Best Cameras To Buy Used

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While there are many advantages to buying a brand new camera — including a manufacturer warranty and, well, the fact that it’southward never been used by anyone else — at that place are likewise a plethora of reasons to buy cameras on the used market place.

Manifestly, prices are lower, for starters. You have access to models no longer in product, which can stand for an splendid price-to-operation ratio along with a far larger library of options. And many retailers that sell used equipment also offer warranties themselves — whether information technology’s a standard warranty that comes with the purchase or an optional extended warranty.

What Nosotros’re Looking For

For those seeking a new camera to add to their equipment handbag, we’ve compiled a guide with our picks for the best used cameras, split into iii categories (DSLRs, Mirrorless, and Compacts/Fixed Lens), so further broken down into iv tiers based on cost. Our selections, therefore, are chosen based on the available equipment in a particular category that provide the best value.

For a comprehensive list of your all-time places to find these cameras, reference our guide to the Best Places to Purchase Used Cameras and Lenses.

At a Glance

The Best Used DSLR Cameras

Ultra-Budget (under $500): Nikon D700

Photograph from Robert’s Camera (UsedPhotoPro)

The release of the Nikon D3 in 2007 is one of the preeminent milestones in digital photographic history. Canon had long dominated the market with the superior image quality of its EOS-1Ds (one of the earliest full-frame digital cameras), EOS-1D series, and EOS 5D series. With the D3 — Nikon’southward starting time full-frame digital camera — Nikon reclaimed the crown for its superior dynamic range, phenomenal high ISO quality, and stunning 3D autofocus tracking.

The post-obit year, Nikon released its 2d total-frame digital camera: the professional-course D700. It sported the same Nikon-fabricated 12.1-megapixel FX CMOS sensor equally the D3 within a robust, more traditional body without the built-in vertical grip. The D700 features a continuous drive mode up to 5 frames per second (FPS) or eight FPS with the MB-D10 vertical grip, Multi-CAM 3500FX autofocus sensor with 51 AF points, 3D focus tracking, 1,005-pixel RGB sensor, and 3D Color Matrix Metering Two, maximum i/eight,000th shutter speed, and a built-in flash. Essentially, information technology boasts the same phenomenal features and image quality every bit the criterion D3, merely without the integrated vertical grip and ix FPS shooting speed.

The Nikon D700 remains one of the most legendary and highly regarded digital cameras ever fabricated — even more and then than its bigger brother. To this day, y’all can find many users in comments sections and forums who still apply the camera — I still take mine, and information technology’s going strong at over 350,000 shutter actuations. While it doesn’t take the resolution or dynamic range of cameras like the D810 and D850, it remains one of my all-fourth dimension favorite cameras — the 1,005-pixel RGB sensor yet makes for my favorite metering system of any Nikon DSLR.

Iv years ago, I shot my sister’due south wedding ceremony with my D700 as a second photographic camera to my D810, and the files are even so a pleasure to work with — even upward to its maximum ISO 6400 it produces insanely clean results for a 14-twelvemonth-quondam camera.

In this price range, there only isn’t a ameliorate option.

Budget ($500-$1,000): Nikon D800/D800E or Nikon D810

The Nikon D800 and D800E were yet some other prepare of milestones, if not with the same splash and bear on as the D3 and D700. While the latter ii held titles for dynamic range and low-calorie-free abilities, Catechism had pushed ahead once more on resolution and video capabilities — that is, until the release of the D800 and D800E in 2012 followed by the D810 in 2014. Both sported a new Sony-made 36.3-megapixel sensor; the same one was later on institute in the Sony Alpha 7R and Pentax K-1.

The but difference between the two lay in the AA (anti-aliasing) filter — while both cameras have an AA filter, the D800E uses AA cancellation. This allows for increased pixel vigil and therefore greater
resolution. This comes at the expense of the potential for moiré, which takes the form of strange, wavy, often rainbow-like patterns in areas of repetitive, loftier-frequency detail. This is well-nigh always only seen in fabrics — you oft meet information technology in TV shows, where it appears every bit an most “pulsing” or “vibrating” abnormality in the actors’ clothing — and sometimes in fine architectural details. For virtually, the D800E is the better buy, unless you happen to shoot a lot of mode.

