If your smartphone camera isn't cutting it any longer, you should consider switching to an interchangeable lens camera (ILC), such as an old-school SLR or an up-to-date mirrorless body. Compared with your phone or point-and-shoot, these advanced cameras have larger image sensors, superior optics, robust manual controls, and faster performance, plus they offer greater versatility through swappable lenses.

All this functionality doesn't come cheap, though, especially when you start factoring in lenses. You also need to remember that you're buying into a camera system. If you start with Canon, chances are that your next camera will be from Canon as well, simply so you can continue to use your lenses and accessories.

With that in mind, we've compiled the most important aspects to consider as you shop for a swappable lens camera. But first check out our top picks to see where to start; you can't go wrong with any of the cameras we list here.

The Canon EOS R7 is nearly purpose-built for snapping images of subjects in motion. If you enjoy capturing animals in the wild, sports, or any other fast-moving subjects, the R7 can keep pace. It smartly identifies and tracks people, pets, wildlife, and race cars. The 32.5MP sensor matches well with telephoto lenses and leaves you some room to crop. For video, the R7 supports 4K60 and includes in-body stabilization for cinema and vlogs. Sturdy, weather-protected construction rounds out the feature set and makes the R7 a good choice for use outside of the studio.

The R7 is ideal for both photo enthusiasts and pros, and an especially good fit for creators who photograph moving subjects. The camera focuses and fires at 15fps with its motion-freezing mechanical shutter, while its Raw images show plenty of detail and hold up well to edits. Family photogs may miss a built-in flash, however, which might lead you to mid-entry options like the EOS R10 or Fujifilm X-T30 II instead. We also see the EOS R7 as a good backup camera for pros with an EOS R5 or R3, as well as SLR holdouts who want to upgrade from an EOS 7D or 90D series body.

There are plenty of APS-C and full-frame cameras on the market, but the Fujifilm GFX system offers something different: an oversized medium format image sensor in a body that's not too large (or expensive). The GFX100S offers 100MP of resolution; boasts a stabilized sensor that enables sharper shots and a 400MP multi-shot mode with a tripod; and even manages up to 10-bit 4K video. It's easily the most capable camera of its type, for a slight premium over the 50MP GFX50S II ($4,000).

Creators who want to explore the world beyond full-frame should think about a medium format system. It's a good fit for portraiture, landscapes, architecture, and other disciplines that don't require extreme telephoto lenses or blistering burst rates. The GFX100S isn't slow, though; its focus is as good as high-resolution, full-frame competitors, and its picture quality is impeccable. Creators who like to take their time to create images, as well as enjoy big pixel counts, editing flexibility, and Fujifilm's superb color, should appreciate medium format systems such as this.

The Panasonic Lumix DC-S5 isn't the lowest-cost full-frame camera available, but it delivers more than bare-bones starter models. Its 24MP sensor offers plenty of resolution for most creators and Panasonic even includes a 96MP multi-shot mode. Video features are strong too, with 10-bit recording and sensor stabilization. We're also a fan of its extra-wide 20-60mm zoom for beginners and appreciate all the affordable options in the L-mount system (especially those from Sigma).

The S5 is a strong fit for both stills and video-focused creators who want to get the full-frame look. It works well for portraits and candid snaps, landscapes and architecture, and other still scenes. Its DFD Contrast focus system isn't our favorite for sports, wildlife, or action, however, so you should think about the crop-sensor Canon EOS R7 or the full-frame Sony a7 IV if you are interested in those subjects.

Sony was the first to market with a full-frame mirrorless system and its fourth-generation series benefits from the company's experience in the space. In particular, we're fans of the mature design language and huge lens library. The a7 IV wins us over with its excellent 33MP full-frame sensor and a snappy autofocus system that supports face and eye detection for people, pets, and wildlife. It offers strong video capabilities, too, with support for stabilized 4K60 at 10-bit quality (albeit with a 1.5x crop). The a7 IV is more generalist than specialist, and it fills that role very well.

