 II remains viable. It is also generally available for under £1000: an absolute bargain; even cheaper second hand. Also, the Sony E-mount lens range has been going significantly longer than Canon’s RF mount, Nikon’s Z-mount or the L-mount alliance between Sigma, Panasonic and Leica. This gives a Sony user a lot more lenses to choose from – and cheap ones, especially. Sony’s historic openness to third-party manufacturers helps here, as there are tons of terrific E-mount lenses from the likes of Sigma, Tamron and Samyang.

Best for: Beginners and those on a budget

Read our Sony Alpha A7 II review.

Best full frame mirrorless camera for all-round use: Canon EOS R6 Mark II

At a glance:

• 24.2MP sensor
• ISO 100 to 102,400
• Dual UHS-II SD card slots
• Autofocus: 1053-point Dual Pixel CMOS AF II
• Weight approx. 670g
• $1,999 / £1,999

A refreshed version of Canon’s full frame all-rounder, the EOS R6 Mark II inherits plenty of its tech from the sports-focused EOS R3. The original EOS R6 was a resounding success, scooping our AP Product of the Year award in 2021, so we had high hopes for this Mark II version.

The new sensor has been fine-tuned for exceptional low-light performance, supporting autofocus in light levels as low as -6.5EV. Stabilisation is rated up to 8 stops of exposure compensation, which also helps when the light conditions get challenging.

The exciting thing about the EOS R6 Mark II is that it inherits autofocus tech from the EOS R3. This provides spookily capable subject-detect autofocus, powered by AI, which can recognise and lock onto specific subjects including humans, birds, animals, cars, trains, aircraft and more.

This tracking is available in all focus modes, and pairs beautifully with the EOS R6 Mark II’s 12fps mechanical shutter burst mode (this can go up to a whopping 40fps with the electronic shutter). And then this syncs up well with the deep shot buffer, offering up to 190 JPEG or 140 RAW files in a single burst.

This camera will do pretty much anything you ask of it. The EOS R6 Mark II It takes the already excellent EOS R6 and makes it even better, with faster shooting and impressive subject detection AF. A seriously impressive all-rounder, and a fantastic choice if you are moving to mirrorless from Canon DSLRs.

You also have access to the RF-mount range for Canon EOS R mirrorless cameras, which has continued to expand since the system was first announced back in 2018, and these days there are tremendous Canon RF mount lenses for every stripe of user.

Best for: General, all-round use

Read our Canon EOS R6 Mark II review

Best full frame mirrorless camera for wildlife: Nikon Z8

At a glance:

• 45.7MP full-frame stacked CMOS sensor
• 20 frames per second shooting in raw
• 8K 30p video recording
• 3.69m-dot, 0.8x viewfinder
• 3.2in, 2.1m-dot 3-way tilting LCD
• $3,497 / £3,299

The Nikon Z8 sits just below the flagship Z9 in the Nikon full frame mirrorless camera range; though technically these two cameras are practically at the same level. Where the Z9 has a tall body with an integrated battery grip, a classic design for professional sports photographers, the Z8 has a classic, more compact camera design that will be easier to pack and handle for more general photography. The Nikon Z9 is one of the best cameras we’ve tested, and for the Nikon Z8 to match it in practically every respect but in a smaller, less expensive body, sends it straight to the top of our list.

So what do you get that makes this camera so great? First, there’s its 45.7MP sensor, which delivers excellent resolution. Then there its ability to shoot raw files continually at 20 frames per second – and then there is its 8K video recording, or 4K at up to 120fps. Normally cameras are built to specialize in one particular area, but this is a camera that excels everywhere.

Of course, this carries a high price tag, but then it is a rugged, professional camera designed for years of hard use. It also offers twin memory card slots, accepting either SD or CFexpress Type B cards. This makes it easy to use alongside other, older equipment that uses the SD format – though some videographers and sports shooters might prefer Nikon to offer matched CFexpress card slots and make a full transition to this new format.

A small point? Definitely, because the Nikon Z8 is a simply superb camera that’s instantly one of the best full frame mirrorless cameras you can buy.

Best for: wildlife and outdoor shooting

Read our full Nikon Z8 review.

Best full frame mirrorless camera for enthusiasts: Nikon Z7 II

At a glance:

• 45.7MP sensor
• ISO 32-102,400 (expanded)
• Dual card slots (XQD/CFexpress and SD cards)
• 5-axis in-body image stabilisation
• Weight approx. 705g
• $2,297 / £2,399

While the Nikon Z9 at the top of our list is the firm’s flagship model for professionals, the Z7 II sits more at enthusiast level. It delivers premium, high-resolution images – it’s got the same 47.5MP resolution, after all – without those preternatural continuous shooting speeds. For serious enthusiasts who want a camera that will reliably shoot pretty much everything in ultra-high resolution, the Nikon Z7 II fits the bill nicely.

The original Nikon Z7 was a popular camera – though one curious flaw was that it only sported a single XQD card slot. The Nikon Z7 II corrects this, with dual slots that support both XQD/CFExpress, and standard SD, so you’ll be covered no matter what memory format you prefer.

With a camera this high-res, you are going to want fast cards to be able to keep up; while it doesn’t match the Z9’s burst rates, 10fps at 45.7MP is still a heck of a lot of data-crunching. Nikon also beefed up the buffer considerably compared to the original Z7 – in our testing, we managed to shoot 74 consecutive RAW files before hitting the limit. In Fine JPEG mode, the buffer hit 139 frames, and for normal JPEGs, it was 148. It’s hard to imagine a scenario where that isn’t enough.

In our review of the Nikon Z7 II, we came away highly impressed. Though its focusing isn’t quite on par with standout action and sports cameras, it does a generally decent job for most subjects, and the image quality from this thing is just absolutely killer. The handling is great too – it’s a satisfying camera to hold and use, something that Nikon nailed from the beginning with the Z series.

Best for: portraits, landscapes and high-resolution shooting

Read our full Nikon Z7 II review.

Best full frame mirrorless camera for beginners: Canon EOS R8

At a glance:

• 24.2MP sensor
• ISO 100 to 102,400
• Up to 40fps shooting
• 4K 60p video
• 2.36m-dot, 0.7x EVF
• $1,199 / £1,299 body only

Whether you’re making the jump from DSLR to mirrorless, or from crop-sensor to full-frame, or both, a relatively affordable all-rounder like the Canon EOS R8 is an eminently sensible port of call. It essentially takes the guts of the EOS R6 II, featured above, and crams them into a smaller body with a few features lopped off. So you don’t get weather-sealing, you don’t get stabilisation – but you do get that sumptuous image quality combined with what continues to be one of the best autofocus systems on the market.

When we put the EOS R8 through our full testing and review process we weren’t without reservations. The body design has been arguably over-simplified – it feels nice and slim, yes, but we found ourselves sometimes frustrated that there weren’t many physical on-body controls. You do have to get comfortable spending time in the menus. As mentioned, there’s no stabilisation to speak of, so you may want to acquire stabilised lenses. Speaking of which, if you already have a collection of EF DSLR lenses, it’s easy to adapt them and retain full functionality with the EF-EOS R adapter.

