Updated October 12, 2026

Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We’ve looked at a range of models that offer great image quality, good autofocus and excellent video, so you’ll be prepared to capture whatever you run into.

One important consideration is what kind of travel photography you’re doing. If you’re traveling to a place, and wish to document your trip, you may be best served by a system with a Four Thirds or APS-C sensor, which allows for smaller and lighter lenses. However, if you’re specifically traveling to a place to photograph it, it may be worth considering a full-frame camera, since it offers the potential for even better image quality, and the size of the lenses will be less of a concern if photography is the main purpose of your trip.

Our recommendations

• Portable full-frame: Sony a7CR
• All-round packable capability: Sony a6700
• The fun-to-use compact with a zoom: Panasonic L10
• The genuinely small ILC: OM System PEN
• Best pocketable travel camera: Ricoh GR IV
• The portable option with a ton of reach: Sony RX10 V
• The best video camera for travel: DJI Osmo Pocket

Portable full-frame: Sony a7CR

Richard Butler

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera’s size down, but there’s little else that delivers this much image quality in such a compact package.

You’ll need to pick your lenses carefully to keep the camera portable but the a7CR’s autofocus means it can respond rapidly to just about anything you encounter on your travels. If you’re going to a place to take pictures of it, you’d be hard-pressed to find a better option.

A more affordable option

Nikon’s Z5IIC also aims to be a relatively small full-frame option, though it’s bigger and heavier than the Sony, despite lacking an EVF and having a substantially lower-res (though still solid) 24.5MP sensor. However, if you’re willing to deal with the extra bulk, there’s a big upside: it’s less than half the price of the a7CR, and still substantially cheaper than the a7C II, while still being easier to slip in and out of a bag compared to a traditional SLR-shaped body.

All-round packable capability: Sony a6700

Richard Butler

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There’s a good choice of relatively compact lenses available, too. We’d suggest avoiding the really small 16-50mm F3.5-5.6 though: it’s not the lens to get the most out of this camera.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

An alternative with a lovely kit lens

If you’re looking for an APS-C camera that’s just a bit more engaging to use, and that has a very nice kit lens option, it’s also worth considering the Fujifilm X-T50 with the company’s 16-50mm F2.8-4.8. It offers a great balance of weight, range and image quality, and while the X-T50’s autofocus isn’t as good as the a6700’s, some people will find it nicer to use with its dedicated controls for shutter speed and “Film Simulation” color mode.

The fun-to-use compact with a zoom: Panasonic L10

Mitchell Clark

The L10 takes a lot of what the Ricoh GR IV and Fujifilm X100 VI get right – it’s relatively small, engaging to use, and has great image quality – and pairs it with a zoom lens instead of a prime one. While primes definitely have their place, it can be hard to tell what you’ll run into while traveling. If you want the experience of a compact but the flexibility of a 24-75mm equiv., the L10 is the camera to pack.

A smaller, cheaper option (theoretically)

If you want a compact camera that’s meaningfully smaller than the L10, and which comes with a lower price tag, Canon’s G7 X III fits that bill nicely. However, likely in part due to its wild popularity on social media, it’s been very difficult to get at MSRP for a long time now. It’s rare to see it in stock at most retailers, but if you get lucky and find one, it’s worth considering as a travel companion.

The genuinely small ILC: OM System PEN

Richard Butler

The PEN is quite good for travel and everyday carry, as it’s relatively small, offers an engaging shooting experience and has a variety of lovely color modes that you can play with while shooting, or after the fact with its Raw converter. This makes it easier to get the look you want straight out of camera, rather than having to break out a computer or tablet for editing. There are also a number of lenses available for it that don’t add much to its bulk.

The more premium Micro Four Thirds Pick

If cost is no option and you don’t mind a camera that’s a little larger and heavier than the PEN, OM System’s OM-3 is worth considering. It has a stacked sensor, which is costly, but gives it blistering burst rates that will allow you to capture pretty much anything you encounter. It also comes with a more robust IP53 rating, is more capable when it comes to video and has overall better performance, with much faster processing for its multi-shot modes and, in our experience, more reliable autofocus.

