In recent years, mirrorless cameras are surely the devices that have made the most progress: they now have many assets such as their small size, a sharp image quality and a growing optical park. In this guide, we have selected for you the best mirrorless cameras of the moment and the objectives that go with it.

Before you buy a mirrorless camera, there is a lot to consider . Amateur photographers know that a camera is not just a camera. mirrorless cameras are small, handy and made in a compact design. They include all the benefits of a single lens reflex camera except a mirror.

Nevertheless, the quality of the recordings comes very close to these high-quality devices. But not all mirrorless cameras are equipped with excellent quality. So that you do not experience any surprises in retrospect, we give you some tips on what to look for when buying a mirrorless camera.

Sony is a major player in the hybrid camera market, with a range that has been occupying the top positions for a long time. Three years after the release of the Sony A7 II that we had tested, Sony renews its most affordable full-size hybrid with the Sony A7 III. This model follows the update of the full format range after the A7R III released last October and walks in the footsteps of the A9 and A7R III by taking up some of their features.

With this update, it seems that Sony has heard all the negative points raised in our test Sony A7 II. The Alpha 7 III is equipped with a new 24.2 megapixel back-illuminated Exmor R CMOS sensor. This sensor is associated with the latest BIONZ X image processor which provides a 1.8x faster-processing speed than the Alpha 7 II. The ISO range has also been greatly improved with an ISO cap extended to ISO 204,800, the same as that of Alpha 9. In burst mode, the A7 III is capable of taking up to 10 frames per second. This remains less impressive than the 20 fps of the Alpha 9 but is still double the Alpha 7 II. This rate can be used with the mechanical or electronic shutter and can be held up to 40 uncompressed RAW photos or 89 compressed RAW images or 177 JPEGs.

The Sony 7 III is also receiving the same autofocus system as the Alpha 9. There is a system equipped with 693 phase detection AF points covering about 93% of the frame and 425 AF points with contrast detection. This new autofocus is a major improvement over the Alpha A7 II 117-point system. Like the Alpha 9, the autofocus system is operational for a range of brightness ranging from -3 EV to + 20 EV. Finally, the α7 III features Eye AF with AF-C, for much higher detection and tracking performance.

It is capable of shooting in 4K UHD at 30p 100Mbps using the full width of the sensor (full sensor reading is 6K).

The performance offered by the A7 III suggest a balanced and complete package, with photo capabilities that do not discard the possibilities in video. The electronic viewfinder is no longer a problem, as the responsiveness that seems finally improved.

With the Alpha 7R III, Sony introduced a camera in autumn 2017 that is in many ways more akin to the top-of-the-line Alpha 9 than the Alpha 7R II. For example, the Alpha 9 takes over the larger case with improved ergonomics, from its predecessor the largely unchanged 42.4-megapixel sensor. It is supported by the image processing engine from the Alpha 9 so that the Alpha 7R III creates an impressive burst rate of 10 frames/second. Is that the combination of resolution and speed that makes all photographer dreams come true? I tried it.

Thanks to the powerful grip bulge, the Alpha 7R III is great in the hand, even with a rather heavy lens like the FE 24-105mm F4 G OSS, which I was very fond of using with the Alpha 7R III. The small joystick on the back of the camera makes the positioning of the focus field much easier. Alternatively, it can also be placed on the touch-sensitive display precisely over the desired subject area with a fingertip.

Compared to the Alpha 7R II, Sony has improved the rear controls on the IIIer. The dial has become larger and snaps noticeably (for my taste, however, still not clear enough). AF button and exposure memory each have their own button (previously there was only one button, either one or the other function assumed). And the thumb wheel sticks out of the case, making it easier to grip. Fortunately, the weight of the Alpha 7R III has not increased to the same extent as the case has grown compared to its predecessor. Also from the Alpha 9, the Alpha 7R III takes over the outstanding electronic viewfinder in OLED technology, which dissolves very finely with almost 3.7 million dots. And as with the Alpha 9, the refresh rate can be increased up to 120 Hertz.

For videographers, the Alpha 7R II was already very popular. You will also like the current Alpha 7R III. In the new Sony has improved the already very good video properties of the predecessor with some key features. So it sets for higher data rates on the new file format XAVC-S. This allows for frame rates of up to 120 fps (at Full HD resolution).

