I remember begging my parents to get me a phone with a camera when the earliest ones were launched. The idea of taking photos wherever I went was new and appealing, but it’s since become less of a novelty and more of a daily habit. Yes, I’m one of those. I take pictures of everything — from beautiful meals and funny signs to gorgeous landscapes and plumes of smoke billowing in the distance.

If you grew up in the Nokia 3310 era like me, then you know how far we’ve come. Gone are the 2-megapixel embarrassments that we used to post to Friendster with glee. Now, many of us use the cameras on our phones to not only capture precious memories of our adventures and loved ones, but also to share our lives with the world.

I’m lucky enough that I have access to multiple phones thanks to my job, and at times would carry a second device with me on a day-trip just because I preferred its cameras. But most people don’t have that luxury. Chances are, if you’re reading this, a phone’s cameras may be of utmost importance to you. But you’ll still want to make sure the device you end up getting doesn’t fall flat in other ways. At Engadget, we test and review dozens of smartphones every year; our top picks below represent not only the best phone cameras available right now, but also the most well-rounded options out there.

What to look for when choosing a phone for its cameras

Before scrutinizing a phone’s camera array, you’ll want to take stock of your needs — what are you using it for? If your needs are fairly simple, like taking photos and videos of your new baby or pet, most modern smartphones will serve you well. Those who plan to shoot for audiences on TikTok, Instagram or YouTube should look for video-optimizing features like stabilization and high frame rate support (for slow-motion clips).

Most smartphones today have at least two cameras on the rear and one up front. Those that cost more than $700 usually come with three, including wide-angle, telephoto or macro lenses. We’ve also reached a point where the number of megapixels (MP) doesn’t really matter anymore — most flagship phones from Apple, Samsung and Google have sensors that are either 48MP or 50MP. You’ll even come across some touting resolutions of 108MP or 200MP, in pro-level devices like the Galaxy S24 Ultra.

Most people won’t need anything that sharp, and in general, smartphone makers combine the pixels to deliver pictures that are the equivalent of 12MP anyway. The benefits of pixel-binning are fairly minor in phone cameras, though, and you’ll usually need to blow up an image to fit a 27-inch monitor before you’ll see the slightest improvements.

In fact, smartphone cameras tend to be so limited in size that there’s often little room for variation across devices. They typically use sensors from the same manufacturers and have similar aperture sizes, lens lengths and fields of view. So while it might be worth considering the impact of sensor size on things like DSLRs or mirrorless cameras, on a smartphone those differences are minimal.

Sensor size and field of view

If you still want a bit of guidance on what to look for, here are some quick tips: By and large, the bigger the sensor the better, as this will allow more light and data to be captured. Not many phone makers will list the sensor size in spec lists, so you’ll have to dig around for this info. A larger aperture (usually indicated by a smaller number with an “f/” preceding a digit) is ideal for the same reason, and it also affects the level of depth of field (or background blur) that’s not added via software. Since portrait modes are available on most phones these days, though, a big aperture isn’t as necessary to achieve this effect.

When looking for a specific field of view on a wide-angle camera, know that the most common offering from companies like Samsung and Google is about 120 degrees. Finally, most premium phones like the iPhone 15 Pro Max and Galaxy S24 Ultra offer telephoto systems that go up to 5x optical zoom with software taking that to 20x or even 100x.

Processing and extra features

These features will likely perform at a similar quality across the board, and where you really see a difference is in the processing. Samsung traditionally renders pictures that are more saturated, while Google’s Pixel phones take photos that are more neutral and evenly exposed. iPhones have historically produced pictures with color profiles that seem more accurate, though in comparison to images from the other two, they can come off yellowish. However, that was mostly resolved after Apple introduced a feature in the iPhone 13 called Photographic Styles that lets you set a profile with customizable contrast levels and color temperature that would apply to every picture taken via the native camera app.

Pro users who want to manually edit their shots should see if the phone they’re considering can take images in RAW format. Those who want to shoot a lot of videos while on the move should look for stabilization features and a decent frame rate. Most of the phones we’ve tested at Engadget record at either 60 frames per second at 1080p or 30 fps at 4K. It’s worth checking to see what the front camera shoots at, too, since they’re not usually on par with their counterparts on the rear.

Finally, while the phone’s native editor is usually not a dealbreaker (since you can install a third-party app for better controls), it’s worth noting that the latest flagships from Samsung and Google all offer AI tools that make manipulating an image a lot easier. They also offer a lot of fun, useful extras, like erasing photobombers, moving objects around or making sure everyone in the shot has their eyes open.

How we test smartphone cameras

For the last few years, I’ve reviewed flagships from Google, Samsung and Apple, and each time, I do the same set of tests. I’m especially particular when testing their cameras, and usually take all the phones I’m comparing out on a day or weekend photo-taking trip. Any time I see a photo- or video-worthy moment, I whip out all the devices and record what I can, doing my best to keep all factors identical and maintain the same angle and framing across the board.

It isn’t always easy to perfectly replicate the shooting conditions for each camera, even if I have them out immediately after I put the last one away. Of course, having them on some sort of multi-mount rack would be the most scientific way, but that makes framing shots a lot harder and is not representative of most people’s real-world use. Also, just imagine me holding up a three-prong camera rack running after the poor panicked wildlife I’m trying to photograph. It’s just not practical.

For each device, I make sure to test all modes, like portrait, night and video, as well as all the lenses, including wide, telephoto and macro. When there are new or special features, I test them as well. Since different phone displays can affect how their pictures appear, I wanted to level the playing field: I upload all the material to Google Drive in full resolution so I can compare everything on the same large screen. Because the photos from today’s phones are of mostly the same quality, I usually have to zoom in very closely to see the differences. I also frequently get a coworker who’s a photo or video expert to look at the files and weigh in.

