Best cameras for vlogging

The finest cameras for vlogging are made for a certain kind of content creation. They’re designed for photographers who need to shoot a wide range of subjects fast and easily in a variety of settings.

Vloggers, on the other hand, come in all sorts and sizes, ranging from daring thrill-seekers to trip photographers to more traditional filmmakers.

As a result, we’ve chosen a variety of vlogging cameras to span the entire spectrum.

It was difficult to narrow down our final shortlist, and we’ve prioritized what we believe are the best all-rounders.

Because everyone’s needs and expectations are different, we recommend that you go over the entire list.

We adore them all for different reasons!

We considered including the brand new Panasonic Lumix GH5 II, a replace-making legend, but we opted to stay with the Lumix S5, its full-frame stablemate.

Most people connect vlogging with small, video-focused mirrorless cameras, but the range of video material and styles that individuals desire to make is rapidly expanding.

1. Panasonic Lumix GH5 II

The Panasonic Lumix GH5 II is a new flagship mirrorless camera aimed at both still and video photographers.

This new 2021 model replaces the popular GH5 camera and adds C4K/4K 60p 4:2:0 10-bit limitless video recording, wireless live streaming in FHD/60p, a new 20.3-megapixel sensor with AR (Anti-Reflective) coating, and the latest high-speed and high-performance Venus Engine.

A higher resolution 1.84M pixel, 3-inch LCD screen with a wider color gamut and brightness, a faster frame rate of 120fps for the EVF, support for USB-C charging, larger buffer for continuous shooting, Face/Eye/Head/Body, and Animal Recognition autofocusing, bigger 2200 mAh battery, and the V-Log L profile is pre-installed are among the other key new features.

Aside from that, the new Mark II GH5 is quite similar to the 2016 edition.

Built-in Wi-Fi and Bluetooth connectivity, a 0.05-second contrast-detect autofocus system with 225 focus points, 1/8000th top shutter speed, 1/250th second flash sync speed, 1,728-zone metering system, 3,680K-dot OLED electronic viewfinder, 3.2-inch swiveling and tilting LCD screen, touchscreen control system with touch-based functions like Touch AF/AE and Touch Shutter, and a 5-axis Dual Image St

The body of the GH5 II is built of magnesium alloy, with a die-cast front and rear frame.

The GH5 II is splash/dust-proof and freeze-proof down to -10 degrees Celsius thanks to its sealed joints, dials, and buttons.

The shutter release life on the camera is 200,000 shots.

As with the original model, this is one of the best-built Panasonic cameras we’ve ever seen, and it should be able to withstand a lot of punishment.

The Panasonic GH5 II is available with either the Panasonic 12-60mm f3.5-5.6 lens or the fantastic Leica 12-60mm f/2.8-4.0 lens, which we reviewed.

While the GH5 II’s body is comparable in size and weight to a mid-range APS-C DSLR camera, Panasonic’s lenses are where the total system has reduced the most.

Given the fast maximum apertures available, the Leica 12-60mm optic is tiny and light, delivering excellent image quality while being quick to focus and fully silent, making it ideal for video use.

The Lumix GH5 II is compatible with the DMW-BGGH5 battery grip, which contains an additional battery to prolong the overall battery life.

The DMW-BGGH5 grip is splash and dustproof, much like the GH5 II body.

The picture stabilization technology of the Panasonic GH5 II has been greatly improved.

The 5-axis Dual I.S.MK II system uses gyro-sensor technology to combine the 2-axis stabilization from the lens (if it has OIS built-in) with the 5-axis stabilization from the camera body, resulting in compensation for up to 6.5 stops slower shutter speed, 1.5 stops are better than the GH5.

Rather than using a phase detection auto-focus system like a traditional DSLR, the Panasonic Lumix GH5 II uses a 225-point Contrast AF system similar to that seen in compact cameras.

The GH5 II still has one of the fastest autofocus systems of any interchangeable lens camera, be it a compact system camera or a DSLR, with a claimed speed of just 0.

05 seconds when used with certain lenses, thanks to the inclusion of DFD (Depth from Defocus) technology, which reduces the time it takes to focus even more.