The a7 IV is the best camera for most creators who want to pick up a full-frame sensor model. Its 33MP sensor gives wildlife photogs a little leeway to crop in for a tighter frame, plus it delivers clear, crisp photos in difficult lighting. The a7 IV is also the obvious choice for Sony system owners mulling an upgrade from an a7 III or earlier camera because it's compatible with all of the same lenses and accessories. Specialists may prefer the video-first a7S III or high-resolution a7R IV. If you're invested in another system, you might find the Canon EOS R6 or Nikon Z 6 II a comparable substitute, but we like the a7 IV a bit more than its competition.

On the outside, the Fujifilm X-T30 II looks as if someone pulled it through a wormhole from the 1970s. But inside, there's a 26MP BSI CMOS image sensor with a snappy autofocus system that keeps up with moving subjects and 4K30 video. Raw capture and tactile controls are options for shutterbugs, but the camera is easy enough for beginners because of its accessible Auto mode, built-in flash, and Film Simulation modes that make your photos look as old school as the camera.

The X-T30 II is a fine choice for both beginner and advanced amateur photographers. If you're just getting started, you get to enjoy excellent results right out of the camera, while the Film Simulation modes are quite useful for creators with an artistic eye. Enthusiast photographers can swap to manual control and turn on Raw mode to take command of edits. The Fuji X lens system offers tons of high-end glass, too, especially if you're into prime lenses and the blurred-background look.

The Canon EOS R10 is one of the crowd-pleasers on this list. Its stick-to-the-basics design includes a PASM control dial for quick swaps between automatic and manual exposure modes. The camera snaps 24MP photos, records 4K video, can fire off photos at 15fps, and offers the best autofocus system of any camera in this price range. It also works with the same RF lenses as full-frame cameras; the RF lineup includes excellent, affordable options for budding enthusiasts and family photographers alike.

The R10 is the natural mirrorless pick for former Canon Rebel SLR photographers who want to enjoy the smarter focus and more capable video features that mirrorless cameras offer. It's appropriate for starters who want to stick to auto mode up through enthusiasts who just can't manage the cost of the EOS R7.

The Fujifilm X-H2S is one of the few cameras that excel at both stills and video; it doesn't make many comprises for either medium. Photographers should appreciate the fast-reading 26MP Stacked CMOS sensor that supports 40fps Raw capture, offers an attractive set of film-look profiles, and enables a comprehensive autofocus system with effective subject recognition. On the video side, support for 10-bit HEVC and ProRes, 4K120 slow-motion, and 4K60 with sound make it suitable for cinema projects.

There's enough camera here to please pros and serious amateurs, especially those who demand top-flight performance for both stills and video. The autofocus is good enough for demanding subjects like wildlife and team sports, and picture quality is right up there with the best in APS-C. For video, the F-Log profiles and ProRes format give editors room to tune color. Meanwhile, 5-axis IBIS keeps the frame steady for both handheld photo and video work. If you just want a fast photo camera you can get away with spending less on the Canon R7, while the Panasonic GH6 is a contender for video specialists.

The OM System OM-1 is the best Micro Four Thirds sensor camera you can get today. It sports a Stacked CMOS chip for speedy focus and impressive 50fps burst rates. The in-body stabilization is good enough that you won't need to bring along a tripod for long-exposure images or smooth handheld 4K footage. The OM-1 leans into computational features, too, including a Live ND mode for long exposures in daylight without extra filters. Its IP53 rating makes it ideal for use in the great outdoors as well.

The Micro Four Thirds system should appeal to you if you prioritize smaller gear over the full-frame bokeh look. The OM-1 is best for long-time system owners, enthusiasts, and pros looking for something with swappable lens versatility, but without the girth of full-frame gear. Photographers who travel to exotic locations, hike with gear, or simply want an all-weather ILC should consider it. With the right lenses, the OM-1 is capable of epic landscapes, macro, sports and wildlife, portraits—you name it.