Scientists have created a blazing-fast scientific camera that shoots images at an encoding rate of 156.3 terahertz (THz) to individual pixels — equivalent to 156.3 trillion frames per second. Dubbed SCARF (swept-coded aperture real-time femtophotography), the research-grade camera could lead to breakthroughs in fields studying micro-events that come and go too quickly for today’s most expensive scientific sensors.

SCARF has successfully captured ultrafast events like absorption in a semiconductor and the demagnetization of a metal alloy. The research could open new frontiers in areas as diverse as shock wave mechanics or developing more effective medicine.

Leading the research team was Professor Jinyang Liang of Canada’s Institut national de la recherche scientifique (INRS). He’s a globally recognized pioneer in ultrafast photography who built on his breakthroughs from a separate study six years ago. The current research was published in Nature, summarized in a press release from INRS and first reported on by Science Daily.

Professor Liang and company tailored their research as a fresh take on ultrafast cameras. Typically, these systems use a sequential approach: capture frames one at a time and piece them together to observe the objects in motion. But that approach has limitations. “For example, phenomena such as femtosecond laser ablation, shock-wave interaction with living cells, and optical chaos cannot be studied this way,” Liang said.

Institut national de la recherche scientifique

The new camera builds on Liang’s previous research to upend traditional ultrafast camera logic. “SCARF overcomes these challenges,” INRS communication officer Julie Robert wrote in a statement. “Its imaging modality enables ultrafast sweeping of a static coded aperture while not shearing the ultrafast phenomenon. This provides full-sequence encoding rates of up to 156.3 THz to individual pixels on a camera with a charge-coupled device (CCD). These results can be obtained in a single shot at tunable frame rates and spatial scales in both reflection and transmission modes.”

In extremely simplified terms, that means the camera uses a computational imaging modality to capture spatial information by letting light enter its sensor at slightly different times. Not having to process the spatial data at the moment is part of what frees the camera to capture those extremely quick “chirped” laser pulses at up to 156.3 trillion times per second. The images’ raw data can then be processed by a computer algorithm that decodes the time-staggered inputs, transforming each of the trillions of frames into a complete picture.

Remarkably, it did so “using off-the-shelf and passive optical components,” as the paper describes. The team describes SCARF as low-cost with low power consumption and high measurement quality compared to existing techniques.

Although SCARF is focused more on research than consumers, the team is already working with two companies, Axis Photonique and Few-Cycle, to develop commercial versions, presumably for peers at other higher learning or scientific institutions.

For a more technical explanation of the camera and its potential applications, you can view the full paper in Nature.

Sony is so closely associated with full-frame mirrorless cameras that it’s easy to forget it also sells the A6000 APS-C lineup — particularly since the last one, the A6600, came out five long years ago in 2019. The flagship A6700 finally arrived last year, though, with a feature list that appeared to be worth the wait.

It’s the same price the A6600 was at launch four years ago, but addresses its predecessor’s main flaws by boosting resolution a bit and reducing rolling shutter. At the same time, it’s been likened to a mini-FX30 cinema camera as it has the same sensor and video capabilities.

I’ve never been a big fan of Sony’s A6000 series. But now that the A6700 has been out a while, I was keen to see if it lived up to some of the hype and how it compared to rival Canon and Fujifilm models. As you’ll see, it’s mostly good news with just a little bit of bad.

Body and handling

One of the things I’ve disliked about Sony’s APS-C bodies over the years is the usability and looks, especially compared to Fujifilm’s good-looking and easy-to-use models. I wouldn’t call the A6700 beautiful, but at least Sony has rectified the handling part.

The redesigned grip is larger and more comfortable, making it more comfortable to use over a full day. At the same time, Sony added a new control dial on the front, making the camera easier to use in manual or priority modes.

It includes a new dedicated photo, video and S&Q dial, letting you keep settings separate for each. Menus are a big step up too, as the A6700 uses the improved system from recent full-frame models. The only thing missing is a joystick, but the focus point can be adjusted using the d-pad-like dial on the back.

Steve Dent for Engadget

The A6700 is also the first Sony APS-C camera with an articulating display, so it’s better for vloggers than the flip-up display on past models. The relatively low resolution EVF is a weak point as it’s difficult at times to check focus, but it does the job most of the time. .

Another negative is the single card slot, but at least it supports high-speed UHS-II cards. Luckily, it has the same large battery as full-frame models, which gives it an excellent 570 shot CIPA rating.

Other features include microphone and headphone ports (along with support for Sony’s hot shoe audio accessories), a USB-C port for charging and data transfers and an HDMI port. The latter, unfortunately, is of the fiddly and fragile micro variety.

All of that adds up to a 6000-series camera I’d happily use for most types of work. Previously, I found those models not up to the job, especially for video.

Performance

Steve Dent for Engadget

Performance is more of a mixed bag, though. Lossless RAW bursts are possible at up to 11 fps, either in mechanical or electronic shutter modes. That compares to the 15 and 30fps for the similarly priced Canon EOS R7 and 15/20 fps for the Fujifilm X-T5. That’s quite a deficit considering the latter two have much higher resolution sensors.

The A6700 only stores up to 36 compressed RAW frames before the buffer fills, compared to 45 on the A6600 and comparable to rivals. Based strictly on speed, though, the R7 and X-T5 are better action cameras.