Best pocketable travel camera: Ricoh GR IV

Richard Butler

The Ricoh GR IV is the latest entry in the company’s series of classic compact cameras with large APS-C sensors and a 28mm equivalent lens. It’s not the most flexible camera, but it has engaging controls and is one of the most pocketable models with a large sensor, which is probably why the GR series has built up a dedicated following of photographers who find it a joy to shoot with.

Our one concern with using the GR IV for travel is that some users of the previous generation model reported dust getting into the lens. Ricoh has said it’s made a few changes that should help prevent that, but still doesn’t make any claims of weather sealing, so it may be worth keeping it in protective bag and putting it away in particularly unpleasant weather.

If you like a tighter field of view (and don’t mind the occasions where it might be too tight), it could be worth waiting for the upcoming GR IVx, which will have a longer, 40mm equivalent lens. Ricoh also sells a GR IV Monochrome, though a camera that only shoots black and white probably wouldn’t be our first pick for travel photograph.

The crowd favorite with extras

While the GR IV’s size is what makes it so great, you may find yourself wishing it were just a bit bigger to accommodate features like a built-in flash and EVF. Thankfully, that camera exists in the extremely popular Fujifilm X100VI. If you can get your hands on one (which is no small task), its hybrid optical/electronic viewfinder is a joy to use, and its 35mm equiv. focal length is more to some people’s tastes than the wider one found on the GR series.

The portable option with a ton of reach: Sony RX10 V

Richard Butler

The Sony RX10 V is built around a Type 1 (116mm2) 20MP Stacked CMOS sensor, and features a far-reaching 24-600mm equiv. F2.4-4 lens.

For many of us, traveling somewhere and looking at faraway things is a big part of vacationing. And with its 24-600mm equiv. zoom, blistering fast burst rates and best-in-the-business autofocus, the Sony RX10 V is the perfect tool for photographing things in the distance (while still being engaging for capturing nearer subjects). It’s not the smallest compact ever, but almost anything else with this kind of reach would be much bigger, heavier and more expensive.

While we haven’t completed our full review of the camera yet, we’ve used it enough to know that it belongs on this list. It provides good image quality, is engaging to use, and features Sony’s latest autofocus tech, which is still among the best in the business.

The best video camera for travel: DJI Osmo Pocket

Richard Butler

DJI’s Osmo Pocket series of cameras feature a stabilized handheld vlogging camera, designed for on-the-move vlogging. The main cameras on them are built around a type 1 (13.2 x 8.8mm) sensor mounted on a tiny gimbal, meaning it can deliver stabilized footage with smoother motion than any conventional camera or phone.

When you’re traveling in an unfamiliar place, there are a million things to focus on; the Pockets let you capture it all, without requiring much effort on your part. It can also natively film in horizontal or vertical, which can be useful if you’re looking to share footage from your travels on social media.

The reason we’re referring to multiple cameras is that the Pocket’s availability will vary depending on what region you’re in. If you’re in the US, the latest version you have access to is the Pocket 3. In the rest of the world, though, the Pocket 4 is now available, adding integrated storage, high framerates and better controls, along with a few other improvements. There’s also the Pocket 4P, which adds a second 60mm equiv. camera with a Type 1/1.28 (75mm²) sensor and features better dynamic range on its main camera, and Insta360’s Luna series of cameras are very similar to the Pockets, with the single-lens “Pro” and dual-lens “Ultra.”

The Pockets’ small sensors mean they works better in well-lit situations, though a reasonably bright F2.0 lens on the main camera mean they’re usable indoors, too.

It can shoot 4K 16:9 video or, by rotating the screen into the upright position, 3K vertical 9:16 footage. A small joystick lets you control the camera’s movement, and tapping the joystick button flips between the camera pointing toward you or away from you.

The older Pocket 3’s reliance on contrast-detection autofocus means its focus can be prone to hunting, though the cameras’ face-detection mode works well enough that this is rarely a problem when talking to the camera.

The video quality isn’t always the highest, and the autofocus can occasionally lead to frustration, but overall the quality and convenience of the Pocket as a package is really hard to beat.