Every other camera on this list uses a mirrorless design, but those won't do you any good if you strictly prefer an optical viewfinder. If you go that route, you might as well get a quality camera and the EOS 90D fits the bill. It focuses as well as any SLR for stills and delivers mirrorless-quality results for video. The pentaprism viewfinder is a treat for OVF fans, and both Canon EF and EF-S lenses are plentiful.

It's 2022 and we think most creators are better off with a mirrorless body, but not everyone is on board with EVFs. If you prefer an optical finder, the EOS 90D is as good an SLR as you can find. The magnesium build satisfies enthusiasts and the swing-out LCD is handy for tripod, studio, and video, too. It's an obvious pick if you have Canon lenses, but don't forget about the Nikon D780 or Pentax K-3 III if you've already bought into another system.

The ZV-E10 is the best swappable lens camera for video creators, vloggers, YouTubers, and the like. Sony has tuned controls for ease of use—you don't have to know what an f-stop is to get a blurred-background look and the camera tunes its exposure to keep faces properly highlighted, even in mixed lighting. We especially like its high-qualit and built-in microphone, too. Just consider adding a gimbal to your tool kit if you often work handheld; this camera doesn't have IBIS.

Creators who live and die by YouTube views are the target audience for the ZV-E10. It offers 4K recording with crystal-clear audio pickup and even includes a Product Showcase focus mode that makes it easier for vloggers to show off something in their hands. Support for changeable lenses opens up creative possibilities that you can't manage with a smartphone or the ZV-1 pocket vlogging camera.

If you're feeling limited by what your point-and-shoot can do, there are plenty of reasons to consider an interchangeable lens camera (ILC), whether it be a traditional DSLR or a more modern mirrorless model. These advanced shooters feature larger image sensors, superior optics, robust manual controls, faster performance, and the versatility of changeable lenses.

All this functionality doesn't come cheap, though, and the cost of an ILC can add up, especially when you start factoring in lenses. You also need to remember that you're buying into a camera system. If you start with Canon, chances are that your next one will be as well, simply for the fact that you'll be able to make use of existing lenses and accessories. Here are the most important aspects to consider when you're shopping for a digital SLR, as well as the highest-rated models we've tested.

A decade ago, if you wanted a camera with interchangeable lenses, an SLR was really your only option. Times have changed. Today's mirrorless cameras, even those at the entry end of the price spectrum, are just as, if not more capable than an SLR at a comparable price point. And while you can still buy a mirrorless camera without a built-in viewfinder, more and more low-cost models include the feature.

Our favorite entry-level ILC, the Fujifilm X-T30, has an autofocus system that runs circles around comparably priced SLRs, so it can track fast moving subjects and keep them sharply in focus for every shot. It also shoots very high quality 4K video, although it does omit in-body image stabilization (IBIS), a feature more common to pricier mirrorless models.

See How We Test Digital Cameras

But there are reasons to opt for an SLR. If your eyesight isn't perfect, an optical viewfinder may prove to be a better match rather than an electronic one, you may simply prefer their familiar feel, or you may already have access to compatible lenses. When moving beyond entry-level, SLRs catch up to mirrorless in capability quickly, and typically offer a larger library of lenses and accessories from which to choose—although it's mainly in exotic, very expensive options offered by Canon and Nikon that the wider selection comes into play.

Most consumer ILCs use image sensors that, while much larger than those found in point-and-shoot cameras, are somewhat smaller than a 35mm film frame. This can be a bit confusing when talking about a camera's field of view, as focal lengths for compacts are often expressed in terms of 35mm equivalency. The standard APS-C sensor features a "crop factor" of 1.5x. This means that the 18-55mm kit lens that is bundled with most DSLRs covers a 35mm field of view equivalent to 27-82.5mm.

Micro Four Thirds, which has a 2x crop factor, is another popular mirrorless format, with cameras available from Olympus and Panasonic. Its kit lenses are typically around 14-42mm in design, but don't give you a wider view than an 18-55mm APS-C lens. Micro Four Thirds is the oldest mirrorless system, so there are plenty of lenses available. And even though the format is smaller than APS-C, it is significantly larger than a smartphone or point-and-shoot image sensor.