Fortunately, the autofocus is superb and that’s arguably more important for a consumer camera. In continuous mode, you’ll get reliable results even with fast moving subjects. And the AI tracking locks onto eyes and faces, ensuring you won’t miss important shots of rowdy kids, soccer games and more.

Steve Dent for Engadget

It also works with airplanes, animals, birds, cars or trains and insects. Unlike Canon’s auto system, though, you have to tell the A6700 exactly what you’re tracking. Once you’ve set it up the way you want, though, it’s a touch more reliable than Canon’s system, and significantly better than the X-T5..

The five-axis in-body stabilization is good but not great, offering 5 stops compared to 8 on the EOS R7 and 7 on the Fuji X-T5. Still, I was able to take sharp photos down to about an eighth of a second.

Rolling shutter was my main complaint with the A6600, but it’s now much improved and about as good as you get without a stacked sensor. It’s still present, though, so you’ll want to use the mechanical shutter for fast-moving subjects like propellers and trains.

Image Quality

With a new 26-megapixel sensor, The A6700 captures more detail than past 24-megapixel models. As mentioned, though, it’s lacking compared to the 32.5-megapixel Canon R7 and 40-megapixel X-T5.

Colors are mostly spot-on, but I still prefer Canon’s skin tones. JPEGs look good out of the camera, if a touch over-sharpened. With 14-bit RAW uncompressed files, I found plenty of room to adjust and tweak images, dialing down bright areas or adding detail to shadows. Keep in mind that when shooting bursts, though, RAW files are captured with only 12-bits of color fidelity.

There is a benefit to the lower resolution. The A6700 is better in low light than rivals, with noise well controlled up to ISO 6400. Images are usable up to ISO 12800, but anything beyond up to the ISO 102,400 limit is for emergency use only. It’s best to emphasize shadow exposure at high ISOs, as lifting those even a couple of stops creates excessive noise.

Video

The A6700 is so far above its predecessor for video that it’s useless to compare them. Rather, think of it as a cheaper, smaller FX30 cinema camera with the same image quality. The main difference is that the A6700 doesn’t have the same cooling capability, as I’ll discuss shortly.

It subsamples the full sensor width for 4K at 30 and 60 fps, so video is sharper than the X-T5 or R7. And the A6700 beats both of those models by having a 4K 120fps mode, though it’s cropped significantly at 1.58x.

Due to the relatively small body and lack of fans, you’ll need to be wary of overheating at 120p, as it’ll cut out after 20-30 minutes. For indoor shooting, you can generally shoot at up to 4K 60p without any stoppages with the “auto power temp” setting on “high.” Outside on a hot day, however, you may hit the limits and need to wait for the camera to cool down.

Like the FX30, you can shoot all video modes with 10-bit with S-Log3 capture. You can also load your own LUTs either to make log footage easier to monitor, or bake it into the final image.

Steve Dent for Engadget

Rolling shutter is still present, so you’ll still need to be careful with whip pans, fast subjects and the like. However, it’s far less bothersome than on past Sony crop sensor models.

It has a video feature that’s actually lacking on the FX3, namely auto-framing. That’s handy for vloggers as it can crop in and follow them as they move around the frame — with less quality loss than the ZV-E1 (this feature is finicky on the A6700 so be sure to test it first). It also offers focus compensation that digitally eliminates breathing, and again, this extra resolution compared to the ZV-E1 results in a sharper result.

Stabilization for video isn’t quite as good as the ZV-E1, though. The active mode is fine for handheld use and slow pans, but doesn’t do a lot to smooth out footsteps, and adds a 1.13x crop.

As for video quality, you’re seeing the same accurate colors and solid low-light capability as with photos. The 10-bit log options allow for plenty of flexibility in post, especially with contrasty images.

Wrap-up

Steve Dent for Engadget

The A6700 is easily Sony’s best APS-C camera yet, excelling at both photos and video, and offering much better handling. Despite being far more capable than the A6600, it carries the same $1,400 price.

As a photo camera, it’s slower than its main competition, the Canon R7 and Fujifilm X-T5, so those models are better for shooting action. Sony’s autofocus is slightly better though, and faster bursts are worthless if photos aren’t sharp.

As a video camera, though, it beats its main rivals across the board. All told, it’s a great option for content creators or hybrid shooters who favor video but do some photography. If that’s you, I’d highly recommend it.

Panasonic's powerful full-frame mirrorless camera, the S5 II, is on sale at Amazon and B&H Photo Video at the lowest price we've seen yet. You can grab one with an 85mm f/1.8 prime lens for as little as $1,796, a savings of $800 over buying both separately — effectively giving you a discount on the camera and a free lens to boot. 

As I wrote in my review, the 24-megapixel S5 II was already a great value at $2,000 thanks mainly to its strength as a vlogging camera. It's the company's first model with a phase-detect autofocus system that eliminates the wobble and other issues of past models. 

Panasonic also brought over its new, more powerful stabilization system from the GH6. And it has the video features you'd expect on a Panasonic camera, like 10-bit log capture up to 6K, monitoring tools and advanced audio features. With the generous manual controls and excellent ergonomics, it's an easy camera to use. It also comes with a nice 3.68-million dot EVF and sharp rear display that full articulates for vlogging. 

For photos, it's reasonably fast and great in low light, thanks to the dual native ISO system. Other features include dual high-speed SD card slots and solid battery life, particularly for video. The main downside is noticeable rolling shutter, but that shouldn't be a dealbreaker for most users — particularly at that price.

If you’re a content creator or YouTuber, camera companies increasingly want your business. Last year was no exception, with several new vlogging-specific models released by Canon, Sony, DJI and others. That means there are now over a dozen on sale, alongside regular mirrorless cameras that also do the job well.

