Nowadays there���s no such thing as a bad digital camera. The iPhone you have in your pocket takes stunning images and every single mirrorless or DSLR being released by the major brands is capable of capturing images that could land on the cover of 窪蹋勛圖厙.

But with great choices come hard decisions. The camera market is crowded, so you���ll have to do some research to find the option that includes the features you want���be that amazing autofocus, enormous file size, or affordable pricing. We���ve put together a list of our favorite new mirrorless cameras as a starting point.

At a Glance

• Best Overall:
• Simplest:
• Best for Action:
• Frequently Asked Questions
• How We Test

All gear in this guide was tested by multiple reviewers. If you buy through our links, we may earn an affiliate commission. This supports our mission to get more people active and outside. Learn more.

Best Overall

Sony A7CII

Weight: 15.1 oz (body only)
Size: 4.9��� x 2.8��� x 2.5���
Sensor: 33-megapixel full-frame Exmor R BSI

Pros and Cons
��� Small
��� Full-frame sensor
��� Fair price
��� No auto-focus joystick
��� Not ergonomic with Sony���s largest zoom lenses

The Sony A7CII is our top pick because it���s small but mighty and the best option for those of us who like to adventure. At just over a pound and about as thick as three iPhones stacked together, it���s travel friendly and comes with a giant full-frame sensor that captures 33-megapixel images, advanced auto-focus, and interchangeable lenses. In short, it���s a pro-level camera that���s significantly better than any current phone camera (or any phone camera we���ll likely see in the next five years).

The interchangeable lenses you can use on the A7CII add bulk and weight, but Sony makes two that are the perfect add-on. Less than three inches long and about the diameter of a paper-towel tube, they���re much smaller than most standard lenses but fast enough to capture great photos in low light, wide enough for landscapes yet not too wide for portraits, and built with high-quality glass so it produces tack-sharp images

This camera is best for those who primarily want to shoot photos; but if you want to shoot video, you get beautiful 4K footage and incredible image stabilization for handheld shooting.

The A7CII costs $2,198 and the 35 millimeter f1.8 lens adds another $748, which brings the total to just shy of $3,000 for the basic setup. That may seem high, but it���s in the ballpark for a pro-level, full-frame camera that has the chops to shoot everything from action to landscapes.

Read our full review of the Sony AC7II here

Simplest

Fujifilm X100VI

Weight: 1.15 lbs
Size: 5��� x 2.9��� x 2.2″
Sensor: 40.2-megapixel APS-C X-Trans CMOS 5 HR

Pros and Cons
��� Easy to transport
��� Simple to use
��� Rich photos
��� No interchangeable lenses
��� Not a full-frame sensor

The X110VI won a spot on this list for three reasons: it���s small, relatively simple, and captures gorgeous images. About the size of three iPhones stacked together, the camera weighs just 1.1 pounds so backpackers, bikepackers, hikers, skiers, or anyone who���s moving fast won���t feel weighed down. You won���t want to pack it in a running vest, but the camera is certainly small enough to fit in your daypack, or even the chest pocket of your ski shell.

Some photographers will chafe at the idea of not having interchangeable lenses, but we love the simplicity of this camera. With just one, high-quality 23mm f/2 (35mm equivalent) lens to work with, you���re forced to be a more creative photographer. If you want to zoom in, you���ll need to walk closer. Need to capture a landscape? Back up or climb a hill. The 35mm focal length isn���t perfect for portraits, but it doesn���t distort the subject and can be made to work if you���re careful about your framing.

Why not just pack your iPhone 15 Pro since it���s also portable and actually has three lenses? Because the X100VI is a camera (versus a phone with a built-in camera), Fujifilm is able to pack in a significantly bigger sensor (40.2 megapixel APS-C X-Trans CMOS 5 HR) compared to what you get with the iPhone. That bigger sensor drinks in more light and therefore creates more detailed photos and also does better in low-light situations.

The X100V isn���t as powerful as a full-frame Sony or Canon camera, but it���s the perfect travel-sized option that captures better quality photos than an iPhone.

