Compared to the entry-level full frame mirror-less cameras of Nikon’s nearest competitors, the Canon EOS RP, the Sony a7II, and the Panasonic Lumix S5, The Nikon Z5 beats them all in both technical specifications and, importantly, price. And while the differences in the spec sheets are in some places marginal, there is a clear winner in the end.

So let’s compare the Nikon Z5 with the very similar cameras mentioned previously, with specific focus on what makes the Z5 the one to buy.

Specifications of the Nikon Z5

• Image Sensor: 24.3 MP FX BSI Sensor, 5.9µ pixel size
• Sensor Size: 35.9 × 23.9mm
• Resolution: 6016 x 4016
• Native ISO Sensitivity: 100-51,200
• In-Body Image Stabilization: 5-Axis
• Processor: EXPEED 6
• Dust Reduction: Yes
• Weather Sealing: Yes
• Body Material: Magnesium Alloy
• Shutter Speeds: 1/8000 – 30 seconds
• Shutter Durability: 200,000 cycles, self-diagnostic shutter
• Storage: 2× SD UHS-II
• Viewfinder: 3.69 Million Dot OLED Electronic Viewfinder
• Viewfinder Coverage: 100%
• Viewfinder Magnification: 0.8×
• Continuous Shooting Speed: 4.5 FPS
• Built-in Flash: No
• Autofocus System: Hybrid PDAF, 273 Focus Points
• AF Sensitivity Range: -2 to +19 EV (-3.5 to +19 EV with low-light AF)
• LCD Screen: Touch-enabled 3.2″ Tilting LCD with 1.040 Million Dots
• Movie Mode: 4K UHD @ 30 FPS, 1.7x crop
• HDMI Output: 8-bit 4:2:0, no N-Log
• Silent Photography Mode: Yes
• Intervalometer: Yes
• Focus Stacking: Yes
• In-Camera HDR Capability: Yes
• WiFi / Bluetooth: Yes
• Battery Type: EN-EN15c
• Battery Life: 470 shots (CIPA)
• USB Standard: Type-C 3.1
• Weight and Dimensions: 590 g (Body Only); 134 × 100.5 × 69.5 mm
• Price: $996

Experienced photo nerds will likely browse that spec sheet and settle on the last line of data – the price. It’s surprisingly low.

That we can get a camera this good for $996 is simply astonishing. And while $996 is a lot of money, no doubt, I can see by the specs that the camera we get for that money could satisfy the image-making requirements of most photographers for a long time to come. With a spec sheet that good, there’s very little reason to upgrade.

Nikon Z5 Mirrorless Camera

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The Nikon Z5 Compared to the Canon EOS RP

Canon has their own entry-level full frame mirror-less camera, called the Canon EOS RP. And it’s a very good camera. But when we really dive into its spec sheet we start to see that it falls just short of the Nikon in a few key areas. Here’s a list.

Nikon’s Z5 has in-body 5-axis sensor-shift image stabilization which works in both stills photography and video modes. The Canon EOS RP does not have in-body image stabilization whatsoever. Instead, Canon offers lenses with built-in optical image stabilization (IS lenses). These lenses are bigger and more expensive than those without IS. When shooting video (but not in stills photography), the Canon uses software-based digital image stabilization. This sounds neat, but it also slightly degrades image quality.

Nikon’s Z5 can shoot 4K video at 30 fps, where Canon’s EOS RP records 4K only at 24fps. While this isn’t a massive win for the Nikon, it’s still a win. Both cameras, incidentally, record 4K at a 1.7 crop factor, which is a big reason to consider upgrading to a higher level camera – but now we’re getting away from entry-level pricing.

The Nikon’s electronic viewfinder has higher magnification than Canon’s, 0.8x compared to 0.7x, and the Nikon’s is made up of 3.69 million dots where Canon’s is 2.36 million. Another win for Nikon.

The Canon only has a single SD card slot compared to the Nikon’s two slots. This is important for anyone who wants to use this camera professionally, as it’s critical to have redundant backups of images that can’t be replaced. Think, weddings, engagement photos, senior portraits – working photographer stuff.

Nikon’s camera costs $5 less than Canon’s. Okay, that really shouldn’t factor. But again, that’s a free cup of coffee or two if we choose the Nikon.

The Canon EOS RP does actually edge out the Nikon in a few lines of the spec sheet. Its LCD display can flip entirely around to a front-facing configuration where the Nikon’s only tilts up and down, and the Canon’s image sensor offers a couple of additional megapixels (Canon’s EOS RP sensor records 26.2MP compared to Nikon’s 24.3MP). Canon’s burst mode fires at 5 FPS compared to Nikon’s 4.5 FPS.

For me, the data points dominated by the Nikon are more critical than those claimed by the Canon. And that’s why I chose the Z5.

The Nikon Z5 Compared to the Sony a7II

The camera that I used professionally before switching to the Nikon Z5 was, in fact, the Sony a7II. And I couldn’t be happier with the decision to switch. While Sony’s camera is excellent, the Nikon is just better. Here’s where we see that on the spec sheet.

Nikon’s camera does 4K video and Sony’s does not. It only shoots as high as 1080p. That’s worse than the Canon and an easy win for Nikon.

Nikon’s electronic viewfinder is better than Sony’s, too. Sony’s EVF has the same resolution as the Canon EOS RP, at 2.36m dots compared to the Nikon’s 3.69m.

The Nikon, as already mentioned, has two SD card slots. The Sony, like the Canon, has one.

Possibly a subjective assessment here, but after years of shooting the a7II I’m comfortable reporting that the ergonomics of the Sony are cramped and painful, especially for extended shoots. The Nikon is an ergonomic dream. Its grip, balance, size, and weight are all perfect, and its button layout is intuitive and clean.

The Sony’s finish and durability aren’t as high quality as the Nikon’s. My Sony’s rubber thumb grip peeled away after a year, and the SD card slot door has always been flimsy and weak.

But most damning of all for Sony’s machine is the price. The Sony a7II has a list price of $1,398. That’s $400 more than the Nikon Z5. So, you pay more for… less?