The successor D810 improves on the D800/D800E in many ways, though it retains the same 36.3-megapixel resolution, only with a new base ISO of 64 and improved microlenses for increased lite gathering. It also foregoes the AA filter entirely, rather than the AA-cancellation of the D800E. There are other changes that add upwards to a better user experience — better live-view, redesigned controls and ergonomics, improved mirror damping, highlight-weighted metering mode, autofocus from the Nikon D4S, and a new EXPEED four processor.

While the D800/D800E proved to be first-class low-light cameras with seemingly endless shadow recovery, the D810’s sensor is very highlight biased with exceptional breadth and curl off in the quarter tones and highlights. It still has phenomenal high ISO image quality just doesn’t have farthermost pushing of the shadows equally well as the others.

I personally prefer the files from the D810 every bit they return much more natural images in my mind — and the native ISO 64 allows for exceptional dynamic range and tonality — but you can’t become wrong with any of the iii options.

Mid-Range ($1,000-$1,500): Canon 5D Mark IV or Canon 5DS/5DSR

While I have been a Nikon user since I bought a used D700 in 2013, I take had a few trysts with Canon cameras since then and there are plenty of advantages that I beloved almost them over the competition.

My longest affair was with the Canon 5DSR, which I bought to compare confronting a friend’due south D810 because there were many enticing advantages to Canon: the resolution, the power to easily adapt many lenses (such as Contax Zeiss, Leica R, and Nikon F), and native lenses like the Canon 40mm f/ii.8 STM, seventy-300mm f/four-5.6L, and TS-Eastward 135mm f/4L Macro. I constitute the ergonomics superior, the color amend for landscapes and portraits, the viewfinder brighter, the autofocus improved, and the power to have custom shooting modes was a dream — why the pro-level Nikon D700/D800 series don’t have custom setting modes just cameras similar the D750 and D610 do is across my comprehension.

While I ultimately didn’t go on the 5DSR, information technology didn’t leave me with annihilation other than a positive impression and I nevertheless missed those lenses, for which Nikon has no equals. So, as far as mid-range cameras go, particularly for those for whom the Canon system has more entreatment, you lot can’t go wrong with the 5DS, 5DSR, or 5D Marking IV. Why exercise I recommend both the 5DS(R) and the 5D Mark IV models, despite the erstwhile being cheaper on the used market? Because everyone has different needs.

The 5DS and 5DSR, released in 2015, characteristic the same sensor — the highest resolution full-frame sensor on the market until Sony released the Alpha 7R 4 — and the difference betwixt the two is the aforementioned as that of the Nikon D800 and D800E. The 5DS has an AA-filter and the 5DSR has the AA-filter canceled.

The Canon 5D Marker 4, conversely, is a much newer photographic camera and features a lower-resolution 30.4M-megapixel sensor — more enough for 99% of photographers — and boasts far superior video features: DCI 4K at 23.976/24/29.97p and full HD at up to 59.94p.

To the ire of many Canonites, the DCI 4K is non oversampled and thus only uses the 4096×2160 central portion of the sensor, resulting in a 1.74x crop cistron, even more Canon’southward 1.6x APS-C crop factor. Canon likewise made the bizarre choice to limit the DCI 4K recording option to Motion JPEG (1000-JPEG) which clocks in at a whopping 500 Mbps. Furthermore, information technology is limited to 8-fleck 4:2:0 internally or 8-flake 4:2:2 externally. To its credit, implemented in the 5D Mark IV is Canon’due south renowned dual pixel autofocus which has long made Canon DSLRs and Canon EOS movie theatre cameras a prime number choice for documentary, reality Television receiver, weddings, and 1-man-band productions owing to its brilliant autofocus tracking, which applies to both video and stills in live-view.

The Canon 5D Mark Iv offers an splendid hybrid of stills and video capabilities, also as the highest dynamic range, colour depth, and high ISO performance of whatever Canon DSLR behind the contempo EOS 1DX Mark III, exceeding the 5DS(R) by i.2 stops of dynamic range (per DXOMark). For those who work in a studio or need the impressively high resolution, the 5DS and 5DSR are both superior and much cheaper options. After all, people obsess and argue in forums about a stop of dynamic range or marginally meliorate low-lite performance, notwithstanding a vast bulk rarely (if ever) run across situations that do good from those differences.