Why you should trust us

This buying guide is based on cameras used and tested by DPReview’s editorial team. We don’t select a camera until we’ve used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

The Sony RX10 V is an update to the company’s long-zoom large-sensor compact. It’s built around a 20MP stacked Type 1 (116mm²) sensor and a 24-600mm equiv, F2.4-4.0 stabilized zoom.

It’s a long-zoom ‘compact’ whose newfound processing power means it can shoot a range of subjects from landscapes to wildlife and maybe even a little sport. We’d be tempted to make the comparison to a Swiss Army knife, only the RX10 is far from pocketable.

Key specifications

• 20MP Type-1 (116mm²) stacked CMOS sensor
• 24-600mm equiv. F2.4-4.0 lens
• Up to 30fps shooting
• 4K up to 120p with crop (60p full width) in 10-bit
• 3.68M dot EVF
• 1.62M dot tilting rear LCD
• UHS-II SD card slot
• 630 shot/charge battery life rating

The RX10 V will be available in early August with a recommended price of $2,300. This is exactly in line with the US consumer price index inflation rate applied to the $1700 launch price of the RX10 IV, nine years ago. To use a different benchmark, it’s cheaper, relative to the a7 V and that camera’s peers, than the Mark IV was, relative to its contemporary a7 model.

Index

• What’s new
• Body and handling
• In use
• Initial impressions
• Autofocus
• Image quality
• Video
• Conclusion
• Sample gallery
• Specifications
• Press release

What’s new

It’s been eight years since the RX10 IV and Sony has made big steps forward in both technology and ergonomics in the meantime: the RX10 V benefits from both.

On the technology side, the RX10 V gains the Bionz XR processor and “AI processing unit” from the previous generation of Alpha cameras. This brings the full range of subject recognition modes, including birds, animals, cars, planes and the “human pose estimation” system that is designed to recognise people-shaped things in the scene, even when the face or eyes aren’t visible, to help the camera continue to track the same subject.

The added processing power allows the RX10 V to shoot at up to 30 frames per second with a blackout free viewfinder. You also gain the Speed boost function that lets you temporarily engage a faster (or slower) shooting mode, when you hold a customized button down, but you don’t gain the pre-capture function.

Autofocus has come a long way in the nine years since the previous RX10 was released, and the new model feels like a thoroughly modern camera. The other area of significant improvement over the same period is video, and the RX10 V is a bit step forward in that regard, too, with a host of Sony’s latest options including, significantly, the ability to capture 10-bit and H.265 footage, both of which make it more pleasant to work with.

Sony says it’s the same lens as on the RX10 IV but CIPA standards for reporting focal length have apparently changed in the meantime, meaning it’s quoted as a 9.1-210mm zoom, rather than the 8.8-220mm figures printed on the side of the previous two models. We suspect the figures now quoted are the literal focal lengths, rather than the effective focal lengths after corrections has been applied. The end result is the same, though: a 24-600mm equiv range with an F2.4-4.0 maximum aperture and in-lens stabilization.

It’s hard to get your head round just how much flexibility a 24-600mm lens gives you until you use it. There are cameras that offer even more range, but all of them are based on much smaller sensors, so you pay a price in terms of image quality, if any survives the heat haze.

The lens has a built-in shutter which can go as fast as 1/1000th of a second at wide apertures, and 1/2000 sec at F8 and slower. This is great for flash, as you can sync up to those maximum speeds but quickly becomes limiting in bright light. You can switch the camera to e-shutter mode which, with a rolling shutter rate of 15.7ms (1/64sec) is still pretty fast, but this requires you to switch to the lossy compressed Raw format. There’s no auto mode to let you use mechanical shutter up to its limit, then e-shutter beyond that.

Body and handling

Richard Butler

The RX10 V is a substantial camera but that’s to be expected for something trying to deliver a 24-600mm equivalent zoom range. It’s been a long time since we handled an RX10 IV but the grip shape seems improved, offering a sturdy grip on the dense, polycarbonate body.