This is extremely fast, and the GH5 II virtually never failed to lock onto the subject, especially when using the center AF point, giving in a responsive and, more importantly, reliable AF system.

The Human Detect AF and Animal Recognition autofocusing algorithms, which were inherited from the full-frame Lumix S5, are new to the GH5 II.

Human/Animal Detect, Tracking, 225-Area, Zone (Vert/Horz), Zone (Oval), 1-Area+, 1-Area, and Pinpoint are among the AF modes available.

A small focus-assist and self-timer indicator lamp, lens release button, configurable unmarked Function6 button, metal lens mount, flash sync socket, and a sculpted, rubberized hand-grip are all found on the front of the Panasonic Lumix GH5 II.

The Fn6 button toggles between a live preview of the effects of the current aperture and the current shutter speed by default.

The latter will be especially valuable for beginners, since it will allow them to see how varying shutter speeds affect the capture of various subjects, such as rushing water.

The majority of the GH5 II’s exterior is matte black plastic, with a more tactile rubberized covering on the handgrip, right-hand, and left-hand corners.

The Panasonic GH5 II’s top features include a burst mode/6K photo/bracketing/self-timer/time-lapse dial on the left, an external flash hot shoe, stereo microphones, a lockable shooting mode dial surrounded by the on/off switch, shutter release button, front control dial, white balance, ISO, and exposure compensation buttons, a customizable Photo Styles button, and a large one-touch movie record button that is now entirely red.

There’s also a little LED that indicates if wi-fi is turned on or off, as well as whether USB charging is active.

The camera’s primary exposure parameters are easily accessible thanks to the row of white balance, ISO, and exposure compensation buttons, while the two control dials make using the fully Manual shooting mode simple.

The GH5 II combines both a classic mechanical shutter and a silent electronic shutter, which ensures that your subject is absolutely crisp by preventing pixel shifting as well as not spooking your subject.

By releasing the shutter after a set amount of time, the Delay Shutter option helps to eliminate the effect of the handshake (8, 4, 2, or 1 second).

The Lumix GH5 II’s start-up speed of less than a second from turning it on to being ready to capture a photo is amazing.

A JPEG image is stored in around 1/2 second, letting you continue shooting while the images are being recorded onto the memory card – there is no discernible LCD blackout between each image.

While the first file is being written to memory, you can use the menu system or capture another image.

2. Panasonic Lumix S5

Panasonic’s entry into the full-frame territory has gotten a mixed response.

Despite a wide range of video features, the S1 series has been criticized for its awkward handling and poor autofocus.

As a result, with its latest full-frame model, the tech giant has attempted to address those issues.

The Panasonic S5 lies beneath the S1/R/H cameras, seeking to be an entry-level full-framer that also appeals to video enthusiasts.

The fact that the S5 is smaller and lighter than the Panasonic GH5, the company’s mega-popular hybrid camera with a considerably smaller Four Thirds sensor, is quite remarkable.

Other issues have been addressed as well, most notably the autofocusing technology, which Panasonic claims have been revamped for the S5.

A completely articulating touch-sensitive screen is also now available, something vloggers will certainly like.

Mirrorless cameras are said to have the advantage of being smaller and lighter than DSLR counterparts.

Panasonic created a mega-beast of a camera with the original S1/R/H series, which was larger than some DSLRs.

The design of the Panasonic S5 is significantly better, with everything fitting into a body that is smaller than that of the Panasonic GH5 – a lot smaller model with a much smaller sensor.

The S5 comes included with a 20-60mm “kit” lens that is collapsible and complements the camera’s tiny size.

If you want to change lenses, the L mount has a good selection, especially since Panasonic has partnered with Sigma and Leica.

L Mount lenses, on the other hand, are fairly large and aren’t as well balanced on the S5’s compact chassis.

Aside from that, the S5 was designed to be very useful and ergonomic.

There’s a good assortment of knobs and buttons around the body of the camera, as well as a robust grip.

A big exposure mode slider, as well as another for selecting drive mode, allows for easy change between shooting modes.

The two control knobs on the front and back of the thumb grip may be used to modify key parameters including aperture and shutter speed.

A good set of buttons are located on the back of the camera and is fairly self-explanatory.