Best for Shooting Action

Nikon Z8

Weight: 2 lbs
Size: 5.7��� x 4.7��� x 3.3″
Sensor: 45.7-megapixel FX-format stacked full-frame CMOS

Pros and Cons
��� Precise autofocus that���s ideal for shooting sports
��� Easy to use with larger lenses
��� The shutter sound is awful
��� On the pricier side

It���s no secret that Nikon has lagged lately. The brand dominated the film and DSLR market but got its butt kicked by Sony when mirrorless cameras were introduced. Thankfully, the brand is now back with cameras like the Z8, which packs all of the most important features like stunning detail capture and great autofocus into a compact body.

, a Bay Area photographer who���s edited Pulitzer Prize stories for the San Francisco Chronicle and ran the online photo department at Wired, loved the Z8 first and foremost because of the 45.7 megapixel FX-Format Stacked CMOS sensor that makes amazing images.

���The colors were beautiful and the files were easily worked to meet my creative vision,��� he said. Merithew often shoots cycling photos, so he also fell in love with the smart autofocus system that will lock onto and follow anything from a human to an airplane to a bicycle. If you half press the shutter, the Z8 will also capture a burst of pre-images, so that if you���re a little late to the decisive moment the camera already has the moment recorded. ���There was no situation where I felt underprepared,��� Merithew said.

Ergonomically, Merithew liked that the camera hit a nice balance between weight and heft. ���It was substantial and felt great in the hand without being a total brick,��� he said. Nikon has a huge range of high-quality lenses that work with the Z8, and those lenses are a worthy investment because they���ll still be sharp and relevant long after the Z8 has been replaced by whatever Nikon has up its sleeve next.

If there was one thing Merithew wanted to fix, it was the shutter sound Nikon added in to accompany the electronic shutter. The sound ���made me feel less like a professional photographer and more like a teenager playing a cheap version of an 8’s handheld video game,��� he said.

Sound aside, we���re glad to see that Nikon is back with a competitive mirrorless offering that fits the bill for aspiring and pro photographers alike.

Frequently Asked Questions

What���s the Difference Between DSLR and Mirrorless Cameras?

A DSLR has a mirror inside the camera body that reflects the light coming through the lens and shoots it up to the viewfinder. When the shutter button is pressed, the mirror moves out of the way to let the light from the lens hit the digital sensor.

In a mirrorless camera there is no mirror, so the image you see through the viewfinder is electronically generated and the light goes straight from the lens to the sensor.

Which Is Better���DSLR or Mirrorless?

You could spend a week combing through threads about whether DSLRs or mirrorless cameras are better, but the short answer is this: mirrorless cameras are the future and that���s where you should spend your money.

Some people like that the viewfinder on a DSLR is optical, not digital, but the digital viewfinders these days are so good that you���ll never have any problems. Some people like the larger form factor of DSLRs when handling big lenses, but it���s easy to add an extra grip to a mirrorless that makes these smaller cameras just as easy to handle.

The advantages of the mirrorless camera, on the other hand, are numerous and growing. They���re smaller to start because there is no mirror, and therefore easier to transport on adventures. You can also shoot silently, since there���s no mirror moving around, which is an advantage in situations where you���re capturing wildlife or other sensitive scenes.

There used to be more lenses for DSLR cameras, but all the major companies now have a full line of high-quality mirrorless lenses, and the prices have also come down so you can easily find affordable but high-quality mirrorless cameras these days

How Much Does a Decent Camera Cost?

You should plan on spending at least $2,000 for the body. That gets you a pro-level camera that uses interchangeable lenses and comes with all the best features, like a full-frame sensor and high-quality autofocus. If you can make the jump to $3,000, you get even better resolution and all the new autofocus features that make shooting sports a breeze.

What Are Key Features to Look For?

If you���re going to invest in a mirrorless camera, get a full-frame sensor. These large sensors have incredible resolution and great low-light performance. From there you���ll need to decide what kind of photographs you want to make.

Shooting sports? Go for a mirrorless camera that has a really high frame rate and all the newest autofocus technology. More focused on landscapes and portraiture? Go for a camera that shoots high-resolution or high-megapixel images.