Loftier-Terminate ($i,500+): Nikon D850

Successor to the benchmark Nikon D810, the long-awaited Nikon D850 was finally released in autumn of 2017 to massive success — Nikon was merely able to send out less than x% of preorders on its first aircraft solar day.

The D850 headlines a 45.4-megapixel BSI sensor, Nikon EXPEED 5 processor, 180K pixel RGB metering system, seven FPS (or ix FPS with the battery grip), silent electronic shutter up to 6 FPS in live-view, a new viewfinder with 100% coverage and 0.75x magnification, focus-shift stacking fashion up to 300 frames, Wi-Fi and Bluetooth Depression Energy, a joystick, button illumination, Multi-CAM 20K autofocus system from the Nikon D5, 8K fourth dimension-lapse video, intervalometer up to 9,999 frames, 4K UHD video at 23.976/25/29.97p H.264 using either the total sensor surface area or a DX crop, slow move full HD video up to 120p, a negative digitizer mode for scanning film negatives, and a 3.two-inch 2.36 million-dot touchscreen LCD.

Many of these features are firsts not but for Nikon, but for whatever DSLR: silent electronic shutter, BSI sensor, focus-shift stacking, and the negative digitizer (best paired with the phenomenal Nikon ES-2 kit), for example. Others, like the tilting touchscreen, were unheard of for pro-level DSLRs, despite being readily available on lower-finish Nikon and Canon APS-C models.

The D850 has widely been heralded as the greatest DSLR e’er made, even by those who are not Nikon users, with many testing sites challenge that information technology rivals medium format with its resolution, dynamic range, color, tonality, and native ISO 64 — the latter of which bridges the gap betwixt full-frame and 44×33 medium format cameras which have a base ISO of 100. It’southward a can’t-get-wrong option.

All-time Used Mirrorless Cameras

Ultra-Budget (nether $500): Olympus OM-D E-M1 or Olympus Eastward-M5 Mark 2

Olympus, known in the digital camera earth for its Four Thirds DSLRs in the 2000s, made the motility to the mirrorless with its PEN E-P1 in 2009, adopting the Micro 4/3 lens mount that premiered in the Panasonic G1 the prior twelvemonth. Three years afterward, Olympus launched the OM-D line with the Eastward-M5, which was followed by the Olympus OM-D E-M1 the following year.

The Eastward-M1, the first of the new flagship Olympus line, boasted a completely new blueprint from the compact E-M5. With a significantly more substantial grip, higher-resolution (2.36m-dots vs. 1.44m-dots) 1.48x magnification EVF, more control points/dials and function buttons (including 2 betwixt the lens mountain and grip), a new TruePic Half-dozen image processor, a more rugged design with improved weather-sealing, and a peak shutter speed of 1/8000 (versus the i/4000 of the E-M5). The flash sync has also received an upgrade from one/250 to ane/320.

While the Eastward-M5 featured blazingly fast dissimilarity-detect autofocus, information technology struggled (like all C-AF systems) with subject tracking. The E-M1 made a substantial leap in this regard: 81 contrast-detection points (up from 35 on the E-M5) along with 37 phase-detection points let the FAST (Frequency Acceleration Sensor Technology) focusing system to generate precise and fast autofocus results. Four AF surface area modes let for fine-tuning to accommodate a diverseness of subjects, from wild fauna or sports to pinpoint macro work.

The Eastward-M1 employs the aforementioned xvi.three-megapixel 17.3x13mm Live MOS sensor equally the Due east-M5 just is now stripped of the anti-aliasing filter for improved pixel acuity.

While the original Eastward-M5 is quite long in the molar, especially given all of the downsides that come with a get-go-generation product, information technology is a more than capable camera in and of itself and tin can frequently be establish for nether $200
a lens. The E-M1, however, doesn’t run much more than — typically $300 or less — and the price difference is more than than worth it. If you desire a truly compact photographic camera and find the E-M1 to be too large, the E-M5 Mark Two tin be had for a fleck more and has a significantly improved trunk blueprint, LCD screen and EVF, button layout, and a new TruePic VII processor. The legendary Olympus IBIS is also improved over the E-M5 — almost on par with the E-M1 — and it now has a sensor-shift high-resolution blended mode that generates 40-megapixel files, which is something the Due east-M1 lacks.