Models specifically designed for vlogging include Sony’s new ZV-E1 full-frame mirrorless that launched last year, DJI’s Osmo Pocket 3 or Canon’s compact PowerShot V10. Others, like the new Panasonic G9 II and last year’s Canon EOS R6 II are hybrid mirrorless cameras that offer vlogging as part of a larger toolset.

All of them have certain things in common, like flip-around screens, face- and/or eye-detect autofocus and stabilization. Prices, features and quality can vary widely, though. To that end, we’ve updated our guide with all the latest vlogging cameras designed for novice to professional creators, in all price ranges. Engadget has tested all of these to give you the best possible recommendations.

Factors to consider before buying a vlogging camera

Vlogging cameras are designed for filmmakers who often work alone and either use a tripod, gimbal, vehicle mount or just their hands to hold a camera. It must be good for filming yourself as well as other “B-roll” footage that helps tell your story. The biggest requirement is a flip-around screen so you can see yourself while filming. Those can rotate up, down or to the side, but flipping out to the side is preferable so a tripod or microphone won’t block it.

Continuous autofocus (AF) for video with face and eye detection is also a must. It becomes your camera “assistant,” keeping things in focus while you concentrate on your content. Most cameras can do that nowadays, but some (notably Canon and Sony) do it better than others.

If you move around or walk a lot, you should look for a camera with built-in optical stabilization. Electronic stabilization is another option as long as you’re aware of its limitations. You’ll also need a camera with a fast sensor that limits rolling shutter, which can create a distracting jello “wobble” with quick camera movements.

4K recording is another key feature. All cameras nowadays can shoot 4K up to at least 24 fps, but if possible, it’s better to have 4K at 60 or even 120 fps. If you shoot sports or other things involving fast movement, look for a model with at least 1080p at 120 fps for slow-motion recording.

Video quality is another important consideration, especially for skin tones. Good light sensitivity helps for night shooting, concerts and so on, and a log profile helps improve dynamic range in very bright or dark shooting conditions. If you want the best possible image quality and can afford it, get a camera that can record 4K with 10-bits (billions) of colors. That will give you more options when it’s time to edit the footage.

Don’t neglect audio either — if the quality is bad, your audience will disengage. Look for a camera with a microphone port so you can plug in a shotgun or lapel mic for interviews, or at least one with a good-quality built-in microphone. It’s also nice to have a headphone port to monitor sound so you can avoid nasty surprises after you’ve finished shooting.

You’ll also want good battery life and, if possible, dual memory card slots for a backup. Finally, don’t forget about your camera’s size and weight. If you’re constantly carrying one while shooting, especially at the end of a gimbal or gorillapod, it might actually be the most important factor. That’s why tiny GoPro cameras are so popular for sports, despite offering lower image quality and fewer pro features.

The best action and portable cameras

If you’re just starting out in vlogging or need a small, rugged camera, an action cam might be your best bet. In general, they’re easy to use as you don’t have to worry about things like exposure or focus. Recent models also offer good electronic stabilization and sharp, colorful video at up to 4K and 60 fps. The downsides are a lack of control; image quality that’s not on par with larger cameras; and no zooming or option to change lenses.

The best compact vlogging cameras

Compact cameras are a step up from smartphones or action cameras, with larger sensors and much better image quality. At the same time, they’re not quite as versatile as mirrorless or DSLR cameras (and not necessarily cheaper) and they lack advanced options like 10-bit video. For folks who want the best possible quality without needing to think too much about their camera, however, they’re the best option.

The best mirrorless/DSLR vlogging cameras

This is the class that has changed the most over the past couple of years, particularly in the more affordable price categories. Interchangeable lens cameras give you the most options for vlogging, offering larger sensors than compact cameras with better low-light sensitivity and shallower depth of field to isolate you or your subject. They also offer better control of your image with manual controls, log recording, 10-bit video and more. The drawbacks are extra weight compared to action or compact cameras, more complexity and higher prices.

Fujifilm's X100V was the toy to have over the last couple of years (thanks, TikTok) and the company has now released its successor, the 40.2-megapixel X100 VI, with large improvements across the board. While keeping the same retro form, it offers much faster shooting speeds, in-body stabilization, 6.2K 30p video and more.

The X100VI looks identical to the previous model, with the same styling and control positions. The series was conceived as a street photography camera, borrowing a lot of styling cues from Leica's famous rangefinder cameras. As such, it doesn't have the world's great ergonomics, but is light at 521 grams, discreet for shooting and can slide into a jacket pocket.

Fujifilm

Fujifilm elected to go with the same 40.2-megapixel (MP) APS-C sensor as the much bigger X-H2, significantly boosting resolution over the X100V. I think that's a wise choice as it gives the camera — which has a wide-angle fixed 23mmm f/2.0 lens (35mm full-frame equivalent) — more cropping options. The price for that is likely a small drop in low-light sensitivity.

Another big new feature on the X100VI is built-in 5-axis stabilization with up to 6 stops of shake reduction. Given the X100VI's small body, it's an unexpected but welcome feature, and will be a big help to street photographers taking candid shots on the fly. 

The X100V keeps the same 3.69-million dot hybrid optical viewfinder and 1.62-million dot LCD display, but the latter now tilts downward an extra 15 degrees to make shooting from above easier. It retains the same battery as before (CIPA rated for 300 shots), and unfortunately, the same slow UHS-I card slot. 

Fujifilm

The X100VI still shoots at 11fps with the mechanical shutter and 20fps in electronic mode, but autofocus is quicker and more capable, according to Fujifilm. It now offers the company's latest tracking and face/eye detection, along with animal/vehicle and other types of subject detection. 

