Canon 90D vs Nikon D7500 vs Sony A6600: 2025 Ultimate APS-C Camera Showdown

Can a mid-range DSLR from 2019 still hold its own against a modern mirrorless? In this comprehensive comparison, we pit the Canon EOS 90D, Nikon D7500, and Sony A6600 against each other across image quality, autofocus, burst shooting, video prowess, stabilization, ergonomics, lenses, battery life, and more. All three are highly regarded APS-C cameras aimed at enthusiast photographers, but they represent two worlds – the Canon and Nikon are DSLRs, while the Sony is a mirrorless. As of August 2025, we’ll also examine recent developments (including rumored successors) and what experts say about each. Let’s dive into the shootout and see which camera offers the best value today.

Image Quality & Sensor Performance

When it comes to sensor specs, these cameras take different approaches. The Canon 90D boasts a 32.5 megapixel APS-C sensor – the highest resolution ever in a Canon crop DSLR. This yields exceptional fine detail capture and flexibility for cropping or large prints. At low ISOs, 90D images show “lots of detail, pleasing colors and decent dynamic range”. However, Canon equipped it with an optical low-pass filter to prevent moiré, which means not all that resolution translates into detail – “we just don’t see as much resolution…as we’d hoped”, notes Imaging-Resource. Also, cramming 32.5MP on APS-C means smaller pixels: the 90D’s high-ISO noise performance, while solid, isn’t class-leading. Noise becomes noticeable by ISO 800–1600 and up, and though images are very usable through ISO 6400–12800, “the Canon 90D is certainly not class-leading when it comes to high ISO performance”. In short, the 90D excels in good light with razor-sharp shots, but in low light the aggressive resolution can show its limits.

The Nikon D7500’s sensor is almost the opposite philosophy. It uses a 20.9 megapixel APS-C chip – essentially the same one from Nikon’s former flagship D500. Fewer pixels give it larger photodiodes for better light gathering. In fact, the D7500 achieves “the same excellent image quality as the flagship D500”, delivering superb dynamic range and clean high-ISO output. DXOMark tests rate the D7500 sensor very highly for color depth and dynamic range (14 stops) with an overall score of 86, beating many rivals dxomark.com dxomark.com. In real-world terms, you can expect rich, noise-free images up to ISO 800 or higher, and plenty of shadow detail to recover in RAW files. The trade-off is resolution: 21MP is the lowest here, so the Nikon can’t resolve quite as much fine detail as the 32.5MP Canon in ideal conditions. But for most uses – from landscapes to wildlife – the D7500’s images are extremely sharp and detailed (especially since it forgoes an aggressive low-pass filter). Notably, Imaging Resource praised the D7500’s files as “serious performance and great image quality” in a lighter body. If you value low-light performance and dynamic range over sheer megapixels, the Nikon is a winner.

Sony’s A6600 splits the difference with a 24.2 megapixel APS-C sensor. That resolution has been an APS-C sweet spot, balancing detail and noise. The A6600’s sensor isn’t backside-illuminated (unlike some newer models), but it’s still very capable. According to DPReview, “the Sony a6600 has an industry-leading autofocus system, is capable of excellent images and video, comes with very useful in-body image stabilization and has the best battery life of any mirrorless camera on the market at this time” alphashooters.com. In terms of raw image quality, 24MP yields very crisp photos; dynamic range is measured around 13.5 EV (a bit behind the Nikon, but still solid) dxomark.com. The A6600’s high-ISO noise is well-controlled – it scored almost identical to the D7500 in DXO’s low-light index dxomark.com (~ISO 1497 vs 1483 for Nikon). Colors out of the A6600 are accurate and punchy (Sony has improved its color science greatly), and you have the option of shooting in 14-bit RAW or using creative profiles. The only knock is that by 2025 this sensor tech is a bit dated – the same basic chip appeared in earlier Sony bodies. Newer competitors (and Sony’s own successor) offer backside illumination or higher resolution for even more dynamic range. As DPReview noted, the a6600’s sensor is “getting a bit long-in-the-tooth, and competitors have caught up or surpassed it” in pure imaging specs alphashooters.com. Still, in practice the A6600 delivers excellent image quality for the vast majority of situations, on par with the best of its generation.