A “Q” button may be pressed to quickly access a collection of frequently used options, and there’s also a joystick that can be used to move the focus point, navigate menus, and so on.

The S5 is powered by a 24.2-megapixel sensor, which is identical to the one found in its predecessor, the S1.

It was a sensible idea to put an already established sensor within this smaller and less expensive housing, as it makes the camera easier to appraise in advance.

Panasonic announced at the time of the S5 introduction that it has “rewritten the algorithm” to solve the autofocus performance concerns leveled at the S1 series.

Rather than the hybrid systems we see elsewhere, it still incorporates a contrast-detection-based system as well as DFD (depth from defocus) technology.

The screen of the Samsung Galaxy S5 is completely articulating and touch-sensitive.

The former feature, which was another major critique of the S1 series, makes it more enticing to video users.

A 2360k-dot 0.74x OLED viewfinder joins it, which is lesser in quality than the S1 series’ viewfinders, but that’s to be expected from a budget model.

It’s still a capable performer that allows you to precisely examine the scene; if you’ve never used one of the better viewfinders, you’re unlikely to be dissatisfied.

Panasonic is well-known and well-liked among video enthusiasts, so it’s no surprise that the S5 is aimed at them.

It can shoot in 4K at 60p (with a crop) or 30p (without one) at 4K.

Internally, 10-bit recording is supported, but the video must be restarted after 30 minutes.

Alternatively, you can film as many clips as you like in 8K.

V-Log recording is also possible, with a dynamic range of 14 stops.

Dual-native ISO, anamorphic 4K, and time-lapse recording are among the other features.

If you’re primarily a stills shooter, none of this will appeal to you, but for those who prefer to create a variety of content, it’s excellent.

However, there is one drawback to be aware of: the S5 employs a tiny HDMI port rather than a full-sized HDMI port, which may pose a difficulty for professional users.

The good news is that focusing has improved significantly from the S1 series.

It works well in the majority of scenarios and is also capable of tracking subjects that move around in a predictable pattern.

However, competing cameras on the market, particularly Sony’s A7 III and Canon’s EOS R6 models, which are in the same price range as it, far outperform it.

In terms of burst shooting, it’s also a mediocre performer.

It shoots at 7 frames per second at full quality, which isn’t impressive.

You can use Panasonic’s 4K/6K shooting settings to capture shots at 30fps, but you won’t get the raw files, and going through and extracting the shot you want will take time in the camera.

In short, if you’re looking for a camera to shoot action, sports, or wildlife regularly, this isn’t the camera for you.

Because the S5 employs the same sensor as the S1, we knew the image and video quality would be excellent.

Again, there’s good news here, as there is in the vast majority of cases.

The images include a lot of detail, fantastic colors, and well-balanced exposures.

The Panasonic S5 has a lot to offer, and it’s a fantastic compact hybrid camera that’s available at a reasonable price.

It may be claimed that the firm should have started with the S5.

The image and video quality are excellent, which is perhaps the most crucial factor.

The camera’s body is likewise well-designed, with an ergonomic and practical layout, a nice electronic viewfinder, and a much-appreciated fully-articulating touchscreen.

3. Fujifilm X-S10

The Fujifilm X-S10 is a significant step forward in Fujifilm’s ambition to create the perfect mid-range mirrorless camera.

It’s developed one of the best cameras for novices and hobbyist shooters so far by cramming several of the features from its flagship Fujifilm X-T4, including in-body image stabilization (IBIS), into a smaller, less expensive chassis.

Until now, superb compact cameras like the Fujifilm X-T30 have performed the role of deputy to Fujifilm’s X-T flagships.

In short, if you have an older Canon or Nikon DSLR and want to upgrade to something smaller and more current, the X-S10 will fit right in.

How does the X-S10 compare to its competitors?

Overall, everything went swimmingly.

The still image quality is identical to that of the Fujifilm X-T4, which is now at the top of our list of the finest cameras.

The X-4K S10’s video is also on par with rivals like the Nikon Z50 and Sony A6600 in terms of quality and flexibility.

The focusing on the X-S10 may be its sole genuine flaw.