Image quality should be improved as well with the extra resolution and a lower native 125 ISO. And since a lot of the newfound social media popularity of this camera is based on the film simulation modes, the camera comes with 20 built-in, including a new one called Reala Ace, designed to offer "faithful color reproduction and contrast tonality." 

Fujifilm

Finally, one usually doesn't think of video when it comes to this series, but the X100VI is surprisingly capable for a tiny compact. It can shoot 6.2K video at up to 30fps, 4K at 60 fps and 1080p at 240fps. You also get 10-bit F-log and F-Log2 recording, shockingly good for a small, photo-centric camera with a fixed lens. The only downside is relatively low data rates (200Mbps max) due to the slow cards, but you can capture ProRes to an external recorder.

Fujifilm's X100VI is now on pre-order for $1,600 in silver or black, with shipping slated for early March 2024. The company is also offering a special edition version "engraved with the corporate brand logo from Fujifilm's founding in 1934" for $2,000. It has vowed to reduce the long lead times of the previous model by manufacturing it in China like other recent models. 

After letting rival camera companies catch up for the last few years, Sony laid down a gauntlet with the 24.6-megapixel A9 III. It’s the world’s first mirrorless camera with a global shutter, a much-awaited holy grail feature. It completely eliminates rolling shutter distortion found on CMOS cameras by reading the entire sensor at once. It also boosts speed and removes the need for a mechanical shutter.

As a pioneering product, it’s not cheap at $6,000, but you can expect the technology to come down in price in the future. And there is a downside: Image quality is reduced compared to regular cameras, due to the nature of a global shutter.

Is it worth trading off image quality for extra speed and lack of distortion, especially compared to stacked sensor cameras that are already pretty quick? To find out, me and my pro photographer friends put a final production model through a variety of shooting scenarios.

Body and handling

The A9 III is Sony’s best handling-camera yet, borrowing all the latest features of recent models like the A7R V. It’s very light for a full-frame camera at just 617 grams. And the redesigned grip is more comfortable and secure, which is a big help to working pros, especially with heavy lenses. By comparison, Sony's A1 can be hard on one’s hands over a full day, according to my photographer pals.

There are three top control dials, making it easy to find primary settings in fully manual mode. It has a pair of dual dials, with one for video, photos and S&Q plus shooting modes, and the other controlling burst along with autofocus. You also get a rear joystick, control dial and no less than 5 custom buttons.

With everything well-placed, it’s a cinch to shoot manually. When you do need to delve into the menus, those are also well laid out. Settings are divided logically into categories, while the home menu shows key options (shutter speed, white balance, etc.) at a glance. Everything can be customized, and you can back up your settings to a memory card.

The high-resolution two million dot rear display is of course touch sensitive for focus and menu control. It flips out and tilts up or down to please both photographers and creators. The viewfinder is the best on any camera, with 9.44 million dots at 120Hz, or half that at 240Hz. That level of sharpness makes it easy to check focus and colors. Again, this is Sony flexing its tech muscles as the primary camera EVF supplier.

Battery life is a solid 500 shots, but you can double that with a new $400 vertical grip, which also gives you a better hold of the camera. It has a dual-card slot setup with both SD UHS II and CFexpress. As usual with Sony, the latter is the slower Type A variety, though. Those are less than half the speed of CFexpress type A, but their smaller size allows Sony to do the dual slot setup.

Other key features include headphone and mic ports, with the option to add Sony brand microphones or audio accessories to the hotshoe. There’s also a full-sized HDMI port, USB-C charging port, ethernet, live-streaming capability and more.

Performance

With the global shutter, dual Bionz processors and the same dedicated AI processor found on the A7R V,, Sony’s A9 III is the fastest full-frame camera in the world. Compressed RAW bursts can be shot at an incredible 120 fps with autofocus and auto-exposure, or you can dial that down to 60 fps or 30 fps.

Steve Dent for Engadget

A big caveat is that the 120 fps mode only works with supported Sony lenses, while third-party lenses are all limited to 15 fps. Hopefully the company will address that in a future firmware update.

The buffer holds 200 RAW frames, so it fills up in less than two seconds at maximum speed. It takes longer to clear the buffer than it should due to the CFexpress Type A cards. If you use SD UHS II cards instead, it takes about twice as long to clear.

In any case, shooting at 120 fps is major overkill most of the time unless you like wading through thousands of photos later on. Sony does have a solution, though. You can shoot at, say, a still-very-fast 30 fps, then press the C5 button to enable the top speed at key moments. That way, you’ll get the shot you want without wasting frames.

The A9 III is also the first Sony camera to use a pre-capture mode that saves a second of photos when you half-press the shutter button. After you fully press it, those photos are saved along with any taken after.

Nathanael Charpentier

Your photos will usually be sharp, too. The 759 phase-detect focus points allow for extremely rapid and accurate autofocus in most situations. For regular continuous AF, it can keep up with even the fastest action.

The AI-powered subject detection shines too. Face tracking works with subjects farther away and it follows someone tenaciously, even when they duck behind obstacles. Human tracking is fast and fluid, and you can easily see if it’s locked onto eyes, face or body.

It can detect birds, animals (or both), along with insects, cars and trains. You can also select any distinctive object and the system will usually track it reliably.

The bottom line is that it rarely misses focus, so it’s great for professional sports, wildlife, weddings and more. Of course it’s not infallible and can mix up subjects, but is better than any camera I’ve tried to date.

