Mir­ror­less cam­eras are rapid­ly crowd­ing out DSLRs on all fronts, and lead­ing man­u­fac­tur­ers are grad­u­al­ly phas­ing out their old sys­tems. That means it’s time to choose the best mir­ror­less cam­era, espe­cial­ly since 2021 has seen sev­er­al mod­els come out that turn every­thing upside down.

Pho­to: Sony/gadgetmatch.com

Choos­ing a mir­ror­less cam­era
Matrix For­mat
What oth­er para­me­ters of mir­ror­less cam­eras you should pay atten­tion to
Top mir­ror­less cam­eras
Best bud­get mir­ror­less cam­era
The best mir­ror­less cam­era for begin­ners
Best cropped APS‑C mir­ror­less 2022
Best Micro 4:3 Mir­ror­less Cam­era
Best medi­um for­mat mir­ror­less cam­era
The best mir­ror­less cam­era for video
Best Full Frame Mir­ror­less Cam­era Val­ue for Mon­ey
Best hybrid full-frame mir­ror­less cam­era for stills/video
The best full-frame mir­ror­less cam­era for pro­fes­sion­al pho­tog­ra­phers
The best full-frame mir­ror­less cam­era

Choosing a mirrorless camera

We will not dwell on the advan­tages of mir­ror­less cam­eras, about which enough has already been said. It must be tak­en for grant­ed that this is the new stan­dard in the indus­try, and new mod­els and new lens­es for them will come out more and more often.


Here we need to dwell in more detail in case we are being read by novice pho­tog­ra­phers who are choos­ing their first full-fledged cam­era.

Each major man­u­fac­tur­er has its own “sys­tem” — these are cam­eras and a set of lens­es com­pat­i­ble with them. The cam­era and lens are con­nect­ed to each oth­er using a bay­o­net mount. Most man­u­fac­tur­ers have their own mount, which is not com­pat­i­ble with devices from oth­er man­u­fac­tur­ers. And this means that when choos­ing a cam­era, you choose the whole sys­tem — you can­not buy a Canon cam­era and use it with Nikon lens­es.

This is also an impor­tant ques­tion for those who are about to switch from SLR to mir­ror­less cam­eras. Such a user prob­a­bly has sev­er­al lens­es and it would be con­ve­nient and eco­nom­i­cal if they were com­pat­i­ble with the new cam­era. DSLR lens­es are often com­pat­i­ble with mir­ror­less cam­eras from the same man­u­fac­tur­er using spe­cial adapters. So the answer to the ques­tion “which mir­ror­less is bet­ter?” may be per­son­al to you.

Our top will fea­ture the best mir­ror­less cam­eras with inter­change­able lens­es, because there are van­ish­ing­ly few mir­ror­less cam­eras with a built-in lens on the mar­ket (if you still want just such a device, take the Fuji­film X100V and don’t think about any­thing).

Matrix Format

The sec­ond thing to talk about before mov­ing on to the 2022 mir­ror­less cam­era rank­ings is sen­sor for­mats.

Often, the bay­o­net mount dif­fers not only between mod­els from dif­fer­ent man­u­fac­tur­ers, but also between mod­els of dif­fer­ent for­mats for the same man­u­fac­tur­er. For­mat — the size of the diag­o­nal of the matrix, which deter­mines the angle of view when using a lens with a par­tic­u­lar focal length. The larg­er the matrix for­mat, the larg­er its phys­i­cal dimen­sions, and the larg­er its angle of view.