In most situations, its AF performance is still impressive, but the subject-tracking system isn’t as advanced as the Sony system found on cameras like the Sony A6600.

Even though it isn’t ideal for action photographers, the X-IBIS S10’s system is a huge plus for such a compact body.

This can help you preserve image quality by allowing you to use longer shutter speeds if you do a lot of handheld shooting.

Compared to the Nikon Z50, Fujifilm X-T30, and even the Fujifilm X-T3, this function alone provides it a significant advantage.

When you combine this sensor-based stabilization with the X-other S10’s features, such as retro style, a comfortable grip, and superb image and video quality, you have one of the best mirrorless cameras available at this price.

The only flaws in an otherwise excellent camera are the absence of weatherproofing and slightly poorer autofocus.

The design of the Fujifilm X-S10 is both classic Fujifilm and a significant departure from the company’s past mirrorless cameras.

It appears to be a somewhat smaller Fujifilm X-T4 with a larger, deeper grip at a first impression.

Because of that grip, the size difference isn’t as significant as it is with the X-T4.

The X-S10 won’t fit in your pocket, but at 465g, it’s substantially lighter than its sister (making it about three-quarters the weight of the X-T4).

It also has a more premium feel than cheaper models like the Fujifilm X-T200 thanks to its magnesium alloy construction.

It’s only after you start using the X-S10 that you’ll realize the significant differences from the rest of the X-series.

Fujifilm cameras are known for their dial-heavy control layouts, with most models including a triplet of wheels for adjusting shutter speed, ISO, and exposure compensation.

Instead, you’ll receive the PASM dial (Program, Aperture, Shutter Speed, Manual) that most other camera companies use.

The reason for this, according to Fujifilm, is that many consumers were put off from converting to X-Series cameras because the normal dials were too perplexing for them.

Similar to Apple and Android’s varied approaches to the smartphone home screen, neither option is objectively superior to the other.

While Fujifilm purists may not be impressed, anyone coming from Sony or Nikon will feel right at home with the X-S10.

The X-S10 isn’t perfect in terms of ergonomics.

We found the camera’s power button to be excessively slick, making it difficult to turn it on quickly without looking.

This is most likely due to its proximity to the front command dial, but it was an irritation nonetheless.

The X-lack S10’s of a d-pad on the rear makes cycling through its menus more difficult than on higher-end X-series cameras, with the little AF joystick taking over these responsibilities instead.

Still, we’re pleased to see an AF joystick included for selecting autofocus points, and the X-S10 is a fun camera to use in general.

For an otherwise small mirrorless camera, the large grip is a huge plus.

Of course, this means it’s nowhere near as small as the Fujifilm X-T30, which, when paired with a pancake lens, can fit into a pocket.

The ability to hold the X-S10 one-handed with its grip was a wonderful treat, and the grip also helped balance out longer lenses like the XF50-140mm.

This alone distinguishes it from the Nikon Z50 and Sony A6600.

The X-viewfinder S10’s (a 2.36 million-dot affair with a maximum refresh rate of 100 frames per second) is solid rather than spectacular, but its vari-angle touchscreen (which rotates 180 degrees to the front) makes it useful for both video and stills.

Photographers may prefer the tilting screen found on stills-focused cameras like the X-T30, but solo videographers or vloggers will appreciate this screen’s versatility.

The inclusion of a 3.5mm mic input for using external microphones adds to the vlogging credentials.

This is located above a USB-C port (which, with an extra adaptor, may also be used as a headphone connector) and a Micro HDMI port, which allows you to send a 10-bit 4:2:2 video to an external recorder.

When you look at these ports more closely, you’ll notice the Fujifilm X-biggest S10’s design flaw in comparison to more expensive cameras: there’s no weatherproofing at all.

If you shoot frequently in inclement weather, the weather-sealed Nikon Z50 may be the better choice.

IBIS systems are useful for both video and still photography because they may reduce handheld jitters and improve shot quality by allowing you to shoot at slower shutter speeds and lower ISOs.

However, not all of them are created equal.

The Fujifilm X-five-axis S10’s IBIS system is 30 percent smaller, lighter, and less effective than the Fujifilm X- T4’s.

