For a while, Sony had this new sector all to itself, updating its cameras regularly and steadily building up its full-frame FE lens arsenal. Leica brought some competition in 2015, but inevitably at a price point unattainable for most photographers. Then everything changed in September 2018<\/strong>, when Canon, Nikon, Panasonic and Sigma all jumped onto the bandwagon in a matter of weeks, with the latter two teaming up with Leica to form the L-Mount Alliance. Since then, most new camera models have been full-frame mirrorless<\/strong>.<\/p>\n If you\u2019re a DSLR user considering making the switch<\/strong>, it can look as though the main benefits that were initially touted for mirrorless, most obviously reduced size and weight<\/strong>, aren\u2019t being realised in practice. Instead, successive camera generations have progressively bulked up, to the extent that Sony\u2019s latest Alpha 7 IV is 40% heavier than the original.<\/p>\n But in fact, the real advantages of mirrorless systems lie elsewhere. These include sophisticated autofocus systems<\/strong> that cover the entire image area, what-you-see-is-what-you-get electronic viewfinders, effective in-body stabilisation<\/strong>, and the ability to switch seamlessly between shooting with the viewfinder and rear screen. Many new mirrorless lenses are also a step above their SLR predecessors in quality.<\/p>\n One real barrier to switching camera systems lies with lenses. It can be seriously expensive to replace a DSLR lens set that you\u2019ve built up over years with their equivalents in a new mount. That\u2019s even assuming you can get all those you want, which isn\u2019t necessarily a given, as most of the systems are still relatively young. For existing Canon and Nikon users, your best bet may well be to continue using your existing lenses on the firms\u2019 mirrorless models via mount adapters, and then gradually migrate as your needs and funds dictate.<\/p>\n If you\u2019re considering building up a new lens system from scratch, Sony has a significant advantage<\/strong>. It licenses its E-mount to third-party lens makers, so there\u2019s a huge choice of optics<\/strong> available to suit any budget from the likes of Sigma, Tamron, Samyang and Zeiss. There\u2019s a good degree of choice in L-mount, too, as it\u2019s supported by Panasonic, Sigma and Leica. In contrast, Canon and Nikon seem to be intent on keeping their RF and Z mounts to themselves, so no third-party autofocus optics are available.<\/p>\n Full-frame mirrorless has now been around long enough for there to be a reasonably healthy supply of second-hand kit on the market. Without further ado, let\u2019s go ahead and look at our recommendations for the best used camera options, covering a range of sensor resolutions and price points.<\/p>\n At a glance<\/strong><\/p>\n The EOS RP was Canon\u2019s second full-frame mirrorless camera after the original EOS R and remains the entry-level offering in the firm\u2019s line-up. Weighing in at less than 500g body-only, it\u2019s one of the most compact full-frame cameras available<\/strong>. At the time of its launch, Canon made a great play of the fact that it was smaller and lighter than the EOS 800D APS-C DSLR.<\/p>\n Shop around and you should be able to find one in good second-hand condition for around \u00a3850, representing a healthy \u00a3200 saving over its current new price. If you\u2019re a Canon DSLR user interested in buying into full-frame mirrorless while using your existing lenses, it\u2019s by far the most affordable option.<\/p>\n Canon built the RP around the same 26.2MP full-frame sensor as its EOS 6D Mark II DSLR, with the firm\u2019s unique Dual Pixel AF enabling rapid and accurate autofocus across the entire image area. Its standard sensitivity range covers ISO 100-40,000, expandable to ISO 50-102,400, and the camera is capable of shooting at five frames per second. 4K\/25p video recording is available, but with a significant 1.6x crop. Full HD is also available covering the full width of the frame.<\/p>\n You get a 2.36m-dot electronic viewfinder for composing your images, with a reasonable 0.7x magnification, which also provides an accurate preview of colour and exposure. It\u2019s complemented by a fully articulated touchscreen that facilitates shooting at unusual angles in both landscape and portrait formats. Every aspect of the camera\u2019s operation can be controlled by touch, which helps to make up for a relatively limited set of physical controls.