There are many inherent advantages to a larger sensor. It allows you to better control the depth of field in images, making it possible to isolate your subject and create a blurred background. This blur is often referred to by the Japanese term bokeh. Much has been written about the quality of the bokeh created by different lenses, but the general rule of thumb is that the more light a lens can capture—measured numerically as its aperture, or f-number—the blurrier the background can be. A lens with a maximum aperture of f/1.4 lets in eight times as much light as one of f/4, and can create a shallower depth of field at an equivalent focal length and shooting distance.

Another reason to go for the big sensor is to minimize image noise. A 24MP APS-C sensor has much larger pixels than a point-and-shoot of comparable resolution. These larger pixels allow the sensor to be set at a higher sensitivity, measured numerically as ISO, without creating as much image noise. An advantage to the larger surface area is that changes in color or brightness are more gradual than that of a point-and-shoot. This allows more natural-looking images with a greater sense of depth.

Some cameras feature sensors that are equal in size to 35mm film. These full-frame cameras are generally more expensive than their APS-C counterparts. If you see yourself moving up to a full frame in the future, be careful in buying lenses. Some are designed to be used with APS-C sensors, and either won't work at all with a full-frame body, or will work, but with reduced resolution.

It's very important to choose a camera that feels comfortable in your hands. While most DSLRs are similar in size and build, mirrorless cameras are more varied in design. Some are shaped much like SLRs, with an electronic viewfinder centered behind the lens mount. Others put the EVF in the corner, similar to the position of an optical finder in a rangefinder camera, and typically offer a smaller handgrip.

As a general rule of thumb, an SLR-style camera is a better fit for use with larger lenses. The centered viewfinder and sizable handgrip make balancing a big lens a bit more pleasant. Rangefinder-style cameras are better suited if you expect to use smaller zoom or prime lenses.

The camera you choose should be one that you are most comfortable using. If a DSLR is too big or small for you to hold comfortably, or if the controls are not laid out in a way that makes sense to you, chances are you won't enjoy using it as much as you should.

SLRs use optical viewfinders and mirrorless cameras sport EVFs. The difference isn't as huge as you'd expect. With an optical finder you see through the lens thanks to a series of mirrors and optics that direct light to your eye. With an EVF an electronic feed from the image sensor is shown on a small screen, typically an OLED.

The two technologies offer different views of the world. Optical finder brightness varies based on the f-stop of your lens, so if you put an f/1.4 prime on, it will appear brighter than it would with an f/4 zoom. You get an uncluttered view of the world—typically you'll see the active focus point light up when making an image, and you may be able to add framing guidelines, but that's it.

An EVF will, typically, show the image as the capture is going to make it. You get a real-time preview of the depth of field, any color filters you've applied, a live histogram, and any other information your camera is able to display. If you're getting started with photography you'll find the preview offered will help you make images in-camera that are truer to the photo.

There are different levels of quality with a viewfinder, regardless of the tech that drives it. Entry-level SLRs typically include pentamirror optical designs, which use a series of mirrors to show you the view through the lens. They are smaller and lighter than the premium, solid glass pentaprism viewfinders found in pricier SLRs. But there are downsides to a pentamirror—images don't appear as big as with most pentaprisms, you don't get truly accurate image framing, and pentaprisms tend to be a bit brighter.

The same is true for EVFs. You'll want to pay attention to the magnification rating—a larger number denotes a bigger EVF—along with the resolution and underlying panel technology. OLED screens tend to provide the best resolution and motion reproduction. Many LCD EVFs use field sequential designs, which can create a false rainbow color effect in your eye when panning or photographing a fast-moving subject. Because of this, LCD EVFs are limited to older cameras and budget models.

Interchangeable lens cameras have another big advantage over point-and-shoots—speed. The time that it takes between hitting the shutter button and the camera capturing a picture, referred to as shutter lag, and the wait time between taking photos are often concerns with compact cameras. DSLR and mirrorless cameras generally focus very quickly and deliver shutter lag that is nearly immeasurable.

