Alongside its traditional candybar style phones, Google has also announced the Pixel 11 Pro Fold, the latest iteration of its foldable smartphone. While the majority of its improvements relate to the phone part of it, there are some updates to the camera, too.

Like its predecessor, the Fold has a three camera array: the mix of wide, ultrawide and telephoto we’ve come to expect from most modern smartphones. While its cameras aren’t up to par with the ones found on the non-folding Pixel 11 Pro – in fact, one of them is worse than the one on the standard Pixel 11 – the sensor in the main wide camera is an improvement over the Pixel 10 Pro Fold. It now uses the same 48MP Type 1/1.56 sensor (48mm²) found in the standard Pixel 11, which is noticeably larger than the Type 1/2 (30.7mm²) model used by its predecessor.

Otherwise, the phone features the same ultrawide and telephoto sensors as its predecessor, though Google now gives you the option of doing a 30x “Super Zoom” crop on the 5x lens. The camera bar has also been redesigned, and now includes the “HiLight” multi-color notification indicator, which can tell you if you’re receiving a call from a particular contact, even when your phone is face-down.

While the cameras may represent relatively mild upgrades, the rest of the phone has gotten more attention, starting with its build. Google says it’s 10% lighter and 1mm thinner than its predecessor, and yet three times more durable. While it’s hard to really quantify durability in a way that can be multiplied, like its predecessor the Pixel 11 Pro Fold has an IP68 dust and water resistance rating.

The real gains likely come from the back of the phone, which Google says is made from a glass fiber composite that’s “nearly impossible to crack.” The front 6.5″ display also now uses an “ultra durable” ceramic glass.

Speaking of those displays, the front one is now 20% brighter, shining at up to 2400 nits while displaying HDR content, and capable of reaching peaks of 3600 nits. Those specs are matched by the internal 8″ display, again representing an improvement over the Pro 10 Fold. Google also says the phone now has the thinnest bezels in its series.

The Pixel 11 Pro Fold uses the same Tensor G6 processor as the mainline Pixel 11 phones, but comes stock with 16GB of RAM, which is no surprise given the company’s increased focus on multitasking this year. Google has also upgraded it to Qi2.2, allowing for 25W wireless charging.

It also has the same upgraded set of photography features, including the “Camera Looks” feature that gives you more control over how your photos are processed, the faster capture and processing for low-light “Night Sight” photos and the “Magic Capture” mode meant to hand over control of which moments to photograph to the phone, so you can focus on what’s happening in front of you.

The phone now starts at $1899 for the model with 256GB of storage, which is $100 more than the previous version. While that’s not a surprise given the current state of pricing for electronics, the price increase also comes at a time when the competition is fiercer than ever. Samsung’s latest foldables, especially the passport-style Galaxy Fold 8 are getting a lot of buzz, despite their also-hefty price tags.

The Pixel 11 Pro Fold will be available in “Olive” green and “Obsidian” black.

Google has announced its new lineup of standard format (as opposed to folding) phones: the Pixel 11, Pixel 11 Pro and Pixel 11 Pro XL. Both include improvements to their main cameras, as well as the now-iconic bar they’re housed in, and a host of new photo-focused features.

The Pixel 11

Infamously, last year’s Pixel 10 added a telephoto camera, but at the cost of the main camera: where the three generations before it had a 50MP Type 1/1.31 (72mm²) sensor behind a 24mm lens, the 11 used a 48MP Type 1/2 (31mm²) and a fractionally slower lens, meaning it could gather much less light. Its ultrawide camera was also downgraded, though to a slightly lesser degree.

With the Pixel 11, Google is walking that reduction back, using a larger 48MP Type 1/1.56 (48mm²) sensor for the main camera. While that’s not as large as the sensors found in the Pixels 7, 8 and 9, the company says it should let in around 56% more light than the one on the 10.

While the ultrawide and telephoto cameras are the same as the ones in the Pixel 10, the company has redesigned the bar they live in. It’s now completely covered in glass, rather than featuring a metal accent, and is 40% thinner. While this doesn’t result in a completely flat back like you’d find on the Pixel 10a, Google says that if you put one of its silicon cases on the phone, it essentially won’t have a camera bump.