The Nikon Z5 Compared to the Panasonic Lumix S5

Of all the competition on this list, it’s the Panasonic Lumix S5 that comes closest to toppling the Nikon Z5. But that really shouldn’t be surprising, considering that the Lumix S5 has a list price of $1,997 (nearly double the cost of the Nikon). And even though Panasonic seems to run a perpetual sale on the S5, that sale price still never drops below $1,497 ($500 more than the Nikon).

This higher price point realistically places the Lumix S5 as competition for Nikon’s up-specced Nikon Z6, rather than the entry-level Z5. But I include it in this comparison to better illustrate the point that we get a lot for our money with the Nikon Z5. It even competes with cameras above its class.

When we compare the Nikon Z5 to the Panasonic Lumix S5, the only appreciable difference is that the Lumix can shoot 4K video at 60FPS. If we’re happy with 4K video at 30FPS, the Nikon does that for $500 less.

Sample Images Made with the Nikon Z5

(Just imagine what a good photographer could do with one!)

Final Thoughts

Truth be told, all of the cameras mentioned in this article are amazing machines. As I said to my friend when he asked which full frame mirror-less camera he should buy; nobody makes a bad full frame mirror-less camera. The Canon EOS RP, the Sony a7II, the Panasonic S5, and the Nikon Z5 are all world-class, and any of them would do anything that the everyday photo nerd requires. But if I had to pick one, it’s the Nikon.

If only by a narrow margin, the Nikon Z5 is truly the best value camera on the market right now. It’s more feature-dense than the entry-level full frame mirror-less camera from Canon, and a much better camera (and value) than the Sony a7II. The only camera that could beat it is the Panasonic Lumix S5, but that camera’s priced so high that I find it unfair to measure it against the Z5.

The best endorsement that I can give a product is to use that product myself. The Nikon Z5 is the camera that I chose. And I chose it because, simply put, it’s the best value full frame mirror-less interchangeable lens camera available today.

Nikon Z5 Mirrorless Camera

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I’ve not written an article for this site, my site, since November 4th, and even then I was using old photos and outlines from the summer of 2020. It’s impossible to overstate how unusual that is. I had to look back in the archive to confirm it. I didn’t realize it had been that long. It’s surprising and strange. More than that, it’s indicative.

Beginning in April of 2014 and continuing until September of 2020, there hadn’t been a period of more than two days wherein I hadn’t written something for this site. Even throughout precious family vacations I’ve continued to work (those readers who’ve pointed out that my Disney World photos aren’t useful as test shots will know). Daytrips to Martha’s Vineyard have served double duty as article fodder for years. But this year has been different.

It’s tiring to hear and to read, and these are things we’ve all read and heard ad nauseam. But it’s also the truth. The past twelve months have been exhausting, challenging, and for some of us disastrous, for others terrifying. There are psychological dynamics happening in us, in me, which I’m neither educated enough nor emotionally intelligent enough to fathom. But I feel it. And this writing is an attempt to plumb it. Call it a self-indulgent piece of writing (some readers will, and with fairness). But these words are as much personal introspection as they are a reaching hand to any potential readers who might recognize themselves somewhere in these paragraphs. I’m trying to help – myself, yeah, but others as well.

In September I had a panic attack, the first of my life. In a piece of writing in which I attempted to hint to my readers that I might need to take a break, I described the sensation as “drowning in open air… An animal feeling.” I feel that feeling now still, and have (to some degree) every day since that day in September.

Not long after that, my wife, who had been pregnant for four months, went to a routine ultrasound where alone she learned that the baby inside her was dead. He was a boy who we’d named Henry. I was home with my two daughters, loading dishes into the dishwasher when my wife walked through the door. There are things in life which one can never forget – one, for me now, is the persistent sound of rushing tap-water as I fearfully begged a relentlessly sobbing wife to tell me what was the matter.

The time between then and Christmas feels distant. I can’t cast my mind back, and I don’t know that I want to. There’s a few blank frames (there, I did a film reference for you). Months haunted by the specters of grief and pain. Sealing those ominous wraiths within coffins, to be exhumed in places of meticulously crafted privacy – after pandemic-induced home-schooling is done, after the house is clean, after the work is finished, when the kids are fed and happy and in bed and the house is quiet.

On Christmas morning I felt that I should shoot some photos. I found my Nikon SP in the office, the frame counter of which showed that eleven frames had already been shot. I remembered what this camera had begun recording, what I’d intended to record with it to completion. A lovely idea. A phenomenal photo project. A full-term, nine-month pregnancy shot on a single roll of film, the final frame the first minute of my son’s life.

What an article that would make. What a project. I recalled frame one – the positive pregnancy test. I recalled frame two – a candid mirror shot of my wife moments after learning that she was indeed pregnant. Frame five – an enlarging belly. Frame eight – the “It’s a Boy” sign which my daughters made in their boundless enthusiasm. Frame eleven – tiny socks fresh from the dryer.

The loss has changed things for me in ways which I’m only beginning to realize. Predominant is a persistent feeling that life is tragically fleeting. That we all have almost no time at all. That many of us have less time than most.

When I was six years old, I saw a local television news reporter reporting live from a public restroom in a mall in middle America. From his square of linoleum he proclaimed in a cadence of studied weightiness that the then widely misunderstood AIDS epidemic had reached our state, and that it would be possible for any good citizen to contract the fatal disease “even from surfaces in a public restroom.” I cried every night for a year because I’d been inside hundreds of public restrooms in my six years on Earth. Surely no kid could roll the dice that many times and not come up snake eyes. I researched the life expectancy of AIDS patients and planned to tell my family of my infection only after I’d reached age fourteen – no sense worrying them until the very end, I reasoned.

Of course, I didn’t have AIDS or die. But since then there have been countless periods of weeks or months during which I’ve convinced myself with perfect certainty that I had… something else. I was dying of cancer because I was tired. I had Leukemia because my legs ached for three days in a row. I had Eastern Equine Encephalitis because I was bitten by a mosquito and two days later felt a little bit hot.