There’s no front dial, the logic presumably being that you’ll use your index finger for operating the zoom rocker. This means the two command dials on the rear shoulder are both operated with your thumb. There’s also a rather fiddly dial on the rear plate of the camera but thankfully, with the provision of two customizable command dials and an aperture ring, there’s rarely need to use it (it’s not used in photo mode, by default).

Richard Butler

Unlike recent Sony cameras, the RX10 V has a 10Gbps USB-C socket for fast data transfer but then retains the USB Micro B ‘Multi’ socket for attaching external accessories. This can no longer be used for charging the camera, reducing its usefulness to being an accessory port.

The RX10 V still uses a single SD card but the interface now uses the slightly newer UHS-II standard, rather than the UHS-I slot on the previous model. This is quick enough to accommodate the 600Mbps (75MB/s) data rate required for 4K/60 video capture with All-I compression.

Viewfinder

Richard Butler

The viewfinder gets an upgrade to 3.68M dots (1280 x 960px), which is a decent step up from its predecessor. The resolution drops a little if you engage the high refresh rate mode, and battery life drops, too, but whichever mode you choose, the resolution is maintained, even when using C-AF, so you don’t get the potentially distracting drop in detail when you half-press the shutter.

Screen

The screen is also refreshed, with the Mark V using a 1.62M dot (900 x 600px) screen that matches the sensor’s aspect ratio, rather than the 4:3, 800 x 600px panel on the previous model. The screen is still mounted on a tilt up/down cradle, which gives a decent level of flexibility but isn’t well suited to portrait orientation shooting.

Battery

Richard Butler

Other than the improved autofocus, perhaps the biggest change on the Mark V is the move to the much larger NP-FZ100 battery. This is the 16.4Wh battery that has powered the various a7 models for the past nine years. It has a capacity more than twice that of the FW50 battery used in previous RX10 cameras, giving much better battery life in a way that seems appropriate for a camera so likely to be used for travel and long shoots outdoors.

In use

When you first start up the camera, you’re confronted with a very simple, compact-camera display, with five large touchscreen buttons arrayed down both sides of the screen. This ends up feeling somewhat nostalgic, having not encountered a mainstream point-and-shoot for some time, and rather at odds with the more Alpha-styled controls and main menu.

Anyone not wanting to use touchscreen buttons, or wanting a less cluttered display can remove them (the option to do so is under Touch Operation / Touch Panel Settings, rather than with the display options in Operation Customize).

With this done, the RX10 V feels a lot like an Alpha-series camera, with the new menus representing a big improvement over the ones in the previous models. It’s not without its foibles but for the most part it’s well grouped and organized, and with a little customization of the Fn menu and custom buttons, you can minimize your need to visit it.

The RX10 V has the same issue as other Sony cameras in terms of a couple of incompatible settings: you’ll need to disengage Raw and switch to HEIF format before you can engage the camera’s HLG Stills mode to shoot true HDR images, and you’ll have to switch your Raw format if you want to engage the electronic shutter mode. All of which leaves the risk that you forget to switch back.

Richard Butler

Also, somewhat disappointingly for such a travel-friendly camera, Sony remains the only major brand not to offer some kind of in-camera Raw conversion. So if you take a nice shot but want to tweak the white balance, color mode or DRO level before sharing it, tough luck, you’ll just have to messily hack the JPEG around on your phone.

There’s a lot to like, though. The dials and joystick give a good sense of direct control, letting you feel you have direct command over the camera’s really rather impressive capabilities. It has its limits, though: it will try to keep focusing if you zoom with the ring around the lens (you can’t use the zoom rocker), but it definitely struggles, which can limit some sports or action shooting. But the ability to quicky zoom with the rocker under your index finger and fine-tune the framing with the lens ring helps keep the power zoom feeling pretty engaging.

While the RX10 V’s interface is borrowed directly from the Alpha series, its wide range of features and capabilities means it somehow manages to be even more cluttered than on those cameras. So, in addition to the settings and icons that surround all four edges of the screen, there’s a Stabilization indicator that shows up in the main preview, along with warnings about the AF illuminator and a huge “FULL” icon, towards the middle of the display. This has nothing to do with you running out of card space, though; it’s just reporting the essential information that the focus range limiter isn’t engaged.