Bottom line: All three cameras produce excellent photos, but with different strengths. The 90D wins on resolution and detail in optimal conditions (great for landscape or cropping), while the D7500 offers the best base ISO dynamic range and low-light cleanliness (great for nighttime, wildlife, or ISO 6400+ shooting). The A6600 sits in the middle, with balanced 24MP quality and very good dynamic range, albeit using slightly older sensor tech alphashooters.com. Casual shooters will be happy with any of them, but pixel-peepers might prefer the Nikon for noise control or the Canon for sheer resolving power.

Autofocus and Burst Shooting

Fast action and focusing prowess are areas where these cameras diverge significantly, especially given the DSLR vs mirrorless design. Through the optical viewfinders, the Canon 90D and Nikon D7500 rely on traditional phase-detect AF modules, while the Sony A6600 uses on-sensor phase detection across most of the frame.

Canon’s 90D carries over a proven 45-point all-cross-type AF module from its predecessor, covering a decent central area of the frame. In viewfinder shooting, you get reliable subject tracking and even a new trick: the 90D’s metering sensor enables face-detection through the viewfinder, a rare DSLR feature imaging-resource.com. For general use and moderate action, the viewfinder AF is fast and accurate – sports shooters have gotten excellent results tracking birds in flight or athletes. However, it’s not as sophisticated as pro DSLR systems (like Canon’s own 65-point or Nikon’s 51-point 3D tracking). Shutterbug’s review found the 90D’s continuous AF occasionally struggled with erratically moving subjects – calling focus tracking “a bit dodgy” for very fast action. The good news: switch to Live View (using the LCD), and the 90D uses Canon’s renowned Dual Pixel CMOS AF across 88% x 100% of the frame. In Live View mode, you get 5,481 selectable AF points and superb coverage imaging-resource.com. Dual Pixel AF delivers smooth, confident focusing and even Eye Detect AF for people – meaning the 90D in Live View can lock onto a subject’s eye for portraits or tracking, just like a mirrorless. This dual AF setup makes the 90D very versatile: you can use the optical finder in bright conditions or when you prefer zero lag, and switch to Live View for silent shooting or more focus precision (especially in video, which we’ll cover later). Overall, Canon’s AF is “fast, accurate, [and] does very well tracking fast action” once tuned properly imaging-resource.com, but do note that optimum results might require using the right mode (OVF vs Live View) for the job.

Nikon’s D7500 uses the company’s well-regarded 51-point phase-detect AF module (Multi-CAM 3500 II), with 15 cross-type points in the center. This system was a staple in many higher-end Nikon DSLRs and is known for its reliability. Paired with the D7500’s EXPEED 5 processor, it can track moving subjects at up to 8 frames per second burst speed. DPReview lauded the D7500’s “fast, accurate autofocus”, noting it remains dependable even during continuous shooting at 8 fps. Nikon also has a unique advantage in DSLR AF called 3D Tracking, which uses color info from the metering sensor to help stick to a subject – a feature that made Nikon DSLRs excel at tracking moving subjects across the frame. In practice, the D7500 is superb for sports and wildlife through the viewfinder; it inherits much of the D500’s AF prowess at a lower price. However, when switching to Live View, the D7500 has a limitation: unlike the Canon, it does not have on-sensor phase-detect pixels. Live View AF is purely contrast-detect, which tends to be slow and prone to “hunting” (back-and-forth adjustments). This means for video or tripod Live View shooting, the D7500’s autofocus is noticeably behind the Canon and Sony. In fact, Nikon’s contrast AF will struggle to continuously track a subject in video – often you’d resort to manual focus for serious video work on the D7500. In summary, for stills, the D7500’s autofocus is outstanding – a DPReview editor went so far as to call it “one beast of a camera” for stills shooters, but for live view or video AF, it’s a weak point (Nikon didn’t introduce on-sensor phase AF in DSLRs until the later D780).