<\/p>\n\t\t The EOS RP works nicely with EF-mount DSLR lenses. Canon EOS RP, EF 70-300mm f\/4-5.6 IS USM, 1\/160sec at f\/11, ISO 100. Image: Andy Westlake<\/p>\n\t\t<\/div>\n\t\t\n When the EOS RP was originally launched, it didn\u2019t seem to make much sense, as Canon only made one RF lens that matched its compact frame and price point. But since then, the firm has produced a set of optics that place it an entirely new light. Now, you can match it up with an array of lightweight and reasonably affordable RF lenses, including the 24-105mm F4-7.1 IS STM (\u00a3479), 100-400mm F5.6-8 IS USM (\u00a3699), 50mm F1.8 STM (\u00a3219) and 85mm F2 IS Macro STM (\u00a3649).<\/p>\n For those who\u2019d like an all-in-one travel zoom, there\u2019s also the 24-240mm F4-6.3 IS USM (\u00a3959); while for nature lovers Canon makes a pair of unusually small ultra-telephotos, the 600mm F11 IS STM (\u00a3859) and 800mm F11 IS STM (\u00a31,100). With these lenses now available, the EOS RP becomes a much more interesting proposition, as the basis of a lightweight full-frame kit.<\/p>\n Canon DSLR owners can continue to use all their existing EF-mount lenses<\/strong> with full functionality, including image stabilisation and autofocus, via the Mount Adaptor EF-EOS R (\u00a3119). This is such a popular approach that Canon has struggled to keep up with demand, with the adaptor\u2019s availability being notoriously patchy; it\u2019s often out of stock for months. However, cheaper alternatives are also available from the likes of Viltrox that appear to work perfectly well.<\/p>\n Read our Canon EOS RP review<\/a><\/p>\n At a glance<\/strong><\/p>\n Nikon launched its full-frame mirrorless Z system with a pair of cameras that used the same body design but different sensors. We think the 24MP Z 6<\/a> is possibly the biggest bargain of all used full-frame mirrorless cameras right now<\/strong>. Here, though, we\u2019re concentrating on its twin, the Z 7, which provides a relatively affordable route into high-resolution shooting.<\/p>\n Built around a 45.7MP\u00a0 full-frame back-illuminated sensor<\/strong>, the Z 7 is capable of delivering the same image quality as the D850<\/a> \u2013 arguably Nikon\u2019s best-ever DSLR \u2013 in a much more portable package. But with five-axis in-body image stabilisation (IBIS) built in that works with every lens, it also allows photographers to gain the full benefit of all those pixels more easily when shooting hand-held.<\/p>\n Like the D850, the Z 7 is an impressive all-rounder<\/strong>, being capable of shooting at up to 9 frames per second at full resolution. On-chip phase detection supports 493 focus points arranged across 90% of the frame, and the standard ISO 64-25,600 range can be extended to ISO 32-102,400.<\/p>\n Nikon equipped the Z 7 with a superb electronic viewfinder that\u2019s still one of the best you\u2019ll find. It\u2019s large and detailed, with 3.69m-dot resolution, 0.8x magnification, and a wonderfully clear live view feed that\u2019s great for judging focus and depth-of-field. The LCD screen is a similarly excellent 3.2in unit and employs a dual-tilt design for high or low angle shooting, at least in landscape format.<\/p>\n\t\t The Z 7 delivers truly superb image quality. Nikon Z 7, 24-70mm f\/4 at 41mm, 1.3secs at f\/8, ISO 50. Image: Andy Westlake<\/p>\n\t\t<\/div>\n\t\t\n To make the most of the Z system\u2019s compact size and weight, Nikon adopted a slightly different approach to building up its lens range compared to its F-mount DSLR line-up. Premium optics are given the \u2018S\u2019 designation, and include both f\/2.8 and f\/4 zooms, along with a set of fine f\/1.8 primes ranging from 20mm to 85mm. There\u2019s also a small but developing range of affordable non-S optics.<\/p>\n Existing Nikon DSLR owners can also use their F-mount lenses via Nikon\u2019s FTZ or FTZ2 adapters (the main difference being that the latter does without a tripod foot). Autofocus is available with AF-S and AF-P lenses that have built-in focus motors, but older AF D-type lenses require focusing manually. But this is easy enough, thanks to the excellent viewfinder. Crucially, the in-body stabilisation works with every single lens and operates in tandem with those that include optical VR.