Continuous shooting is measured in frames per second. Entry-level models typically offer around 5fps capture, but we've seen affordable models with capture rates up to 11fps with tracking, and speeds as high as 30fps with focus locked after the first shot. That's quick enough to satisfy the needs of photographers capturing sports, wildlife, and other types of intense action.

As frame rates increase, autofocus systems do as well. Entry-level SLRs usually only have a few focus points, bunched up toward the center of the frame. This is because of the way SLR focus systems work. Light is not only directed to the viewfinder, but also to a discrete autofocus sensor. The dedicated sensor checks for focus at several points—ranging from around ten for basic systems up to more than 150 for advanced cameras, which also spread points further across the frame for wider focus coverage.

Mirrorless cameras are different. There's no autofocus sensor. Instead focus is performed by the image sensor itself. Basic systems are contrast based, which is quick, but not as effective for predicting the motion of moving targets as the phase detection used by SLRs. To combat this, mirrorless makers have put phase detection pixels on the sensor itself. Typically, the more you spend on a camera, the more capable its autofocus system is. But even entry-level models are fine for the majority of family snapshots, vacation photos, or portraits.

The different focus systems also change the way cameras handle video recording. With an SLR you'll need to press a button or tap a switch to change from the optical viewfinder to the rear LCD to facilitate video capture, but with mirrorless cameras the switch is seamless.

SLRs typically use contrast focus for video capture, which means autofocus is a little slow and choppy when making movies. Most Canon SLRs use the company's proprietary Dual Pixel AF tech, a type of phase detection that splits each sensor pixel into two. This gives the camera the same smooth, fast focus when recording video as you get from a mirrorless camera.

Mirrorless cameras use the same focus system for video as they do for stills. There's usually no need to change modes to switch to from stills to video, and focus is just as quick and smooth regardless of whether you are capturing stills or moving images.

There are other features to look for if you are serious about filmmaking. At a minimum you'll want a model with a microphone input for better quality audio. But you'll also want to look for stabilization, either in-body or in-lens, 4K recording, and a flat log color profile.

Most first-time ILC users aren't going to purchase a whole bevy of lenses, but there are a few to consider to supplement the kit lens that ships with the camera. The first is a telezoom to complement the standard 18-55mm lens. There is usually a matching zoom, starting at 55mm and ranging up to 200mm or 300mm, that will help you get tighter shots of distant action. Plan on budgeting $200 to $300 for this lens.

Another popular lens choice is a fast, normal-angle prime lens. Before zooms were popular, film SLRs were often bundled with a 50mm f/2 lens. The rough equivalent is a 35mm prime on an APS-C sensor and a 25mm on Micro Four Thirds. The standard angle gives you a field of view that is not far off from that of your eye, and the fast aperture makes it possible to shoot in lower light and to isolate your subject by blurring the background of your photos. Prices for these lenses vary a bit depending on your camera system, but you can expect them to run you between $175 and $350.

Even though consumer DSLRs have built-in flashes as a rule, mirrorless cameras don't always include them. To make up for this, you'll typically find a small, clip-on flash included with an entry-level mirrorless camera. But as long as your camera has a standard hot accessory shoe, you can opt to add a more powerful external flash. These flashes emit more light and can often be repositioned so that you can use reflected light to illuminate a subject. Bouncing flash off of a ceiling to brighten a room is possible with a dedicated flash unit, but not with the ubiquitous pop-up flash. Depending on your needs for power, recycle time, and movement, a dedicated flash can cost anywhere from $150 to $500.

Want speed and top-notch images, but don't want to haul a heavy camera and a bunch of lenses? You may spend just as much—or more—on a bridge camera or compact camera. If you opt for a model with a 1-inch or larger sensor you'll find image quality is closer to an ILC than to a smartphone.

If you do opt for an ILC, following our guidelines will help you to choose the camera and lens system that fits your needs and your budget. Just be sure to take time and research your purchase, and go to the store and pick up a couple of cameras to see which feels best. And once you've made your pick and are ready to start shooting, check out our 10 Beyond-Basic Photography Tips.

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