Sony’s A6600, being mirrorless, relies entirely on on-sensor autofocus – and it’s arguably the most advanced AF system of the trio. The A6600 features 425 phase-detection points spread across ~84% of the frame, plus 425 contrast-detect points, working together in a hybrid system alphashooters.com. Sony has been a leader in autofocus tech, and the A6600 benefits from features like Real-Time Tracking and Real-Time Eye AF (for humans and animals). In practice, the A6600 can lock onto a subject’s eye and tenaciously track it as the subject moves – even at high continuous shooting speeds. This gives Sony a major edge for portrait, street, and sports photography. Reviewers have called the a6600’s autofocus “industry-leading”, capable of effortlessly tracking fast action and faces alphashooters.com. It’s especially effective for subjects that move around the frame unpredictably – a scenario where a DSLR’s fixed focus points might lose track. The A6600 shoots up to 11 fps bursts with AF/AE tracking, matching or exceeding the DSLRs’ speed. However, one should note that the buffer on the A6600 isn’t huge – it can shoot about 46 RAW frames before slowing (significantly less than its predecessor A6500) alphashooters.com. Still, for short bursts of a few seconds, you get full 11 fps with continuous focus, which is impressive. Another benefit: the A6600’s electronic viewfinder shows you the image as the sensor sees it, so there’s no need for micro-adjustment of lenses (DSLRs sometimes need fine-tuning to calibrate phase-detect AF). Also, you can use features like focus magnification or peaking for manual focus if needed, directly in the EVF. The only slight downside is that the A6600’s body design (derived from older A6000 series) has just one command dial and fewer AF mode buttons, so making quick changes to focus settings might involve diving into Sony’s menus or function menu. Ergonomically, it’s not as direct as the DSLR’s dedicated AF mode switches. But in terms of sheer capability, the Sony’s autofocus stands out – DPReview awarded the a6600 a Silver Award, emphasizing its “industry-leading autofocus implementation” and excellent subject tracking.

Continuous shooting speeds are fairly close on paper, but each camera has its nuances:

• Canon 90D: Can shoot up to 10 fps using the viewfinder with continuous AF/AE, which is very fast for a DSLR in this class. In Live View, it even reaches 11 fps in a short burst (focus locked) or about 7 fps with full continuous AF imaging-resource.com. In fact, the 90D matches Canon’s older 7D Mark II in speed, which is impressive for an enthusiast body imaging-resource.com. It also upgraded to a UHS-II card slot, helping clear the buffer faster imaging-resource.com. For reference, you can expect roughly 25-30 RAW images in a burst before slowing (with a fast card). Imaging Resource lists “faster 10fps burst shooting” as a notable pro of the 90D. So action shooters will find the 90D quite capable – you’re essentially getting pro-level fps in a midrange body.
• Nikon D7500: Advertised at 8.0 fps, actual tests showed ~8.2 fps maximum. While a bit slower than Canon’s 10 fps, in practice 8 fps is enough for most sports/wildlife scenarios. The D7500’s advantage is a generous buffer inherited from the D500 – it can fire off ~50 14-bit RAW images or 100+ JPEGs without choking. That means you can hold down the shutter for ~6 seconds of continuous RAW shooting at 8 fps, which is excellent. In this respect, the Nikon might actually let you capture longer action bursts (e.g. a bird in flight sequence) than the Canon or Sony before buffer fills. Reviewers have praised the D7500’s continuous shooting: “Quick 8.2 fps burst shooting with generous buffer” made the pros list on Imaging Resource’s summary.
• Sony A6600: As mentioned, tops out at 11 fps with AF, or 8 fps in a live-view continuous mode. It matches the fastest APS-C DSLRs in raw fps. The feel of continuous shooting is different, though: in high-speed mode, the A6600’s EVF will show the last image captured (not a real-time feed), which can cause a slight viewfinder stutter or delay in tracking a fast subject. Setting it to the lower 8 fps mode gives a more live-view, real-time feed which many prefer for tracking moving subjects. The buffer ~46 RAW is decent but not as deep as the Nikon’s. Still, for short bursts the A6600 is a speed demon, and unlike the DSLRs, it’s completely silent in its electronic shutter mode (if you want stealth, though rolling shutter distortion can occur for fast-moving subjects). Another note: the A6600’s focus tracking works incredibly well during bursts, so your keeper rate of sharp shots can be very high, even if the total frame count is less. Experts like DPReview highlighted that for family photography and even some sports, the a6600’s AF and burst make it “easily worth your consideration.” alphashooters.com