Initial impressions

Richard Butler

It’s been nine years since the last RX10 model was released and, although things have been pretty quiet on the compact front, the rest of camera technology and performance have continued to make advances. Much like watching a young relative you rarely get to see grow up through a series of infrequent visits, the prolonged gap really makes you notice how much has changed in the meantime.

The RX10 V is a dramatically more advanced camera than its predecessor: faster to focus and much more dependable at subject tracking. The menus and ergonomics have come a long way, too, and its video capabilities are leagues ahead of where the RX10 IV had brought us to.

I’m not generally a fan of long-zoom cameras, as I’d usually prioritize compactness over that additional reach that I rarely find myself wanting to use. But the enhanced AF performance and speed capture add a lot to what was already a camera with a strong following. They vastly expand what the RX10 V can do, and the changes to the controls and battery are significant benefits, too.

Unlike the recent L10, that doubling of battery capacity hasn’t led to much of a change in body size, and it wouldn’t have made much difference anyway, on a body so dominated by that vast lens.

There can be a few delays, here and there, waiting for the lens to initialize, and it was disappointing to have to swap shutter modes (and Raw filetype) or stop down when hitting the 1/1000 sec limit of the mechanical shutter. But overall I’ve found the RX10 V to be a pleasant travel companion whose lens constantly challenged me to think of photos that I couldn’t otherwise take.

Whether that makes it worth $2300 is for each individual to decide, but it’s striking to get to see what nearly a decade’s worth of improvements, delivered all in one go, look like.

Autofocus

The RX10’s autofocus interface resembles that of Sony’s Alpha series ILCs, meaning you get a choice of 11 different AF area modes, which are supplemented with tracking version of each area mode, when you switch to AF-C mode. There’s no longer a switch to select AF-C on the front of the camera (just an AF/MF switch on the lens), but for the vast majority of subjects, you can comfortably leave the camera in AF-C all the time.

In addition to the area modes the camera has its subject recognition system, trained to recognize six different subject types. There’s also an Auto subject mode that will hunt through all its subject recognition modes to see if it can identify your subject. On top of this, there’s the option to select which subject types are included in this Auto mode, to boost both speed and accuracy.

The RX10 V’s autofocus is a big step forward from its predecessor. Faster processing and subject recognition algorithms mean the RX10 V can recognize and track subjects very reliably, and these capabilities extend across to video, in a way they didn’t, before.

However the system isn’t completely flawless: when asked to react quickly with a distant subject, aircraft detection mode didn’t find the planes in the following picture, instead focusing on the Space Needle. Overall, it’s beyond what we’ve previously seen from a compact camera, though.

The fact that it’s awkward to zoom while you’re shooting bursts (the lens ring continues to work but the zoom rocker doesn’t) and the camera isn’t able to maintain focus while zooming puts an upper limit on what you can expect the RX10 V to achieve, in fast-moving situations, but it’s still one of the most sports-capable fixed-lens cameras we’ve ever used.

Image quality

Studio test scene

Our test scene is designed to simulate a variety of textures, colors, and detail types you’ll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

Unsurprisingly, the RX10 V performs very similarly to the RX10 IV when looking at its Raw images at base ISO, which is a good thing. It captures a good amount of detail, and at 88mm equiv., its lens actually holds up quite well compared to other cameras with Type 1 sensors and lenses with much less ambitious focal lengths. It also provides more detail with less noise than the Nikon P1000, which offers much more reach but uses a lower-res and much smaller 16MP 1/2.3″ (28mm²) sensor.

The RX10 V’s JPEGs are where the decade of progress becomes apparent. The colors are much more pleasing than those of the IV, with more natural skin tones, and the vibrancy of colors turned up where they were lacking, and turned down where they were overbearing. We also found this to be the case in the sample photos we shot with the V. Sony’s progress on this front has been slow and steady, but with so much time between the two models, it’s much more noticeable.