Niggles aside, the Canon EOS R8 is a speedy camera capable of producing downright gorgeous images, making the most of its full-frame sensor. For a first jump into full-frame, it makes a compelling case for itself – especially when compared to the somewhat aging Nikon Z5 or the small-and-fiddly Sony A7C II.

Best for: Entry level and keen hobbyists

Read our Canon EOS R8 in-depth review.

Best full frame mirrorless camera for weddings and events: Nikon Z6 III

At a glance:

• 24.5MP sensor
• ISO 50-204,800 (extended)
• 6K 60fps video
• Size: 138.5 x 101.5 x 74mm
• Weight approx. 760g
• $2,500 / £2,699

In its third iteration of full frame mirrorless, Nikon went about improving on the Nikon Z6 II with impressive results. The Nikon Z6 III comes with an exciting new high-speed sensor, a sensational viewfinder, and almost the same autofocus system as the Z8 and Z9, thanks to its Expeed 7 processor. The result is a great all-rounder camera capable of tackling almost anything you might ask of it.

For weddings and events, you need a versatile camera, and the Nikon Z6 III is that. Its 24.5MP resolution is big enough for printing without being unwieldy, and the 14fps burst rate is well capable of capturing anything that moves. The handling is lovely too, with a big and beautiful EVF, and one of our favourite oft-neglected features – a top LCD screen. Not only that, but the camera also has a fully articulating rear LCD.

With its fast and agile autofocus system, the Nikon Z6 III certainly should be in the mix for photographers looking for a capable all-rounder for event and wedding photography.

Best for: Wedding and event photographers

Read our Nikon Z6 III review

Best full frame mirrorless camera for video: Sony A7S III

At a glance:

• 12.1MP sensor
• ISO 80-102,400 (40-409,600 extended)
• 4K video up to 120fps, Full HD up to 240fps
• 759-point phase detection AF
• 9.44m-dot EVF, 0.9x magnification
• $3,498 / £3,389

Sony’s A7S cameras have been famous since the 2010s for their ability to seemingly turn night into day, with high-ISO results that are quite simply astonishing. And when the A7S II introduced internal 4K video recording, it also found popularity among the filmmaking community. As such, the A7S III is one of the best full-frame cameras you can buy for video, and its feature-set has accordingly been oriented in that direction. Hence the 12.1MP sensor resolution, which might sound somewhat stingy for photographers, but makes perfect sense for video shooters – who don’t need all those extra pixels anyway.

Slim, portable and powerful, the A7S III takes everything that was popular about the previous models and builds upon it. Its autofocus system is an extremely impressive 759-point on-chip phase-detection system that covers almost the entirety of the frame, with real-time Eye AF and tracking – all of it working in video mode, of course.

Also, with higher video resolutions and frame rates requiring ever more data, the A7S III makes an important upgrade in terms of its interface and adds in CFExpress Type A memory card compatibility. Smaller than CFExpress Type B, these cards don’t crunch quite the same data (would probably struggle with 8K video), but are more than enough for the A7S III’s 600Mbps maximum bit-rate.

We also can’t fail to mention one of the A7S III’s headline features – the world’s highest resolution electronic viewfinder, a gorgeous unit that provides a breath-taking view of the scene before you. All this adds up to an incredibly well-featured camera for filmmakers – and one that’s priced accordingly.

Best for: Filmmakers

Read our Sony A7S III review.

Best hybrid full frame mirrorless camera for photo and video: Panasonic Lumix S5 II

At a glance:

• 24.2MP full-frame sensor
• ISO 100-51,200 (50-204,800 expanded)
• 779-point phase detection autofocus
• Up to 30fps burst shooting
• C4K 60p video recording
• $1,998 / £1,649

The Panasonic Lumix S5 II, launched in January 2023, was an update to the original Lumix S5, then two years old, a fairly portable member of the Lumix S family, well priced and suited to both photo and video. This was a likeable full-frame camera, but disadvantaged by Panasonic’s reliance on the old contrast-based Depth from Defocus autofocus system; which simply couldn’t keep up with the competition.

No more! The Lumix S5 II arrived sporting glorious phase-detection autofocus. It’s hard to overstate what a big deal this has been for Panasonic users in both photo and video spaces, and it cements the Lumix S5 II’s status as a true hybrid camera, ideal for photographers, videographers, and those who shoot a little of both.

But this wasn’t the only trick. Panasonic also added a cooling fan into the chassis of the Lumix S5 II, placing it above the sensor and thereby allowing for unlimited video recording times. As long as there’s space on the card and juice in the battery, the Lumix S5 II will keep shooting pristine 4K video at up to 60fps in 4:2:2 10-bit colour. It can also output 6K 30fps footage in either 17:9 or 3:2 aspect ratios, and Panasonic has made sure to incorporate a full-size HDMI socket for those who like to output to an external recorder.

Photographers haven’t been forgotten – they get the full benefit of that 24MP full-frame sensor, as well as a 30fps burst rate using the electronic shutter, or 9fps with the mechanical, and a buffer of up to 200 RAW + JPEG before the camera starts to slow down. All this adds up to an incredible hybrid mirrorless camera – and at a sub-2K price, the Lumix S5 II offers real value for money.

For those who are looking for advanced video recording capabilities the new Panasonic Lumix S5IIX with 6K 30fps video, RAW video, ProRes and direct to SSD recording will be the ultimate hybrid camera.

Best for: Hybrid photo/video shooters

Read our Panasonic Lumix S5 II review.

Best full frame mirrorless camera for landscapes: Sony A7R V

At a glance:

• 61MP sensor
• ISO 50-102,400 (extended)
• 8K 24p video
• Size 131.3 x 96.9 x 82.4 mm
• Weight approx 723g
• Price $3,898 / £3,689

For making big, beautiful prints of your landscape images, the Sony A7R V is the king of the hill. Indeed, this camera is so good that we named it the AP Product of the Year in our recent annual awards, as well as the best professional camera.

With a 61MP sensor that produces absolutely stunning images, the A7R V is set up to help you nail the shot every time. This translates to excellent colour rendition and near-unerring autoexposure. What’s more, the camera’s sophisticated in-body stabilisation system can be used to create pixel-shift multi-shot images. The most advanced mode is a 16-shot function that outputs enormous 240MP images. Considering landscape photographers are going to be using a tripod most of the time anyway, this is a feature tailor-made for the genre.

The full frame sensor has a backlit design, meaning the A7R V does well at a range of ISO settings. It also inherits subject-detection autofocus from the more action-oriented Alpha cameras – not essential for landscapes, but nice to have. Its viewfinder is big, high-resolution and gorgeous as well, making for an all-around pleasing shooting experience.

