The X-T50 looks similar to the X-T30 II, with a relatively slim and light 438 gram (15.45 ounce) body, just a bit heavier than before. However, in place of the shooting mode dial on the previous model, Fujifilm introduced a dedicated film simulation dial with eight preset modes (Acros, Nostalgic Negative, Classic Neg and others), three custom slots for other built-in simulations and a custom slot for user-designed simulations.

The company likely believes that sales of the X100 V and VI took off due to the popularity of film simulations with the TikTok and influencer set. However, users may find that it’s more of a hassle to change shooting modes (burst, single-shot etc.) than before.

One key feature missing from the X-T30 was in-body stabilization, but with the X-T50, Fujifilm has introduced a five-axis system with seven stops of shake reduction that hardly adds any weight. That will make it a much better tourism and street photography camera, as handheld shooting is possible at shutter speeds down to 1/4th of a second or so. It will also make the X-T50 far more useful for video.

Unfortunately, the rear 1.8-million-dot display still only flips up/down and not out, so it’s not going to be great for vlogging. Another feature carried over is the NP-W126S battery (about half the power of the battery in the X-T5), which is pretty small considering the higher-resolution sensor and upgraded video capabilities.

With the same sensor as the X-T5, X-H2 and X100 VI, you can expect similar image quality and speeds, up to 13 fps bursts with the electronic shutter. Autofocus performance is likely to be in line with the X100 VI, which is to say, pretty good but not great. The main attraction, Fujifilm hopes, will be the film simulations that let creators take Instagram-ready shots straight out of the camera.

Like the X-100 VI, the X-T50 is surprisingly competent at video as well, with 6.2K at up to 30p and 10-bit F-Log2 on tap. That’s why, again, it’s a shame that it doesn’t have a flip-out screen as vloggers and content creators may prefer the form factor and interchangeable lenses over the X100 VI.

Fujifilm also introduced the Fujinon XF16-50mmF2.8-4.8 R LM WR (24-75 or so in full-frame terms). It’s a compact, lightweight and decently fast kit zoom that should be ideal for the X-T50. Though it costs $700 by itself, it’s a much better deal if purchased in a kit.

The X-T50 is now on pre-order for $1,400 (body only), or $1,800 with the XF16-50mm. That’s a hefty $500 more than the X-T30 II cost at launch, and just a few hundred dollars less than the X-T5. I’m not sure that the extra features justify such a large jump, but Fujifilm must be confident that people will pay it, given the runaway success of the X100 series.

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Both cameras have far different price points, currently around $450 and $1,300, respectively. They’re still the company’s least expensive new full-frame and crop-sensor mirrorless cameras, though, and Canon markets them both as ideal for tourism and adventure — so I figured that this is a great way to test the capabilities of both.

Like any potential buyer, I wanted to see if they’re better than a smartphone for traveling — specifically if the larger sensors can counter a smartphone’s AI computational photography. I also looked at ease of use and automated operation, flexibility for sunny beaches or dark bars, vlogging and more. After trying them out at some of Gran Canaria’s most scenic spots, I found one of them to be a camera worth buying and one, not so much.

Smartphone computational photography

Before detailing my experience with these cameras, I want to talk about computational and AI photography. Most smartphones incorporate these tricks, like taking multiple photos in quick succession to get the best one or improve low-light shots. They often deliver better-exposed shots with superior white balance, too. There is a price to be paid though in terms of over-sharpening and other artifacts that can give photos an artificial look.

I tested this by taking a few shots with both a Pixel 7a and a camera in the auto settings, as many travel photographers do. As I suspected, at first glance the shots on the smartphone look better, but a closer look reveals superior photos from the camera in terms of detail, color accuracy, skin tones, true noise levels and more. I believe it’s important for buyers to understand this and have a basic idea of how to adjust images in post, or their new purchase could end up in a drawer.

Canon EOS R100

The 24-megapixel APS-C EOS R100 seems like it should offer a lot for travelers. It’s small and light at 356 grams, so with a compact lens, it’s not a huge burden compared to a smartphone. At the same time, the larger sensor potentially offers superior quality and the flexibility of interchangeable lenses.

The small size comes with big compromises, though. Handling is mediocre and the settings aren’t super intuitive. I’d love to tell you could just control it on the screen instead, but the display isn’t touch sensitive and is nearly useless for vlogging as it’s fixed in place too. The electronic viewfinder has low magnification and is relatively dim, so it’s hard to use in the sun — especially with glasses on — unfortunate if you’re on the beach, for example.

It has just a single UHS-I card slot, so storage is relatively cheap but you won’t have a backup if the card glitches. You get a microHDMI jack to output to a TV, along with a mic input, but no headphone jack. The USB-C 2.0 port can only transfer files, not charge the camera or let you use it as a webcam.

It supports Canon’s smaller LP-E17 battery, but is rated for a decent 430 shots on a charge and many more in real life. One big benefit is a built-in flash with exposure compensation to dim it down – though settings are limited in the fully automatic mode most beginners will use.

EOS R100 performance and video

The R100 has anemic performance, to put it mildly. It shoots and focuses at just 3.5 fps max, the slowest in its category. It feels sluggish when shooting RAW photos, even in single shot mode. Luckily, it’s much more reactive when shooting JPEGs.

The sensor has some of the worst rolling shutter I’ve seen in silent mode. Luckily, it does have a first-curtain mechanical shutter that eliminates that, and the silent mode setting is hidden away where many folks will never find it.

There’s eye-detection AF for people only, and it works well if your subject is close to the camera. That’s OK for family photos and the like, but not ideal for candid or street shots on your trip. The autofocus isn’t great in low light either, but is otherwise fairly reliable.