Nevermind that I was probably tired because I’d not slept for more than five hours a night over the span of three years. And my legs couldn’t hurt just because I’d done squats at the gym for the first time in two months. And yeah, I was feeling unusually feverish – but not because it was summer, nor because I had a sunburn. It was that poisoned mosquito bite. Three real-world examples out of hundreds.

Intellectually, it sounds foolish and laughable. It’s hard to laugh at it when you’re living it.

From the moment I learned the word, I’ve suspected that I’m a hypochondriac. I don’t say that in the same way that some people like to say they have attention deficit disorder (ADD) because they can’t focus entirely throughout a boring movie, or in the way that other people say they have obsessive compulsive disorder (OCD) because they like things to be orderly. Everyone gets bored and everyone prefers that things be neat. I don’t take this lightly.

Since the onset of the coronavirus pandemic I’ve panicked myself over the idea that I have COVID-19 (the disease brought on by the novel coronavirus) at least once per week. This is no exaggeration. I have visualized with perfect clarity hundreds of times the moment in which I die and leave my kids behind, unable to say goodbye or see them. When I wake up in the morning I instantly think about dying. Every day that I feel fine, I remind myself that the symptoms can appear days or weeks after infection, and that I might already be infected. I might already be dead.

I try to recall how much I can remember of the years of my life before age six (my oldest daughter is six years old) in order to calculate how much of me they’ll remember when they’re adults in the event that I die sometime this year. Dozens of times a day, I imagine my wife and kids living their lives without me. At the worst moments I imagine the inverse nightmare – my family dying and leaving me alive. Countless scenarios of loss and absence. It’s hell, and I really don’t know what to do about it.

Remember when I said that some parts of this article will make me sound crazy?

When I woke up this morning I immediately felt my throat. It was sore. A few panicked moments later, after a glass of water had relieved my throat dried overnight by the winter air, I felt fine.

It had snowed overnight and the ground was covered. I could do all the usual descriptors – pillowy hills. Blankets of downy snow. Fluffy, white sheets… Why are they always bedding?

My kids are in that glorious phase of life in which everything is a novelty to be treasured and lived. I love that about them. They remind me to look up at the clouds and to wonder at how a caterpillar turns into a butterfly. From the warmth of their beds, they ran to the window and begged me to play in the snow. So we did. And unusually (of late), I brought a camera out with me. Not a great camera. Not even, I thought, a very good camera.

I thought Let’s shoot the worst camera I have in the office right now. Something nobody wants. Something nobody would waste their time using, or writing about, or shooting a video about. It will probably be lifeless and I won’t have anything to say.

I chose the Sony Cyber-shot DSC-TX9, a point-and-shoot digital camera from (let me look it up) 2010.

Twelve megapixels. Touch screen. Bunch of shooting modes including background de-focus. Do we really need to do this? The best parts of it are the slick sliding lens cover (which slides vertically) and the optimistic warble that it sings whenever we turn it on.

If you like Walkmans or Sony Minidisc players or the PSP Go, or if you drive a 2001 BMW Z3 and want a period-looking camera to put in the car’s center console (and never use), you’ll love this camera. I do. But this really isn’t the point, is it? Not this time. (I’ll review this camera properly if just one person tells me to do so in the comments – please don’t.)

Out in the snow, we did all the snow things one does in the snow. Snow angels. Snow balls. Snow men (or women, what the hell, patriarchy?). My old dog did what he does – chew sticks, bite snow, roll around. The kids squealed with delight, swung on a swing set covered in snow, took photos with their own cameras, reveled in their tiny, happy lives.

As happened many years earlier when my wife and I struggled for over a year to have our first child, photography was an escape. The camera gave a point of focus, crowded out the anxiety and worry. Then again, the camera isn’t really doing anything. It’s just a camera, a pretty unspectacular camera, at that. But over the years I’ve found that even the worst cameras end up pointing at what’s important. And that sort of makes any camera “the best camera.”

I ended the morning feeling buoyed. My kids did that for me. Cameras let me record it. We’re all going to die. Photos leave something of us behind, the smallest of comforts.

The temptation for the blog writer is to write this experience into something greater than it is. To come up with a snappy headline – How the Sony Cyber-shot DSC-TX9 Saved My Life, or similar nonsense. It didn’t. It’s just a camera. But it gave me the extra nudge I needed to get out of my office, out of the house and into the snow. It got me moving, it helped me ease up for a while, and it helped me have a fun day with my kids.

I’m the editor of this site, which means that I choose what gets published and what doesn’t. I’ve vacillated on publishing this article dozens of times while writing it, and later as it sat in draft form. It’s a weird one. From a business perspective, from the perspective of building on the “brand’s” synergistic content profile, it’s not a good fit. But then again, exposing things to light usually leads to good things.

Perspective is everything, as photographers know better than most. Things for me are tough at the moment. But they could be worse. For many other people, things are worse. Maybe things are worse for you. Maybe you feel like shit, too. If so, this article should tell you that you’re not alone, and that a camera can help. Family and friends can help. And as long as we keep engaging with the parts of life which are meaningful and good, everything eventually will be fine.

But damn. Just stick me with the vaccine already. And I’ll take a therapist, too.

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I wanted to experience photography in all its high-resolution, bokeh-doused glory. I wanted a new device that was portable, could produce higher-resolution photos, and offer me more control and versatility. But most of all, I didn’t want to break the bank. With some research, a little luck, and two Benjamins later, I ended my search as the owner of a Sony A6000. 

The First of Many

The Sony A6000 is a mirrorless interchangeable lens camera that was released in 2014 to replace Sony’s NEX line of cameras. Initially, it retailed for about $800 with the 16-50mm f/3.5-5.6 power-zoom kit lens ($650 for the body only). Sony marketed its new offering towards entry-level consumers and photography enthusiasts, and it sold so well that by 2016 it was considered the best-selling mirrorless camera of all time.