When combined with most X-series lenses, the X-S10 manages a maximum of six stops of compensation, compared to the X-6.5 T4’s stops, but it’s not dissimilar to the X-T4.

In practice, we found the latter’s stabilization promises to be a touch exaggerated, and you’ll still need a gimbal for completely smooth walking video footage.

For anyone who owns (or is considering purchasing) non-stabilized prime lenses like the XF90mm f/2, the addition of IBIS is a tremendous plus.

To supplement the X-sensor-based S10’s stabilization, Fujifilm has introduced a few digital stabilization settings.

If you don’t mind your footage being cropped by 10%, they will give your videos an extra smoothness.

4. Sony A6400

The Sony A6400 is the most recent of a long line of A6000-series cameras from Sony.

The original A6000, which was released in 2014, is still available for very low costs, but while its resolution is comparable to the latest models, its video capabilities have significantly deteriorated.

There was also an A6300, which was a short-lived model that was quickly followed by the more powerful A6500, which was the only camera in the series to have in-body image stabilization and is now replaced by the Sony A6600.

Sony continues to push the limits of processing and autofocus performance by introducing new technologies in its high-end professional cameras and then trickling them down to its consumer versions.

The A6400 has inherited the autofocus DNA of Sony’s full-frame A9, A7R III, and A7 III models, offering 425 phase-detection and 425 contrast AF points, as well as the world’s fastest AF acquisition time of 0.02sec, according to Sony.

Thanks to AI-based object identification, which analyses color, subject distance, and patterns aspatial information, you get not only Sony’s Real-Time Eye AF, but also real-time tracking for objects.

While the A6400 doesn’t support 60/50p 4K recording like some of its competitors, it does use full pixel readout to capture ‘oversampled’ 6K data and subsequently downsample it to 3,840 x 2,160 UHD resolution.

Sony claims that his camera’s updated focusing technology provides improved AF speed and stability, and it has HLG (Hybrid Log-Gamma) for HDR playing on compatible TVs, as well as Sony’s S-Log2 and S-Log3 gamma settings — the S-Log3 mode is supposed to offer up to 14EV latitude (dynamic range).

The A6400 can record 4K video at 30 frames per second in the XAVCS format at bitrates up to 100Mbps, or full HD footage at up to 120 frames per second at the same bitrate.

It also has an HDMI connector that provides clear HDMI output to external recorders.

Apart from superior focusing and superb 4K video capabilities, the A6400 is a fairly standard camera.

It is equipped with a 24.2MP APS-C Exmor CMOS sensor and Sony’s latest-generation BIONZ X processor, which captures photographs as 14-bit data, converts them to 16-bit for processing, and then returns the images to 14-bit raw files.

The A6400, according to Sony, has better image quality and color reproduction, as well as noise reduction and texture rendition.

With its mechanical shutter and AF/AE tracking, the A6400 can shoot at 11 frames per second in continuous shooting mode, albeit this is with the viewfinder in ‘after view’ mode, which isn’t ideal for keeping up with fast-moving subjects.

There’s an 8fps ‘live view’ mode for this, as well as the option to shoot silently at 8fps.

With 116 standard JPEGs and 46 compressed raw files in the buffer, the buffer capacity is adequate.

Sony claims a 200,000-shot shutter life and a magnesium alloy casing that is dust and moisture-resistant.

Although there are few external controls, 89 functions can be assigned to eight separate custom keys.

Sony has improved the general menu usability by adding additional My Dial and My Menu options, albeit there are still a lot of menu screens to go through.

Because the body is so compact, just one memory card may be used, and it’s a little unexpected that it’s a UHS-I type rather than the faster UHS-II.

However, the A6400 has a good battery life, with 360 shots when using the viewfinder and 410 shots when using the back screen.

Perhaps the A6400’s ‘killer’ feature is this screen.

It flips up 180 degrees so you can view yourself while filming yourself giving a presentation to the camera.

It’s touch-sensitive as well, though because it’s so little, you’ll have to be very precise while adjusting the focus point.

This is both a plus and a minus for the A6400.

It’s good in that anyone who’s used an A6000, A6300, or A6500 will recognize the layout, and it’s a clean, small, crisp-feeling design.

