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Updated October 12, 2026
What’s the best camera for travel? Good travel cameras should be small, versatile, and offer good image quality. In this buying guide we’ve rounded-up several great cameras for travel and recommended the best.
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
61MP BSI CMOS sensor
4K/60p video with 10-bit color
Dedicated ‘AI’ processor for AF system
Richard ButlerPros
- Big camera features in a small body
- Outstanding AF performance
- Auto Framing video mode
Cons
- Small, low-res viewfinder
- No joystick control
- No fully mechanical shutter
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.
The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much.
Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate.
“If you’re looking for maximum resolution in a travel-sized body, the a7RC is tough to beat.”
The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus.
The a7CR’s 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO.
The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony’s a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you’re looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.
Read our full Sony a7CR Review
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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
26MP BSI CMOS sensor
4K/60p video capture
Fully articulating screen
Richard ButlerPros
- Front and rear command dials
- Excellent AF in stills and video
- 4K/120p capture (with crop)
Cons
- No AF joystick
- JPEG sharpening can be aggressive
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.
The a6700 has a thumb-and-forefinger dial interface missing from Sony’s less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.
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.
“Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts.”
The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It’s a strong option both for videographers and vloggers.
Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony’s E-mount also includes a good range of available lenses.
Read our full Sony a6700 review
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
>20.3MP images from 26.5MP Four Thirds sensor
24-75mm equiv. F1.7-2.8 OIS lens
2.36M dot OLED EVF
Mitchell ClarkPros
- Very good image quality and DR
- Autofocus mostly accurate and easy to use
- Ambitious zoom lens is versatile
- Extensive battery life
Cons
- Controls won’t match everyone’s tastes
- Not particularly pocketable
- Lens can be sluggish to zoom
The Panasonic L10 is an enthusiast compact with a 24-75mm equiv., F1.7-2.8 lens, and produces up to 20.3MP images from a 26.5MP BSI CMOS Four Thirds sensor.
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.
It’s well-built and offers plenty of tactile, customizable controls, though the number of options (and some peculiar defaults) make it feel like a setup that came from a more complicated camera. Its EVF very usable, and a welcome addition.
The L10 is the first truly new enthusiast zoom compact in nearly a decade, and mostly delivers on the promise of its new sensor and processor.
The L10 is responsive and delivers mostly dependable autofocus with several subject tracking modes. It also offers modern connectivity, and is compatible with the rather good Lumix Lab app. The larger battery that makes the L10 less pocketable than its predecessors is a worthy inclusion, for us.
It offers solid image quality given its size and zoom lens, though APS-C compacts with prime lenses can provide better IQ at the cost of flexibility.
The L10 is a solid compact for enthusiast photographers. The experience of using it isn’t perfect, but it’s mostly successful in bringing a time-tested formula into the modern age.
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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
20MP BSI Four Thirds sensor
In body stabilization
Built-in 2.36M dot EVF
Richard ButlerPros
- Good balance of size and controls
- Interesting color modes
- Decent battery life
Cons
- Slightly quirky autofocus
- UI gets complex/inconsistent in places
- Video modes
The OM System PEN is a compact, retro-rangerfinder-styled ILC based around a stabilized 20MP Four Thirds sensor.
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 PEN strikes a good balance between size and control level. It’s not too small to fit in the hand and has two well-positioned command dials. Some of the buttons on the back are a little small but they’re generally separated well enough to prevent inadvertent operation.
The PEN is less suited to fast scenes, with modest burst rates and AF that struggles with unpredictable movement. Its subject recognition modes overrule your chosen AF point and are prone to false-positives, so you’ll need to engage and disengage those modes as needed. Focus is generally very accurate when it focuses on the right thing: you just may need to put in a bit more work.
The kind of travel companion that won’t always do exactly what you want to do. But also the kind that you’re glad you took with you.
Video is perhaps the PEN’s biggest weak spot. It can shoot attractive clips and can apply its various color modes and effects to its footage. However, all the footage is 8-bit, which limits the option for post-shoot grading and only its 24fps DCI 4K mode is particularly sharp.
The PEN offers a couple of interesting color modes, some of which can be accessed via a switch on the front of the camera. These film-like modes offer a lot of control over color response, making them interesting creative tools. The relatively small sensor struggles as light levels fall but image stabilization and a hand-held multi-shot mode help you get the most out of the camera.
The PEN is an attractive camera at an attractive price. It has a few quirks and foibles but, paired with some of the compact Micro Four Thirds lenses, can deliver on its promise of an everyday and travel camera that’s fun and pleasant company.
Read our review of the OM System PEN
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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
26MP APS-C sensor
28mm equiv F2.8 lens
5-axis image stabilization
The Ricoh is a pocketable compact with a large APS-C sensor.Richard ButlerPros
- Great image quality
- Well-considered controls
- 53GB of built-in storage is extremely convenient
Cons
- Dated autofocus performance
- Pricey (even more with flash)
- Battery life is just okay
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.
The GR IV has well-considered controls, letting you easily change the most important settings with one hand. It’s also very customizable.
It’s at its best in its single-focus modes, which are generally responsive in most situations, and its Snap Focus modes for zone focusing. Continuous and tracking autofocus aren’t up to par with most modern cameras, which isn’t helped by the relatively slow unit focus.
The user interface, both hardware and software, is pitch-perfect for the type of shooting you’re likely to do with the GR IV.
The GR IV packs a lot into a camera that you can fit in a pocket and carry around with you. It’s not perfect, but it nails the basics and is the only camera left that offers this level of image quality and portability.
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
20MP Type-1 (116mm²) stacked CMOS sensor
24-600mm equiv. F2.4-4.0 lens
Up to 30fps shooting
Richard ButlerRichard ButlerThe 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.
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The best video camera for travel: DJI Osmo Pocket
Richard ButlerDJI’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.
Read our hands-on impressions of the Osmo Pocket 3
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.
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