In fact, there’s not much the A7R V can’t do extremely well. And that means (here it comes) the camera comes with a wince-inducing price tag. For £1,000 or $1,000 less, the Sony A7R IV does offer the same resolution on a backlit sensor, and a lot of the same features – though you don’t get the lossless RAW compression and variable-resolution options of the A7R V, meaning your cards will fill up fast.

Best for: Landscape photographers

Read our Sony A7R V review

Best full frame mirrorless camera for wildlife and sports: Canon EOS R3

At a glance:

• 24.1MP sensor
• ISO 100 to 102,400
• 6K Raw video
• Up to 8-stop IS
• Weight approx 822g
• $5,000 / £5,049

Although the Canon EOS R3 comes with a slightly lower-resolution 24.1MP image sensor compared to its rivals such as the Nikon Z9 or Sony A1, it by no means should be disregarded. This camera offers some incredible features and produces outstanding results. Its ISO setting ranges from ISO 100 to a massive ISO 102,400, giving far more flexibility in low light, and the 6K Raw video feature is also worth mentioning as you can change settings like white balance in post production.

The Eye Control focusing on the EOS R3 is something else. An array of infrared LEDs in the viewfinder allows the camera to tell where in the frame you’re looking, and selects a tracking subject accordingly. The experience is quite simply unlike anything else, and as we discovered in our testing, it results in an impressively high number of in-focus ‘keeper’ shots – even when you’re not using the most expensive lenses.

With advanced subject-detection autofocus and tracking, this camera would be ideal for any wildlife, sports, wedding or event photographer. Be aware that it is on the heavier end of the mirrorless camera market, so if weight is an issue then you might want to consider something lighter.

The EOS R3 has recently been displaced as the top mirrorless sports camera in the EOS R range, with Canon having recently taken the wraps off its next-generation Canon EOS R1, announcing it alongside the high-resolution Canon EOS R5 Mark II. We’re still currently testing these cameras, which are built around Canon’s “Accelerated Capture” dual-processor technology. Once we’ve completed our full review (and the camera starts shipping), it’s highly likely the EOS R1 will find its place here as the best Canon sports camera you can buy — for now though, the EOS R3 still just about reigns supreme.

Best for: Wildlife and sports photographers

Read our Canon EOS R3 review

Best full frame mirrorless Sony camera for professionals: Sony A1 II

At a glance:

• 50MP full-frame stacked-CMOS sensor
• ISO 100 – 32,000 (expandable to 50-102,400)
• 30fps continuous shooting
• Movie making with 8K 30p and 4K 120p
• Weight approx 743g (with battery and memory card)
• Price $6500 / £6300 body-only

The original Sony A1 was something of a game-changer – a true do-everything camera for the demanding professional, equally at home with capturing high-res imagery of fast-moving subjects as it was with producing sublime 8K video. The Sony A1 II is all that once again – it’s the best Sony camera ever made, a much more capable all-rounder than the sports-focused A9 III. Its blend of speed and resolution allows you to capture “exactly the moment you want with relative ease, and with lots of leeway for cropping,” as we said in our full review.

The A1 II has gained plenty of new features, taking cues from both the original A1 and the A9 III. It has Sony’s best-ever image stabilisation, rated for up to 8.5 stops of compensation, which our reviewer found could be used to get sharp results at shutter speeds as low as 2.5 seconds provided he had something to lean on. The body has been widened with a greatly improved handgrip, and the subject-recognition autofocus has finally gained an Auto option – though our reviewer did encounter a few false positives, including an incident where it mistook an oak tree for an insect. 

Unfortunately, we do have to talk about the price. Some may say that it’s silly to quibble over costs when you’re talking about professional cameras – they’ve always been expensive, they cost what they cost, they make their money back, etc, etc. However, the Sony A1 II stands out as it is priced head and shoulders above its rivals from other brands, and that makes it difficult to recommend for anyone who’s investing in a new professional system. It costs almost 50% more than the Canon EOS R5 Mark II, and double the price of the Nikon Z8. Is it twice as good as the Nikon Z8? No, it is not!

If you are already an established professional Sony photographer, someone truly committed to the system, with stacks of cash invested in G Master lenses and the like, then the Sony A1 II is an excellent camera that will do absolutely everything you need it to do, and will do it extremely well. However, if you don’t fit that exact profile, then this is a tough camera to recommend, as you can spend a lot less in another system and get a camera that is just as excellent.

Best for: Professionals who use Sony gear

Read our Sony A1 II review

How to choose the best full frame mirrorless camera

The term ‘full-frame mirrorless’ refers to two things: sensor size and camera type. Full-frame is a sensor size of 36x24mm; the same as a single frame of 35mm film, hence the name. It’s one of the larger sensor formats available, and is popular among professionals for its balance of image quality and portability. See our piece on APS-C vs full frame sensor sizes for more sensor size.

Mirrorless cameras, meanwhile, are interchangeable-lens cameras. They are the modern successor to the best DSLRs that were the professional standard digital camera throughout the 2000s and the 2010s. The key difference, if you hadn’t guessed, is the lack of a mirror –  the reflex mirror system that is the lynchpin of a DSLR’s optical viewfinder. Instead, mirrorless cameras typically offer an Electronic Viewfinder (EVF); essentially a miniature LCD screen with an eyepiece.

Our DSLR vs mirrorless guide explains in detail the key differences between the two types of camera. Suffice to say that the dawn of the 2020s has seen mirrorless cameras become the professional standard, with all manufacturers except Pentax switching to the format.

This means mirrorless cameras are getting all the latest technological developments. These include powerful in-body stabilisation systems that make it easier to get sharp shots handheld. The more significant development, however, has been AI-powered subject-detection autofocus. This is a remarkable focusing system by which the camera is capable of recognising specific types of subjects such as humans, animals and vehicles, and can then lock onto and track them throughout the frame.

When buying a new full frame mirrorless camera, there are a few key specs to pay attention to:

Sensor resolution: The more pixels a sensor has, the more detail you get in your images.  This is great for printing, enabling you to produce fantastic images full of rich detail. However, high-resolution files take up a lot of storage space, necessitating expensive hard drives or cloud subscriptions, and also require powerful processors, which means a slower, pricier camera.

Image stabilisation: IBIS (which stands for in-body image stabilisation) is a key feature to help you produce shake-free shots. Most modern mirrorless cameras now include this technology; it will often be referred to as ‘5-axis in-camera image stabilisation’ or something similar.

ISO range: A camera’s ISO range determines how high you can turn up the sensitivity of its sensor. The higher the top number in a camera’s ISO range, the better it can perform in low light. Be warned though, just because a camera can shoot at ISO 102,400, that doesn’t mean you’ll get useable results at that setting, as high ISO settings incur a lot of image noise.

LCD screen and viewfinder: Mirrorless cameras don’t have optical viewfinders like DSLRs, so they have to either make do with electronic ones, or forgo them entirely. All the cameras on this list have electronic viewfinders (EVFs), but some are larger and more detailed than others.