How We Test

• Number of cameras tested: 10
• Number of testers: 5
• Number of pictures taken: 70,000 +
• Hours spent figuring out each camera: Over 50 hours total

You���ve probably heard the term ���camera geek.��� I bring this up because our tester pool was full of digital nerds. All the testers are former or working photojournalists who���ve followed camera development for the past 20 years and love to geek out on new specs and features. They spend hours debating which camera is the best overall, which is the best for sports, which is the best for portraits, and love to argue about where the technology is going next.

All this enthusiasm made our job easy because we just had to distribute the cameras and let them go crazy. For this test, the cameras traveled all over the United States and Europe and captured everything from bike races to beach vacations.

What made a camera rise to the top of our test was a blend of performance and usability. Our testers looked for cameras that performed, whether that was accurate autofocus or great low light captures, and then also gave notes on how easy it was to get the camera to do what you asked. Were the dials in a convenient place? Was it easy to hold the cameras with a larger lenses? Did the camera bog you down on longer adventures? To be honest, the final decisions were quite hard but these were our clear favorites.

Meet Our Lead Tester

Before Jakob Schiller was a columnist at 窪蹋勛圖厙 he spent almost a decade working as a photojournalist at newspapers around the country. He���s old enough to have shot film, but since the rise of the digital camera, has taken well over 1,000,000 photos on various DSLRs and smartphones. He loves photography because it facilitates adventure and captures important historical moments, but he���s also a tech lover and can geek out with the best of them about things like resolution, autofocus, and shadow detail.

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When asked which camera takes the best photos, professional photographers like to quip that ���the best camera is the one you have with you.��� It���s a tongue-in-cheek way of saying that you should never worry too much about your gear. Use whatever you have, then do the work to find, frame, and capture a high-quality photo. The photographer matters more than the camera.

That mantra has become easier to follow now that we all have high-powered cameras in our pockets thanks to companies like Apple, Google, and Samsung. I���ve been blown away by the camera in the new iPhone 15 and think that we���ve finally reached a point where camera phones can produce images that we���d be happy to print and hang on our wall (a true test of image quality).

That said, I���ll eat my hat if Apple ever finds a way to make an iPhone that���s just as good, in every way, as a pro-level digital camera. Because phones are designed to be more than just cameras, they have to compromise, allowing companies like Sony, Nikon, Canon, Fuji, and Leica to still make a significantly superior product.

Case in point is the new . It���s smaller than a traditional mirrorless camera���it weighs just over a pound and is about as thick as three iPhones stacked together���playing on the trend that people want something that���s easy to travel with. Yet the small size doesn���t limit its functionality: You still get a giant full-frame sensor, advanced auto-focus, and interchangeable lenses, making it a pro-level option that���s significantly better than any current phone, or any phone we���ll likely see in the next five years.

See how it stacks up against our other favorite mirrorless cameras

Sony A7CII

Specifications

• Price: $2,198
• ISO range: 50-204800
• Weight: 15.1 oz (body only)
• Size: 4.9 x 2.8 x 2.5 inches
• Sensor: 33-megapixel full-frame Exmor R back-illuminated CMOS

Pros and Cons
��� Small and light
��� Comes with a full-frame sensor that performs well in low light
��� Works with all of Sony���s high-quality E-mount lenses
��� Fairly priced
��� No auto-focus joystick
��� Does not match ergonomically with Sony���s largest zoom lenses

All gear in this guide was tested by multiple reviewers. When you buy through our links, we may earn an affiliate commission. This supports our mission to get more people active and outside. Learn more.

Review: Sony A7CII Mirrorless Camera

After testing the A7CII alongside many other newly-released full-frame digital cameras, I think it���s the best camera on the market for those of us who like to adventure. Weight and size matter on an all-day hike, multi-day ski tour, or when you want to haul a camera along on a 100-mile road ride, and the A7CII is small and light enough to never really bog you down or get in the way.