Does the Alpha 7R III offer the combination of speed and image resolution that makes all photographer dreams come true? Maybe not quite, but it comes very close to the ideal. Already her predecessor was (and is) an excellent camera, but the new one puts her foot on almost every level. At a rate of 10 frames per second, it is fast enough for many occasions (this also applies to autofocus), the image converter and processor deliver fantastic image quality, and the Alpha 7R III can be used without any major deviations up to ISO 12,800. Above all, Sony has donated the significantly improved housing of the top model Alpha 9. This makes the Alpha 7R III noticeably better to handle, as a useful side effect there is room for a battery with significant power gain.

After the success of the X-T1, a compact hybrid package, tropicalized and fun to take control, Fujifilm released this year the Fuji X-T2. It takes all the good points of the X-T1 by improving the copy. New X-Trans III APS-C 24.3MP sensor, enhanced autofocus, 4K video and dual UHS-II SD card slots are among the new features. The grip has been improved, with a revised handle and a few more grams on the scale (507g bare case). The case remains tropicalized. If you like manual controls, you'll be served with sensitivity, shutter speed and exposure compensation, directly accessible via toothed wheels on the top of the camera. Note that the opening is adjustable on XF R lenses via a diaphragm ring.

The Fuji X-T2 is a high-performance, fast-start box with fast, precise auto focus. With 91 collimators (there were 45 on the X-T1), it offers flexibility and confidence in tracking moving subjects. The joystick is also a plus to move in a simple and fluid way the selected collimator to ensure focus on a specific part without having to move the case itself at the time of the sighting. It is even possible to upgrade to 325 single focus AF points of focus for greater accuracy.

The biggest improvement is its speed and velocity compared to the X-T1: really responsive autofocus and quick burst up to 14i / s with the grip that boosts the case. The picture quality is always superlative with a good rise in ISO up to 6400 ISO, or even 12800 ISO if you are not too much looking at the smoothing of the finer details. Now, the X-T2 is perfect for photojournalists, sports and action photographers, while also appealing to photographers more posed by his look of small SLR. The only regret we can have is the lack of sensor stabilization and the limited autonomy. Remember to pack multiple batteries (compatible with the X-T1).

In the end, this Fuji X-T2 is an excellent multi-purpose and well-balanced box that can now compete and deposit without hesitation many SLR cameras. If this is beyond your budget, know that the Fuji X-T1 has never been so affordable following this renewal range. If you're looking for a semi-pro or pro-hybrid hybrid for story and adventure, the Fuji X-T2 is worth considering. Thanks to its tropicalization, image quality and auto focus performance, it can be used in many situations, including sports photography.

After the success of its A7 range, Sony plans to tackle the Nikon D5 and Canon EOS-1DX Mark II by offering a new full-size, professional -sized, sport-tuned case. The Sony A9 is directly inspired by the Sony A7RII: a full-size stabilized 5-axis sensor in a compact and lightweight mirrorless case (673g).

With the A9, Sony introduces a new 24.2-megapixel BOS Exmor RS CMOS backlit sensor. This stacked sensor directly integrates a DRAM memory which allows a data processing 20 times faster than a traditional sensor. Coupled with the new BIONZ X processor, this technological feat allows the Sony A9 to proudly display a continuous shooting of 20 fps, with no blackout in the viewfinder, up to 241 frames in a row. RAW and 362 images in JPEG format. This cadence and buffer capacity is a first for a full-format case. The burst drops to 12 fps in uncompressed RAW.

The Sony A9 has a mechanical shutter with a maximum speed of 1/8000 s, but also incorporates an electronic shutter for silent shooting and a maximum speed up to 1/32 000 s (in S and M mode). The electronic viewfinder is a 3.68 million-dot Quad-VGA OLED Troll Finder with 0.78x magnification. Sony offers a viewfinder brighter and more comfortable than its previous cameras. Sony has made some adjustments compared to A7 cameras. At the back, a joystick appears to move the focus area. To appeal to professionals, Sony has brought three new features to the Alpha 9: better battery life, dual SD slot and Ethernet port.

In addition to offering high-end photo performance, the Sony A9 offers video recording in 4K (3840 x 2160 pixels) across the width of the sensor, without crop, with a full reading of the pixels. The camera captures in 6K and then upsamples the video to get a quality 4K video.