Burst mode: The faster the burst mode (expressed in frames per second or fps) on a camera, the better it will be at keeping up with fast action. You’ll also want to pay attention to the buffer depth, which is the number of consecutive images the camera can shoot before the processor needs to cool off.

Video: If video is a high priority on your list then you’ll want to find a camera that supports 4K video resolution or higher. 4K is plenty big enough to produce high end video footage, however some of the cameras in our line up support 8K resolution. For most, 8K video is excessively big, so 4K should be more than enough.

Lenses: Finally, think about lenses. Each manufacturer’s system is different. If you are switching from a DSLR system and want to keep some or all your old lenses you’ll need to purchase a compatible adapter mount to ensure they fit. Canon and Nikon offer full-functionality mount adapters that allow you to use DSLR lenses on their mirrorless cameras and still enjoy the benefits of autofocus and stabilisation.

Do professionals use DSLRs or mirrorless cameras?

These days, most professional photographers use mirrorless cameras — though it’s not completely clear-cut. While DSLRs were once the kings of the photographic world, times have changed, and now the superior speeds and resolutions of the latest mirrorless cameras have seen the many professionals jumping ship. It helps also that most major manufacturers have firmly moved their development over to their mirrorless ranges, and so pretty much any professional camera or lens that comes out nowadays is going to be mirrorless.

So are DSLRs dead and buried? Not just yet. There are a number of photographers who prefer them for their long battery life and ability to field an optical viewfinder. It’s quite common for professionals who’ve upgraded to mirrorless to still keep their DSLRs on hand, allowing them to still take advantage of features or lenses they like from the older system. Overall though, professional photographers are trending mirrorless, and this is only going to increase as the years go on.

Is DSLR focusing better than mirrorless?

Autofocusing works quite differently on DSLRs and mirrorless cameras. While DSLRs have certain advantages, it isn’t true to say that focusing is better on a DSLR than it is on a mirrorless cameras. DSLRs have a specialist autofocus sensor unit, which can calculate and extrapolate subject movement based on location (relative to the array of focus points) and distance. Mirrorless cameras, meanwhile, have more focus points, which enables a better estimate of subject position, but doesn’t calculate precise subject distance in the same way.

They do have some considerable compensation, however, in the form of the powerful Subject Recognition systems that are becoming more and more common, allowing cameras to intelligently identify and lock onto specific subjects like humans, animals and vehicles (some can even use this in conjunction with face-detection to lock onto specific individuals). For more on the key differences, check out our in-depth rundown — Autofocus: DSLR vs Mirrorless.

Text by Claire Gillo, with contributions from Jon Stapley.

For more options, have a look at our latest mirrorless camera reviews, and our latest buying guides, including our guide to the best professional cameras.

Related articles:

• Best second-hand mirrorless cameras
• Best mirrorless cameras you can buy right now
• Best used mirrorless lenses under $2000/ £2000
• Case study: no regrets on going mirrorless
• Why I switched to mirrorless- the move from DSLR

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The post Best full frame mirrorless cameras in 2025 appeared first on Amateur Photographer.

We’ve kept the options restricted to interchangeable-lens system cameras, as this is likely what somebody with a budget of $1000/£1,000 is going to be looking for. If you think you’d prefer a fixed-lens camera, check out our list of the best compact cameras. For this list, you’re going to be choosing between DSLRs and mirrorless cameras.

If you’re buying new at $1000/£1,000 you’ll be looking for entry-level to mid-range cameras. Step into the second-hand market and you can expect to see professional and enthusiast models. We’ve included all types in our guide, to give you plenty of choice. We collected some key specs you’ll want to be mindful of when picking your new camera under $1000/£1000. Read our useful tips at the end of this guide.

Best cameras under $1000 / £1000: the quick list

Looking for the best deal on cameras under $1000 / £1000? Not only will you find the best new and second-hand cameras, but you’ll also find some of the best camera deals, as our ‘Buy now’ buttons automatically take you to the best prices, from trusted retailers, plus you’ll also find a list of other retailers below each camera, so you can find the right deal for you.

• Best mirrorless Canon under $1000/£1000: Canon EOS R10 – Buy now
• Best mirrorless Nikon under $1000/£1000: Nikon Z50 – Buy now
• Best Olympus under $1000/£1000: Olympus OM-D E-M10 Mark IV – Buy now
• Best camera for vlogging under $1000/£1000: Panasonic Lumix G100 – Buy now
• Best camera for beginners under $1000/£1000: Canon EOS 250D (Rebel SL3) – Buy now
• Best camera for sports photography under $1000/£1000: Sony A6400 – Buy now
• Best camera for street photography under $1000/£1000: Fujifilm X-T30 II – Buy now
• Best camera for wildlife under $1000/£1000: Panasonic Lumix G9 – Buy now
• Best camera for landscape under $1000/£1000: Nikon D810 – Buy now
• Best camera for events under $1000/£1000: Sony A7 II – Buy now

Best mirrorless Canon under $1000/£1000: Canon EOS R10

At a glance:

• £899/$979 body only
• 24.2MP APS-C sensor
• ISO 100-32,000 (expandable to 100 to 51,200)
• 23fps shooting (electronic shutter)
• 4K 30p video (4K 60p with crop)
• 2.36m-dot viewfinder
• 3-inch vari-angle LCD

The Canon EOS R10 is an exceptional offering from Canon, being one of the smaller and lighter mirrorless cameras in the Canon collection. This entry-level model should be attractive to both smartphone and DSLR shooters who want to move to mirrorless. Keep in mind as well that if you already have a collection of Canon DSLR-fitting lenses, the EF-to-RF mount adapter allows you to use them on the EOS R10 with full functionality, including autofocus.

Stand-out features of the Canon EOS R10 include the superb autofocus system and high-quality video (Full HD shooting at up to 120fps). It’s also possible to record 4K video at 60fps, albeit with a 1.6x crop. The large ISO range, and burst mode of up to 23fps when shooting using the electronic shutter, are also useful. The buffer isn’t huge, at 29 raw files at 15fps, or 21 files at 23fps, but for one of the best cameras under $1000/£1000, this is to be expected.

Canon RF mount lenses are mostly designed for full-frame, this makes them larger and heavier, so they not balance well on this small APS-C body. Alternatively you can use Canon EF-S mount lenses via a mount adaptor.

Best for: wildlife and sports photography

Best mirrorless Nikon under $1000/£1000: Nikon Z50

At a glance:

• £899 / $856 body only
• 20.9MP APS-C sensor
• Nikon Z-mount
• 11fps continuous shooting with AE/AF
• Tilting touchscreen
• 2.36m-dot viewfinder
• 4K video at 30p

The Nikon Z50 is a five-star camera with many enticing features such as 4K video and a tilting touchscreen. The Z50 was Nikon’s first DX-format (APS-C) mirrorless Z-mount camera, and it is compatible with a wide range of excellent lenses, including F-mount DSLR lenses via the FTZ adapter. This gives the user plenty of options.

In our 2019 review, we found the electronic viewfinder and responsive touchscreen to enhance our shooting experience, and were impressed by the 11fps continuous shooting and responsive autofocus system.