At the time of its release, the Sony A6000 had an impressive set of features, with Sony touting it as having the “world’s fastest autofocus” system. The camera is capable of shooting continuously at 11 frames per second with an autofocus lag of just 0.06 seconds. It also boasts a 24-megapixel APS-C sensor with 179 focus points and 25 contrast points across 100% of the frame, an ISO range of 100-25600, a Bionz X image processor, full HD video capabilities, wireless connectivity, a 3-inch tilting LCD, AND an OLED electronic viewfinder all packed into a body that weighs just 344 grams and can fit in the palm of your hand. What’s not to like?

Before we go any further, we should address the elephant in the room. Earlier I said the Sony A6000 was released in 2014. Yes, you read that right. The A6000 is indeed a six-year-old piece of technology—basically ancient these days. Sony has added five newer, more advanced models to the A6-series line-up in that time: the A6100, A6300, A6400, A6500, and A6600. Yet, the A6000 can still be found, brand new, on shelves at B&H Photo for around $450. Why is this seemingly outdated camera still being manufactured and sold by Sony? The first step toward answering that question is to shoot one.

First Impressions

The A6000 isn’t the most handsome camera. Sony decided to go with a bland, boxy design that doesn’t capitalize on the retro vibe that offerings from Olympus or Fujifilm did half a decade ago. But it’s not ugly. I like to consider it the Joaquin Phoenix of cameras; not aesthetically pleasing, but a great performer.

Build quality is also nothing out of the ordinary. The camera is made mostly of composite plastic with some magnesium alloy thrown in there somewhere. But overall it feels solid. It’s not the most robust, but it can take everyday wear and tear. Keep in mind that it doesn’t sport any weather sealing, so I wouldn’t recommend scaling Mt. Everest with it.

Handling

The A6000 feels great in the hand, surprising for such a small camera. I attribute this to the boxy grip on its right side. This grip protrudes enough from the body of the camera to create a comfortable notch for your forefingers to rest and a thumb indent around the back, allowing for an ergonomic grasp. And it’s covered in a rubbery, textured leatherette, which adds mechanical stiction when grasped. These factors allow the A6000 to fit in hand for long periods of time while exploring your surroundings.

The compact size and light weight of the camera make it very comfortable to tote around for a full day of shooting. Compared to my Olympus OM-2 film camera, known for being one of the most compact 35mm film SLR cameras ever produced, the A6000 is about half the weight and slightly smaller in dimension. It’s not pocketable, but it’s portable enough to fit in a small shoulder bag and light enough to have slung around your neck or shoulder for long periods of time without creating fatigue. While the overall weight of the rig will vary depending on the lens attached, it still feels like a feather compared to any similarly specced DSLR kit.

All of the controls on the camera are arranged to the right side of the device, making it easy and ergonomic for one-handed use. I assume Sony did this on purpose to ensure that if you’re enjoying, say, an ice cream cone in your left hand and you see a decisive moment, you can turn on the camera, change settings as needed, and take the shot(s) without missing neither a beat nor a lick. I’d like to note here that the camera can be quite slow on cold start-up (about 7-10 seconds) compared to newer models, particularly after replacing the battery. Start-up in stand-by mode is much faster (about 2 seconds).

While the right-handed positioning of the controls is nice, the clustered button layout and icons printed on the back make the operation of the camera appear more complicated than it actually is. Like any new device, we get used to it. Busy looks aside, the buttons have a nice click to them and the dials are stiffer than expected (you won’t change any settings by accident).

The most important controls to focus on here are the dials at the top, the thumbwheel, and the function (fn) button on the back. With a few exceptions (depending on how you configure your shooting experience), these are the main controls you’ll use while shooting. Aside from camera modes, aperture, shutter speed, ISO, and drive modes (which are controlled by the dials and thumbwheel) mostly everything is accessed through digital menus, which would be fine if the menus were easier to navigate.

The Menu button on the back is where you get access to basically all the features of the camera, and it’s one of my biggest pain points. The menu system is not very intuitive and navigating the plethora of options with the thumbwheel can get tedious, ultimately slowing down the shooting experience if you’re trying to enable features on the fly. In the beginning, expect to do some excessive menu-diving to get everything set up the way you like it.

Luckily, Sony allows you to customize your button layout to some extent. The body includes two custom function buttons (C1 and C2) and you can remap some of the buttons with existing functionality (this is particularly useful for those who prefer back-button focus). Depending on how you choose to map these controls, you can avoid deep menu-diving in the long run.

The Sony A6000 has a decent 1.44 million-dot OLED electronic viewfinder (EVF) that is positioned on the camera in a rangefinder-esque position. The EVF shows the whole frame, corner to corner, so you’re seeing the photo you get the moment you hit the shutter. Key camera settings and modes are shown in the margins of the frame, so they do not interfere with the actual image display. Additionally, the camera features a proximity sensor that controls the EVF and LCD displays when you bring the camera to your eye, which is meant to save battery. However, the sensor can be too sensitive in some situations, inadvertently turning the LCD screen on and off when taking a photo with the device too closely to your body.

The three-inch LCD screen on the back is fairly bright in most situations and can tilt up or down, providing options for waist-level and over-the-head shots, though it won’t swing out to the side. At default, the screen is not quite bright enough to use in direct sunlight. You can adjust the brightness settings to make it easier to see, but you’ll have to go menu-diving for that. Expect to opt for the EVF during extreme sunny conditions. You can choose how busy (or useful) you want your display to be by toggling through the five display options with the top button on the thumbwheel. Options include graphic display, display all shooting info/icons, no display info, histogram, and viewfinder priority (which forces you to use the EVF to view the image).

In addition, the LCD isn’t the best in terms of resolution. At 922k dots-per-inch, it’s on the lower end of the spectrum, and because of this, image sharpness on the LCD is not quite as accurate as we’ve come to expect in the year 2020, especially with photos taken at higher ISOs. I’ve found that it can be somewhat challenging to determine whether I’ve actually achieved critical focus when relying on the LCD alone. As a budget camera, the display is not a touchscreen, so you’ll have to let the autofocus do the work, or manually select your focus point with the thumbwheel, which can slow down the shooting experience.