Upkeep ($500-$1,000): Fujifilm X-T3 or Fujifilm X-S10

Both of these choices are even so bachelor for purchase brand new, though the black Fujifilm Ten-T3 is existence discontinued and replaced with the X-T3 WW, which is simply the same model sans bombardment charger for a streamlined production — and comes with an slightly lower $ane,100 price instead of $1,399.

At any rate, the original X-T3 — now an older model after the release of the Fujifilm Ten-T4 — is readily bachelor on the used market place for some very attractive prices. The Ten-T3 boasts considerable upgrades from its predecessor X-T2: a new 26.1-megapixel X-Trans 4 BSI sensor, 2.16m-betoken phase-detection autofocus system, and a new Ten-Processor 4 with 4 CPUs allowing for continuous shooting up to xi fps with the mechanical shutter and thirty fps with an electronic shutter and 1.25x crop.

Video features are significantly enhanced over the X-T2 and Ten-H1 as well: internal DCI/UHD 4K 10-fleck 4:two:0 at upwards to 60p in either H.264 or H.265, bitrates from 100 to 400mbps, forth with F-Log gamma to maximize dynamic range for color grading in post-production. The minimum ISO sensitivity when shooting F-Log has dropped from 800 to 640, and Fujifilm’s beautiful Eterna film simulation is also available for those who don’t intend to do intense color-grading.

A gorgeous 3.69m-dot OLED EVF with 0.75x magnification and rapid 100 fps refresh charge per unit, blackout-free shooting in the electronic shutter style, dual UHS-II SD card slots, a dedicated focus lever, and the incorporation of Bluetooth 4.ii Low Energy round out the listing of the camera’s upgrades.

For those who adopt the traditional PASM dial (with 4 custom modes) instead of Fujifilm’s classic control dials, the Fujifilm X-S10 offers a very compelling, affordable, and feature-packed alternative. It sports the same sensor and processor every bit the 10-T3 just adds a few welcome new features. Chief among them is the integration of 5-centrality IBIS and a much more pronounced grip.

The X-S10 does have a few disadvantages to the X-T3: DCI/UHD 4K tops out at 30 fps, continuous shooting is a maximum of 8 fps with the mechanical shutter and 20 fps with the electronic shutter, the iv-way directorial pad has been removed from the rear of the camera body, and the OLED EVF is 2.36m-dot instead of 3.69m-dot. The X-S10 too moves to the flip-out LCD pattern constitute in the X-T4, rather than the three-way tilt design of the 10-T3 — this may be an advantage or disadvantage depending on your preferences.

Whichever you option, both cameras offer an exceptional value and have admission to what is easily the largest and most complete defended APS-C lens line. Yous tin’t go wrong either fashion in terms of image quality, either.

Mid-Range ($1,000-$one,500): Nikon Z6 or Nikon Z7

With Sony’s launch of the Alpha 7 and Blastoff 7R in 2013, the floodgates opened for a revolution: the shift from DSLR supremacy to mirrorless. Leica was the second company to enter the total-frame mirrorless arena with its Leica SL Typ 601 in 2015. Canon and Nikon, who had dominated the photographic camera market for decades, resisted. Medium-format mirrorless fifty-fifty hit the market before either Canon or Nikon gave in — offset with the Hasselblad X1D-50C in 2016 and the Fujifilm GFX 50S in early 2017.

Finally, though, the two companies relented. Canon announced its EOS R in Oct of 2018, while Nikon announced the Nikon Z6 and Nikon Z7 two months prior in August.