The main for­mats of mir­ror­less cam­eras in descend­ing order of sen­sor size (below is a pic­ture with the phys­i­cal sen­sor size for each for­mat):

  • Medi­um for­mat — cam­eras with the great­est detail. Still quite exot­ic due to their high cost and some tech­ni­cal lim­i­ta­tions in terms of aut­o­fo­cus and con­tin­u­ous shoot­ing. Two pop­u­lar man­u­fac­tur­ers of medi­um for­mat mir­ror­less cam­eras are Fuji­film and Has­sel­blad.
  • Full frame is the base stan­dard against which all oth­er stan­dards are com­pared. For a long time, full-frame cam­eras were very expen­sive, but with the spread of mir­ror­less tech­nol­o­gy, more bud­get-friend­ly options began to appear. It is one of the most pop­u­lar mir­ror­less cam­era for­mats today, with major man­u­fac­tur­ers includ­ing Sony, Canon and Nikon.
  • APS‑C (often referred to as crop cam­eras) is anoth­er pop­u­lar for­mat. APS‑C cam­eras can be found in almost every man­u­fac­tur­er, but there is one com­pa­ny that focus­es almost entire­ly on APS‑C mir­ror­less cam­eras — Fuji­film.
  • Micro 4:3 — many Olym­pus and Pana­son­ic mir­ror­less cam­eras are made in this for­mat. There are many native and third-par­ty lens­es avail­able for these cam­eras, but in gen­er­al, they are less pop­u­lar than full-frame and APS‑C cam­eras.
Matrix for­mats also dif­fer in the so-called “crop fac­tor” — if you sim­pli­fy as much as pos­si­ble, this is the dif­fer­ence between the size of a 35 mm film frame (equiv­a­lent to full-frame cam­eras) and the size of the matrix in dig­i­tal cam­eras. Image: Photostore.Expert

Does all this mean that Micro 4:3 cam­eras are worse than the rest? Not at all. Dif­fer­ent for­mats have their pros and cons, which can be devot­ed to a large sep­a­rate mate­r­i­al. To sim­pli­fy as much as pos­si­ble, the larg­er the for­mat, the more detail the cam­era can have (and the bet­ter it will behave in low light), but at the same time it will be less com­pact. Here you need to choose based on the com­bi­na­tion of char­ac­ter­is­tics and lens­es avail­able for this cam­era.

But if you want a quick tip, here it is: full-frame cam­eras are slow­ly becom­ing the main indus­try stan­dard, so if you can afford to spend more (and the larg­er the sen­sor, the more, all oth­er things being equal, it is more expen­sive) and do not chase the com­pact­ness of crop mod­els, choose them.

What other parameters of mirrorless cameras you should pay attention to

Mir­ror­less cam­eras come in sev­er­al basic types:

  • uni­ver­sal “hybrid” cam­eras that shoot well both pho­tos and videos;
  • mir­ror­less cam­eras sharp­ened for video, which in one way or anoth­er sac­ri­fice the char­ac­ter­is­tics of pho­tog­ra­phy;
  • high-res­o­lu­tion mir­ror­less cam­eras sharp­ened for pho­tog­ra­phy.

These cat­e­gories pri­mar­i­ly refer to the full-frame lines of the main man­u­fac­tur­ers, in which the spe­cial­iza­tion of cam­eras is espe­cial­ly notice­able. Bud­get cam­eras are usu­al­ly quite ver­sa­tile and do not stand out with one thing, although more often man­u­fac­tur­ers save on video fea­tures. There­fore, in order to answer the ques­tion “how to choose a mir­ror­less cam­era?”, It is worth con­sid­er­ing how much of a pri­or­i­ty is video shoot­ing for you.

It is also worth men­tion­ing one com­mon weak point of mir­ror­less cam­eras — they usu­al­ly hold a charge worse com­pared to the mir­ror fra­ter­ni­ty. There­fore, it is bet­ter to addi­tion­al­ly check how good the bat­tery of your mir­ror­less cam­era is. In our top there will be no mod­els that are unam­bigu­ous­ly weak in this indi­ca­tor. In addi­tion, most mod­ern mir­ror­less cam­eras are charged from portable bat­ter­ies, which par­tial­ly removes this prob­lem.

So, let’s move on to the best mir­ror­less cam­eras of 2022.