The camera’s battery life is decent, not really anything to complain about or praise. You can expect to take around 300-400 photos on a single charge. Personally, I’ve made the camera last a whole day by shooting conservatively and not chimping too much. However, the battery is fairly small and light, so I recommend investing in a couple spare batteries to keep in your kit for more liberal shooting days. Pro-tip: to squeeze out a few more shots on a single charge, try enabling airplane mode, which disables the built-in Wi-Fi and NFC transfer capabilities until you need it.

A quick note on the A6000’s file transfer capabilities: this is a welcome feature, as it makes sharing photos from your camera easier than it normally would be otherwise. To browse the photos on your phone, you need to download Sony’s Imaging Edge app, which is a bit clunky in design and functionality, and tap your phone to the NFC symbol on the grip of the camera. Your phone should connect to the on-board Wi-Fi and launch the app automatically. It can be finicky in practice, but it works. 

Shooting

There’s not much to say about how it feels to shoot a Sony A6000—nothing is really aesthetically pleasing about the way it works. It just does. When taking a photo, the shutter button feels springy and travels quite a bit on the half-press but requires little force to actually take the shot. And it has a relatively quick, high-pitched shutter sound that’s not necessarily obnoxious, but it’s not exactly stealthy either (and there’s no silent shutter mode). However, this thing is satisfyingly quick. In hi-speed burst mode, the A6000 can capture a continuous 11 frames per second, but expect it to take a good chunk of time to write that burst of images to memory. Other than that, the main draws for shooting this camera are easily the image quality and autofocus performance.

When paired with quality lenses, the images produced by the A6000 do not disappoint. For being a six-year-old camera, the resolution output of the 24-megapixel crop-sensor is crisp and clear, matching that of newer offerings and, to the amateur eye, is on par with even those above its class. Being a crop sensor, the dynamic range is not as, well, dynamic as a full-frame sensor, but it’s not something most enthusiasts and entry-level photographers will notice. What’s more, the A6000 can shoot in RAW so you can shoot the densest files and squeeze the most out of them in post-production.

While an APS-C is smaller than a full-frame sensor and therefore doesn’t technically perform as well in low light conditions, the A6000 is still more than capable for most people’s needs, especially when paired with fast lenses. ISO performance is flexible as well, ranging from 100 to 25600; however, taking photos with ISO 3200 and above might result in images that are too noisy for my fellow pixel-peepers. Personally, I set the Auto ISO setting to vary between 100 and 1600 for safe measure.

Taking to the forums, one will find many debates questioning the choices Sony made while developing their color science. Default colors out of the camera can be a bit understated for some, leaning closer to cooler hues. But this isn’t much of an issue for RAW-shooters who expect to do some color correcting later on. Seasoned photographers might not get that “wow” factor straight out of the camera, but the potential is definitely there with a small degree of post-processing. For JPEG-shooters who want results without any post work, the A6000 offers Creative Styles that allow you to customize the color profile (prior to taking a photo).

Focusing

What good is the image quality without accurate autofocus capabilities? Luckily, the Sony A6000 boasts fantastic autofocus performance. Upon its release, Sony touted the camera as having the “world’s fastest autofocus.” While I can’t say for certain that this is still true in 2020, the autofocus is, without doubt, the camera’s strongest feature.

The camera gives you control over the autofocus of the A6000 through various Focus Modes, Areas, and a few tracking features. Aside from full manual focus (MF), it offers multiple modes including Single-shot AF (AF-S), Automatic AF (AF-A), Continuous AF (AF-C), and Direct Manual Focus (DMF). Each of these is quick, highly accurate, and lends a good deal of versatility to the camera.

For example, AF-C works fantastically well for tracking moving subjects, and AF-S works quickly for stills. However, for the set-it-and-forget-it photographer, AF-A offers a hybrid of the two modes, intelligently switching between them based on whether the subject is moving or not. In practice, I found this functionality impressively accurate, though the camera can still hiccup in certain situations. For those looking for manual control over the camera’s autofocus, DMF is another hybrid option that allows you to refine your focus after the camera has done its job. To ensure critical focus, be sure to do some menu-diving to enable the focus assist and focus peaking settings. Personally, unless I’m shooting a moving subject (in which case I use AF-C), I almost exclusively use DMF. Paired with the back button focus technique, focus assist, peaking, and flexible spot focus area, this combo always gives me the clearest results.

The A6000 also has some intelligent tracking features to make its already impressive autofocus performance even more versatile. In my experience, the face detection feature works extremely well, locking focus on the face I’ve intended. When using the wide or zone focus areas with multiple people in the frame, sometimes I have to move the camera around a bit before it guesses the correct subject, so it’s not entirely foolproof. With a little menu-diving, you can register specific faces so they take priority in crowds to ensure even more precise results. Eye-AF works really well too if you’re doing close up, still portraiture, though you need to set it to a custom button to use it entirely. I found that I typically opt to leave the face recognition feature on over dedicating a button to eye-AF, as it’s quicker to use in most settings. Lock-on focus is also very accurate for singling out a moving subject in a relatively busy environment, but it’s another one of those hidden features that can be tedious to activate unless it’s assigned to a custom button.

Exposure Modes

The A6000 offers a total of ten exposure modes. Manual mode, Shutter Priority, Aperture Priority, and Program mode work exactly as expected. However, its fully automatic modes are where the camera makes itself accessible to anyone who wants to pick it up and take perfectly exposed photos without the learning curve.

The Sony A6000 offers Intelligent Auto, Superior Auto, and Scene Selection. All three of these modes give the camera full control over exposure. Intelligent and Superior Auto both automatically analyze the scene and set the appropriate exposure. Sony recommends using Intelligent Auto for quick shooting, as Superior Auto takes multiple shots and merges them together to get the best photo possible with little to no noise. Scene Selection is similar in operation, except you manually decide the type of scene you expect to shoot.