The interchangeable lenses you can use on the A7CII add bulk and weight, but Sony makes two that are the perfect add-on. Less than three inches long and about the diameter of a paper-towel tube, they���re much smaller than most standard lenses but fast enough to capture great photos in low light, wide enough for landscapes yet not too wide for portraits, and built with high-quality glass to produce tack-sharp images when paired with the well-tuned sensor on the camera (more on that later).

Because the A7CII is a full-frame camera, it works with Sony���s entire line of E-mount lenses. If you���re a birder and want to save a little weight on the camera but still bring along a 70-200 millimeter f/2.8���or heck, even the new 300 millimeter f/2.8���you���d be more than happy with the image quality. The ergonomics of holding a big lens matched to a small camera are not ideal, but doable if that���s where you land.

The full-frame sensor on the A7CII captures 33-megapixel images that are plenty big and detailed enough to produce stunning prints or magazine covers, but not so big that you���ll fill up unnecessary space on your hard drive. Like all Sony full-frame sensors, this one offers a wide dynamic range, so you can always go into Adobe Lightroom and tone down the highlights and pull out the shadows to create a balanced image, even when you���re shooting in lousy light.

For travel and adventure photographers who are shooting on the go and almost never bring along any external lights, knowing that you���ll always get a usable���if not absolutely gorgeous���image takes away the stress and allows you to focus on your framing and the moment.

One big update on the A7CII is a front adjustment dial that sits just below the shutter button. It���s an important addition to the A7CII because that dial allows you to quickly and easily adjust your shutter or your aperture if you���re shooting in shutter or aperture priority mode. If you want to shoot manually, there���s another dial on the back of the camera where your thumb sits so you can control aperture and shutter speed at the same time.

The only ergonomic drawback, one that I admittedly had to get used to, is the lack of an autofocus joystick. On Sony���s larger cameras, like the A7RV, there���s a small joystick that sits in the upper righthand corner on the back of the camera which easily allows your thumb to move the spot focus point around. I love that joystick because I can quickly, with just a flick of my thumb, tell the camera exactly where to focus, be that in the middle of the frame, down at the bottom, or in an upper corner.

The workaround on the A7CII is to turn the rear dial into your joystick. Ergonomically, this works fine because it���s easy to press the dial up, down, or side to side to move the focus point. The downside to this is that it requires reprogramming the standard setting.

When you get the camera out of the box, the rear dial is set up to allow you to change your frame rate (how many photos the camera takes when you hold down the shutter) and ISO. If you reprogram the rear dial to act as your autofocus joystick, as I did, you lose the ability to change frame rate and ISO quickly. These features can be changed otherways, but it���s a little more difficult. Side note: the A7CII shoots up to ten frames per second, which is plenty for capturing high-octane action shots.

Some photographers will not turn the dial into the autofocus select mechanism because the A7CII has phenomenal autofocus tracking. You can tell the camera to latch onto a subject by aiming the focus on the human, animal, insect, or even a car or a plane you want to track, and then half-pressing the shutter. The camera then tracks that subject no matter where it moves in frame, negating the need to manually move your autofocus point.

This technology has gotten significantly better in the past few years and allows the photographer to track subjects in dynamic and fast-moving situations. To switch subjects, you just line up your focus point and half-press the shutter once again.

I���d recommend the A7CII primarily for shooting photos; but if you did want to shoot video, you get beautiful 4K footage and incredible image stabilization for handheld shooting.

The A7CII costs $2,200 and the 35 millimeter f1.8 lens adds another $748, which brings the total to just shy of $3,000 for the basic setup. That may seem high, but it���s in the ballpark for a pro-level, full-frame camera that has the chops to shoot everything from action to landscapes.

There are similar cameras out there that are small but mighty, but within that testing pool, the Sony still comes out on top. The Fuji X100V, which has a loyal following and a similar price point, does not have the same high-level functionality as the Sony, and the images are not as good, in my opinion. There are rumors about an that will improve that camera���s specs, but even that will likely still leave Fuji behind Sony in the rankings.