This class of cameras has never been the best pick for low light photography, the RX10 V’s Raws again look as we’d expect. Switch over to JPEG and it’s clear that Sony has upgraded the camera’s noise reduction to some extent, but in higher-contrast, more detailed areas, we’d be hard-pressed to tell its performance apart from its predecessor’s. However, it does outperform Panasonic’s similarly-specced (and now discontinued) FZ-1000 II from 2020 in this regard, and is significantly better at low light than the P1000.

The camera’s reasonably fast F2.4-4.0 maximum aperture means it can maintain good image quality when there’s plenty of light, but it doesn’t take much for the light levels to start chipping into the image quality, as you can see here, where the

Video

The previous RX10 V’s video topped-out at 4K/30, despite the use of a fast, stacked CMOS sensor. The Mark V pushes way beyond this, with the option to shoot 4K/120 with a significant 1.38x crop or oversampled 4K/60 from the full width of the sensor. As you’d expect from a modern camera, this can all be done in 10-bit, making Log, and in particular, the more ambitious S-Log3 curve, much more usable.

Richard Butler

But video improvements over the past nearly decade go further than speed. The RX10 V lets you shoot in the attractive, S-Cinetone color mode and it lets you upload LUTs for previewing your preferred color grade, or to burn directly into the footage. It has Sony’s Auto Framing mode that identifies a subject, punches in and follows them around, upscaling the footage and giving a camera operator dynamism to what are actually locked-off shots. There’s also the Active Mode IS that corrects a wider range of movement, available at up to 4K/60.

Then, on the audio side of things, the RX10 V can capture up to four-channel audio, if you attach an accessory to its multi-interface connectors in the hotshoe. A 72mm filter thread allows you to attach ND filters as needed.

Above all of this, though, the RX10 V’s video also benefits from its improved autofocus system, which is much more tenacious and dependable in terms of subject tracking, especially if your subject is of a type the camera has been trained to recognize.

Conclusion

The RX10 V is an extremely capable all-in-one camera whose extreme flexibility, paradoxically, risks limiting its appeal to a relatively small audience.

It’s a huge step forward from its predecessor, with its updated autofocus in both stills and video, and the addition of an Alpha-style joystick makes it more engaging and usable.

Richard Butler

The AF improvements widen the range of circumstances in which the camera will confidently deliver, expanding its wildlife capabilities and also making sports shooting much more plausible than its predecessor. And this is a case of broadening the horizons of a camera that, with its huge lens range, could already do a lot.

There are some odd quirks, though: it feels strange that Sony didn’t bring its pre-capture mode that would boost its action-capturing abilities. And the lack of a mode that auto-switches shutter mode when the camera hits the upper limit of its mechanical shutter is frustrating (even if it’d mean being stuck in or switching to the lossy Raw mode used for E-shutter).

Some existing RX10 users are likely to miss the top-plate settings display, whereas our bigger concern was that all its command dials are positioned to be controlled with your thumb, rather than thumb and forefinger. But the addition of the joystick and larger battery make for a net improvement, we felt.

The RX10 V’s self-contained nature is very much part of its appeal. You never have to think about which lens to buy or bring with you: you already have a combination that extends from wide-angle to super telephoto. However, to achieve this range means the camera has a moderately sized sensor which, combined with its modest aperture range, puts an upper limit on image quality.

If you need the full breadth of the RX10 V’s features in a single package, it’s genuinely excellent, and it’s hard to think of a more responsive, engaging ‘compact.’ However, if you only need a subset of what the RX10 can do, you may well be able to find a different combination that offers better image quality or an even greater aptitude for sports at a comparable price.

What you won’t find is a camera that offers the RX10 V’s combination of range, capability and size, for the same price. If your shooting needs everything that the RX10 V offers, it’s the only game in town, so for those users, it’s a Gold.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

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Overall Score

85%

Scores reflect competition at the time of release; cross-year comparisons may be misleading

Expert Summary

The RX10 V is a hugely capable self-contained package that can lend itself to a remarkable range of photography. You probably have to need everything it offers to make its price make sense, but it's perhaps the most flexible 'compact' camera we've ever seen.

Good For:

A bit of (almost) everything

Not So Good For:

Sports, Maximal image quality

Reviewed on August 24, 2026

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Sample gallery

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Sony DSC-RX10 V specifications