Spending $5,000 on a camera body doesn’t automatically make you a better landscape photographer. I’ve printed gallery-quality 60x40cm prints from cameras that cost a third of that. The mid-range mirrorless market in 2026 is genuinely impressive, and if you’re shooting landscapes in Australia, a $2,000 body will not be the limiting factor in your work.

Here’s what I’d actually recommend after shooting with all of these in the field.

What Matters for Landscape Work

Before we get into specific models, let’s talk about what actually matters for landscape photography. Not what marketing departments tell you matters — what makes a real difference when you’re standing at a cliff edge in the Blue Mountains at 5:30am waiting for the light.

Dynamic range. This is the most important specification for landscape work. Australian light is harsh. The contrast between shadow and highlight in a sunrise at Uluru or a coastal scene at the Twelve Apostles can be extreme. A sensor with strong dynamic range lets you recover shadow detail and protect highlights without bracketing multiple exposures.

Weather sealing. If you’re shooting Australian landscapes, you’re dealing with dust, salt spray, sudden rain, and temperature swings. A weather-sealed body isn’t optional — it’s essential.

Battery life. Landscape photography involves long days, early starts, and remote locations. If your camera dies after 300 shots, you’re carrying multiple batteries and adding weight to your pack.

Resolution. More megapixels give you more cropping flexibility and larger print potential, but anything above 24MP is adequate for most landscape work including large prints.

Stabilisation. In-body image stabilisation (IBIS) matters less for landscape work since you’re usually on a tripod, but it’s valuable for handheld shooting during hikes when setting up a tripod isn’t practical.

Sony a7C II — The Compact Powerhouse

Price: approximately $1,850 AUD (body only)

The Sony a7C II puts a full-frame 33MP sensor into a body that’s barely larger than some APS-C cameras. For landscape photographers who hike to their locations, the size and weight advantage is significant.

The sensor delivers excellent dynamic range — about 14.7 stops in controlled testing, which translates to genuine latitude for pushing shadows and pulling highlights in post-processing. In practice, this means you can shoot a single exposure in challenging light and recover detail that would require bracketing on lesser sensors.

The IBIS system provides 7 stops of stabilisation, which is useful for twilight handhelds and long exposure work when you’ve forgotten your remote trigger (we’ve all been there).

The downsides: The viewfinder is smaller than I’d like for composition work. It’s a 2.36 million-dot EVF, which is adequate but noticeably less immersive than the larger viewfinders on full-size bodies. Battery life is rated at approximately 530 shots per charge, which is middling. And the single SD card slot means no in-camera backup.

Who should buy this: Landscape photographers who prioritise portability and frequently shoot from locations that require significant hiking. The full-frame image quality in a compact body is the selling point, and it delivers on that promise.

Canon EOS R8 — Reliable and Capable

Price: approximately $1,700 AUD (body only)

Canon’s R8 gives you a 24.2MP full-frame sensor based on the same architecture as their flagship R6 Mark II. It’s a proven sensor with excellent colour science — Canon colours have always been popular with landscape photographers, and the R8 continues that tradition.

Dynamic range is around 13.5 stops, which is slightly behind the Sony on paper. In practice, the difference is visible only in extreme recovery situations. For 90% of landscape shooting, you won’t notice.

The autofocus system is inherited from Canon’s higher-end bodies, which matters less for landscape work but is nice to have when you’re tracking wildlife that wanders into your frame (very much an Australian landscape feature).

The downsides: No IBIS. Canon omitted in-body stabilisation to hit the price point, which means you’re relying entirely on lens-based stabilisation or a tripod. This is the camera’s most significant limitation. Weather sealing is also described by Canon as “dust and drip resistant” rather than fully sealed, which means I’d be cautious in heavy rain or extremely dusty conditions.

Who should buy this: Photographers who are already invested in Canon RF lenses or who value Canon’s colour rendering. The R8 is the most affordable way into Canon’s full-frame mirrorless system, and the lens ecosystem is excellent. The Canon RF 15-35mm f/2.8L paired with this body is a superb landscape setup.

Fujifilm X-T5 — The APS-C Argument

Price: approximately $1,900 AUD (body only)

I know what you’re thinking — why include an APS-C camera in a landscape roundup when full-frame options exist at the same price? Because the X-T5 is that good.

Fujifilm’s 40.2MP APS-C sensor produces files with extraordinary detail. The resolution partially compensates for the smaller sensor area, delivering prints that can hang alongside full-frame output up to about 50cm on the long edge before you’d notice a difference.

The X-T5 has in-body stabilisation, weather sealing that actually works (I’ve shot in Tasmanian rain without worry), dual SD card slots, and battery life rated at 580 shots. The physical controls — dedicated dials for shutter speed, ISO, and exposure compensation — are a genuine pleasure for methodical landscape work. No menu diving; just look at the dials.

Dynamic range at base ISO is excellent for an APS-C sensor — around 13.5 stops, comparable to the Canon R8’s full-frame sensor. At higher ISOs the gap widens, but landscape photography is almost always at base ISO, so this is a non-issue.

The Fujifilm colour simulation modes (Velvia, Provia, Classic Chrome) produce in-camera JPEGs that rival processed RAW files from other brands. If you enjoy a film-like rendering and don’t want to spend hours in Lightroom, the X-T5 is hard to beat.

The downsides: The smaller sensor does produce less shallow depth of field, which rarely matters for landscape work but is worth noting. The lens ecosystem, while excellent, is smaller than Sony or Canon’s. And the 40MP files produce large file sizes that require more storage and processing power.

Who should buy this: Photographers who value the shooting experience as much as the output. Fujifilm cameras are fun to use in a way that Sony and Canon bodies sometimes aren’t. If you appreciate tactile controls, excellent weather sealing, and colour science that leans toward film, the X-T5 is outstanding.

Honourable Mentions

Nikon Z5 II is worth a look if you find it under $2,000. Nikon’s colour rendering for landscapes is excellent, and their Z-mount lenses are optically superb.

Sony a6700 (around $1,500) is the budget option that punches above its weight. APS-C sensor, excellent autofocus, and access to the full Sony E-mount lens ecosystem. If you want to spend less on the body and more on glass, this is a smart choice.

My Honest Recommendation

If I were starting fresh for Australian landscape photography with a $2,000 budget for the body, I’d buy the Fujifilm X-T5 or the Sony a7C II, depending on how much I value portability versus the full-frame advantage.

The X-T5 is the better camera to shoot with — the controls are superior, the weather sealing is more confidence-inspiring, and the dual card slots provide peace of mind on multi-day trips. The Sony a7C II has the better sensor with more dynamic range headroom, and the full-frame advantage becomes more apparent for very large prints.

Both will produce images limited only by your skill as a photographer and the quality of light you find. Which is exactly how it should be.

Don’t overthink the body decision. Buy one of these, invest in a good wide-angle lens and a solid tripod, and go shoot. The Australian landscape is world-class subject matter, and any camera on this list will do it justice.