Finally, Sony A9 is very promising: it manages the feat of proposing a responsive, discreet and silent while meeting the needs of image professionals (port Ethernet, dual SD slot, improved battery life and dedicated accessories). Sony, the king of sensors, continues with the A9 to innovate and pull the photography market up.

This year, Panasonic celebrates 10 years of the Micro 4/3 mount. This GX9 replaces the GX8. This mirrorless case features the CMOS sensor of 20 Mpx without low pass filter that equips the GH5 and G9. The sensor is stabilized with Dual IS technology (first generation). Autofocus uses DFD (Depth From Defocus) technology for fast and accurate focusing, with a burst of 9 fps in AF-S and 6 fps in continuous focus.

The case takes the features and style of the GX8 with a small weight loss, especially with a less pronounced handle. The autofocus of a battery is 250 views, but the ECO mode can be up to 900 views.

A flash pop-up is back and the screen on the knee gives way to a hinged touchscreen slightly more defined. The EVF gains in resolution, with 2.76 million points, but goes from OLED to LCD, a more economical technology. The GX9 is equipped with a contrast - detecting autofocus system that works in conjunction with DFD (Depth From Defocus) technology, which allows it to focus on just 0.07 s. The speed of autofocus in low light conditions has also been improved. In addition, a "Live View Boost" mode allows you to check the sharpness and composition even in total darkness by increasing the sensitivity only for the live view.

Nevertheless, this new viewfinder remains more than correct and offers an accurate colorimetric reproduction e. In addition, Panasonic has added a detector that will automatically focus on the approach of the eye to gain responsiveness.

The shutter of the GX9 has also been modified to limit the vibrations generated by the shock of the latter, which at certain shutter speeds could impact the sharpness of the photos. According to Panasonic, this new shutter will reduce the shock of the shutter by 90% compared to its predecessor.

The most notable changes compared to the GX8 are the removal of the low-pass filter on the GX9's micro 4/3 20-megapixel sensor for sharper images. There is also the addition of an additional axis for image stabilization which is now performed on 5 axes, a slightly faster burst mode with a frame rate of 9 fps, an integrated flash, a Bluetooth connection and slightly smaller dimensions.

Finally, Panasonic LUMIX GX9 is the game changing in this era of mirrorless digital camera. You can take this without any hesitation.

Lumix G9, a hybrid for semi-pro / pro photographers at Panasonic, has something to attract: micro sensor 4/3 20.3 Mpx without low pass filter, ergonomics and construction worthy of an SLR, Pixel Shift function for high-resolution images of 80MP, video 4K UHD 60fps, etc.

The OLED viewfinder (3.68 million points, like the GH5) offers a magnification of 0.83x and a refreshing rate of 120 fps. Burst, no blackout just hide the action, just like the Sony A9, which is appreciated by photographers of sporting events. During this grip, I appreciated the viewfinder very comfortable, even for a wearer of glasses.

Its Dual 5-axis stabilization, compatible with two field-tested lenses, the 200mm f / 2.8 OIS and 12-60mm f / 2.8-4, is fearsome and offers a real safety net to prevent blurry shots. On the other hand, if you are on a boat on the high seas, do not wait for a miracle and just use the speed recommended by the inverse focal rule.

The Lumix G9 has the same 1860 mAh battery as the GH5, with an announced battery life of up to 920 photos using Economy Mode (CIPA). Without using this mode, and with intense use of the camera for photo and some 4K videos, I easily arrived at 600 photos recorded for a battery. It's simple, I had more often the impression of needing to use a new SD card (16 GB) than a new battery. By using the optional grip, you have a second battery slot which doubles your battery life up to 1840 shots in Economy mode. This record autonomy is not a myth, even though we have not made any precise measurements. Speaking of grip, it is important to note that it can be turned on or off with an ON / OFF switch. By keeping it on, you can sometimes face bizarre behavior on the part of the case. Do not look, it's just that you have your hand on one of the grip buttons.

The Lumix G9 is the first case at Panasonic to offer a high-resolution mode. The Pixel Shift function, which makes a series of 8 continuous shots with a slight shift of the sensor each time, provides a total resolution of 80 Mpx. This is useful for still life or landscapes, but not really compatible with moving shots.