Nathanael Charpentier

The A9 III has no need for a mechanical shutter because there’s no rolling shutter distortion, meaning you can shoot in complete silence at all times. With that, it’s perfect for sports like golf, as you can shoot a player in mid-swing without disturbing them, and a club in motion won’t be distorted.

It also allows for extremely fast shutter speeds up to 1/80,000th and it can sync with supported flashes all the way up to that speed. It also eliminates the flicker and banding from venue lights, another big aid for sports photographers.

Sony has also improved its in-body stabilization significantly, boosting it to 8 stops with supported lenses. That allows shots down to a quarter second or less, matching Canon’s EOS R3 and besting the Nikon Z9 and Sony’s own A1.

Image quality

As mentioned, the primary issue with this camera is image quality. So is how much does it fall below regular CMOS cameras? To test that, I shot in situations including gymnasiums, night scenes, bird shooting, an airport and more.

There’s no question that dynamic range is reduced compared to Sony cameras like the A1, at least by a stop. The reason is that the sensor has less light capacity due to the space taken up by the extra electronics.

It also has a smaller ISO range, both on the high and low end. Minimum ISO is not great at 250 and at the high end, ISO is limited to 25,600, half that of the A9 II.

In general, there’s more noise and less dynamic range at any given ISO setting than the A9 II. At the same time, the resolution is lower than rivals like the Nikon Z9 and Sony’s own A7R V and A1. So for landscapes, portraits and other types of photography where dynamic range and resolution is important (and speed isn’t), the A9 III isn’t the best choice.

That said, you’d need to pixel peep to notice any major difference in image quality between rival 24-megapixel cameras up to about ISO 6400. For the intended audience of sports, action and wildlife shooters, it’s more than sufficient.

Beyond that, images are noisier, but still usable up to the maximum ISO 25,600 with noise reduction (Sony appears to have more aggressive noise reduction for JPEG images at higher ISOs). I had no difficulty extracting good shots in dark scenes at ISO 6400 or even ISO 12,800. And as mentioned, you have more control with a flash than any other camera on the market – so that’s a solid option in low light.

Otherwise, images are typical for Sony, with accurate colors and skin tones. The 14-bit RAW files are easy to work with and allow some pushing and pulling, particularly in highlights.

Video

Steve Dent for Engadget

Sony took advantage of the global shutter to make the A9 III its most capable mirrorless camera for video. 4K at up to 60 fps is supersampled using the full 6K sensor width, while 4K at 120 fps can also be shot using the full sensor, albeit with pixel binning. That mode supports full 120 fps playback as well, or slower playback modes via the slow and quick (S&Q) setting.

RAW 4K capture at 60 fps is also possible using an external recorder. All of those modes are available with 10-bit S-Log 3 recording to expand dynamic range in challenging lighting conditions.

That’s just the start of the A9 III’s video powers. Autofocus is as fast and accurate in video as stills mode and has all the same AI features. That means you’ll be sure to keep even fast-moving subjects sharp, whether they’re people, birds, animals or vehicles.

Those who prefer to shoot manually can employ Sony’s handy focus map feature. It has the auto-framing seen on previous Sony models like the ZV-E1 that lets YouTubers move around while filming themselves. You also get the digital zoom feature that reduces focus breathing for supported lenses, with some loss of quality.

Steve Dent

Airplane propeller distortion in video is a telltale sign of a rolling shutter camera, so naturally we had to test the A9 III at an airport against Sony’s stacked sensor A1. Our findings? While the A1 still produces bendy propellers, they’re of course dead straight on the A9 III. That trivial test has large implications. You can shoot things like whip pans or a fast moving train that you’d never try with a rolling shutter sensor. And since everything is exposed at once like a film camera, it’s more cinematic.

The A9 III does have some video competition, as RED just launched a pair of full-frame global shutter cinema cameras last month.

It has the same excellent video stabilization capabilities as the ZV-E1. Regular optical stabilization is good for handheld shots without much movement, or you can kick in the dynamic active mode for walking. That provides near gimbal levels of smoothness, though there’s a considerable zoom and loss of sharpness.

Much as with photos, video quality isn’t quite up to other full-frame cameras, with more noise in general. I shot in S-Log3 most of the time to maximize dynamic range and was satisfied with the results. In low light, I was forced to use some noise reduction.

Quality is still better than any APS-C mirrorless or cinema camera. I think the global shutter advantages, particularly the elimination of rolling shutter, will be worth the tradeoff in quality for a large number of videographers.

Wrap-up

Steve Dent for Engadget

Sony launched its first full-frame mirrorless camera, the A7, years before rivals, and was first to market with backside illuminated and stacked sensors. Lately though, rivals (especially Canon) have been catching up and the field has leveled. With the first global shutter camera, Sony has taken a leap ahead once again.

Image quality has held global sensor cameras back, but Sony clearly felt that the time was finally right. It was a wise calculation — the A9 III is far better than I expected for a first-gen product. It offers mind-blowing speeds and incredible video capabilities, with a relatively small cost in image quality..

Its primary rivals are the $4,800 Canon R3, Sony’s own $6,500 A1, the $5,650 Nikon Z9 and $3,800 Z8, all stacked sensor cameras. The latter three offer much higher resolution and better picture quality, plus shooting speeds that are still darn fast. They all have some rolling shutter, though, along with flicker and flash sync issues that don’t exist on the A9 III.

Whether it’s worth risking that kind of money on new and unproven stacked sensor tech depends on the buyer. Action photographers and videographers won’t blink at the cost if they advantages of global shutter will help them make money. Unless you really need those benefits, though, Nikon’s Z9 and Z8, along with Sony’s A1, are more versatile cameras — and the Z8 is significantly cheaper.