<\/p>\n Possibly the Z 7\u2019s most controversial feature at launch was its reliance on a single card slot accepting XQD media, with no support for conventional SD cards. That\u2019s been remedied in its successor with the addition of an SD slot, while a firmware update has added CFexpress Type B support to the Z 7. But chances are you\u2019ll have to budget for a new memory card and reader, with both XQD and CFexpress being expensive; expect to pay at least \u00a3100 for a card.<\/p>\n Read our Nikon Z 7 review<\/a><\/p>\n At a glance<\/strong><\/p>\n Released towards the end of 2020, Panasonic\u2019s mass-market full-frame mirrorless model is aimed at those who enjoy shooting moving images just as much as stills<\/strong>. It\u2019s a nicely designed camera that manages to be smaller than the firm\u2019s popular Micro Four Thirds GH5, despite having a sensor four times the size. It employs the L mount originally developed by Leica, which means it\u2019s compatible with a good range of lenses from Panasonic, Leica and Sigma.<\/p>\n Like many of its peers, the S5 is based on a 24MP full-frame sensor<\/strong>. It offers a standard ISO range of 100-51,200, expandable to 50-204,800, and is capable of shooting at 5 frames per second with continuous autofocus, or 7fps with focus fixed. In addition, 5-axis in-body stabilisation is built in to keep images sharp and video footage steady.<\/p>\n Below the 2.36m-dot EVF there\u2019s a fully articulated screen, which represents a welcome advance over the tilt-only screens used by many of its competitors. Not only does it aid with shooting at high and low angles for both horizontal and vertical formats, but it can also face forwards for vlogging.<\/p>\n On that note, the S5 boasts impressive video credentials<\/strong>. It\u2019s capable of recording in 4K at 60fps with 4:2:0 10-bit colour using an APS-C crop, or at 30fps with 4:2:2 10-bit colour from the full width of the sensor. There\u2019s no time limit<\/strong> when recording 4K 30p\/25p 4:2:0 8-bit internally, while 4K 60p 4:2:2 10-bit output is available via HDMI. Plenty of advanced video features are on hand, too, including V-log pre-installed, 4K HDR, and raw output over HDMI at 5.9K 50p.<\/p>\n\t\t Panasonic\u2019s unique kit zoom offers an unusually wide view. Panasonic Lumix S5, 20-60mm F3.5-5.6 at 20mm, 1\/10sec at f\/5.6, ISO 2000. Image: Michael Topham<\/p>\n\t\t<\/div>\n\t\t\n While there\u2019s certainly a perception that Panasonic is now focused mostly on video, the S5 offers an awful lot for stills photographers too. It handles very nicely, with all the key controls placed at your fingertips, and a huge amount of user-customisation<\/strong> is available. As a result, it\u2019s a very enjoyable camera to use.<\/p>\n You get crisp, detailed images at low ISO settings, with file remaining perfectly usable up to ISO 12,800 at least. One particularly notable feature is the 96MP high-resolution multi-shot mode<\/strong>, which is unique on a full-frame camera at this price point. The in-camera processing is speedy and does a good job of detecting and suppressing blur when it detects slight movement in the scene.<\/p>\n One of the most interesting aspects of Panasonic\u2019s approach to the S5 is its unique kit zoom, the Lumix S 20-60mm F3.5-5.6. While its unusually wide view is undoubtedly aimed at vloggers recording themselves at arm\u2019s length, it should also appeal to photographers shooting architecture and landscapes.<\/p>\n At \u00a3619.99, it\u2019s much more affordable than adding a specialist wideangle zoom to your kit. Paired with the Lumix S 70-300mm f\/4.5-5.6 Macro OIS (\u00a31259), it should also make an excellent lightweight travel kit. \u00a0Panasonic also offers a range of small and relatively affordable f\/1.8 primes.<\/p>\n Read our Panasonic Lumix S5 review<\/a><\/p>\n At a glance<\/strong><\/p>\n The Sigma fp is a camera unlike any other. By stripping out all but the bare essentials, the firm has made the smallest full-frame model<\/strong> currently available. What it\u2019s ended up with is a long way off the mainstream and comes with some significant compromises. But nothing else can offer full-frame image quality and interchangeable lenses in such a portable package.<\/p>\n In essence, the Sigma fp is a rectangular box measuring 113 x 70 x 45.3mm that houses a 24MP full frame sensor, with an L mount at the front and fixed 3.2in touchscreen on the back. There\u2019s no built-in viewfinder, no mechanical shutter, and not even a handgrip. But the design is modular, so you can bolt a handgrip on one side and the optional EVF-11 on the other, if you like. I\u2019d certainly recommend the small HG-11 grip.