Leica also released the recently, which is just as compact and makes beautiful Leica-quality images. But that camera comes in at $6,000 with a lens. For Leica loyalists, that price tag might be easy to rationalize; but for others, it might be too hefty.

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When I was traveling the country back in the mid-2000s doing photojournalism internships at various newspapers, I constantly heard the staff photographers say they were going to ���make��� a photo. That word stood out to me because up until that time I, and most people I knew, had always said ���take��� a photo.

When I asked these photographers why they swapped words, they told me that they preferred ���make��� because their entire job was to enter a situation and construct a photo. To do so, they considered factors like light, moment, composition, and distance in order to create a photo that captured what was most important or visually appealing.

All this work was much better described by the word ���make.��� To them, the word ���take��� implied that they just waltzed into a situation and grabbed a photo out of thin air instead of putting in the hard work needed to build the photo that would appear in the next day���s paper.

I, of course, immediately adopted that lexicon and have used it ever since. It���s a constant reminder that good photographs are created through a process, just like good writing. Every time I get a photo assignment, I remind myself that the photo isn���t going to just appear. I have to work hard in order to make something worth capturing.

I���m giving you this background because one of the tools that has helped me and many photographers ���make��� the best photographs possible is the prime lens. ���Prime��� means that the lens is a fixed focal length���35mm, for example���and does not change focal lengths like a zoom lens such as a�� 24���70mm.

These fixed-length lenses are important tools in the photo process because without the advantage of a zoom, the photographer is forced to move in order to make the photo. Instead of standing in one place and using a zoom to get closer or farther away from a photo subject, a photographer using a fixed-length prime lens has to back up or walk closer. In the process of moving around, photographers often learn more about what they���re capturing. They find new angles, get a better sense for the action, and become more in-tune with whatever is going on in front of them.

The famous photojournalist Robert Capa once said, “If your pictures aren’t good enough, you aren’t close enough.��� He wasn���t saying that the best photos are captured just inches away, but that to create great photos, photographers should not be afraid to be intimate with whatever they’re photographing. They need to be in the action and next to the subject to really capture what���s going on. A zoom lens allows a photographer to stay at a distance, while a prime lens forces a photographer to be in the middle.

Because prime lenses have fewer mechanical parts, they���re often less expensive and offer better quality glass for the price���creating noticeably sharper, more defined images. You can pick up a or prime lens from most major brands (Canon, Nikon, Sony, and others) with mid- to high-quality glass for just a couple hundred dollars, and that lens will be capable of covering a wide swath of photographic situations. The same inexpensive prime lens will have a wider aperture than all but the most expensive zoom lens. This lets in a lot of light, enabling faster shutter speeds, shallower depth of field, and the ability to make sharp photos in low-light situations.

For those zoom-lovers who have hated my argument to this point, I agree that zoom lenses still, and will always, have their place. It would be nearly impossible to cover an NFL or soccer game without a long telephoto zoom lens that allows photojournalists to zoom in on and track players at a distance. Nature photographers also rely on zoom lenses to create intimate photos of animals that are constantly on the move or are too dangerous to approach.

Many photographers love a quality wide-angle zoom lens because it covers so many situations. At 24mm you can shoot a wide-open landscape and then use the 70mm part of the lens to shoot a portrait. In high-action situations, like a protest, for example, it���s nice to have a zoom so you can quickly shoot a variety of situations without having to swap lenses.

These days, the glass quality on zoom lenses is also phenomenal. It used to be that if you wanted razor-sharp images where every pixel was crisp, you had to use prime lenses. But many modern zoom lenses I���ve tested from top companies create images that are equally sharp. The only drawback is that these sharp zoom lenses are wildly expensive.

So what should you buy? Pro photographers realize that if they want to have a complete lens kit, it���s going to include both prime and zoom lenses. Many photographers I know rely mostly on prime lenses, but they also carry zoom lenses just in case they���re shooting sports or other events where a zoom comes in handy.

For photographers just starting out, I, and most of the photographers I know, would suggest starting with prime lenses. With primes you���ll save money, increase the lenses��� photographic capabilities, and be forced to move around, which will help teach you how to make better photos. As your photo skills grow you���ll start to see what zoom lenses are needed to complete your kit, and you can invest accordingly.