For me, the exposure mode that makes this camera is Memory Recall (MR). Here, Sony gives you the opportunity to fully tailor your shooting experience to your personal preferences. MR gives the user three memory recall slots with which to save your shooting configurations. Basically, you can switch the camera to any of the PSAM exposure modes, set your preferred drive mode, focus mode, focus area, white balance, and ISO requirements, and then save that combination using the memory recall function hidden in the main menu. Once registered to memory, you can access these configurations on the fly using the function (Fn) button (with the dial set to MR). I keep my camera on this exposure mode 100% of the time because it allows me to quickly utilize the various features of this camera without excessive menu-diving or dial-switching.

Worth it in 2020?

Sony has updated its A6-series lineup five times since the 2014 release of the A6000. You’re probably wondering why I’m reviewing the oldest camera of the bunch. Though they all share the same 24-megapixel APS-C sensor, these newer models include notable upgrades that will surely boost your shooting experience. All of the newer A6000-series models offer improved AF performance with 425 phase detection focus points (versus the A6000’s 179), faster processing speeds, higher resolution EVFs and LCDs, and even 4k video. For those who want to ensure crisp shots and video in any situation, the A6500 and A6600 best the A6000 with in-body stabilization (IBIS). The A6100 and 6400 offer 180-degree flipping LCD screens for selfie-lovers and vloggers. And for all-weather adventurers daring to go where no A6000 could ever go, the A6600 is completely weather sealed.

However, these upgrades naturally come at a higher cost. The latest models like the A6100 (technically the A6000’s replacement) go for about $700 new with a kit lens, while the high-spec A6600 can stretch the budget up to $1,800. If money is not an issue, or you are primarily a videographer, the A6000’s successors are indeed a better camera to buy. But if you’re an amateur or enthusiast photographer asking yourself whether it’s worth it to drop a significant amount of cash for a slightly better shooting experience, the simple answer is no.

While you can still find the A6000 new for just under $550 (often bundled with a kit lens and a plethora of accessories), the real value comes when we consider buying a second-hand camera. Remember, this camera is one of Sony’s best-selling cameras of  all time, so it’s widely available on sites like eBay, KEH, and MBP in excellent/like-new condition for well under $400. Don’t let the body-only part discourage you, as the Sony 16-50mm kit lens is a let-down in terms of optical quality, anyway. The real value here comes with the ability to pair any legacy lenses you might already have with a cheap e-mount adapter at a fraction of the cost of most native and third-party e-mount lenses. Legacy glass is a breeze to use on the A6000, especially with focus peaking turned on.

If you’re set on utilizing the excellent autofocus system, investing in high-quality autofocus-enabled glass is naturally essential to getting the best results from this camera. And quality glass of this type is abundant within the e-mount system, including highly praised offerings from the likes of Zeiss, Sigma, Tamron, and of course Sony. I recommend the Sigma f/1.4 series of prime lenses, which offer an impressive balance between value and optical quality. Additionally, the ability to use FE glass (meant for full frame sensors) on the A6000 makes it a flexible entry-level option for those interested in upgrading to one of Sony’s full frame cameras in the future.

Final Thoughts

Despite its six-year-old tech, ho-hum design, and less-than-ideal menu layout, I think the A6000 is still worth plenty of consideration in 2020 based on the value it offers relative to its performance and accessibility. This is especially true for digital photography beginners, or enthusiasts on a budget. It’s a lot of digital camera at a price that certain film SLRs from the 1970s still command.

After ending my quest for my first digital camera as an A6000 owner, I found myself questioning whether cheaping-out for an out-of-date model was the right decision. But after using the camera for quite some time (and using other more modern models since), I’ve come to realize that the A6000 is all the camera that most people could ever need. And with that many units sold, I think it’s fair to call the Sony A6000 a modern classic.

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Its optics produce nothing but amazing images, its autofocus design allows rapid operation, it fits a massive range of both digital and film cameras, and its low price makes it a no-brainer no matter the buyer’s budget. Yeah, this is a pretty amazing lens.

The Minolta AF Macro 100mm F/2.8 was designed and produced way back in 1986, and yet it’s so optically perfect that Sony, who acquired Minolta’s camera business back in 2006, are still making and selling this very lens today (under their brand name, of course). The main difference between the offerings from the old brand and the new is price – Sony’s 100mm macro costs close to $800, while the Minolta version can be found for under $150. Bonus!

The lens was initially designed to be the perfect macro solution for Minolta’s then new autofocus camera, the Maxxum 7000 (which was the first successful autofocus SLR, no less). And this lofty goal was achieved. It was able to produce true 1:1 macro images (that’s life-size) without the use of an extension tube, and capable of doubling down as a rather incredible portrait lens as well.

In 2017, it works as well as it always has on classic film machines, and fitted to today’s DSLR or mirror-less cameras it’s an even more capable assemblage of glass and metal.

Construction is typical Minolta quality, which is to say it’s dense, solid, and precise. The lens barrel, filter threads, focus ring, and lens mount (essentially accounting for every surface of this lens) are made of metal. It’s a weighty lens, at 520 grams (18 ounces, or 1.14 lbs), but compact and tight. It feels like, and is, a solid precision tool.

The eight elements in eight groups design employs a double floating element system, with three different groups moving in conjunction to effectively eliminate any and all distortion throughout its entire range of magnification. It works perfectly, and the result of all this tech is a lens that simply will not make a distorted image throughout its entire range of magnification.

Minolta’s optical coatings can match anyone in the business, and those found on this lens are no different. Chromatic aberration is non-existent. Bokeh color fringing is minimal and only appears (so mildly as to be nearly unnoticed) at wider apertures. Flares and ghosting can occur when shooting directly into sunlight, but in normal shooting situations we’ll see zero unwanted flares.

And let’s not forget that Minolta was the only major Japanese manufacturer dedicated to fully-integrated lens manufacturing. That means they made their own glass. This is rare.