All of the new features – and the A6400 has come a long way since the A6000 – are accessed electronically via menus, screens, dials, and function buttons, which isn’t ideal.

The A6400 has a highly advanced autofocus system, high-speed continuous shooting, and powerful 4K video capabilities, but they’re all tucked away inside an attractive but unremarkable chassis.

On the back, you’ll find a mode dial, an unlabeled command dial, and one of those four-way directional pad/spinning dials controls that’s a little too simple to touch when you’re supposed to spin. That’s all there is to it.

The A6400 has a button for switching AF modes, and the Fn button on the back can be used to modify the AF area, and there are custom buttons here, there, and everywhere, but it’s all extremely digital.

Where are all the good old knobs and dials gone?

It’s a little annoying that a camera with so many critical features and capabilities isn’t more externally accessible.

Sony cameras, on the other hand, are extremely customizable, and the A6400 allows you to assign 89 different functions to eight custom keys.

You may customize your My Dial and My Menu choices as well.

This is OK if you don’t mind ‘programming’ your camera to suit your shooting style, and we know a lot of Sony enthusiasts who enjoy all of this.

However, if you prefer your controls to be large, apparent, and accessible, the A6400’s digital-first design may be a pain.

That isn’t the only issue.

The fact that you only get a 3-inch screen isn’t a big deal, but the fact that it still has the same 921k-dot resolution as the original A6000 is.

Worse, because this has a 16:9 screen, it’s wonderful for video but not so great for 3:2 ratio stills photography, which results in a smaller-than-usual image with black bars on both sides.

In bright outside illumination, the rear screen is not only a little cramped, but it’s also quickly overwhelmed by glare.

On the plus side, all of the controls feel solid, sturdy, and positive – though we’ve already noticed the rear spinner’s overly-easy click.

The magnesium alloy body is dust and moisture-resistant, and a mechanical shutter with a 200,000 shot shutter life is housed inside.

When you press the shutter release, it also makes a nice mechanical snap.

‘ The 180-degree screen is great for blogging, but the A6400 is a little too heavy for extended handheld shooting with a selfie stick – you’d be better off shooting your pieces to camera with a tiny tripod or other support.

You can get the A6400 body just with the Sony 16-50mm power zoom lens or upgrade to the Sony 18-135mm zoom for a little additional money.

This lens is inherently larger than the 16-50mm, but it performs far better optically — in fact, it’s crisper across the entire zoom range than we’re used to seeing with lenses with such a big zoom range.

It’s also easy to use because it’s sleek, fuss-free, and smooth.

With this 18-135mm lens, however, there is a lot of digital correction going on.

If you view the raw files in an application that doesn’t automatically apply Sony’s built-in corrective data, you’ll observe enormous barrel distortion at the wide-angle end of the zoom range, where the corners of the frame are clipped to black.

This is certainly not a lens that should be used without correction.

For JPEG shooters, the A6400 offers a variety of picture styles, though black and white fans will be better off shooting raw files and processing them themselves rather than using the in-camera black and white rendition, and the Sunset mode turned a vibrant sunset scene into a rather bilious yellow/green tinge, so we quickly turned it off.

5. Sony A7C

The Sony A7C, like so many other new cameras, appears to be intended primarily at vloggers and online content creators, or the folks who make all of the videos we spend hours viewing on YouTube and Instagram every day.

According to Sony’s study, this group wants the powerful performance of a full-frame sensor in a tiny package.

They also want advanced features to make recording their latest masterpiece easier for them.

The Sony A7C, on the other hand, might be just what they’re looking for, as it manages to fit a powerful full-frame sensor into a body that’s far, far smaller than most competitors’.

In reality, Sony stated at the time of its launch that it was the world’s smallest and lightest full-frame camera.

That’s not entirely accurate — if you read the fine print, you’ll discover that it’s the smallest and lightest full-frame camera with interchangeable lenses and in-body image stabilization — but there’s no denying that the A7C is a remarkable piece of hardware.

The Sony A7C was announced in late 2020, with a body-only pricing of $1,799 and a kit-lens price of $2,099, respectively.

At the time of writing in July 2021, that pricing was still in effect.