It’s worth noting that the Z50 is almost identical spec-wise with the newer Nikon Z30. However, this model does not include a viewfinder. The Z30 retails for almost £200 cheaper than the Z50 but does include a more advanced video system that has been designed to entice vloggers.

Best for: portrait shooters

Best Olympus under $1000/£1000: Olympus OM-D E-M10 Mark IV

At a glance:

• £679 / $649 body-only
• 20MP Four Thirds sensor
• ISO 200-25,600 (expandable to ISO 80-25,600)
• Up to 15fps shooting
• 121-point contrast-detect AF
• 5-axis in-body stabilisation

The Olympus (now OM-System) E-M10 range represents their entry level OM-D mirrorless models, and sits between the simpler PEN series and the higher-end, enthusiast-focused E-M5, as well as the new flagship OM-1.

When we reviewed the Olympus OM-D E-M10 Mark IV back in 2020, we found it produced excellent colours straight from JPEG. We also appreciated its stylish and well-built body for a camera at this level, which we found easy to operate while offering room to grow.

The E-M10 Mark IV has a great set of advanced features for a camera of this level, including a 121-point contrast-detect AF system and 5-axis in body image stabilisation.

Best for: beginners to enthusiasts

Best camera for vlogging under $1000/£1000: Panasonic Lumix G100

At a glance:

• £569 / $497 with 12-32mm lens
• 20.3MP Four Thirds sensor
• Contrast-detect autofocus with 49 points
• ISO 100-25,600
• 10fps continuous shooting
• 4K 30p

The Panasonic Lumix G100 is part of the Micro Four Thirds system with the Olympus OM-D E-M10 Mark IV featured above, meaning they can both use the same lenses. Like all Panasonic Lumix G cameras from the past few years, it is capable of shooting excellent 4K video – however the difference with the G100 is that it has been specifically optimised for vloggers.

This means you get a three-capsule built-in mic setup, powered by Nokia’s OZO audio, which delivers sound that’s a cut above what you’d expect for a camera of this type. It’s particularly good for isolating speech from background noise, and is cleverly aided in doing so by the camera’s face-detection system.

The G100 costs a little more than £500 or $400 with a 12-32mm lens, giving us plenty of change from our $1000/£1,000 budget for an extra Micro Four Thirds lens or two. Panasonic’s Depth From Defocus AF system is showing its age (and has since been retired for the full-frame S5 cameras), but otherwise this is a solid entry-level choice.

Best for: Vloggers on a budget

Read our review of the Lumix G100

Best camera for beginners under $1000/£1000: Canon EOS 250D (Rebel SL3)

At a glance:

• £599 / $649 body only
• 24.1MP APS-C sensor
• Dual Pixel CMOS AF
• 5fps continuous shooting
• Articulating monitor
• 4K 30p

Although mirrorless has made a massive impact on the camera market, there are still photographers who prefer the build and handling of a DSLR system. The main advantages of a DSLR over mirrorless are the optical viewfinder and longer battery life – plus, they are also a bit cheaper. The Canon EOS 250D is a great choice, and a worthy contender for any amateur or beginner photographers.

The small compact body is comparable to a mirrorless camera in size, weighing a mere 449g. Other great features include the 24.1MP APS-C sensor and Dual Pixel CMOS autofocusing that gives pin-sharp results in stills and video.

If a DSLR is the way you want to go, check out our other recommendations of the best Canon DSLRs you can buy.

Best for: Beginners who want space to improve

Best camera for sports photography under $1000/£1000: Sony A6400

At a glance:

• £849 / $898 body only
• 24.2MP APS-C CMOS sensor
• ISO 100-32,000 (expandable to 100-102,400)
• 11fps continuous shooting
• 2.36m-dot electronic viewfinder
• 3-inch, 921,600-dot tilting touchscreen

When we reviewed the Sony A6400 back in 2019, we gave it a solid 4 stars. We were impressed by the excellent autofocus tracking feature, producing high quality images in almost any shooting scenario. We also appreciated how compact it is in size, with a solid construction. For any action, event, wildlife or sports photographer, the Sony A6400 is a superb of the best cameras under $1000/£1000, as the autofocus system is one of the best for a camera at this price point.

The Sony A6400 is not perfect though, as the design of the camera is unfortunately a bit dated, and the lack of in-body image stabilisation is disappointing. If these aspects don’t concern you, then this camera is well worth considering as it’s a great shooter that will produce high-quality imagery.

Best for: sports photography

Best camera for street photography under $1000/£1000: Fujifilm X-T30 II

At a glance:

• Fujifilm X-T30 II – £769 / $899 body only
• 26.1MP X-Trans CMOS IV Sensor
• ISO 160-12,800 (expandable to 80-51,200)
• Up to 30fps continuous shooting with electronic shutter (cropped), 20fps uncropped
• 3-inch 1.62m-dot, tilting touchscreen
• 4K 30p video
• Wi-Fi and Bluetooth built-in

The Fujifilm X-T30 II is a top-notch camera that works out as excellent value for money. The X-T30 II upgraded the Fujifilm X-T30 (and before that, the X-T20) and was well received across the industry, including by our review team, who gave it the full five stars.

The Fujifilm X-T30 II doesn’t only look good on paper – it delivers when put through its paces. The impressive specs such as the 20-30fps continuous shooting and 26.1MP X-Trans CMOS IV Sensor (as used in the flagship X-T4) perform as well as you’d expect, and even JPEGs straight from the camera produce lovely colours.

On the downside, in-body image stabilisation (IBIS) isn’t included in the X-T30 II like it is in Fuji’s X-S10 listed above. However, this camera retails for a cheaper price, so is worth considering on that basis.

Best for: budget-conscious street photographers

Best camera for wildlife under $1000/£1000: Panasonic Lumix G9

At a glance:

• £899 / $997 body only
• 20.3MP Micro Four Thirds MOS sensor
• ISO 200-25,600 (expandable to ISO 100-25,600)
• 60fps continuous shooting
• Five-axis Dual IS II image stabiliser
• 4K video up to 60p (150Mbps bit-rate)

The only camera from Panasonic to make it on to our list is the Panasonic Lumix G9, but what a camera! The G9 is now available staggeringly cheap at under £1000, and is a great option for wildlife and adventure photographers, as can be seen in our Panasonic Lumix G9 field test by Dan Milner back in 2018.

Using a Four Thirds sensor, this camera comes with 20.3MP of resolution. However, the G9 also has the option to shoot at 80MP with Panasonic’s High-Resolution mode. Take note though you are somewhat limited here, as the camera needs to stitch images together to make the high-res composite, meaning it’s only really suitable for stationary subjects.

Videographers and vloggers will appreciate the Lumix G9’s high-quality 4K, and its in-body image stabilisation also comes in handy. A great all-rounder that has plenty to offer.