The Z6 and Z7 featured Nikon’southward new mirrorless Z mount. With a 16mm flange distance and a 55mm throat diameter (the shortest and widest of whatever full-frame camera on the market, respectively), Nikon was conspicuously aiming high — the deep 46.5mm flange altitude and narrow 44mm pharynx diameter of the F-mount fabricated for challenging optical designs. Alongside the Z6 and Z7, Nikon released the Nikkor 50/1.8S, Nikkor 35mm f/1.8S, and the compact Nikkor 24-70mm f/4S. While the moderate apertures were met with some criticism (despite beingness almost identical or superior in specifications to Sony’s first total-frame lenses), opinion quickly backtracked once users experienced the optical excellence of the lenses. Since so, Nikon has filled out a very complete ecosystem full of some of the all-time lenses

Unlike other manufacturers, the Z6 and Z7 share identical class factors — only the model badge on the front gives away the difference. Internally, the Z6 features a 24.v-megapixel BSI sensor with five-axis IBIS, 273 phase-detection AF points, 12 FPS continuous shooting, 4K UHD internal with 10-fleck 4.2.2 4K out via HDMI, North-Log externally, and a iii.68m-dot OLED viewfinder. The Z7 boasts a college-resolution 45.7-megapixel BSI sensor and 493 phase-detection points. While a used Z7 is usually a chip over $one,500 at many retailers, information technology’s not uncommon to find information technology for less than that.

The simply downsides are a single menu slot and no selection for a vertical grip with controls. While the autofocus has been criticized compared to its competitors, I establish it more than than sufficient for myself and what 99% of users actually
— and that was before last year’due south firmware update that
improved the camera’south AF abilities, particularly middle-AF and subject tracking.

The lenses alone are worth joining the system and the new bombshell Nikon Z9 promises some amazing trickle-down features in future models.

High-End ($1,500+): Sony Alpha 7R III/Sony Alpha 7R IIIA

The third photographic camera in Sony’s loftier-resolution Alpha 7R line, which began in 2013 with the 36.iv-megapixel Alpha 7R, was announced in October of 2017. The new model featured many notable improvements over its predecessor, the Alpha 7R II: an updated BIONZ 10 processor, 10 FPS with continuous autofocus, an updated Fast Hybrid AF system with 399 phase-detection and 425 contrast-detection points, enhanced video capabilities when shooting UHD 4K (either total-sensor or Super 35 from a 5K oversample), a iii.69m-dot OLED viewfinder, 3.0-inch 1.44m-dot tilting touchscreen LCD, dual SD carte du jour slots, redesigned shutter unit rated for 500,000 actuations with a new brake arrangement to minimize shutter stupor, and the new, high-capacity NP-FZ100 battery.

The body was too vastly improved, inheriting many of the same design changes from the Sony Alpha 9 — a significantly more substantial and comfortable grip, weather-sealing, redesigned and improved rear push layout with a new joystick, USB 3.i Gen 1 Blazon-C port, Wi-Fi, and Bluetooth connectivity, and an improved lens mount to better back up larger and heavier lenses.

While it employs the same, excellent 42.4-megapixel Exmor BSI CMOS sensor from the Blastoff 7R II, the new model introduces a pixel shift mode — by using the IBIS, the camera can shift the sensor in single and sub-pixel increments, taking a photo each time, which tin then be combined using the Sony Imaging software suite to create a 169.6-megapixel file with improved color accuracy. Evidently, such a feature only works on a tripod and with static subjects similar fine art, production, macro, or landscapes with little or no movement (like current of air).

The most significant changes from the prior model come down to the enhanced autofocus features, much longer battery life, and the vastly improved body — many await at the third generation Sony cameras as the point at which the Sony Alpha line was finally mature.

The Alpha 7R IIIA is identical to the original model, with 2 changes: a much improved rear LCD screen with a (long overdue) resolution bump from 1.44m-dots to 2.36m-dots and a jump from USB 3.1 Gen 1 Type-C to a faster USB 3.i Gen ii Type-C.

While some will point to the Sony Alpha 7R Four/IVA as an comeback — and it certainly is in several ways — many users have said they either found little difference in performance (aside from the higher-resolution) or preferred the Alpha 7R 3 due to its smaller file sizes and better noise performance.

Existence an older model, the Alpha 7R III also offers a significantly college price-to-performance ratio, as information technology tin regularly be institute for under $ii,000 used, but it as well depends on your needs. For nigh, the Alpha 7R Iii is far more than sufficient —
PetaPixel’due south
editor Jaron Schneider actually argued this the mean solar day the Alpha 7R Iv became available and it’southward nonetheless true today.