<\/p>\n The fp offers a standard sensitivity range of ISO 100-25,600 that\u2019s expandable to ISO 102,400 at the top end. But in one of several unique ideas, expanded low sensitivities down to ISO 6 are also available, using a multi-frame approach that adds together multiple ISO 100 exposures. This ideally needs a tripod and is prone to ghosting effects when moving subjects are in the frame, but when everything works out, you can get fantastic results.<\/p>\n With no mechanical shutter, exposure time is set entirely electronically<\/strong>. While there\u2019s some risk of rolling shutter distortion with fast-moving subjects, for the most part this works fine, and much better than on the camera\u2019s high-resolution sibling, the fp L. There\u2019s no in-body stabilisation, though, and only a few L-mount lenses include optical stabilisation.<\/p>\n\t\t The Sigma fp is nicely complemented by the firm\u2019s small i-series prime lenses. Sigma fp, 45mm f\/2.8, 1\/100sec at f\/2.8 , ISO 400. Image: Andy Westlake<\/p>\n\t\t<\/div>\n\t\t\n What you can\u2019t argue about is the image quality that the fp can provide. With no optical low-pass filter, the sensor records plenty of detail, and at low ISO it\u2019s possible to pull up three or four extra stops of detail from shadow regions without noise being a problem. When light levels drop, it\u2019ll deliver eminently usable results up to ISO 12,800 at least.<\/p>\n Ultimately, the Sigma fp has an undeniable charm as a small camera that works nicely with compact lenses and is a lot of fun to shoot with. This makes it an intriguing alternative to its larger SLR-shaped rivals for those seeking full-frame quality in the smallest possible package.<\/p>\n While you can use the fp with any L-mount lens, it\u2019s arguably best suited for use with the firm\u2019s compact i-series primes, which boast premium metal construction complete with analogue aperture rings. The 45mm f\/2.8 is the perfect companion for everyday shooting, complemented by the 24mm f\/3.5 wideangle and 90mm f\/2.8 telephoto.<\/p>\n For those who prefer larger apertures, 24mm, 35mm and 65mm f\/2 optics are also available. Meanwhile, if you can\u2019t live without a zoom, Sigma makes the 28-70mm F2.8 DG DN that\u2019s considerably smaller and lighter than its 24-70mm sibling.<\/p>\n Read our Sigma fp review<\/a><\/p>\n At a glance<\/strong><\/p>\n Sony\u2019s Alpha 7 range is the longest-running full-frame mirrorless line-up<\/strong> of all, which means that there\u2019s a bewildering array of models available second-hand across a wide range of price points. The high-resolution A7R range is of particular interest to studio and landscape shooters, while the 12MP A7S models are prized by videographers. In between, the \u2018basic\u2019 Alpha 7 line represents all-rounders aimed at enthusiast photographers.<\/p>\n While the original Alpha 7 from 2013 has a certain charm to it, and can often be found used for under \u00a3500, we\u2019ve chosen to highlight its successor that appeared just 13 months later. The Sony Alpha 7 II brought major improvements in handling<\/strong>, including improved control dials and a larger, more conventional handgrip, while also introducing 5-axis in-body image stabilisation to Sony\u2019s mirrorless line-up.<\/p>\n It\u2019s only recently been officially discontinued, and you can pick up used models in excellent condition for under \u00a3750 from reputable retailers. This is \u00a3600 less than its much-feted successor, the A7 III.<\/p>\n While its spec may look a little dated by modern standards, the A7 II still has plenty to offer. Its 24MP sensor offers excellent image quality at low ISO settings, with particularly impressive dynamic range, while providing a sensitivity range up to ISO 25,600. Continuous shooting runs at 5 frames per second and there are 117 autofocus points<\/strong> to choose from covering almost the entirety of the image area.<\/p>\n However, only the central region provides faster phase detection AF. The 2.36m-dot viewfinder is joined by a 3in screen that tilts up and down, but doesn\u2019t offer touch functionality. Typically for its vintage, only Full HD video recording is available.