The R100 is OK for grabbing the odd travel video, but not suitable for content creators. Max resolution is 4K 24p, but that comes with a 1.5 times crop, or 2.2 times with electronic stabilization, killing the bokeh advantage of a large sensor. And there’s no option for log, 10-bit, or any other high-end video features. That said, 4K video is relatively sharp and colors are nice and accurate.

EOS R100 image quality

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Canon EOS R100 sample images

Canon EOS R100 sample images

The bright spot of the EOS R100 is photo quality. As you’d expect from Canon, image quality is excellent with warm skin tones and accurate colors straight out of the camera. It can also handle low-light shooting well thanks to the large sensor, with little noise up to ISO 6400. All that will help you take great shots of mountains, the beach, nightlife and other typical vacation scenarios. The ability to shoot RAW, along with the mechanical shutter, is another good reason to get this model over most smartphones. And finally, the built-in flash is there to help you get nice looking images even in dark environments.

EOS 100 wrap-up

So would I recommend the EOS R100 for travel, particularly over a smartphone? Sorry Canon, but no. It’s too stripped down to replace a good smartphone, and while it does deliver better image quality, it’s too complicated. Instead, I’d suggest Canon’s older EOS M50 Mark II ($729), as it offers the same image quality but has a touchscreen, is smaller, and still offers good lens options. Sony’s A6100 ($848) has better autofocus and video options, and if you can afford a little more, Canon’s own R50 ($800) is the same size but far more capable.

EOS R8

Like the EOS R100, Canon’s R8 is the company’s most stripped-down and cheapest new full-frame camera. It gives you the same sensor and image quality as the $2,000 EOS R6 II for $700 less, but takes away some of the speed, video features and more.

The main thing lacking in the R8 is in-body stabilization, so it relies on lens and electronic shake reduction – but that actually worked pretty well for me. It’s also missing a full mechanical shutter, but does have a front-curtain shutter that eliminates rolling shutter. The EVF is far more basic, with lower resolution and magnification.

On the plus side, it has the same flip-out display as the R6 II, meaning it can serve as a capable vlogging and selfie camera. It also has a decent range of manual controls, with dual dials for the main settings, a full range of manual and auto settings and a dedicated photo and video switch. It’s also smaller and considerably lighter than the R6 II, so it’s a better travel option.

It has both mic and headphone jacks, along with a microHDMI port. It captures photos at high speeds to a UHS-II card, but there’s only one slot. The biggest compromise is a battery that’s the same as the one in the R100. Given the extra power demands of the larger sensor, it delivers only 290 shots on a charge, max and under an hour of video shooting.

EOS R8 performance and video

For a budget camera, the R8 is fast. It supports only 6 fps with the electronic curtain shutter, but can handle 40 fps bursts in electronic mode. There’s significant rolling shutter, though, so keep that in mind for action shots.

The R8 uses Canon’s latest AI subjection recognition tech, meaning it can track both animals and humans accurately. It also comes with an auto setting that lets the camera determine the subject and follow it accordingly.

I think autofocus is one of the most important features for travel photography, and the R8 delivers. It can locate and lock onto various subjects and track them rapidly around the frame. That makes it more capable than other recent models like the Sony’s A7 IV and the Nikon Z6 II. Focus can be selected via the touchscreen with your eye to the EVF, which works well, but be sure to enable the “touch and drag” setting in the menu.

It’s also a good video and content creation camera, with a few caveats. You can shoot uncropped video at up to 4K 60p, and it supports Canon’s C-Log 3 with 10-bit capture, along with HDR PQ. 120 fps ultra slow mo is available at 1080p. That said, 4K 60p has some pixel binning, so it’s less sharp than the 30p mode. The lack of in-body stabilization also makes it less useful for vlogging, because electronic stabilization adds a 1.25 times crop..

EOS R8 image quality

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Canon EOS R8 sample images

Canon EOS R8 sample images

Image quality is a strong point with the R8 too, especially for tourists who want far more than a smartphone can offer. It’s a great people and scenery-shooting camera, with rich skin hues and accurate colors. At the same time, the full-frame 24-megapixel sensor is great in low light, delivers plenty of detail and offers beautiful background bokeh. Serious photographers can grab RAW photos and get the same level of detail found on more expensive cameras.

EOS R8 wrap-up

Canon’s entry-level full-frame R8 is definitely worth taking on your voyages. It offers impressive image quality and is great for content creators, too. The main drawback is the lack of stabilization and a small battery, but you’ll be fine if you carry an extra battery or two. Rival options include Nikon’s Z5 ($1,299), which has image quality on par but inferior autofocus and video, and if you’re more into vlogging, the Panasonic S5 ($2,099) is a better option for less money. If you’re looking for the best affordable hybrid full-frame camera, the Canon R8 is a great choice.

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

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

Sony88100

Sony A6700

The A6700 is Sony’s first APS-C mirrorless hybrid camera in years, but it was worth the wait. It heavily reduces rolling shutter that was a pain point on past models, while bumping image sharpness. It’s an excellent video camera as well, with 4K at up to 120 fps and 10-bit log capture. The main downside is burst speeds well behind the competition, particularly in electronic shutter mode

ProsExcellent video capabilitiesAccurate autofocusImproved handlingMinimal rolling shutterGood image qualityConsSlowish burst speedsOverheating$1,398 at B&H

Body and handling

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

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

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

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

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

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

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

Performance

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

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

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

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

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

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

Image Quality

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Sony A6700 review sample photos

Sony A6700 review sample photos

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

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

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

Video

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

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

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

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

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

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

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

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

Wrap-up

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

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

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

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