Best Used Compact/Fixed Lens Cameras

Ultra-Upkeep (under $500): Sony RX100 Iii/RX100 Iv

The Sony Cyber-shot DSC-RX100 series has been around since 2012 and all take featured a 20.two-megapixel one-inch type sensor (2.7x crop gene) and a very similar, tiny, accept-anywhere torso blueprint. The original model, the RX100, was fitted with a 28-100mm equivalent focal length and an f/i.8-four.9 maximum discontinuity range. The RX100 II sported an updated Exmor R BSI sensor, tiltable LCD screen, along with Wi-Fi and NFC connectivity.

The RX100 Three was released with even more significant updates: a new BIONZ X processor, a new Zeiss Vario-Sonnar T* 24-70mm (equivalent) lens with a significantly faster f/i.8-2.viii maximum aperture. While it loses the 70-100mm range, information technology gains 24-28mm, and well-nigh critically, nigh three stops of speed on the long end — though this isn’t quite an apples-to-apples comparison considering the former models were just f/4.9 at the very long cease, which has now been lost. It besides gains a new pop-up OLED electronic viewfinder, an impressive design given the extraordinarily minor size of the photographic camera.

The RX100 4 took its specs to another level. The sensor has been upgraded to an Exmor RS BSI with a redesigned photodiode layout resulting in enhanced light-gathering capability and 16 FPS of continuous shooting. Video features are greatly improved: UHD 4K recording at 100 Mbps in the XAVC S format with South-Log2 gamma and ho-hum-motion options of 240, 480, and a stunning 960 FPS in full Hard disk.

While the camera retains the aforementioned maximum 1/2000 leaf shutter speed as the former models, it at present has a “Super-Speed Anti-Distortion Electronic Shutter” with a maximum speed of 1/32,000. Combined with a built-in three-end ND filter, you can shoot wide-open in the middle of the Mojave at high noon should you cull.

All models prior to the RX 100V accept been discontinued, but the RX100 Three and 4 tin routinely be establish at exceptionally low prices on the used marketplace. While the RX100 and RX100 II tin be sourced for even less money, the advocacy in features like a tilting LCD and popular-up OLED EVF, along with substantially improved shooting and video specs, make the third and quaternary generation models the best value by a considerable margin.

I do highly recommend the accompaniment Sony AG-R2 grip — the camera body is quite slick and smooth.

Upkeep ($500-$1,000): Ricoh GR III/GR IIIx

The Ricoh GR line is ane of the oldest still in production, dating back to the Ricoh GR1 released in 1996. Like most of the models, both motion picture and digital, the GR1 featured a 28mm f/2.viii retractable lens in a super-compact, pocketable body.

The Ricoh GR III was released nearly three years ago in March of 2019. Unlike the prior GR Ii, which was a very incremental update to the GR, the GR 3 headline upgrades include a new 24.2-megapixel APS-C (up from 16.2-megapixel) sensor and GR Engine 6, a redesigned 6 element/four group 28mm f/2.8 (equivalent) lens, iii-axis Shake Reduction System (IBIS), AA-filter simulation, dust reduction via an ultrasonic cleaning system, a new 3.0-inch 1.037m-dot touchscreen LCD, greater control over assignable button functions, the addition of Bluetooth LE, a USB 3.0 Type-C port for file transfer or charging, decreased start-up fourth dimension to 0.eight seconds, and a hybrid phase and dissimilarity-detection autofocus system. It does lose the popular-up flash, still, which is a point of upshot for some users. To me, it’southward a logical and acceptable tradeoff for the improver of IBIS and possibly some of the other new features.

The newer Ricoh GR IIIx diverges from the residual of the line past adopting a longer 26.1mm f/2.8 lens, equivalent to a 40mm f/2.8 total-frame lens. For many, myself included, this was a very welcome addition to the line — 40mm is a perfect “normal” focal length for full general photography. Equally a newer production, the GR IIIx is harder to come past on the used market, but not impossible. I bought mine used from Adorama.