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If travel is a gateway drug, photography is the next hardest substance. Blended, the two make a potent cocktail. On ski trips, backpacking trips, and forays into foreign cities, the search for a unique photograph has often brought me to places I might not have otherwise explored, like a peak or neighborhood that wasn’t on the itinerary.

And like most drugs, this speedball doesn’t come cheap. If you think ski gear is expensive, check out the prices on a decent camera setup. The addiction doesn’t end at electronics, either; there���s mirrorless lenses, tripods, straps, and filters to go with it.

As a writer and photographer in the outdoor industry, I’ve had the opportunity to test nearly every adventure-oriented camera bag you can buy. But what I wanted most was an efficient way to carry my camera while scrambling around mountains, forests, and deserts all over the world. It only took me six years to find it.

On my quest, I professional adventure photographers like Jimmy Chin, Jeff Johnson, Savannah Cummins, and Chris Burkard about the bags, straps, and pouches they use in the field. (Admittedly, these stories were as much for my own benefit as for yours.) Their insights confirmed my hunch: there are countless ways to carry a camera in the backcountry, but there is no single best way.

Undaunted, I trawled Instagram to learn what other photographers were using and scoured blogs and vlogs for brands and products I might’ve overlooked. I didn’t expect to find the one above the Arctic Circle, in Norway, aboard a 90-foot fishing vessel repurposed for ferrying travelers to the remote anchorages of Senja and other nearby islands. I was there with nine others to ski remote peaks and, many of us being photographers, hauling twice as many cameras as people to document the adventure. I immediately noticed that two of the members of our group used the same accessory for camera carry: a compact, triangular, black pouch with a zippered top made by Hyperlite Mountain Gear called the (from $109).

Like the ultralight backpacks and shelters that Hyperlite is known for, the Camera Pod is made from a Dyneema composite fabric skin. Dyneema, formerly called Cuben Fiber, is an ultra-high-molecular-weight polyethylene, essentially a super-ultralight fiber that’s 15 times stronger than steel by weight. The Dyneema in the Camera Pod’s composite skin is melded to a 150-denier polyester fabric to thicken it up for use outdoors. Between that and an inner lining made of an even thinner Dyneema, a layer of quarter-inch-thick closed-celled foam adds padding. All this is to say that the thing is lightweight���a large Camera Pod is 106 grams, slightly heavier than a stick of butter���yet extremely impact resistant. Oh, and it’s water resistant against rain and snow, too.

The Camera Pod comes in two sizes. Regular fits small mirrorless and point-and-shoot cameras, and large holds bigger mirrorless and DSLR setups. Beyond fabric and form, there are eight webbing loops, including one on each corner, for securing to a belt or backpack. It’s a hell of a lot simpler than other camera backpacks, shoulder bags, and organizing cubes with their folding Velcro dividers and magnetic access points.

In Norway, split boarded up and down peaks with his Camera Pod fixed to his backpack’s hipbelt, holster-style, and was able to draw his camera and capture a moment with a few seconds’ notice. I asked him what he liked about it, and he said, “������It gives me the confidence to keep the camera outside of my pack and on my hip or my chest no matter the weather. I find myself carrying it more and taking more photos than if I had to dig my camera out of the pack.” He���s brought his camera rock and ice climbing, on surf trips, and even on a 5,000-mile moto journey across Africa. I had to have one.

My Camera Pod���s first big trip was a four-day bikepacking adventure through northern New England via back roads and rail trails. Beyond pedaling 60 miles each day, I was tasked with documenting the trip for an editorial story about a cycling apparel brand. With a couple of zip ties and a piece of bungee from my local gear shop, I rigged the Camera Pod to my handlebars and frame so my camera was nearly as accessible as my water bottles.

A good camera bag provides two things: protection and easy access. Many do this well���I like ($280) and ($130)���but few to none do this for skiing, climbing, or riding a bike 250 miles, and those that claim to often dedicate too much space to cameras and lenses.