Top mirrorless cameras

Best budget mirrorless camera

Canon EOS M50 Mark II

Pho­to: camerajabber.com

If price is one of the most impor­tant fac­tors in your choice, and you want to save mon­ey on lens­es, for exam­ple, then one of the most inter­est­ing options would be the Canon EOS M50 Mark II. At the time of this writ­ing, it can be pur­chased com­plete with a whale lens for 53 thou­sand rubles.

The cam­era has a light­weight, com­pact body that makes it a great choice for trav­el and every­day pho­tog­ra­phy. And the ful­ly swiv­el screen hints that the cam­era is great for blog­ging.

Canon’s mir­ror­less uses an APS‑C sen­sor, which deliv­ers excel­lent image qual­i­ty, although it’s not very good in low light. Par­tic­u­lar­ly pleas­ing for a cam­era like this, it has effec­tive aut­o­fo­cus with face and eye track­ing that excels in stills and 1080p video. But in 4K, the reli­a­bil­i­ty of aut­o­fo­cus drops sharply. If you are going to shoot videos in this for­mat, it is bet­ter to choose anoth­er mod­el (for exam­ple, the same new blog­ging Sony ZV-E10) — it shoots in 4K with a pow­er­ful 1.5x crop (crop­ping).

In terms of avail­able optics, the cam­era is infe­ri­or to Fuji­film’s huge selec­tion of spe­cial­ized crop lens­es (which we will talk about lat­er), but there are still some inter­est­ing options for it, both from Canon itself and from third-par­ty man­u­fac­tur­ers, for exam­ple, Sig­ma. You can also always use the EF-EOS M adapter to use the com­pa­ny’s exten­sive line of SLR lens­es.

The cam­era has a sim­ple touch­screen inter­face that novice pho­tog­ra­phers can eas­i­ly adapt to, and pro­duces beau­ti­ful pho­tos with­out hav­ing to fid­dle with a lot of set­tings. So it is also a good choice for begin­ners. And the cam­era can also stream videos direct­ly to YouTube and shoot videos in por­trait ori­en­ta­tion — anoth­er cou­ple of plus­es for con­tent mak­ers.

As an alter­na­tive, with a much larg­er selec­tion of com­pact lens­es, con­sid­er the Fuji­film X‑T200. A cam­era with a whale lens can be found for 50 thou­sand. It’s an entry-lev­el mod­el with a retro design, sim­i­lar in specs to the down­sized Fuji­film X‑T30, which we’ll be look­ing at next in our 2022 mir­ror­less rank­ings.

The best mirrorless camera for beginners

Fuji­film X‑T30 II

Pho­to: theverge.com

The Fuji­film X‑T30 is already a step up from the bud­get options above, but it’s still in the econ­o­my seg­ment. It is bet­ter for begin­ners to choose the sec­ond ver­sion, as it received a more mod­ern aut­o­fo­cus sys­tem, and for a novice pho­tog­ra­ph­er this is very impor­tant.

The X‑T30 uses the same 26-megapix­el sen­sor as the more expen­sive X‑T3 and X‑T4 to deliv­er great shots. Also in the cam­era there is a whole set of film sim­u­la­tion modes, with which you can imme­di­ate­ly get a very pleas­ant pic­ture. You will be able to adjust a lot of set­tings with the help of phys­i­cal discs — this is impor­tant if you want to learn and advance in pho­tog­ra­phy.

The mod­el will not dis­ap­point in terms of video shoot­ing — it has high-qual­i­ty 4K, although with a record­ing time lim­it. The sec­ond ver­sion can shoot 4K at 24p (200 Mbps) for 28 min­utes with­out over­heat­ing. But for novice blog­gers, the cam­era can hard­ly be rec­om­mend­ed: it has an inclined, not a swiv­el dis­play (not very con­ve­nient when shoot­ing a self­ie blog) and an unsta­ble appli­ca­tion for remote video shoot­ing.