<\/p>\n\t\t Vintage manual focus lenses can easily be used via mount adapters. Sony Alpha 7 II, Tamron 90mm f\/2.5 Macro, 1\/30sec at f\/11, ISO 200. Image: Andy Westlake<\/p>\n\t\t<\/div>\n\t\t\n While the A7 II isn\u2019t quite as lightweight as either its predecessor or the Canon EOS RP, mainly due the addition of IBIS, it\u2019s still pretty petite in full-frame terms. It\u2019s noticeably lighter than later models<\/strong>, too, although in part this is due to the small and rather underpowered NP-FW50 battery. I\u2019d budget on acquiring a few spares; thankfully third-party options are cheap and easy to find.<\/p>\n Overall, the Sony A7 II brings a lot to the table for photographers at a very attractive price. It certainly has its foibles, but given its excellent raw image quality and compact size, they\u2019re easily forgiven.<\/p>\n Like all E-mount cameras, the A7 II can make use of a vast array of lenses. Not only is Sony\u2019s FE range larger than rival line-ups, plenty of third-party options are also available, from small, affordable Samyang primes through to sublime offerings from Zeiss. In between, Sigma and Tamron both make excellent optics at competitive prices.<\/p>\n It\u2019s even possible to get electronic adapters for Canon EF-mount lenses, although they don\u2019t work as well as on Canon\u2019s EOS R cameras. Last but not least, the A7 II is an excellent vehicle for shooting with vintage manual optics from old 35mm film cameras via mount adapters.<\/p>\n Read our Sony Alpha 7 II review<\/a><\/p>\n You\u2019ll find even more used kit bargains in\u00a0our buying guides<\/a>, or in our\u00a0second-hand section<\/a>.<\/p>\n Best second-hand camera systems for under \u00a31000 <\/a><\/p>\n 12 Best Second-hand Classic Compact Cameras<\/a><\/p>\n AP readers share experiences of buying used kit <\/a><\/p>\n Follow AP on Facebook<\/a>, Twitter<\/a>, Instagram<\/a>, and YouTube<\/a>.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Interested in a dipping a toe into the waters of full-frame mirrorless, but want to save money by buying second-hand? We guide you through our top picks.<\/p>\n","protected":false},"author":17,"featured_media":163620,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[41,42,1554],"tags":[533,540,1555,2564],"product-category":[],"class_list":["post-163614","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-buying-advice","category-round-ups","category-second-hand","tag-full-frame","tag-mirrorless","tag-second-hand","tag-used"],"yoast_head":"\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Nikon_Z7_inhand1.jpg\")
<\/a>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Sigma-fp-23.jpg\")
<\/a>\n\nSo what about lenses?<\/h3>\n
Here are our choices for the best second-hand full-frame mirrorless cameras:<\/h3>\n
\n
Canon EOS RP,\u00a0\u00a3800-900 second-hand<\/h2>\n
![\"Canon](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Canon_EOS_RP.jpg\")
<\/a>\n\n
![\"st](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Canon-EOS-RP-sample-IMG_0530.jpg\")
<\/a>\t\t\tLightweight RF lenses<\/h3>\n
EF adaptor<\/h3>\n
Nikon Z 7,\u00a0\u00a31,500-\u00a31,700 second-hand<\/h2>\n
![\"Nikon](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Nikon-Z7.jpg\")
<\/a>\n\n
![\"tower](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Nikon-Z7-sample-image.jpg\")
<\/a>\t\t\tLens options<\/h3>\n
Media<\/h3>\n
Panasonic Lumix S5,\u00a0\u00a31,050-\u00a31,150 second-hand<\/h2>\n
![\"Panasonic](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Panasonic-Lumix-S5.jpg\")
<\/a>\n\n
![\"cathedral](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Panasonic-Lumix-S5-Sample-Image-credit-Michael-Topham.jpg\")
<\/a>\t\t\tPhoto friendly, too<\/h3>\n
Unique kit zoom<\/h3>\n
Sigma fp,\u00a0\u00a3950-\u00a31,050 second-hand<\/h2>\n
![\"Sigma](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Sigma-fp-1.jpg\")
<\/a>\n\n
![\"cheese](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Sigma-fp-sample-SDIM0344-acr_1.jpg\")
<\/a>\t\t\tLittle camera, big results<\/h3>\n
Sigma i-series lenses<\/h3>\n
Sony Alpha 7 II,\u00a0\u00a3600-\u00a3750 second-hand<\/h2>\n
![\"Sony](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/aa-capturing-light-hitting-green-leaves-JW-P8230091-1.jpg\")
<\/a>\n\n
![\"cliff](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/04\/Sony-Alpha-7-II-sample-DSC04541-acr-SP90F25M.jpg\")
<\/a>\t\t\tSmall and light<\/h3>\n
Any lens you like<\/h3>\n
Retailers to have a look at to find full-frame mirrorless cameras:<\/h3>\n
\n
\n\nFurther reading:<\/h3>\n