OM System (formerly Olympus) has unveiled the OM-1 Mark II with largely the same specs as its predecessor, but several significant upgrades. Those include improved autofocus, particularly on the AI side, along with other quality-of-life improvements to stabilization, handling and more. 

The company has completed its OM System branding change, as there's no trace of the Olympus logo as seen on the OM-1. That said, the cameras are much the same inside. As before, it comes with a 20-megapixel (MP) stacked Micro Four Thirds sensor and TruePix X processor that allows for very fast burst shooting up to 50fps with continuous autofocus.

Those speeds haven't changed, but OM System boosted the camera's onboard RAM, allowing for some new features. The autofocus can now has a "Human detection" option that goes beyond just faces and eyes as before. The company says AF is also faster and more accurate (with and without subject detection), making it better for sports, wildlife and more.

OM System

It also features a deeper buffer, meaning you can shoot 256 RAW frames at 50fps before it fills, around double the OM-1 — ideal for action shooting. And while the previous model allowed for blackout-free shooting at the highest frame rates, it now works at slower speeds as well (12.5fps and 16fps) for photographers who prefer to work that way. 

The company has also used updated algorithms to boost in-body image stabilization up to 8.5 stops with supported lenses, better than any other camera on the market (Canon's latest models boast 8 stops of stabilization). And it now supports 14-bit RAW for multishot high-res mode, both in the 80MP tripod and the 50MP handheld modes, to improve dynamic range. 

One new function is called Graduated Neutral Density (GND) that builds on the previous model's Live ND (LND) mode. The latter isn't a true ND filter, but blends multiple short shots to simulate one. The graduated version lets you shoot a gradient exposure at any angle, while also controlling the mid-point and whether it has a soft, medium or hard edge.

Olympus

The body and control layout is much the same as before, but OM System has rubberized the command dials so they have a more tactile feel and work better when using gloves. That should be helpful, since the OM-1 is popular for bird and wildlife photography in all kinds of weather conditions.

Beyond that, specs and features are largely the same. You still shoot 4K video at up to 60 fps, in either 8-bit or 10-bit modes (1080p at 240 fps). And the OM-1 can output 12-bit Apple ProRes RAW video at up to 60 fps to an Atomos Ninja V or Ninja V+ external recorder without any pixel binning.

It comes with a 5.76-million dot 120Hz OLED viewfinder as before, along with a fully articulating display. There are dual SD UHS II card slots, but no CFexpress option. The battery delivers a solid 500 shots per charge, but that jumps to 1010 in "Quick Sleep" mode. Finally, you still get a small FL LM3 flash, designed mostly for fill or use with external flash units.

The OM-1 Mark II is arriving in late February for $2,400 (body only) and $3,000 in a kit with the OM System M.Zuiko Digital ED 12-40mm f/2.8 zoom lens (24-80mm full-frame equivalent). 

Realme, a sister brand of Oppo and OnePlus, made its CES debut this year by unveiling a new mid-range phone with a photography twist. The Realme 12 Pro+, due to launch later this month, is apparently the first in its price segment to not only offer a 3x periscope zoom camera with optical stabilization, but also one with a relatively larger sensor to improve low-light performance. The candybar is the work of Swiss luxury watch designer Ollivier Savéo, complete with a golden fluted bezel surrounding a stunning polished sunburst dial, garnished with a 3D jubilee bracelet over vegan leather — in blue or white.

The periscope zoom camera here is powered by a 64-megapixel OmniVision OV64B, which comes in at 1/2 inches large. Realme says compared to the 3x zoom camera on the iPhone 15 Pro (12 megapixels) and the Samsung Galaxy S23 Ultra (10 megapixels), the Realme 12 Pro+'s sensor is at least over 2.6 times as large, thus enabling over 1.8 times the amount of light it takes in. In other words, telephoto cameras don't get much love on mainstream flagship phones. The comparison photos we saw at the launch event were very convincing, with Realme's preserving an impressive amount of detail even at full crop, but we'll obviously wait for our own hands-on later.

With such improvement, this mid-range phone can stick to its periscope camera even in darker environments, while other phones with conventional 3x telephoto cameras (read: smaller sensors) would automatically switch to its main camera and rely on digital zoom instead. But of course, there's still a limit as to how dark this camera can handle; you'll want a flagship-level 3x periscope zoom camera with an even bigger sensor for something more impressive, namely the 1/1.56-inch sensor on the likes of Realme's GT5 Pro, Oppo's Find X7 Ultra and apparently the OnePlus 12 as well.

The Realme 12 Pro+ also packs a decent 50-megapixel main camera, which features a 1/1.56-inch Sony IMX890 sensor (as seen on the OnePlus 11), f/1.8 aperture and optical stabilization. This phone also packs a 0.6x ultra-wide camera, though Realme stopped short at sharing further information. Likewise, the Chinese brand wouldn't share which Qualcomm mid-range processor is powering this device, but it's custom made to enable Realme's "MasterShot Algorithm" computational photography capabilities here. This is what enables RAW processing which, until now, is largely exclusive to flagship smartphones, meaning even mid-range devices will be able to leverage more editing options in the near future.

Photo by Richard Lai / Engadget

The rest of the Realme 12 Pro+ — including the remaining specs and pricing — is still under wraps. Even though the brand isn't present in most locations of our readership, Realme's aggressive growth in recent years should be influential enough to set a benchmark for mid-range phones of 2024. Hopefully this will also put pressure on the likes of Apple and Samsung to put more effort into improving essential features on their own flagships.