If you’re will­ing to spend a lit­tle more (and aren’t too enam­ored with the retro design), then Fuji­film has anoth­er novice-friend­ly all-around cam­era, the X‑S10. In many ways, it is very sim­i­lar to the X‑T30 II, but it also offers some nice bonus­es (most notably, built-in sta­bi­liza­tion). We recent­ly com­pared two mod­els, so we rec­om­mend that you read the mate­r­i­al to decide which one is best for you.

Sony fans will sure­ly say that the a6400 is the best choice for a begin­ner, but it has a very con­fus­ing menu sys­tem, which is unlike­ly to help novice pho­tog­ra­phers.

But the Canon EOS M6 Mark II can be a good alter­na­tive to the fujiks. The cam­era has a 32.5‑megapixel APS‑C sen­sor and 4K video with­out crop. The bat­tery of the mod­el allows you to take 305 shots on a sin­gle charge, which is very good for the class. Of the minus­es — the viewfind­er is bought sep­a­rate­ly and is mount­ed on a hot shoe, which is not always con­ve­nient.

Best cropped APS‑C mirrorless 2022

Fuji­film X‑T4

Pho­to: dphotoworld.net

All the cam­eras we’ve looked at in our mir­ror­less cam­era rank­ings so far have been cropped, but the real king (or queen, whichev­er you pre­fer) of APS‑C cam­eras is the Fuji­film X‑T4.

Of course, crop matri­ces have their dis­ad­van­tages — they show them­selves worse in poor light­ing and have a small­er dynam­ic range, but they allow you to make cam­eras very com­pact, despite the pow­er­ful fill­ing. And the X‑T4 is just one of those mod­els — small, but very pow­er­ful.

The X‑T4 has mod­ern aut­o­fo­cus, built-in image sta­bi­liza­tion (which many entry-lev­el cam­eras lack), 20 fps burst shoot­ing, but most impor­tant­ly, very cool video fea­tures.

The cam­era shoots 4K at 60p, and 1080 up to 240p, it has a ful­ly rotat­able dis­play con­ve­nient for video (includ­ing blog­ging), a dual slot for fast UHS-II mem­o­ry cards and all the nec­es­sary con­nec­tors.

Rel­a­tive­ly recent­ly, the com­pa­ny’s com­peti­tors began to pro­duce entry-lev­el full-frame mir­ror­less cam­eras at a sim­i­lar price to the X‑T4. Such cam­eras, thanks to a larg­er matrix, receive bonus­es in terms of images. How­ev­er, they fail to sur­pass the X‑T4 video fea­tures. And the top cropped Fujik is more com­pact and lighter.

The sec­ond place in the rank of the best crop mir­ror­less is, per­haps, the Sony a6600. It’s also a very advanced cam­era, with some cool video capa­bil­i­ties, built-in sta­bi­liza­tion, and super-sharp aut­o­fo­cus. How­ev­er, it clear­ly los­es the X‑T4 in terms of ergonom­ics, con­trols and inter­face con­ve­nience. In addi­tion, it only has one slot for slow­er UHS‑I cards, mak­ing con­tin­u­ous shoot­ing dif­fi­cult.

Best Micro 4:3 Mirrorless Camera

Pana­son­ic Lumix GH5 II

Pho­to: camerajabber.com

Micro 4:3 is less pop­u­lar than APS‑C and full frame, but it is used in a lot of inter­est­ing mir­ror­less cam­eras. It is dif­fi­cult to sin­gle out one of the coolest, so we chose two.

“Uni­ver­sal sol­dier”, although with a slight bias in videog­ra­phy — Pana­son­ic Lumix GH5 II. The first ver­sion of the GH5, released in 2017, was ahead of its time. The updat­ed mod­el retains many of the fea­tures of its pre­de­ces­sor — 20-megapix­el excel­lent pho­tos and 4K 60p video, but also received a lot of new cool fea­tures: updat­ed aut­o­fo­cus and improved sta­bi­liza­tion, addi­tion­al fea­tures for pro video record­ing, advanced online stream­ing options and so on.