In summary, each camera can shoot action, but the Sony a6600 offers the most modern AF tech. If your priority is tracking erratic motion (kids, pets, sports) with minimal effort, the A6600’s eye-tracking and subject recognition shine. The Nikon D7500 holds its own for fast action through the viewfinder, with reliable 51-point AF and a deep buffer – a great choice for those who want a traditional DSLR experience for sports/wildlife. The Canon 90D is a versatile middle ground, providing good viewfinder AF and excellent live-view AF; it can handle action at 10 fps, but may require toggling between OVF and Live View for best results in different scenarios. Notably, one Reddit user succinctly observed the difference: “The D7500 will have better AF tracking while using the OVF. However, the 90D, when in live view, will have the better AF down to the eye of a player.”. That captures it well – the Nikon excels in optical viewfinder use, whereas the Canon in live view behaves more like a mirrorless with eye AF. Meanwhile, the Sony is mirrorless-only and excels across the board in AF.

Video Quality and Stabilization

All three cameras offer 4K video recording, but the ease and quality of video differ significantly, reflecting their DSLR vs mirrorless designs and generation. If you’re a hybrid shooter or vlogger, pay close attention here.

Canon EOS 90D: This was a breakthrough Canon DSLR in terms of video, because it finally delivered 4K recording without a heavy crop. The 90D can shoot 4K UHD up to 30p using the full width of the sensor (no 1.6x extra crop). Early units bizarrely lacked 24p mode, but Canon swiftly released a firmware update adding 24p in both 4K and 1080p imaging-resource.com – great news for filmmakers wanting the cinematic frame rate. In 4K mode, the camera uses pixel binning (line-skipping), which means the footage isn’t oversampled from the full 32MP. As a result, detail is a bit softer compared to some rivals. DPReview noted the 90D’s uncropped 4K video is on the soft side, less detailed than the competition. If absolute crispness is required, the 90D does offer a cropped 4K mode (using a 1.3x crop from the center) which gives sharper results by pixel-to-pixel readout, but then you lose that full-sensor coverage. For most users, the uncropped 4K is convenient and still looks quite good, just not tack-sharp when compared to, say, Sony’s oversampled 4K. On the plus side, the 90D’s Dual Pixel AF works wonderfully in video – you get smooth, confident autofocus during recording with subject tracking and face detection imaging-resource.com. This makes the 90D very usable for casual videography, vlogging, or any scenario where you want the camera to keep focus on a moving subject. The camera can also record 1080p at up to 120 fps for slow-motion (with the caveat of no sound or AF in 120p mode) imaging-resource.com. The high-speed 120p footage is recorded and played back at 30p for a 1/4-speed slow-mo effect – fun for creative b-roll. The fully articulating touchscreen is a major advantage for video on the 90D, allowing easy framing from any angle or selfie-style shooting. For stabilization, the 90D relies on lens-based optical IS (if your lens has it) or a digital stabilization mode in video which applies a slight crop and electronic compensation. There is no in-body sensor stabilization (IBIS) on this DSLR. Finally, note the 90D is limited to the typical 29 min 59 sec per clip recording time and outputs 8-bit video files (no Log profiles internally). It does have microphone and headphone jacks for audio monitoring, and can output clean HDMI if an external recorder is used imaging-resource.com. Overall, the 90D is a huge step up from earlier Canon DSLRs for video – “the 90D’s Dual Pixel CMOS AF offers fantastic video autofocus” and it now produces very usable 4K footage imaging-resource.com. It’s well-suited for hobbyist filmmakers or vloggers who want Canon’s colors and that flip screen, as long as you don’t need advanced codecs or ultimate 4K sharpness.