The result of all this excellent design and engineering is consistently stunning images. This lens is extremely sharp, punchy, and offers incredible color rendition. Depth-of-field and bokeh change dramatically at different magnifications. Shooting close-up subjects results in bokeh that is extremely well blended, and even with distant subjects we’re capable of strong subject isolation and creamy backgrounds. Stopped down things stay really well-blended, and at lower magnifications we’re able to make some nice, characterful blur. Highlight bokeh at smaller apertures remains well rounded thanks to the lens’ nine curved aperture blades, creating gorgeous pinpricks of light.

Galleries in this post were made on film – Fujifilm Superia 1600, Ferrania P30, and expired Kodak Gold 200. Digital sample shots can be seen here.

There’s a focus range limiter that does well to speed up what can be a slow focus motor. When doing close up macro work, flipping the range limiter has the lens only attempt to achieve focus from 1.75 feet to the lens’ minimum focus distance of approximately 12 inches. The inverse limitation is also possible. By flicking the same switch at further focus distance the lens will only attempt to achieve focus from 2 feet to infinity. We’re also treated to a distance scale in feet and meters, depth-of-field scale, infrared index mark, and a magnification index on the focus ring. Essentially, this comprises everything you’ll ever need and more.

But all these technical accolades really pale in comparison to the lens’ true strength, which as mentioned, is its ability to fill multiple needs.

I was out in the back yard, admittedly not the most exciting locale for a photo shoot, but I needed some sample shots made with the lens. I was snapping some boring photos of dandelions in their fruiting phase of life, which interestingly (or not) are called “clocks” in the United Kingdom. Who knew. Anyway, I was dialed into this one particular dandelion, shooting at about half life-size and carefully focusing when I realized my daughter had let herself out of the house (father of the year?). As she ran toward me, I wheeled around, half-pressed the shutter button, and made a handful of portraits. They came out well, and so did the dandelion macros.

Later, I’d spend a day shooting this lens at the beach. It vacillated handily between family photos, portraits and headshots, and macro shots of interesting shells.

These experiences showcase the lens’ versatility. It’s a lens that can take stunningly close photos, true macro photos at 1:1 magnification, but can also spontaneously act as a telephoto or portrait lens. And while it’s true that there are a number of macro lenses capable of operating in this way, very few do so with such aplomb (which is an absurd word, but I’m leaving it in there). This is a lens that does everything it’s supposed to do extremely well, while also being of exceptional physical quality. It’s the real deal, the full package, and a lens that continuously topped its rivals over a span of more than 20 years. Impressive.

What’s also wonderful about Minolta’s AF Macro 100mm F/2.8, is that it’s a lens that will work for a large number of people, and one that can be effectively rolled into lots of kits without any difficulty. If you’re a shooter who shoots an A mount camera (any Minolta autofocus camera ever made, or any Sony DSLR) this lens will be plug and play. If you’re a mirror-less Sony user, there’s a beautiful quality adapter that allows for full use of in-lens features and transference of EXIF data. And if you’re someone just entering the world of film photography and have yet to choose a camera, you can pick up a cheap Minolta A mount film body for under $30 and mount one of the best macro lenses in the world. Of course, if you’re serious about having the best Minolta AF film camera in the world you’ll want the Minolta a7, which is the film camera I use when I want nothing but perfect photos and perfect ergonomics.

Optional accessories include Minolta’s rather wonderful Macro Flash 1200AF, which is a lens-mounted ring light with four separately controlled flash tubes. These can be shot in a number of combinations or individually to achieve numerous looks, and it works great.

The Minolta AF Macro 100mm F/2.8 is a rare creation, one that’s resistant to the usual writeup. Typically we’ll chat about a lens, list its strengths and its weaknesses, and nitpick image quality. That’s a real challenge with this one. It’s about as close to perfect (in its class) as a legacy lens can be. There’s little to dissect, little to nitpick. It’s just a technically excellent lens capable of making images that are gorgeous and full of character.

If you’re a Minolta A mount film shooter or a Sony DSLR user, this is a lens that has to be in your arsenal. If your daily tool is a Sony mirror-less camera, get the adapter and this lens for about one-tenth the price of the new FE mount macro. And if you’re someone just jumping into the world of photography and think macro shooting may be in your future, consider starting with a Minolta A mount film camera or Sony DSLR. This macro lens is worth building a system around. It’s simply that good.

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Film cameras are wonderful and charming, for sure, but not everyone wants to shoot film (for some reason). For those photophiles who just can’t muster up and shoot like it’s 1969, here’s a list of digital cameras that are perfect for any kind of vacation. Like the film cameras covered earlier, these machines are small, capable, and good-looking. From snorkeling to street photography, these five cameras will easily handle the photographic needs of any traveler.

Fujifilm X100T (X100 and X100S)

For those travelers looking for a perfect blend of style and capability, there can be no better travel camera than Fuji’s X100 series. First introduced in 2011, the X100 was an immediate hit, and has since seen significant upgrades over the years. The original X100 sported a 12.3 megapixel sensor that was perfectly capable at producing astounding images. The introduction of the X100S increased this respectable count to 16.3, and advanced a number of other features which included a faster autofocus system. Now, the X100T continues the advancements with a new electronic viewfinder, and a very slick digital rangefinder to aid in manual focusing.

The camera looks amazing. It’s got enough retro character and modern tech to make even the grumpiest anti-hipster concede defeat. Image quality, sharpness, bokeh, and low-light performance are all among the best you’ll find in any machine. It’s 23mm ƒ/2 lens provides a perfect equivalent focal length of 35mm, and will give just the right perspective for almost any type of shooting. Street photographers and journalists all over the world love it for its silent operation, discreet size, impeccable build quality and unbeatable image quality. Travelers will love it for the same reasons.

If you’re looking for an all-arounder, this camera won’t disappoint. Alternately, buy the previous generation machines to save some cash. The X100 and X100S are just as good, just not as new. The Fujifilm X100T retails for $1,299.00.