As a result, Pana­son­ic has a cam­era with a pro­fes­sion­al set of video fea­tures, which can also take cool pho­tos.

An alter­na­tive Micro 4:3 for­mat cam­era suit­able for stills and video is the Olym­pus OM‑D E‑M1 Mark III. The cam­era has a pho­to mode with a res­o­lu­tion of 80 megapix­els and high-speed burst shoot­ing at 60 fps. It also has one of the best sta­bi­liza­tion sys­tems, mak­ing this Olym­pus a ver­sa­tile tool for a vari­ety of tasks.

The dis­ad­van­tages include a rather old matrix (it has not changed since 2016), as well as a very mod­est rear screen and viewfind­er by today’s stan­dards.

Best medium format mirrorless camera

Fuji­film GFX 100S

Pho­to: amateurphotographer.co.uk

We will talk about full-frame cam­eras a lit­tle lat­er, since today there is no short­age of such options among the mir­ror­less brethren. In the mean­time, let’s jump to the still quite exot­ic, but gain­ing pop­u­lar­i­ty among pro­fes­sion­al pho­tog­ra­phers, medi­um for­mat.

Medi­um for­mat sen­sors sac­ri­fice aut­o­fo­cus per­for­mance and shoot­ing speed, but in return offer the best pos­si­ble pic­ture qual­i­ty of any mod­ern dig­i­tal cam­era. If you are shoot­ing stu­dio por­traits or shoot­ing land­scapes at high res­o­lu­tion, for exam­ple, for print­ing in max­i­mum for­mats, then this cam­era will be the right choice.

The recent­ly released Fuji­film GFX 100S costs about half a mil­lion rubles. She has already become one of the most pop­u­lar medi­um for­mat mod­els.

The GFX 100S comes with an impres­sive array of fea­tures, such as a 102MP BSI-CMOS sen­sor, a pow­er­ful sta­bi­liza­tion sys­tem, 4K 30p video record­ing, 5fps burst shoot­ing (which is quite an achieve­ment for a medi­um for­mat cam­era), and 400MP frame cap­ture capa­bil­i­ty. And all this in a rel­a­tive­ly com­pact pack­age.

In gen­er­al, in this for­mat, Fuji­film main­ly com­petes with itself — 50R, 50S and 100 are also inter­est­ing options, but 100S is per­haps the pin­na­cle of evo­lu­tion. Although there are Has­sel­blad options on the mar­ket, in terms of func­tion­al­i­ty, Fuji­film out­per­forms the com­pe­ti­tion. How­ev­er, Has­sel­blad has a more inter­est­ing choice of optics.

The best mirrorless camera for video

Sony a7S III

Pho­to: bhphotovideo.com

We have already men­tioned some inter­est­ing options for video shoot­ing, but if you are plan­ning to buy a mir­ror­less cam­era main­ly for video, take a look at the Sony a7S III (Sony Alpha ILCE-7SM3).

The third ver­sion of Sony’s video-cen­tric full-frame mod­el boasts fea­tures such as UHD 4K video at up to 120p, 16-bit RAW video out­put, inter­nal 10-bit 4:2:2 video record­ing, and 5‑axis built-in sta­bi­liza­tion. The cam­era uses a 12-megapix­el sen­sor with large pix­els, which lim­its its use for pho­tog­ra­phy, but great­ly improves low-light per­for­mance.

It’s nice that the third ver­sion received a redesigned menu sys­tem that has become more user-friend­ly, as well as many improve­ments in terms of ergonom­ics, bor­rowed from oth­er mir­ror­less com­pa­nies — A9 and A7R IV. On board is a dual slot for mem­o­ry cards of dif­fer­ent for­mats — UHS-II and CFex­press Type‑A, con­ve­nient for record­ing high-def­i­n­i­tion video.

If you’re look­ing for a com­pact cam­corder in a mir­ror­less form fac­tor, the Sony a7S III is one of the most inter­est­ing options.