Nikon D7500: The D7500 was Nikon’s first mid-range DSLR to offer 4K UHD video (up to 30p), borrowing that ability from the D500. However, there are a few catches. First, it applies a 1.5× crop on the sensor for 4K – on top of the APS-C crop factor. This means the field of view is effectively cropped about 2.25× compared to full-frame. Wide-angle shooting in 4K is difficult unless you have an ultra-wide lens. The quality of the 4K itself is decent; it’s effectively a pixel-for-pixel readout of a 3840×2160 region of the sensor, so detail can be sharp (with no aliasing). But that crop is a limitation for any wide scene or vlogging scenario. In 1080p, the D7500 can record up to 60p normally, but unlike the Canon and Sony, it does not offer 120p slow-motion in full HD (the older D7500 simply didn’t include 120fps mode). As mentioned in the autofocus section, video AF is a major weakness: the D7500’s contrast-detect AF in Live View will hunt for focus, making it unsuitable for tracking moving subjects in video. Realistically, Nikon expected users to focus manually or pre-focus for video. This puts the D7500 at a disadvantage for anyone wanting an easy video workflow. On the plus side, Nikon did include some videographer-friendly features: you get both mic and headphone sockets imaging-resource.com, and even zebra stripes for exposure and power aperture control (smoothly adjust aperture during live view) imaging-resource.com. The D7500 also has electronic VR stabilization for video (3-axis digital stabilization) to steady footage if using non-VR lenses. But lacking any optical or sensor stabilization in-body, it won’t match a gimbal or the Sony’s IBIS for smoothing out motion. A small plus: the D7500 has no 30-minute clip limit when recording 1080p video (it will do 20 minutes in 4K due to heat), but in practice the 4K crop and AF limitations are the bigger issues. In short, the D7500 shoots nice-looking video if you can live with manual focus and the tight crop. It’s fine for static subjects, interviews (with an external mic), or tripod work. However, as a 2025 video camera it feels outdated, and even Nikon’s own Z-mount mirrorless APS-C models (like the Z50 or Z30) far outshine it for filming. Unless video is a very minor concern, the other two cameras here have clear advantages.

Sony A6600: This camera was designed with videography in mind as well as stills. It records 4K UHD up to 30p using the full sensor width (at 24p) or a slight 1.06x crop (at 30p) – effectively oversampling from a 6K area for very sharp footage. The result is excellent detail in 4K; footage from the A6600 is crisp and competitor to many higher-end models. It can also shoot 1080p at 120fps for slow-motion, with full AF support. Sony did remove the 30-minute time limit on the A6600, so you can record long clips (great for events or long-form video). One of the headline features is the inclusion of 5-axis In-Body Image Stabilization (IBIS). The A6600’s sensor-shift stabilization helps steady handheld video and stills, compensating for minor shakes. It’s rated around 5 stops of shake reduction. In practice, IBIS won’t entirely replace a gimbal for walking shots, but it is very useful for handholding static or panning shots, and it works in concert with optically stabilized lenses. DPReview noted that the a6600’s IBIS is “very useful” and adds significant value to the system. Another strong suit: the autofocus in video. The A6600 can do continuous eye AF in video (human eye tracking while filming) and generally keeps subjects sharp with minimal hunting. This makes it one of the best in class for run-and-gun style filming where you rely on autofocus. The camera offers advanced picture profiles too, including S-Log2, S-Log3 and HLG (Hybrid Log Gamma) for HDR capture en.wikipedia.org. This allows enthusiasts to grade their footage and expand dynamic range if they wish. As for audio, the A6600 is the only A6000-series that has a headphone jack (for monitoring) in addition to a mic input en.wikipedia.org – a big plus for pro video work. The rear screen flips 180° upward to face the front, which is useful for vlogging, though if you mount a shotgun mic on the hotshoe it might obstruct the screen. Unlike the Canon’s side-articulating design, the Sony’s flip-up design is a bit less ideal for video framing, but still workable (many vloggers use a small rig or mic off to the side). One minor criticism: the A6600 still uses the older Sony menu system, which can be convoluted to navigate for video settings, and the screen isn’t fully touch-functional for menus. But once set up, the camera’s video output is stellar. In essence, the A6600 is a highly capable video camera for its size – it leverages mirrorless strengths (oversampled sensor, IBIS, eye-AF, no recording limit) to deliver a package fit for serious content creation. It’s no surprise many YouTubers and travel videographers gravitated towards Sony APS-C. In fact, by 2025 the A6600 is essentially competing with dedicated vlog models (and its own successor, the A6700), but it remains a great choice if you find one at a good price.