Best for: wildlife and adventure photographers

Best camera for landscape under $1000/£1000: Nikon D810

At a glance:

• Used around $500 / $699
• 36.3МР full-frame ѕеnѕоr
• 51-point AF system
• 5fрѕ continuous shooting іn FХ fоrmаt (7fрѕ іn DХ fоrmаt)
• ІЅО 64-12,800 (ехрandable tо 32-51,200)
• Маgnеѕіum-аllоу bоdу wіth duѕt- аnd wеаthеr-ѕеаlіng

The full-frame Nikon D810 is a wonderful camera that produces excellent results and is built like a tank. When this camera was launched in 2014 it was aimed at professionals, Nikon having upgraded and fixed all the niggles of the D800 and D800E. The price tag of £2,700 was unaffordable for most non-professionals. Fast-forward eight years, and a second hand one with a low shutter count can be picked up for a great price, easily making it one of the best cameras for under $1000/£1000.

One of the D810’s greatest selling-points is its full-frame 36.3MP sensor that even in today’s market is decent in size. The 51-point AF focus system isn’t as impressive as when it was launched compared with more modern cameras, however the results cannot be faulted and images from the camera are sharp.

This camera won’t suit everyone, as the heavy build (despite being almost bulletproof) will put some off. However, for a landscape enthusiast, or a professional just starting out on a tight budget, this camera is a wonderful choice.

Best for: landscape photographers

Best camera for events under $1000/£1000: Sony A7 II

At a glance:

• Used from around £649 / $668
• 24.3MP full-frame sensor
• ISO 100-25,600 (50-25,600)
• 5 axis in-body image stabilisation
• 3.0-inch TFT LCD screen
• Full HD 60p video
• Weight approx 556g

And last but by no means least, the Sony A7 II makes it onto our top ten. This camera was announced back in 2014, but while the technology is not Sony’s latest. there are very few new mirrorless cameras with a full-frame sensor you can get for under £1000.

One of the flagship features of the Sony A7 II is its in-body 5 axis image stabilisation feature, which pioneered the technology at the time. The generous ISO range is also noteworthy for a camera at this price point.

If you’re after a no-thrills, simple mirrorless shooter with a full-frame sensor, and you primarily want to take still images, the Sony A7 II is really your best option for less than £1000.

Sony Alpha A7II

Best for: event photographers

How to choose the best camera under $1000/£1000

Questions to ask yourself:

• What camera type do I want?
• What image sensor type and resolution does the camera offer?
• How big are the LCD screen and viewfinder (size and resolution)?
• What features does it include?
• What is the weight and build?
• What lens mount does the camera support and what lenses are compatible?

Here are the main points to look for when choosing your budget DSLR or mirrorless camera.

Image sensor size and resolution

Although we often first take into account how many megapixels a camera has, this really isn’t the most important aspect. The type of sensor generally matters more. There are various sensor types, ranging from medium format, full frame (FF), APS-C (crop sensor), Micro Four Thirds (MFT) and 1-inch, down to a 1/2.3-inch and smaller. In most DSLR and mirrorless cameras, you’ll find either a full-frame, APS-C or MFT sensor.

An advantage of a full-frame sensor is that it is better at dealing with image noise at high ISOs compared with an APS-C or MFT sensor, which makes it more useful in low light. It also has an increased ability to produce dreamy background blur at wider aperture settings, which is great for portraiture. For more on this have a look at our guide to APS-C vs Full-frame vs MFT.

Features

Cameras have a lot of features and functions. Depending on what you plan to shoot, the main ones to consider will likely be ISO range, burst mode capability and video quality. If you are going to be shooting in low light, then a larger ISO range is hugely valuable. If video is a requirement, then check the camera’s video recording specs – its resolution and frame rate. And if you want to capture fast action, then you’ll need a camera with a faster burst mode. You may need to compromise when shopping on a budget, so prioritise one or two key features.

For a new camera up to £1000/$1000, you can expect to get some excellent features, such as 4K video and a generous ISO range. However, where these cameras differ in relation to more expensive ones is often in the build quality and image processing speeds. DSLRs and mirrorless cameras have similar but different feature sets; check out our guide to DSLR vs mirrorless if you want to know the key differences.

If you’re a professional and on a budget, we suggest you take a look at the second-hand camera market. There are many excellent DSLRs and mirrorless models available – just check the shutter count and camera condition before buying.

Lenses

Finally, do some research on lenses before you buy into a camera system. Each manufacturer’s system is different and there is a large variety of lenses out there. If you are switching from one system to another, and want to keep some or all your old lenses, you’ll need to purchase a compatible adapter mount to ensure they fit. This may affect lens functionality and mean you can’t use some features like autofocus, so double-check before making the switch.

If you’ve got more money to spend, then have a look at our guide to the best cameras for under £2000 / $2000 and the best cheap full frame cameras to buy.

Our guide includes cameras that are available in the US and the UK, with $1000 / £1000 as our rough guide. Bear in mind that prices and exchange rates do fluctuate in both territories and while we keep this guide regularly up to date, sometimes a camera will nudge over the $1000 / £1000 mark in one territory or another. In general, it won’t be too significant.

Text by Claire Gillo, with contributions from Jon Stapley.

Further reading:

• Best cameras for photography students
• Best cameras for astrophotography
• How to clean your camera and equipment
• Is this the end for compact cameras?

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The post Best cameras under $1000 in 2025 appeared first on Amateur Photographer.

We want fast burst rates, with plenty of frames per second (fps) to ensure the moment isn’t missed. A good sports camera should also have a fast, accurate autofocus system that can keep up with tricky moving subjects, even as they flit in and out of frame. Good high-ISO performance is a plus too, as having more sensitivity on your sensor will allow you to use shorter shutter speeds, improving your chances of freezing the action.

This guide represents an up-to-date selection of the best sports cameras our team has ever tested, including budget-friendly models as well as the high-end professional cameras. Check out our guide to how to shoot action and sports photography for more tips, or read on as we count off the best cameras for action and sports photography that you can buy right now…

Best camera for action and sports photography: the quick list

Looking for the best deal on cameras for action and sports? Not only will you find the best action and sports cameras but also some of the best cheap camera deals, as our ‘Buy now’ buttons automatically take you to the best prices from trusted retailers. There is also a list of other retailers below each camera so you can find the right deal for you.