Although there are alter­na­tive options on the mar­ket. First­ly, this is the Sony FX3: a spe­cial­ly redesigned ver­sion of the Sony a7S III, com­plete­ly sharp­ened for video — here you can com­plete­ly for­get about pho­tos.

Sec­ond­ly, the full-frame Pana­son­ic Lumix S1H, which is also spe­cial­ly designed for video­g­ra­phers. You will find pro­fes­sion­al fea­tures like 6K video record­ing, inter­nal record­ing in 4:2:2 10-bit for­mat and so on. In addi­tion, the S1H can take decent 24-megapix­el pho­tos. How­ev­er, it is infe­ri­or to Sony in terms of aut­o­fo­cus and the num­ber of video record­ing options (4K 24P, 8K 30P, etc.) on mem­o­ry cards.

And don’t for­get about our APS‑C king (or queen) Fuji­film X‑T4, which is by far the best crop mir­ror­less cam­era for video shoot­ing. In the Micro 4:3 for­mat, you can also pay atten­tion to the Pana­son­ic GH5S. So every for­mat has its best mir­ror­less cam­eras for video.

Best Full Frame Mirrorless Camera Value for Money

Sony A7 IV

Pho­to: dpreview.com

Con­tin­ues the ency­clo­pe­dia of the best mir­ror­less Sony A7 IV. Once upon a time, full frame was the exclu­sive domain of high-end devices, but in recent years every­thing has changed, and now you can find more afford­able options here. At one time, the orig­i­nal A7 was pre­sent­ed at a record low price for a full-frame cam­era, but the new A7 IV is already posi­tioned slight­ly high­er. And the place of the ini­tial full-frame cam­era in the com­pa­ny’s line­up was tak­en by the com­pact A7C.

The A7 IV fea­tures Sony’s best tech­nolo­gies — top-of-the-line track­ing aut­o­fo­cus with human and ani­mal eye detec­tion, a 33-megapix­el sen­sor, per­fect for advanced pho­tog­ra­phy. It has a huge ISO range and improved sta­bi­liza­tion — the cam­era per­forms well in low light con­di­tions. And yet, accord­ing to Sony itself, this cam­era has the best col­or repro­duc­tion among all mod­els in the Alpha line.

At the same time, Sony did not lim­it itself to pho­tog­ra­phy and made the mod­el very attrac­tive in terms of video shoot­ing. It shoots in 4K at 60p from the nar­row­er APS‑C zone of the sen­sor, or in 4K at 30p from the entire width of the sen­sor. The cam­era is equipped with a full-size HDMI port for video out­put to exter­nal sources and a dual slot for fast CFe A and UHS-II mem­o­ry cards.

At the same time, its price of $2,500 (com­pared to $6,500 for the top-end Alpha 1, which we will talk about lat­er) hints that the cam­era, despite the high-end fill­ing, is designed for enthu­si­asts, and not just for pros. So in terms of val­ue for mon­ey, this is one of the most inter­est­ing mod­els on the mar­ket. Unfor­tu­nate­ly, the cam­era is not yet avail­able in Rus­sia.

The main com­peti­tor of the Sony A7 IV is, per­haps, the Canon EOS R5. Before the release of Sony, it was prob­a­bly the best full-frame mir­ror­less cam­era for enthu­si­asts. A big plus of the mod­el is a huge set of EF lens­es work­ing through an adapter. How­ev­er, it los­es to the new prod­uct from Sony in terms of res­o­lu­tion, bat­tery life, and video record­ing.

Best hybrid full-frame mirrorless camera for stills/video

Canon EOS R5

Pho­to: digitaltrends.com

Of course, the Sony A7 IV could have got into this nom­i­na­tion, but still it falls short of the title of “best”, giv­en that there is a Canon EOS R5 on the mar­ket.