The cameras likewise boast the famous “snap focus” mode: push the shutter push button downward quickly, past the half-end for autofocus, and the camera will default to a pre-prepare distance and snap the photograph. You can set this distance in the menu from six options: 1m, 1.5m, 2m, 2.5m, 5m, and infinity. This feature is paired with a brilliant digital depth-of-field scale that volition show how much will be in focus at your set up aperture and snap focus distance. Setting the GR III to 2m and f/8 will show everything from about 1m to infinity in focus — perfect for near street and full general photography. Naturally, the GR IIIx will accept less depth-of-field for any given f-end and altitude, so more care has to exist taken.

Best of all, the GR’southward 18.3mm f/ii.8 lens (28mm f/2.8 full-frame-equivalent) is one of the best lenses e’er made, whether in a compact or otherwise. So practiced was the original GR1’s 28/two.8 lens, Ricoh produced a express line of them in Leica Thread Mountain. The GR Iii lens is several steps up from that one: sharp corner to corner wide-open, almost completely gratis of aberrations once yous striking f/four, and seemingly allowed to flare. It also produces beautiful sunstars stopped downward, which seems to be a trait of leaf shutter lenses. The GR IIIx’s 40mm-equivalent lens is even ameliorate: sharper and with less baloney. Both cameras share the same sensor, body, and other internals, and thus produce practically identical images — matching colour and tonality between the two is every bit simple as it could possibly be.

The Ricoh GR line is 1-a-kind; there simply isn’t anything else on the market like it. Compact cameras come in two forms: small enough to actually exist “pocketable” (fit in a jeans pocket, for example) or large plenty that you need a bag or pocketbook of some kind — maybe a jacket or coat pocket in a all-time-instance scenario. In terms of the former, the only cameras that fit the bill are a i.0-inch type or smaller (such equally the RX100 series) and the Ricoh GR, which is the only camera that combines truthful pocketability with a large APS-C sensor. The Nikon Coolpix A also fits this beak, simply it is no longer in production, unfortunately.

Mid-Range ($ane,000-$one,500): Fujifilm X100V

Fujifilm’s lauded X100 series began in early 2012 with the Finepix X100, featuring a 12.three-megapixel EXR CMOS sensor — a descendant of Fujifilm’s unique Super CCD sensors and featuring an array of paired pixels rotated 45 degrees. With the X100S, the serial moved to the X-serial designation and inherited the X-Trans pattern that premiered in the X-Pro1. All the models share the same basic gestalt: a “rangefinder” compact with a hybrid electronic and optical (with frame lines) viewfinder, a 23mm f/two Fujinon lens yielding a 35mm f/ii full-frame equivalent, and “archetype” on-body controls in the course of a shutter speed/ISO combination dial and an aperture ring on the lens.

From the Fujifilm X100S to the X100T to the X100F, there were pocket-sized upgrades from model to model, primarily related to haptics and autofocus, though the X100F saw the jump from the 16.3-megapixel 10-Trans II sensor to the 24.3-megapixel Ten-Trans Iii sensor with a lower base of operations ISO of 160 (versus 200 for the prior models).

The Fujifilm X100V, all the same, took several big leaps forward. Perhaps most significant of all is the new eight element/6 grouping lens that at present includes ii aspherical elements for improved shut-focus performance and superior suppression of optical aberrations such every bit fringing, distortion, lateral and centric CA, and coma. A new Super EVC coating has been applied for more effective flare command.

The X100V features a tilting iii.0-inch 1.62 million-dot LCD touchscreen for the first time in the X100 series, a new 26.1-megapixel BSI X-Trans Four sensor, expanded phase-detection autofocus with 425 selectable points covering near the entire sensor, focusing down to -five EV, updated X-Processor 4, DCI and UHD 4K recording upwards to thirty fps with x-bit 4:ii:two out via HDMI, a new viewfinder with a higher-resolution 3.69 million-dot EVF and 0.52x optical finder, and the ability to make the camera weather-resistant with the optional AR-X100 Adapter Ring. There’s also a wide conversion lens, the Fujifilm WCL-X100 2, and a teleconverter lens, the Fujifilm TCL-X100 II, each of which issue in 28mm and 50mm equivalent focal lengths, respectively.