Panasonic has announced its new high-end compact camera, the Lumix ZS200. The successor of the very famous Lumix ZS100 which had seduced a large number of photographers with its 10x optical zoom and 1 "sensor, this new version inherits the characteristics that made the success of his little brother while bringing a lot of novelties.

The first noticeable improvement is the addition of even more powerful optics. While the ZS100 was already surprised with its 10x zoom (25-250 mm in 35 mm equivalence), the ZS200 is now equipped with a 15x zoom, covering a focal range of 24 to 360 mm in 35 mm equivalence. Add to that a minimum focus distance of just 3 cm and you get a super versatile compact camera.

This versatility is acquired thanks to the new zoom which is a real feat for Panasonic which has managed to bring in no less than 13 lenses divided into 11 groups in an optics barely larger than that of the ZS100. This performance gain, however, comes at the expense of opening up to f / 3.3-6.4 against f / 2.8-5.9 on the ZS100, but given the excellent rise in ISO of the sensor, this should not be too problematic for most standard uses.

On the design side, the ZS200 is almost identical to its little brother. One of the only small differences is the addition of a grip on the front, ensuring a better hold of the case, which was not always the case with the ZS100. For the rest, there is a touch screen of 3", a more powerful electronic viewfinder with a definition of 2.3 million points for a magnification of 0.53 x.

Other features include a 20-megapixel 1 " sensor, a contrast-detecting auto focus system with DFD (Depth From the focus) technology capable of auto focusing in 0.1 second and mechanical stabilization on 5 axes. The burst mode also remains unchanged at a rate of 9 fps with the focus locked on the first frame or a frame rate of 6 fps in continuous focus. Note that the 4K Photo mode is still available and allows you to extract 8MP images from a 4K burst file shot at 30 fps.

The Lumix ZS200 is also receiving new creative modes, starting with a sequence composition mode that allows you to assemble multiple images of a moving subject in front of a static background into a single image. For example, a motorcycle jump where several actions are cut on the same image.

Olympus announces the new OM-D E-M10 Mark III, the third iteration of their best-selling hybrid camera. The program, 4K video stabilized, increased responsiveness and new mode " Advanced Photo " (AP) to discover the different modes of the housing.

Almost two years to the day after the Mark II, Olympus and the OM-D E-M10 Mark III and takes a recipe that works: a compact and lightweight (362g naked), a retro vintage look and a CMOS sensor 4 / 3 '' of 16 Mpx. We were able to take it in hand a few days before this release, here is our opinion on the OM-D E-M10 Mark III pending further testing. The manufacturer has therefore focused on a smooth update, working on the responsiveness and speed of the case.

Inside the case, the 16-megapixel CMOS sensor with no low-pass filter of the OM-D E-M10 Mark II is renewed while being supported by a new TruePic VIII processor, the same one that is present in Olympus OM-D E-M1 Mark II professional housing. It offers more advanced and clean JPEG file processing and promises better highlight management. The 2.36 million dot viewfinder is the same as the Mark II. The sensor is still stabilized on 5 axes, a constant at Olympus very significant and that can win up to 4 speeds.

For the rest, the device incorporates a rear tilt (and non-steerable) and a touch screen that also allows adjusting the focus and trigger quickly. The touchscreen also allows you to access and navigate the menus. This OM-D E-M10 Mark III brings a novelty expected: the 4K in 30/25 / 24fps. Olympus integrates the 4K on its entry-level hybrid. An idle mode at 120 fps is also possible in HD.

The OM-D E-M10 Mark III has Wifi to share your photos and videos using the application as well as for remote control. No GPS on the case, but it is possible to add the GPS coordinates using the Olympus Image Share application. With the OM-D E-M10 Mark III, Olympus signs an all-too-smooth evolution of the best-selling E-M10 Mark II. the OM-D E-M10 Mark III is a camera for all beginners who want to exit the automatic mode and progress by discovering the settings and possibilities of the case.

We think that this rearrangement of the menus, especially with the Advanced Photo mode, is welcome and will allow amateur photographers to unpack with their cameras, while discovering the new functions offered by Olympus, such as the Live Composite.