This flag­ship cam­era in the EOS R line was released a year ago and remains the num­ber one choice of many pro­fes­sion­als who want a cam­era that is ver­sa­tile yet does not com­pro­mise in any aspect. The mod­el received a 45-megapix­el matrix, 8K video record­ing, con­tin­u­ous shoot­ing at 12 fps (mechan­i­cal shut­ter) and 20 fps (elec­tron­ic shut­ter), body pro­tec­tion from bad weath­er at the lev­el of the top EOS 5D Mark IV DSLR, a cool sta­bi­liza­tion sys­tem, and so on. Fur­ther. And all this togeth­er with a huge selec­tion of com­pat­i­ble Canon EF lens­es.

And the aut­o­fo­cus sys­tem in the new prod­uct can com­pete with the Sony sys­tem, which many con­sid­er the most advanced among all man­u­fac­tur­ers.

Of the short­com­ings of the cam­era, we can recall, per­haps, only the prob­lem of over­heat­ing when shoot­ing at the high­est set­tings. But a sim­i­lar prob­lem is observed in oth­er top-end cam­eras.

The best full-frame mirrorless camera for professional photographers

Nikon Z7 II

Pho­to: dpreview.com

If the Canon EOS R5 is the best option for pro­fes­sion­al pho­tog­ra­phers who also need high-res­o­lu­tion video record­ing, then the Nikon Z7 II focus­es more on pho­tog­ra­phy. 45.7‑megapixel full-frame sen­sor with 5‑axis sta­bi­liza­tion, 10 fps burst shoot­ing, dual mem­o­ry card slots (for back­up), and ver­ti­cal bat­tery grip sup­port that pho­to pros love — all for $500 less than Canon’s flag­ship.

At the same time, it’s not to say that the Z7 II can’t shoot video — even 4K shoot­ing at 60p is avail­able, although the qual­i­ty is worse than that of com­peti­tors more sharp­ened for this busi­ness. For a cam­era with such a high res­o­lu­tion, video is fine, but it is not designed for this.

And it was cre­at­ed specif­i­cal­ly for pho­tog­ra­phy — excel­lent image qual­i­ty and dynam­ic range, a detailed viewfind­er and very con­ve­nient con­trols. In addi­tion, all Nikon SLR lens­es work with it via an FTZ adapter.

It can be said that Nikon’s aut­o­fo­cus sys­tem lags behind Canon and Sony, but this is per­haps the only neg­a­tive for pho­tog­ra­phers. Oth­er­wise, an excel­lent cam­era for pro­fes­sion­al food, land­scape and fash­ion shoot­ing at super high res­o­lu­tion.

The best full-frame mirrorless camera

Sony Alpha 1

Pho­to: dpreview.com

And yet, to the envy of all oth­er man­u­fac­tur­ers, Sony became the king of the full frame. Its flag­ship mod­el Sony A1 (in Rus­sia its cost is 555 thou­sand) boasts the most incred­i­ble per­for­mance.

The cam­era has a 50.1‑megapixel sen­sor, 15+ stops of dynam­ic range, ISO sen­si­tiv­i­ty up to 32,000, incred­i­bly fast aut­o­fo­cus, burst shoot­ing at 30 fps, advanced weath­er pro­tec­tion — in gen­er­al, every­thing a pho­tog­ra­ph­er can dream of .

But Sony did­n’t stop there and decid­ed to com­pound it with video capa­bil­i­ties at the lev­el of top hybrid cam­eras — 8K and a bunch of 4K options with a cool pic­ture and a lot of advanced fea­tures. At the same time, she does not have any spe­cial prob­lems with over­heat­ing.

Throw in a bat­tery for 530 shots per charge (430 when using the viewfind­er) — a fig­ure close to a SLR cam­era — and you can eas­i­ly say that Sony has turned out to be the ide­al mod­el for pro­fes­sion­als.

On the oth­er hand, it is almost twice as expen­sive as the Canon EOS R5, but it is impos­si­ble to say that it is bet­ter than the Canon mod­el — after all, in most aspects the cam­eras per­form more or less on an equal foot­ing. But if you want the best of the best, then the Sony A1 is your option.