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Nikon 1 AW1 Underwater Camera

Nikon has quite a legacy in the world of underwater photography. Basing their Nikonos range of 35mm cameras off of a bespoke machine originally created for the legendary explorer Jacques Cousteau, they quickly became a leader in waterproof film photography. For more than 30 years they helped explorers bring the oceans’ mysteries out of the darkness and into books and magazines everywhere. Now they continue that legacy in the digital age with their Nikon 1 AW1 camera, the first interchangeable lens, mirror-less, underwater camera in the world.

The 14.2 megapixel image sensor is capable of 15 FPS burst shooting, which means you’re sure to get the shot even in the most challenging situations. And for those times when photos simply don’t do justice to the action happening in front of the lens, it’s capable of full 1080p HD video.

The ability to use all Nikon 1 lenses allows a complete range of photographic latitude. Some of these Nikkor grade lenses are pretty fantastic, and a wide range of focal lengths help the AW1 feel just as comfortable sitting in a cafe as it does parasailing. Its compact size makes it great for street shooting and tourist shots, but to be fair, this camera is built for action.

Its durability allows you to take it kayaking, snowboarding, mountain biking, or diving, without worrying you may be damaging your new toy. More than just waterproof, it’s resistant to drops as high as 6.6 feet and freeze proof down to 14º F, making it the perfect camera for anyone looking to push the limits. With built-in GPS the camera’s sure to remember exactly where you sustained your concussion, even if you don’t.

The Nikon 1 AW1 kit comes with the waterproof 1 Nikkor AW 11-27.5mm ƒ/3.5-5.6, and retails for $699.95.

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Sony Alpha α7

One of the most exciting and polarizing cameras when it released in 2013, the Alpha 7 finally delivered on something enthusiasts and pro photographers had been asking for for years; a full frame, mirror-less camera. Whether you love or hate the idea of mirror-less replacing DSLRs, it’s tough to deny that this thing is a beast. With a pro-grade spec sheet, massive sensor, and a complete suite of creature comforts, the α7 is one of the most powerful and capable cameras around today. Couple this with the fact that it’s among the smallest, lightest, and prettiest digital cameras out there and you’ve a camera that’s tailored for travel.

Sony’s full frame masterpiece comes in three models. The original α7 is the all around performer. With a full frame 24.3 megapixel sensor, it’s quickly become a tantalizing lure for professional photographers looking to replace their bulky (and decidedly less stylish) DSLRs. The α7R followed quickly, and improves on the original with a 36.4 megapixel sensor and magnesium-alloy body. Unfortunately, it loses the advanced hybrid auto-focus system found on the lower resolution model. Coming latest is the α7S, an extremely sensitive version of the α7. While the sensor on the S has only 12.2 megapixels, each pixel is larger and takes in more light more quickly, allowing extremely high ISOs up to an astounding 409,600. The S is also the only one of the three that’s capable of recording 4K video. Pretty amazing in such a small package, and a sure way to make your vacation videos look close to pro.

Sony’s α7 suite features a robust lineup of lenses, and a massive cult of legacy glass has sprung up around Sony’s full frame mirror-less. There are adapters for virtually every lens out there, allowing nearly limitless shooting possibilities. Snap on a vintage Nikkor, Rokkor, or Leica M mount lens and the world of creative photography opens up.

With these three cameras and the nearly endless options of lenses, the α7 range has a solution for every type of shooting and every type of vacation. Its size and weight make it a joy to carry all day long, and its high-tech chops will leave you feeling pretty damn slick.

The α7 with kit lens retails for $1,798.99, the α7R for $2,098, and the α7S for $2,498.

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Ricoh GR Digital

This camera is the digital successor to the 35mm GR series of cameras made famous by Japanese street photographer Daidō Moriyama. His shots helped make the original GR a staple in the street photography world, and while subsequent digital GRs have been polarizing among photo geeks, the newest GR is certainly a worthy travel camera, especially if you’re spending your hard-earned vacation days in a gritty, urban environ.

All of the cameras on the list are compact, but the GR takes it to the next level. This thing is tiny, and light. Throw it in your jacket pocket and you’re liable to forget it’s there. This would be unfortunate, as you’d also be liable to miss a shot. The wider-than-average 28mm focal length (equivalent) is perfect for congested city streets and back alleys. Made of magnesium, it can take a few licks and keep on clicking. Automatic and full manual controls help connect the shooter to the camera, and lead to interesting artistic expression.

A number of image effects help create a camera that really offers options to keep things interesting, especially for black and white shooters. A built-in neutral density filter allows even further exploration of creative shooting.

If you’re a street photographer looking for a pocketable camera that will give your vacation snaps some street cred, the Ricoh GR is a great choice. It retails for $696.95.

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Canon Powershot G1X Mark II

For travelers looking for straight point-and-shoot action from a maker that’s well-known and well-respected, the Canon Powershot G1X Mark II is the way to go. This little camera offers all the assets of a point-and-shoot, and very few of the liabilities of this much-maligned segment of cameras. The massive 1.5-inch, 12.8 megapixel sensor offers DSLR image quality in a package that’s substantially smaller than even the most diminutive DSLRs.

It captures RAW files, has built-in Wi-Fi, and uses a pretty staggering 31-point auto-focus system. Lens barrel control rings allow fast focusing and manual aperture adjustments, harkening to the wonderful days of film machines, and the capacitive touch panel LCD is an extremely spacious 3 inches. Image quality is astounding (especially for a point-and-shoot), and it’s one of the only machines in the segment that can produce consistently pleasing bokeh. Optical image stabilization helps during adventures on the road, and its ability to capture full 1080p HD video makes it ideal for those looking to capture their trip in motion. All told, the G1X Mark II addresses nearly all of the common complaints surrounding point-and-shoot cameras.

For travelers who’s ultimate concern is portability, the G1X is the answer. It’s about as close to pro-grade as a point-and-shoot gets, and it retails for $799.99.

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The most important thing in travel is to become fully immersed in the trip. By carrying a lightweight camera it’s easier to experience the people and places that make a particular destination special. Having a machine that’s photographically exceptional is an added bonus. These five cameras offer just that; lightweight, interesting, and extremely capable, they offer the chance to get the very best out of any trip.

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