• Best beginner sports camera: Fujifilm X-T30 II – Buy now
• Best budget sports camera: Sony A6000 – Buy now
• Best travel sports camera: Panasonic Lumix G9 II – Buy now
• Best superzoom sports camera: Nikon Coolpix P950 – Buy now
• Best enthusiast sports DSLR: Canon EOS 90D – Buy now
• Best APS-C mirrorless camera for sports: Fujifilm X-H2s – Buy now
• Best sports camera for burst shooting: Nikon Z8 – Buy now
• Best sports camera for pros: Sony A9 III – Buy now
• Best Micro Four Thirds sports camera: OM System OM-1 Mark II – Buy now
• Best sports DSLR: Canon EOS-1D X Mark III – Buy now
• Best all-rounder sports camera: Sony A1 – Buy now

Read on to find out what makes each of these cameras an exceptional choice for sports photography…

Best beginner sports camera: Fujifilm X-T30 II

At a glance:

• Mirrorless camera
• 26.1MP X-Trans CMOS IV APS-C sensor
• Up to 30 fps with electronic shutter (cropped), 20 fps uncropped
• ISO 80 – 51,200 (extended)
• 4K 30p video recording
• $899 / £799 body-only

An update to one of Fujifilm’s most popular cameras, both critically and commercially, the Fujifilm X-T30 II is an outstanding APS-C mirrorless shooter that makes for an exceptional starter sports camera. It can reach a maximum burst speed of 30fps in a cropped shooting mode with its electronic shutter, and the generous ISO range of ISO80 – ISO51,200 gives you a good deal of flexibility.

As we noted in our review, Fujifilm has priced this camera competitively considering how well-specced it is – the RRP is $899 / £769 body-only, and for that you get the same sensor as featured in the previous-generation flagship Fujifilm X-T4. Fujifilm X cameras are great fun to use, with satisfying handling and dial-based controls, and you also get another serious advantage – the X-mount lens range, which is a fantastic series of pin-sharp optics, perfect for freezing action.

Best for: sports-shooting novices who want to learn the ropes.

Read our review of the Fujifim X-T30.

Best budget sports camera: Sony A6000

At a glance:

• Mirrorless camera
• 24.3MP full-frame Exmor APS-C HD CMOS sensor
• 11 fps shooting
• ISO 100 – 25,600
• Full HD 60p video recording
• Price new: $600/£650
• Second-hand: from around $410 / £300 body-only

Though it’s an older camera, the Sony A6000 is still a solid choice for prospective sports and action shooters. You can generally pick one up for less than £500, often with a starter kit lens, and this makes it one of the savviest buys on the market. Lightweight and speedy, this E-mount mirrorless camera performed well in our tests across all manner of shooting conditions.

Sony first deployed here an autofocus system that would be refined in subsequent APS-C A6XXX cameras, but it got a lot right the first time, and the A6000 is pretty dependable even with moving subjects. Having 11fps shooting is handy too, and means you’re unlikely to miss the moment – or at least if you do, it won’t be the camera’s fault! There’s also a good range of E-Mount lenses to choose from.

Best for: tight-budget shooters who want mirrorless flexibility.

Read our full review of the Sony A6000.

Best travel sports camera: Panasonic Lumix G9 II

At a glance:

• Mirrorless camera
• 25.2MP Micro Four Thirds sensor
• 75 fps shooting
• ISO 100 – 25,600 (extended)
• 5.7K 60p video recording
• $1,698 / £1,689 body-only

With its slim dimensions, clever ergonomics and huge range of lightweight lenses, the Panasonic Lumix G9 II is an ideal camera for the travelling sports photographer. A long-awaited update to the original (much-admired) Lumix G9, this camera brings to the Lumix Micro Four Thirds system something that users had been crying out for – phase-detection autofocus! No more creaky Depth from Defocus contrast-based system – the Lumix G system finally arrives in the 21st century.

This systems pairs with a capable AI-powered Subject Recognition function, making the Lumix G9 II an exceptionally capable beast for shooting sports. Its burst modes are no slouch – we put the camera to the test on a motorbike racing track, and captured 170 frames at 14fps. While it works well, one thing to be aware of is that you don’t get Live View at these speeds, with the camera instead playing images back through the viewfinder, which does incur some slight lag.

However, thanks to the Micro Four Thirds system’s ability to field lightweight telephoto lenses without compromising on optical quality, the Lumix G9 II is overall pretty unbeatable as a travel-friendly sports camera. It’s highly capable of producing brilliant images of fast action – what more can you ask for?

Best for: adventurous, globe-trotting sports photographers.

Read our review of the Panasonic Lumix G9 II.

Best superzoom sports camera: Nikon Coolpix P950

At a glance:

• Compact (bridge) camera
• 16MP 1/2.3-in CMOS sensor, 24 – 2000mm equivalent lens
• 15 fps shooting
• ISO 100 – 6400
• 4K 30p video recording
• $797 / £849

A superzoom bridge camera gives you more zooming power for your buck than pretty much anything else on the market. The Nikon Coolpix P950 boasts a whopping upper optical zoom range of 200mm equivalent, and using the digital zoom technology this can even be pushed to 4000mm, close enough to make out the individual follicles on a football player’s head, if that’s something you want to do.

An equivalent setup in a mirrorless or DSLR system would likely run you into a five-figure price tag, so the Nikon Coolpix P950 is certainly offering value for money. You just need to be aware of its limitations; namely, the 1/2.3-inch sensor size, which has a notable impact on image quality, especially in low light. If this camera is out of your budget then it’s worth looking at its predecessor, the Coolpix P900, which can generally be picked up second-hand for under 500. It’s missing a few features like an accessory hotshoe, and has a smaller viewfinder, but it’s still got that colossal zoom range.

Best for: budget photographers who want to keep things simple.

Read our full review of the Nikon Coolpix P950.

Best enthusiast sports DSLR: Canon EOS 90D

At a glance:

• DSLR
• 32.5MP APS-C CMOS sensor
• 10 fps continuous shooting
• ISO 100 – 51,200 (extended)
• 4K 30p video recording
• $999 / £500-£770 body only, used

There’s a lot to be said for a good old DSLR in the hand. With its chunky handgrip and optical viewfinder, the Canon EOS 90D provides a slightly old-fashioned but sublime shooting experience – heavier than its mirrorless contemporaries, but eminently satisfying to use. It’s the most recent enthusiast DSLR Canon has released, and quite possibly the last one we’ll ever see, and if that’s the case, it’s a hell of a note to go out on.

When we reviewed the Canon EOS 90D, we found its revamped 32.5MP sensor produces exceptional images, with enough detail that you can crop in if you didn’t get as close as you’d like. The lenses that tend to get bundled with this camera don’t really do it justice, so it’s worth saving to upgrade to another Canon EF-mount lens if you do go for it. While it’s not got a perfect feature-set for sports – lacking a second card slot, for instance – the EOS 90D has a lot going for it, such as the large LP-E6N battery, with which you can keep shooting all day.

Best for: enthusiasts who prefer an optical viewfinder.

Best APS-C mirrorless camera for sports: Fujifilm X-H2s

At a glance:

• 26.2MP APS-C stacked BSI CMOS sensor
• ISO 80-51,200 (extended)
• 40 frames per second shooting
• 6K 30p / 4K 120p video recording
• 5-axis in-body stabilisation
• $2,499 / £2,139 body-only

The Fujifilm X-H2s uses a 26.2MP APS-C stacked BSI CMOS sensor which lets the camera shoot at an impressive 40fps, and on top of this the camera features an effective subject-recognition autofocus system which can detect animals, birds, cars, motorbikes, airplanes and trains! If you’re into motorsports, then this camera is designed for you.