Fuji X-E3 is a mirrorless camera with interchangeable optics, which translates into a rather small and very light body (only 337 g.) Which, in turn, is the opposite of models in which we can not changing objectives such as X-70 or X100 in all its versions, is very versatile.

I'm not especially crafty handling small cameras, so although I value the comfort and lightness that accompanies them, I always look at them with some misgivings. However I have to admit that the X-E3 is extremely comfortable in the hand and with a very stable grip position, to which one of the first surprises of its design contributes: it lacks the typical cursor with four buttons around a central one to which we have already become accustomed in the other models of the brand. That translates into an extra space in the back that allows you to support the entire thumb, greatly improving the grip.

The viewfinder is kept on the left side of the body, so especially if you use it with your right eye there is plenty of room to move your fingers over the body (and you can also keep the left eye open, something very useful in Street Photography to see what happens just outside the frame), that's helped by the fact that practically all the buttons are within reach of the thumb of the right hand.

Noteworthy is the low-power Bluetooth connectivity that is added to Wifi technology to easily link the camera to a mobile phone, which allows us to operate it and quickly transmit the images to our smartphone to send them or share them on social networks (the connection keeps going).

The focus is one of the aspects that has worked most in the Fuji X-E3 , since the brand says that now the camera is able to make a better tracking in AF mode (which has 5 starting configurations) and that has reduced the size of the object to be followed by 50%, with which in general in continuous auto focus sees its performance improved by 40%. The Fuji X-E3 mounts the same 24 MP sensor managed by the X Pro processor that equips the X-Pro 2 and X-T2, so little else can I say in that regard; the quality of the images is fantastic and the noise is kept under control even at high sensitivities, but in a much more compact, lightweight and manageable body than in the case of those.

The X-E3 is fast, very fast, light transmits a feeling of robustness despite its small size and weight and has an image quality beyond any doubt.

In addition, in combination with the Fuji lenses that cover from the most interesting focal lengths for street photography to the most used zooms, it becomes a camera to be taken into account as it equals the performance of the brand's range buffers to a lower price (renouncing only very specific characteristics such as protection against inclement weather or the hybrid viewer).

The X-T20 is a mini version of its big brother the X-T2. It thus uses the same 24.3 Mpx APS-C X-Trans III sensor without a low-pass filter, accompanied by the latest X Pro image processor. Moreover, this processor also equips the X-Pro2 and the new X100F.

The X-T20 has a more accessible ergonomics and the general public, including a wheel giving access to different creative modes of the device, where the X-T2 has only the 100% manual mode (modes A, P and S being accessible via the lens and housing rings). This difference makes the X-T20 easier to handle.

At the rear, the two boxes are very close, and the X-T20 has a touch screen of 3 inches tilt on two axes (the X-T2 can tilt the screen on 3 axes, but is not touch). The 0.62x electronic viewfinder is a little smaller than the X-T2 but offers a fast and comfortable sight. For high-speed enthusiasts, the X-T20 is limited to a maximum mechanical shutter speed of 1 / 4000s where the X-T2 goes up to 1 / 8000s. Both cameras, however, have an electronic shutter up to 1 / 32000s, with the limits that this type of shutter has.

For the studio photo, the X-T20 offers flash sync up to 1 / 180s while the X-T2 pushes up to 1 / 250s. the X-T20, far from being unusable in the studio, also has the advantage of having an integrated flash and a claw to use a flash cobra if necessary. In terms of storage, the X-T20 is content with a simple UHS-I SD slot against a dual UHS-II SD slot for the X-T2. The device, connected to Wifi, can be controlled by the application Fujifilm Cam Remote and can transfer images directly from the box, on his phone or tablet.

With 333 grams of bare case and battery-free, the Fujifilm X-T20 is a very light box inheriting the high performance of its big brother the X-T2, heavier 120 grams. An overweight justified by its magnesium construction and all-weather treatment WR, which the X-T20 cannot claim. Both housings use the NP-W126 battery now fitted to a large part of the Fuji X range and can take about 350 photos without having to take a second battery out of your pocket. The X-T2 and its grip can achieve a range of 1000 photos. Where the X-T20 plays the card of simplicity, compactness and lightness, while having the latest advanced Fuji, the X-T2 relies on its robustness, its advanced options and improved performance, especially in mode Boost when added an additional grip.