No, the Camera Pod can’t carry a full multi-lens kit, but any bag can do that with an aftermarket organizer like Peak Designs��� ($50). Instead, the pod is complementary to whatever vessel you carry the rest of your gear in. Tied directly to your hip or chest, it allows you to spend less time digging around in a bag and more time focusing on the shot.

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Peak Design Travel Tripod ($600)

The components of Peak Design���s clever carbon-簫fiber tripod all nest together, allowing it to fold down to about half the size of other travel models. It weighs in at a mere 2.8 pounds, and the ball-head mount lets you shoot in any orientation.

Atlas Athlete 簫Camera Pack ($395)

Atlas���s 40-liter 簫hauler carries like a hiking pack. The rear-access compartment keeps equipment secure, with room for everything else in an origami pocket that lets you shift space around.

G-Technology G-Drive Mobile 簫Storage Drive ($480)

Transfer up to 560MB per second with this 簫water- and dust-簫resistant, two-簫terabyte solid-state drive. It���s crushproof to 1,000 pounds and smaller than a deck of cards.

Lexar Professional 2000x SDXC UHS-II Card and Reader ($180)

This SD card has read and write speeds of up to 300MB and 260MB per second, respectively, so you can transfer RAW files in no time.

Incase DSLR Sling ($90)

This ten-liter, water-簫repellent DSLR sling holds more than you���d expect, with pockets and padded dividers to keep 簫camera, lenses, laptop, and acces簫sories organized. The burly polyester outer is trail-ready.

Hangtime Koala Phone Harness ($25)

Your phone shoots great video, but climbing with it can be risky. (Just ask Tommy Caldwell, who once dropped his off the Dawn Wall.) Keep your device safe with this harness and bungee tether.

BlackRapid Sport Camera Strap ($74)

Camera straps are a pain. But this breath簫able sling from BlackRapid holds hardware comfortably, so you���re ready to shoot from the hip. Excellent for street photography, events, and hikes.

Hydro Flask Trail Series Bottle ($50)

The last thing you want weighing down your camera bag is a heavy water bottle. Hydro Flask���s stainless-steel 32-ouncer is double vacuum 簫insulated, leakproof when shut, and 25 percent lighter than its other bottles.

F-stop Medium 簫Accessory Pouch ($39)

Wrapped in a durable, 簫water-resistant nylon outer, this clamshell pouch has four small mesh pockets and a large zippered section with adjustable dividers.

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Photographers will dig today���s gift. The ($150) from Peak Design can fit a full camera body and two lenses. The internal padded dividers can be adjusted to tightly cradle all that gear. Even if you���re not toting��a DSLR, the Sling works just as well for carrying a day���s essentials around town. Enter to win here.

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Peak Design is known for its intuitive and feature-rich camera accessories and packs, and its latest offering lives up to that billing. Here, Will walks us through the specs of the 45-liter ($300), which ships in December.

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You want to bring your camera hiking��but don���t want to haul around a full camera bag? I've��been there. Having invested so much into a DSLR or film setup, you still want to have some protection.

楚紳喧梗娶泭喧堯梗 ��($60).��The Base Layer is like a sleeping bag for your camera: it pairs��a��nylon face fabric��with 600-fill��down insulation to keep the contents padded��and safe. If the weather turns nasty, a hidden rain fly pulls out of a hidden stuff pocket, slips over the padding, and is secured by a��simple clip.

Using the Base Layer is easy���simply drop your camera in lens first, roll up the bag's top (which looks a lot like a dry-bag closure), then��clip it all together. It unclips in seconds, so you won't miss any spontaneous shots as you fumble��around with your camera case.��

The pouch fits most DSLR and��mirrorless cameras with small lenses (no 70-200mm��F2.8's). It easily stores��my��old Ricoh KR-5 film camera with a 50mm lens attached. In short, if��you're looking for something to add a little protection to your camera body without adding much bulk to your pack, the Base Layer is a great option.

The post Why I Always Hike with the Matador Camera Base Layer appeared first on 窪蹋勛圖厙 Online.