The kit lens, the new Sony FE 28-60mm f/4-5.6, is also available as a solo zoom for $498, making the kit-lens combination a reasonable value if you don’t already have a suitable piece of glass.

While the A7C’s 24MP full-frame sensor is virtually the same as the one found in the A7 III, the A7C’s chassis is significantly smaller, forcing Sony to make some difficult decisions.

Its solution was to eliminate some controls, including the front dial and the joystick (which allows you to shift the focus point in AF mode).

Although you may set the AF point with the touchscreen, some users may prefer the added manual control.

It also has only one memory card port, unlike many full-frame cameras – not a fatal defect, but sure to be a source of aggravation for others.

Furthermore, the Sony A7C has a menu system that is older than the one released with the Sony A7S III camera.

That’s even more unfortunate given the absence of restrictions.

The A7C’s design, on the other hand, has a lot to admire.

The camera’s compact size is the most prominent feature — and it is indeed small for a full-frame camera.

The cameras are shown from the back, at an angle, with their touch LCDs extended in the top image.

You may get an idea of the upper controls in the bottom image.

The A7C was equipped with the new 28-60mm kit lens, while the A7R IV was equipped with the 35mm f/1.8 prime lens.

Aside from its compact size, the A7C has a lot of additional attractive features.

The swiveling touchscreen LCD, for example, is a standout feature; it swings out from the camera like a camcorder, allowing you to see what you’re filming from a variety of angles.

Sony performed an excellent job constructing a compact but capable 28-60mm zoom lens for the A7C package.

It was labeled the “World’s smallest and lightest full-frame standard zoom lens” by the firm’s marketing department, and that may well be true: it weighs just 5.8 ounces.

Of course, none of this would matter if it wasn’t usually a good performer, which it is: it performed a terrific job shooting both photographs and video, with its quiet focusing, in particular, standing out.

The tiny eye-level viewfinder was the one newly developed feature I didn’t enjoy as much as the older ones.

It has a good enough resolution with a 2.36 million dot OLED EVF, but I wasn’t as comfortable looking through it as I am with the one on my Sony a7R IV.

I’m sure I’d grow used to it with time, but I’d still prefer something a little bigger.

Overall, the Alpha A7C delivers very good to exceptional photographs in strong light and usual shooting conditions, which is to be expected from a full-frame camera that costs roughly $2000.

The A7C’s 24MP sensor performed admirably in both bright sunlight and cloudy conditions, delivering photos with a wide dynamic range and sharp, crisp details.

It’s also quick: I loved that it could shoot 10 frames per second in burst mode, either with the shutter or in silent mode, and it had a powerful autofocus system.

Sony had to create new versions of its built-in technologies to make the body smaller.

They had to design a new IBIS technology, for example, which I thought worked just as well as previous cameras.

They also had to create a new tiny shutter unit, which worked perfectly.

In low light, though, it isn’t quite as hot as most cameras.

Increasing the ISO works OK up to about ISO 12,800, however, after that, you’ll see some image noise.

As a result, sharpness will be softened slightly, and colored noise will be introduced, lowering image quality.

In terms of video, the A7C falls short in a few areas, which is unexpected given its intended audience.

While it shoots in 4K, it only shoots at 30 frames per second and only in cropped mode; you’ll have to switch to 24p to get full-width footage.

There’s no 10-bit recording here, though; 8-bit is the most you can get.

However, it only suffers in comparison to more costly full-frame versions, and the film it captures is just fine – in fact, it’s lovely and sharp.

Here, too, the high-quality autofocus comes in handy.

The Sony NP-FZ100 battery that powers the A7C is the same one that powers previous Alpha cameras.

When using the LCD, it has a CIPA rating of 740 shots per charge, and when using the EVF, it has a CIPA rating of 680 shots per charge.

It also features built-in Wi-Fi, Bluetooth, and NFC capabilities, allowing it to connect wirelessly.

It can even use both 2.4 GHz and 5 GHz bands to swiftly and simply deliver photos to a smartphone.

The A7C can also use FTP file transfer over wired and wireless LAN, as well as USB tethering with a computer or smartphone, for those searching for pro-level networking.

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