For photographers wishing to make the leisure photo uncompromising, the X-T20, while the X-T2 will fall into the hands of a professional photographer or advanced amateur who wants to indulge and push his device in its entrenchments.

Panasonic has just introduced in Las Vegas with the GH5s a sister of the GH5, where a good picture quality at high ISO values ​on the resolution goes. With around 10 megapixels, the sensor resolution is very low but is sufficient for 4K videos. The GH5s is aimed primarily at videographers.

The new GH5s is largely identical to the GH5; the differences can be found under the hood. Probably the most important: the GH5s is equipped with a "multi-aspect" sensor, which always delivers the same horizontal resolution regardless of the selected aspect ratio.

The Panasonic GH5s is the world's first still camera to shoot Cinema 4K (4096 x 2160) at a frame rate of up to 60p. Also, it can record internally with 4: 2: 2 10 bit, V-Log is already installed on the camera. It can also write timecode in and out markers, allowing synchronization of multiple cameras and sound recorders on the set.

In Full HD a maximum of 10x slow motion with 240 B / s and in C4K with 60 B / s are available. V-LogL and LUT (Look Up Table) are pre-installed and compatible with SMPTE IN / OUT time code, similar to professional camcorders.

Panasonic's exclusive DFD-AF technology allows the GH5S to achieve fast auto focusing in just about 0.07s and bursts at a maximum of 12 (AFS) / 8 (AFC) B / s. The 4K photo mode also allows high-speed continuous shooting with 60 B / s at about 8 megapixels resolution.

The LUMIX GH5S is particularly suitable for shooting in low light conditions. Thanks to the higher sensitivity and the optimized tuning of the sensor, the camera with Low Light AF offers a working area extended to - 5EV. Another handy feature is the live view boost, which allows image control even in total darkness. The sensitivity is only increased for the live-view image.

The OLED viewfinder of the GH5S offers a very high resolution of 3.7 million pixels and an exceptionally high magnification of approx. 0.76x (35mm equiv.). Its frame rate of 120 fps and low delay of just 0.005s provide a sharp picture of moving subjects even with pans. The swivel perfectly complements the viewfinder and swivel 8cm display with 1.6 MP resolution and 100 percent display. An all-around movable joystick allows dual control wheels and intuitive and flexible operation.

The new LUMIX GH5S of the GH5 is one step ahead in its practical professional usability. It offers additional reserves for creative workflows, especially when using multiple GH5 or GH5S cameras in parallel. So, overall this camera is perfect for professional videographers.

The Fujifilm X-A5. This hybrid offers a host of new features such as a new zoom, a more powerful image processor, 4K video recording, a touchscreen and the latest Bluetooth® * 2 switch gear technology for immediate transfer images.

The X-A5 is equipped with a 24.2-megapixel APS-C sensor as on the previous X-A3 and X-A10, but unlike these two models, it is provided with a new image processor offering a speed treatment 1.5x higher than previous versions.

For the first time in an XA series camera, the X-A5 is equipped with a phase-detection auto focus system, which should dramatically improve subject tracking performance. According to Fujifilm, the new intelligent hybrid AF system focuses twice as fast as previous models.

The ISO range has also been increased up to 12,800 ISOs, with the ability to increase to 51,200 ISO in Extended Sensitivity mode. This will allow the X-A5 to be better in low light than its predecessors by reducing digital noise and vibration.

For selfie enthusiasts, the X-A5 has a rear LCD panel that can tilt 180 degrees. Once turned, autofocus automatically adjusts to the eye, and the rear dial also changes the function to allow zoom and shutter control, making it easier to compose self-portraits. Add to that an improved wearing mode with the ability to select three levels of skin tone optimization and you get natural and flattering self-portraits.

Another advantage of the X-A5 is its low power consumption, allowing it to offer a record autonomy of 450 photos on a single battery charge. Thus, by combining lightness, small dimensions and excellent battery life, Fujifilm has made the X-A5 the ideal hybrid for travelers.

This new zoom is the most compact and lightest (135 g) currently available for Fujifilm X-Series hybrid cameras. Mounted on this series of devices, it is equivalent to a 23-69 mm and offers a smooth zoom and a wide focal range. The minimum focus is 5 cm, ideal for macro shots.