We're reporting live from CES 2024 in Las Vegas from January 6-12. Keep up with all the latest news from the show here.

There was a time when smartphone makers rushed to quad-camera claims, most of which did so by throwing in a mediocre fourth camera — usually for macro shots, if not a monochrome filter or just a depth sensor. Nowadays, though, we are blessed with legit quad "main" cameras on some flagship phones, so brands need to be more creative to further differentiate themselves. In Oppo's case, it decided to feature not just one, but two periscope telephoto cameras on its new Snapdragon 8 Gen 3-powered Find X7 Ultra, as a leap from the triple camera system on the previous model.

The Find X7 Ultra's "HyperTone Camera System" features the same 50-megapixel resolution across all four rear Hasselblad cameras, thanks to their relatively large sensors compared to the competition, according to Oppo. The main imager packs Sony's second-gen 1-inch sensor, the LYT-900, which is more efficient in terms of power consumption and thermal performance. This is complemented by an f/1.8 aperture, OIS (optical image stabilization), a 23mm focal length and a 50-percent reduction in lens reflection. The ultra-wide camera features a 1/1.95-inch Sony LYT-600 sensor with an f/2.0 aperture, making this one of the fastest shooters in its class. This comes with a 14mm equivalent focal length and a focus distance down to 4cm. 

Then we're left with the two periscope telephoto cameras. The first one, a 3x optical zoom, has a 1/1.56-inch Sony IMX980 sensor — "roughly three times larger than" the competition, apparently. You also get an f/2.6 aperture, along with "Prism OIS," a 65mm focal length and a 25cm focus distance — handy for portraits and product shots. Then we have a 6x optical zoom periscope, which is powered by a 1/2.51-inch Sony IMX858 sensor and has an f/4.3 aperture, 135mm focal length, a 35cm focus distance plus Prism OIS. With AI-enhanced zoom at 12x, Oppo says its Find X7 Ultra handles a versatile equivalent focal length range of 14mm to 270mm."

Oppo

Oppo also claims to have made some major breakthroughs in mobile photography here. Most notably, it's finally rolling out its "HyperTone Image Engine," which supposedly improves computational photography results for HDR, as well as avoiding over-exposure and over-sharpening. This was apparently in development for two years, with input from professional photographers and color experts. It's all about "merging objective quality together with subjective emotional," as a spokesperson stated. Better yet, HyperTone Image Engine will eventually be rolled out to some existing Oppo devices, namely the Find N and Reno series, depending on compatibility.

Other areas of improvement include the quality consistency across the zoom range (especially in low-light environment), as well as more realistic portrait shots thanks to the new "Hasselblad Portrait Mode." For the latter, rather than getting fake-looking bokeh and poor edge detection, Oppo boldly promises to deliver "cinematic bokeh with foreground and background depth," with a stunning accuracy down to a single strand of hair, plus minimal shutter lag as a bonus.

Oppo is also offering a new "Hasselblad Master Mode" which is based on the characteristics of the Hasselblad X2D 100C medium format mirrorless camera. You get to fiddle with saturation, contrast, sharpness and vignette control to create your preferred style, as well as other shooting features like manual ISO, shutter speed, EV, focus, and white balance. This Master Mode also offers "RAW MAX" capture — pending an OTA update — which supports 13 stops of dynamic range, along with 16-bit color depth in BT2020 color space for each 50-megapixel still.

Oppo

The Find X7 Ultra comes in three color options: "Ocean Blue," "Sepia Brown" and "Tailored Black", all of which feature a vegan leather cover (and the black version comes with decorative stitches). Despite the extra periscope camera, generous 5,000mah battery (100W SuperVOOC wired charging) and wireless charging (50W) support, this device actually shares a similar weight and thickness as the Find X6 Pro. This is thanks to a slimmer wireless charging coil, thinner vegan leather and an improved logic board stack design. Oppo was also able to keep the entire rear camera module tightly packed by using "single-sided magnets," in order to avoid interference between the three OIS parts.

This new phone also features Oppo's brightest-ever QHD (3,168 x 1,440) panel, with outdoor brightness maxing out at 1,600 nits, and local peak brightness at 4,500 nits for HDR purposes. The usual 120Hz refresh rate and ultra-low latency are here to stay, along with "rain water touch" support for wet hands (it has IP68 dust- and water-resistance rating). You get up to 16GB of LPDDR5X RAM and up to 1TB of UFS 4.0 storage.

To our surprise, Oppo doesn't currently have plans to launch the Find X7 Ultra outside of China, so you'll have to source one from an importer. For your reference, this model ranges from 5,999 yuan (about $845) with 12GB RAM and 256GB storage, to 6,999 yuan (about $990) with 16GB RAM and 512GB storage. These three options are available for pre-order now, ahead of their January 12th retail launch. There will also be a special edition with satellite call support arriving in late March, but no price was mentioned.

Oppo

For those on a budget but still want the same fancy look, there's the Find X7 base model powered by a MediaTek Dimensity 9300 processor. It only packs triple cameras on the back: a 50-megapixel main shooter (likely with Sony's 1/1.4-inch LYT-T808 sensor; f/2.0; OIS), a 64-megapixel 3x periscope zoom camera (f/2.6; Prism OIS; 1/2-inch sensor), and a 50-megapixel ultra-wide camera (f/2.0; 119 degrees). This flavor starts from 3,999 yuan (about $560) and offers 12GB RAM with 256GB storage, and maxes out at 4,999 yuan (about $700) for its 16GB RAM plus 1TB storage offering. In addition to the "Ocean Blue" and "Sepia Brown" designs, you may also consider the purple and black options, both of which come in a glass back.