The X100V does lose the 4-mode directional pad on the rear of the camera trunk, moving to a joystick/touchscreen-only interface. This seems to be a common and (in my opinion) very unfortunate management Fujifilm is taking beyond well-nigh all of their camera lines, including the X-E, X-Pro, X-S10, X-Tx0, and GFX models. At least the touchscreen and joystick work quite well, even if that doesn’t make upwards for this bizarre choice.

While the camera is currently on backorder and has been for some time, you
discover used versions — bookmark the sites from
list of the Best Places to Purchase Used Cameras and Lenses and check them daily. They tend to become snatched up quickly.

If you don’t mind a non-tilting screen, you lot don’t lose a lot of supercritical features by picking upwards a used X100F instead. The lens doesn’t reach the aforementioned level of operation, but it is nonetheless very good — most of the advantages of the newer design are apparent at shut/semi-macro distances.

High-Cease ($ane,500+): Leica Q (Typ 116), Leica Q2, or Leica Q2 Monochrom

Announced in June of 2015, the Leica Q (Typ 116) features a full-frame 24.2-megapixel sensor designed by CMOSIS, in front of which sits a new Leica Summilux 28/one.vii ASPH lens. With eleven elements/9 groups, including 3 aspherical elements and a floating lens element for the camera’s close-focus “macro” mode (6.7-inch minimum focus), the lens is a complex formula for a camera of this nature. So again, it’s besides an extremely fast lens designed to cover a full-frame sensor. Best of all, a concrete discontinuity and focus ring allow y’all to hands adjust your f-cease and take control of your focus point. While focusing is still fly-past-wire, Leica’s implementation doesn’t give that away — it has a very smooth, tactile operation with difficult stops and linear travel.

The Leica Q — congenital from a solid machined aluminum top plate and magnesium alloy body — sports a 3.68m-dot LCOS EVF, contrast-detect autofocus, a 3.0-inch TFT 1.04m-dot LCD touchscreen, full HD 1080p recording, upwards to 10 fps continuous shooting, born Wi-Fi with NFC, and Digital Frame Selector crop modes of ane.25x and 1.8x for 35mm and 50mm equivalents, respectively.

Like all Leica cameras, the pattern is elegant and uncomplicated, with an intuitive and easy-to-navigate menu arrangement. The 28mm f/1.7 Summilux lens is 1 of the all-time lenses on any compact camera — information technology strikes a nice residue of excellent microcontrast and moderate macrocontrast, forth with high sharpness beyond virtually of the frame wide-open and sharp into the corners by f/4. Lens aberrations are kept at bay via both corrective elements within the lens and digital correction. The lens does feature some noticeable field curvature broad-open, which likely makes information technology unsuitable for flat-field work. Another common complaint is that Leica employs meaning digital corrections for lens distortion — this is likely true, though to be honest, I don’t care. I run into digital correction in
digital cameras
to just be a unlike course of optical correction. If information technology allows for smaller, cheaper, and simpler lens designs while yielding superior image quality, who cares?

The Leica Q2 features the same basic body design and lens every bit the original Q, but updates include: a new OLED EVF (improved from the Q’south LCOS EVF), IP52-certified weather sealing, adoption of the BPSCL4 battery from the Leica SL (boosting battery life by 30%), and a built-in prophylactic seal for even greater weather resistance. Information technology also inherits haptics along the lines of the Leica M10: 3-push button rear controls, a programmable function button in the pollex-punch, and a pronounced thumb grip instead of the Q’s recessed dint. The sensor has been updated to 47.three-megapixels with a native fifty ISO (downwardly from ISO 100) and no AA-filter, along with 4k DCI adequacy. Finally, the SD card slot has been updated to UHS-II and the camera now features an additional 75mm-equivalent crop mode.

The Leica Q2 Monochrom is identical to the Q2 simply stripped of the RGGB Bayer assortment. This allows the sensor to receive an unfiltered luminance-just signal and therefore the files require no interpolation. This makes for superior tonality, dynamic range, high ISO performance, and pixel acuity. It does, however, come at the expense of adjusting the luminance values of different colour channels in mail service.

Image credits:
Elements of header photo licensed via Depositphotos.