As the Fujifilm X-A5 still does not have mechanical stabilization, the 15-45mm zoom includes an optical stabilizer offering a gain of 3 EV, which coupled with the increase in the X-A5's ISO range will significantly facilitate shooting in low light.

Finally, The X-A5 is particularly energy-efficient, making it ideal for travel photography and long photo tours in nature.

the Fuji X-H1, it's new APS-C hybrid package that incorporates new technologies long awaited at Fujifilm, such as 5-axis sensor stabilization, a more robust construction, and a true 4K Cinema mode.

It also added a flicker reduction system (anti-flicker) that provides a constant burst exposure. This function is useful for photographing illuminated scenes using artificial lighting (fluorescent or mercury vapor lamps). The mechanical shutter is also less subject to vibration thanks to a new spring mechanism and the electronic shutter at the first curtain reduces the micro vibrations even further.

The X-H1, true to Fujifilm's strategy, is reusing the 24.3 Mpx APS-C X-Trans III CMOS sensor already on the X-T2, X-Pro2 and X100F. No new sensor, but it has already proven itself regarding image quality. Faced with a terrible X-T2 in photography, the X-H1 seems to cut him for video, with 4K Cinema (4096 x 2160) 24p with F-Log recording directly on the internal memory via the SD card. The maximum recording rate is 200 Mbps in 4K. This 4K Cinema mode allows you to record in the format used in cinema, the 17/9, which makes the X-H1 a device dedicated to the professionals of the video. However, be aware that the majority of 4K TV screens sold on the market use the 4K UHD (3840 x 2160), also available on the X-H1 format.

A high-speed mode 120p is also available in 1080p, to obtain slow gripping motion. For audio capture, the X-H1 has a high-quality built-in microphone (24-bit to 48 kHz). The X-H1 course tropicalized, resistant to dust, weather and temperatures down to -10 ° C.

However, this robustness is reflected in the measurements of the X-H1, with dimensions (139.8mm x 97.3mm x 85.5mm) and weight (673g) revised significantly upwards compared to other Fuji cases (132.5mm). X 91.8mm x 49.2mm and 507g for the X-T2).

Regarding ergonomics, the Fuji X-H1 slice a bit with other devices in the X range of Fujifilm. It has a new design a little less retro, more angular, modern, even pro. Strangely, there are similarities with the Panasonic G9, but also with the GFX 50s, including the addition of a monochrome control screen on the top edge of the device.

The X-H1 incorporates new functions. Among them, we note the Bluetooth , the reduction of flicker (especially useful for indoor sports photography), the presence of a first electronic shutter in the first curtain , internal recording F-Log (no grip required), the 4K face detection , touch screen, ETERNA film simulation , high quality internal microphone, SD card relay recording (very handy on video).

The X-H1 also seems a level above in video with the "real" 4K Cinema at 4096 x 2160 against only the 4K Ultra HD on the X-T2 (3840 × 2160). The video recording times are also longer than a few minutes, with a maximum speed of 200 Mbps. On the other hand, the X-H1 is bigger, heavier and more energy-consuming than the X-T2, while being less bursty than the latter, with identical burst speeds, but a slightly lower buffer. Its electronic viewfinder is more defined than the X-T2 (3.69 million points against 2.36) but loses 0.02x in magnification, 0.75x against 0.77x.

In conclusion of this small comparison, we note that the X-H1 is more dedicated to video, a field in which it beats the X-T2.

The Canon M100. Equipped with a 24.2 MP APS-C sensor, the EOS M100 plays on its compactness and cute style to seduce, while taking over the technologies developed for the most upmarket hybrid cases of the brand. Its size is 10.82 x 6.71 x 3.51 cm and with 302 g bare it is the smallest and lightest of the family of Canon hybrids. The case looks more like a standard compact.

The EOS M100 uses the same sensor and processor as the M5 and M6, the 24-megapixel APS-C CMOS sensor and the DIGIC 7 processor. Thus, the M100 has Dual Pixel AF technology that offers responsive autofocus, flexible and accurate, especially in Live View mode.