The camera has a wide ISO range, meaning you can shoot in lower light conditions without having to worry too much about using higher ISO speeds when needed, meaning you can keep shutter speeds nice and fast. With a wide-range of X-mount lenses available, this is easily one of the best Fujifilm cameras available.

Best for: high-speed shooting for those who don’t want to go to full-frame

Best sports camera for burst shooting: Nikon Z8

At a glance:

• Mirrorless camera
• 45.7MP full-frame stacked CMOS sensor
• 20 fps full-resolution RAWs
• ISO 64-25,600 (standard)
• 8K 30p video
• $3,497 / £3,149 (body-only)

After Nikon won a ton of plaudits for its professional flagship sports camera, the Nikon Z9, it followed up with a slightly slimmed-down version bearing a somewhat more affordable price tag – the Nikon Z8. While it’s still an expensive proposition for most people, the Nikon Z8 is significantly less of an outlay, and still packs in a lot of what made the Z9 so brilliant for sports photography.

There’s that high-resolution 45.7MP sensor and the capacity to burst-shoot at up to 20fps in full-resolution RAW, while also recognising and tracking focus on specific subjects. The fastest shutter speed is an incredibly fleeting 1/32,000sec. It’s a beast for sports shooting, there’s no doubt.

So what’s missing? Well, the Z8 doesn’t have the Z9’s big beefy battery, so doesn’t have the same kind of longevity (though buying the optional battery grip can offset this somewhat). It also fields one CFexpress card slot and one SD slot, rather than two CFexpress slots as on the Z9. Of course, this isn’t necessarily a bad thing, since while SD cards are substantially slower, they are also substantially cheaper.

All in all, the Nikon Z8 is a brilliant sports camera for enthusiasts and professionals alike, bolstered by the superb range of Z-mount lenses available.

Best for: sports pros who need the fastest burst shooting.

Read our review of the Nikon Z8.

Best sports camera for pros: Sony A9 III

At a glance:

• Mirrorless camera
• 24.6MP full-frame stacked-CMOS sensor with global shutter
• 120fps continuous shooting
• ISO 250-25,600 (standard)
• 4K 120p video recording
• $5,998 / £6,099

A world’s first of the kind that Sony has made its business out of over the past decade or so, the Sony A9 III is the first full-frame camera with a global shutter sensor. This means it is capable of reading out every pixel on the sensor simultaneously, and what this means in real terms is that there’s no subject distortion due to rolling shutter, and no flickering or banding artefacts in artificial light. Flash sync is also available at all shutter speeds without needing to use high-speed sync mode.

Speed is the name of the game here. The Sony A9 III, even more so than the previous Sony A9 II, is a professional tool designed for working sports photographers who need 120fps silent shooting in full resolution RAW, with focus tracking and no viewfinder blackout. All this comes at a price of course, but that’s why it’s a professional camera.

The A9 III does suffer in some areas, with compromises having been made in terms of raw image quality in order to achieve its dizzying speeds. In dynamic range and high-ISO performance, it lags behind peers from the likes of Nikon and Panasonic. It’s a specialist tool rather than an all-rounder. You’ll also find there’s a wide range of E-Mount lenses available.

Best for: working sports press photographers.

Here is our in-depth review of the Sony Alpha A9 lll.

Best Micro Four Thirds sports camera: OM System OM-1 Mark II

At a glance:

• Mirrorless camera
• 20MP Four Thirds Stacked BSI Live MOS sensor
• 50 fps with C-AF, 120 fps with AF locked
• ISO 80-102,400 (extended)
• 4K 60p video recording
• $1,900 / £2,149 body-only

A refining update to an already excellent camera, the OM System OM-1 Mark II exemplifies everything that’s great about the Micro Four Thirds system. It’s a truly impressive sports-shooting package, capable of tracking and capturing even the most fast-moving subjects, and with an extensively weatherproofed shell that makes it well-suited to outdoor sports.

Even with a little price bump over the original OM System ‘Olympus’ OM-1, this is still a truly impressive sports camera for the money. It can manage 120fps burst shooting with AF locked, putting it almost on a par with the Nikon Z9, which costs more than double the price. Knock that rate down to a still-impressive 50fps and you get continuous autofocus, as well as blackout-free shooting. There are plenty of full-frame rivals that can’t put in that kind of shift.

There are loads of other features we highlighted in our glowing review of the camera as well, like the extensive weather sealing, the 1053-point autofocus system, and the clever Pro Capture mode that can capture up to 70 shots before you press the shutter release button. Granted, the smaller MFT sensor with 20MP resolution may simply not be enough for some users – if you can live with it, there’s a fine camera here, with a wide range of lenses available.

Best for: outdoor sports-shooting enthusiasts.

Best sports DSLR: Canon EOS-1D X Mark III

At a glance:

• DSLR
• 20.1MP full-frame CMOS sensor
• 20 fps shooting
• ISO 50 – 819,200 (extended)
• 4K 60p video recording
• $6,499 / £6,999

Sure, it’s been pretty much superseded by the Canon EOS R3 – but we couldn’t resist including the Canon EOS-1D X Mark III, as it’s almost certainly set to go down in history as the last great sports DSLR. It’s an absolutely excellent camera for action shooting, with deep-learning autofocus that gets better as you use it, a lean 20fps burst speed, and an effectively unlimited shot buffer.

The immense pedigree of EF lenses means you’ll never be short of glass – though you may find that new ones are in short supply in years to come as Canon continues to divert its attention and resources to the EOS R system. Still, let’s not get carried away – you could shoot sports for the rest of your life on the EOS-1D X Mark III, and never feel as though you were getting a raw deal. It’s an incredible camera.

Best for: pros and serious enthusiasts who prefer DSLR ergonomics.

Best all-rounder sports camera: Sony A1

At a glance:

• Mirrorless camera
• 51MP full-frame Exmor RS CMOS sensor
• 30 fps shooting
• ISO 50-102,400 (extended)
• 8K 30p video recording
• $5,498 / £5,499 body-only

The Sony A1 is a camera that proves you don’t have to choose between speed and resolution. If you’ve got the cash – and make no mistake, it’s a lot of cash – then the Sony A1 is the camera that will shoot incredibly detailed 50MP images at a rate of 30fps, with autofocus adjustments in between shots, somehow.

All this is backed by the at times preternatural-seeming autofocus system, which makes capturing fast-moving subjects a matter of near-trivial ease – in our review, we described it as “so easy that it feels like cheating”. There’s also the new sensor design that eliminates the image distortion problem that can affect electronic shutters. Plus, the E-mount lens range, which is still far and away the most extensive glass catalogue for a full-frame mirrorless system.

It’s difficult to think of a sports-shooting scenario at which the Sony A1 would not utterly excel.

Best for: everything.

Our review of the Sony Alpha A1.

Lead image: Andy Westlake, taken with the Sony A9 III.

Further reading:

• Best action camera to buy
• How to shoot action and sports
• Gerry Cranham on his legendary sports photography career
• Best drones with cameras

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