Unsurprisingly, Google has also updated the processor in the phone, using its new Tensor G6 chip, which it says is faster, and has an upgraded image signal processor, which will specifically help improve the phone’s video (more on that in a bit). Unlike some competitors, the company doesn’t appear to have opted for a silicon-carbon battery, which can provide greater energy density in the same footprint; the Pixel 11 has roughly the same battery capacity as its predecessor. However, it has been upgraded to use Qi 2.2 wireless charging, letting it refill at up to 25W instead of the 15W the Pixel 10 maxed out at.

The base Pixel 11 model starts with 12GB of RAM and 256GB of storage for $899. While that’s the same price as a Pixel 10 with the same storage, Google has removed the 128GB option that sat below it for $100 less (though it has added a 512GB option above it). That’s unfortunate, but unsurprising in the age of ballooning NAND chip costs.

Pixel 11 Pro

The camera upgrades on the Pixel 11 Pro and its larger sibling, the Pro XL, are slightly more subtle. The company says the 50MP main camera has been upgraded, but it’s hard to tell exactly what’s changed. It still has a Type 1/1.3 (72mm²) sensor with an F1.68 lens and a 2x center crop mode.

The 48MP telephoto camera, however, is undeniably larger. It uses a Type 1/1.95 (32mm²) sensor, which Google says lets in 30% more light than the Type 1/2.51 (23.5mm²) model on the Pixel 10 Pro. You can also now use the portrait mode on the telephoto camera, adding computer-generated bokeh on top of a focal length that’s traditionally more useful for portraiture.

While the camera bar isn’t as thin as the one on the standard Pixel 11, Google says it’s been redesigned. Part of that includes a new indicator, which the company is calling HiLight. It’s a multi-color light that acts as a status indicator, letting you know about incoming calls, even if the phone is face down on a table. Google pitches it as a feature that will let you be more present in the moment, while still being able to see if someone is trying to contact you. The company says it’ll be able to indicate more things in the future, such as notifying you about text messages.

The displays – 6.3″ for the standard Pro and 6.8″ for the XL – have the same resolution and refresh rates as their predecessor’s. However, they can go a touch brighter; up to 2400 nits, with 3600 nits peak brightness, up from 2200 and 3300 nits, respectively. The glass covering those displays is also improved, with Google promising double the scratch resistance.

Google

Like the Pixel 11, the Pros are getting a de-facto $100 price bump via the removal of the base storage tier. The standard 11 Pro now starts at $1099 for a version with 256GB of storage and 12GB of RAM (though the 512 and 1TB models have 16GB of memory), and the XL starts at $1299. Apart from screen and battery size, the standard and XL models have the same specifications.

The Pixel camera features

Whichever phone you opt for, Google has also included a few new camera features and improvements. With the new Tensor chip, the company says you can capture “Night Sight” low-light photos up to 4.5 times faster, without any reduction in quality compared to previous-generation phones.

Google

The company is also introducing a feature called “Camera Looks”, which lets you customize how your photos look at time of capture, without having to go in and edit them later. There are several preset modes, including some that Google says are designed to make your photos look “less processed” by using fewer frames to produce an image. This builds on what seems to be a trend of people wanting smartphone photos to look a little more natural and contrasty, rather than hyper-processed.

Several third-party apps, like Adobe’s Project Indigo, and other phone manufacturers, have added similar modes. Of course, the Camera Looks also let you go the opposite direction too, with more distinct looks and film emulations. The camera app lets you set a look as the default, so you don’t have to select it each time you open the camera.

Google has also introduced a mode designed to give the phone control over which moments it captures, letting you pay attention to the thing you’re trying to photograph; think capturing a child’s first steps, or a birthday party. It’s called “Magic Capture,” and to use it, you basically just tell your phone when to start recording, then point it at the subject. It tries to recognize the moments worth saving, and capture them as video clips and what Google says are “HDR+ images.” (Though that designation implies the pictures won’t be as high quality as the ones you’d get from the standard camera mode, which would make sense if they’re derived from video capture). After you’re done, you can choose to apply minor edits to the photos, such as crops and deblurring.

Google

Finally, Google says the new crop of Pixel phones have “the best video quality ever” for the series, with the company having tweaked things like sharpening and noise reduction. It’s been common knowledge among creators for years that iPhones offer much better video than even high-end Android phones, so it seems like Google may be trying to combat that stereotype with these latest phones.

It’s also building in several tools for video creators, such as a teleprompter, overlays with gridlines and safezones for various social media platforms and an audio monitor overlay.

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.