The camera has 49 AF points arranged on a 7 × 7 grid and it is possible to choose the one-shot AF, by 9-point area (3 × 3) or manually via the 3-inch touch-sensitive screen ( 1.04 million points). A Face Recognition and Tracking Mode can be enabled to facilitate portrait photography. The burst mode of the EOS M100 is a little lighter than its ancestors, at four fps and up to 6 fps with the AF locked on the first frame. The sensitivity range of the camera ranges from 100 to 25600 ISO in pictures and from 100 to 6400 in the video. The EOS M100 is compatible with all EF-M lenses as well as EF-S lenses using an EF-EOS M adapter. Thus, this mini box can use the entire Canon optical park.

In the video, this hybrid records up to Full HD 1080p in 60, 50, 30, 25 and 24 fps. An HDMI micro jack is available but no microphone input.

Facebook or Instagram is just a tap away. WLAN and Bluetooth offer straightforward and fast connection options. The Canon Camera Connect app ensures this for iOS and Android. For compatible mobile devices1, this even works without touching the camera. This is useful if the images and movies are to be downloaded to the cloud for backup.

The EOS M100 is the camera of choice when it comes to creative ideas for new aspects of photography. In addition to the intuitive touch screen, the creative filters also contribute to this. Thanks to the new user guide with tips and explanations, the various camera settings are explained to beginners. This makes switching from the smartphone to the camera pleasantly easy. No matter if you want an attractive background blur or to make the subject brighter - the EOS M100 makes professional looking pictures that are impressive.

For bloggers, or when it comes to selfies, the fold-able touchscreen and self-echo mode of the EOS M100 are especially handy. This setting immediately ensures successful shots - even if it is a bit hectic. The "smooth skin" mode smooths the skin tones in the picture and is adjustable in five levels. It automatically ensures a favorable image result.

At the rear, the camera returns to the AF / MF - AEL switch, which allows you to choose between the type of focus (auto or manual) or the exposure memory.

On the scale, the A6500 takes 50g, from a total weight of 404g for the bare A6300 (with battery and memory card) to 453g. The device still accepts only one memory card, in Sony's SD or Memory Stick format. The UHS-II is unfortunately not available on this model.

The rear screen can be swiveled and mounted on a hinge which allows choosing a viewing angle of 90 ° upwards and up to 45 ° downwards. It now also touches sensitive and allows you to choose the focus area, trigger and select the AF switch during shooting.

The grip of the Sony A6500 has improved thanks to a reworked grip and much deeper, as can be seen in the photo below. This overweight is not accompanied by a larger battery because the A6500 takes the NP-FW50 battery.

Another external point: the A6500 is now resistant to dust and moisture ( "Dust and moisture resistant"). This means that the case may be splashed, but it has not become watertight.

The A6500 still uses the A6300's hybrid auto focus system with contrast detection and phase correlation. It is composed of 425 AF points distributed over almost the entire surface of the sensor, a small wonder when you think about it. With this system, it is possible to focus on an item almost anywhere in the picture.

In the video, the Sony A6500 can record internally in 4K at 30 fps across the full width of the sensor (3840 x 2160 px). The device captures a 6K information stream that it oversamples to obtain a detailed 4K stream. It is capable of recording in S-Log gamma for extended dynamic range and, nice thing, it is possible to adjust the AF sensitivity and the transition speed, convenient to avoid erratic focus movements. A " Slow and Quick " mode allows you to create slow or fast videos directly from the camera.

Now let's move on to the performance of the device. We tested the Sony A6500 with the fixed focal length FE 55mm f / 1.8 ZA, an ideal lens for portraiture, but which can also be used in other situations, such as street photography. It is also an excellent lens for making videos or close-ups thanks to its minimum distance of 50cm. The lens is lightweight (281g) and is not stabilized, but it's not a problem with the 5-axis stabilization of the A6500.

Before concluding our test of the A6500, let's stop for a moment on the public targeted by this case. With its compactness and its ability to capture action and movement, this device with an APS-C sensor will be of great interest to sports and action photographers. On the edge of a sports field, with an optical type 70-200mm or 70-300mm, this device will work wonders to break down the movement and capture the precise moment.

It can also be comfortable in landscape photography or travel with many details, a lightweight and compact housing and WiFi to share the images. Charging micro-USB is a plus because today an external battery is not luxury to recharge a smartphone on the road for example. Not to mention video photographers who want to film in 4K without crop image while enjoying a 5-axis mechanical stabilization.