To sum up the video comparison:

• Sony A6600 is the strongest video performer here. It produces the sharpest 4K footage (no crop, oversampled), has the only in-body stabilization system, offers unlimited recording and the most advanced video AF (including eye tracking) alphashooters.com. It’s well-suited to anything from travel vlogs to short films, given its features.
• Canon 90D is a close second for video. It finally gave Canon DSLR users uncropped 4K and beautiful Dual Pixel AF, plus the fully articulating screen is perfect for creative angles or self-recording imaging-resource.com. Its video is a touch softer and it lacks IBIS, but for casual video or streaming, it does a fine job. Many consider it one of the best DSLR choices for video in its era (only eclipsed by moving to mirrorless RF system).
• Nikon D7500 is a distant third. While capable of sharp output, its heavy 4K crop and lack of on-sensor AF make it the least convenient for videographers. In fact, Amateur Photographer flatly stated “Nikon DX format DSLRs are dead” for video, noting that models like the D7500 can still be bought but are outclassed by Nikon’s own Z-series for filming. If your focus is still photography, the D7500 is brilliant – but if you plan to shoot a lot of video, you’d likely be happier with one of the other two (or a Nikon Z mirrorless).

One final note on stabilization: None of the DSLRs have built-in sensor stabilization, so they rely on optical lens stabilization. Both Canon and Nikon offer many stabilized lenses (Canon’s IS, Nikon’s VR) which work great for stills and decently for video. But the Sony’s IBIS + lens OSS combo gives it an edge for handheld shooting at slower shutter speeds and steadier videos. For example, handholding a 50mm lens at 1/10s for stills is feasible on the A6600, whereas on the 90D or D7500 you’d need either a stabilized lens or bump up ISO to keep shutter speed faster. If you often shoot in low light without a tripod, the Sony’s IBIS can be a game-changer.

Design, Controls and Ergonomics

All three cameras are robustly built and designed for enthusiast use, but the user experience of a DSLR vs a mirrorless in this group is quite different in hand. Here’s how they compare in size, durability, and handling:

• Canon EOS 90D: It looks and feels like a classic Canon mid-size DSLR – in Imaging Resource’s words, “comfortable ergonomics, great durability, lots of physical controls, and familiarity”. The 90D’s build includes a magnesium alloy chassis with polycarbonate exterior; it is weather-sealed against dust and moisture (not fully waterproof, but can handle rain or dusty shoots). The handgrip is deep and well-shaped, fitting comfortably even for large hands. At ~701 g body-only, the 90D has some heft, but that contributes to a stable feel when paired with larger lenses. On top, it features an LCD status panel (showing settings like ISO, shots remaining, etc.), which many enthusiasts love for quick checks. The optical viewfinder offers 100% frame coverage and 0.95× magnification – one of the best APS-C optical finders, described as “excellent… large, crisp and 100% coverage”. Looking through it is a bright, lag-free experience that optical purists prefer for its realism. The rear has a fully articulating 3” touchscreen that can flip out and rotate 270°, ideal for high/low angles and selfie shooting. Canon’s interface is well-thought: there’s a new AF joystick on the back (Canon brought it back on the 90D after it was missing on the 80D) for moving focus points. You also have dual control dials (one near the shutter, one at the back) for quick aperture/shutter adjustments, and plenty of custom buttons. Photographers coming from other Canon bodies will find it very familiar; “if you’ve ever used a Canon DSLR before, you’ll be very familiar with the layout”, notes a Photography Blog review photographyblog.com. Overall handling is excellent – buttons are logically placed, the camera balances well with mid-sized lenses, and the “plentiful controls and user customization” make it easy to adjust settings on the fly. One ergonomic perk: the 90D supports a battery grip (Canon BG-E14), allowing two batteries and vertical controls – something the Nikon lacks. In summary, the 90D is built to a high standard for its class; it “hits a sweet spot for price, features and build quality”, offering more robust construction and controls than entry-level models without being as tank-like (or costly) as a pro body.
• Nikon D7500: Nikon took a slightly different approach with this body. The D7500’s construction uses a monocoque carbon fiber composite instead of separate magnesium panels. This made it lighter and a bit smaller than its predecessor (5% lighter than D7200). It weighs about 640 g (body-only) and has a very comfortable deep grip with a new rubberized texture. Reviewers immediately noted it “is light, compact and very comfortable” to hold. The camera is weather-sealed extensively, similar to the 90D – it can handle tough outdoor conditions just fine. The D7500’s control layout will feel familiar to Nikon shooters. On top, it has a mode dial (with U1/U2 custom settings) on the left and a status LCD on the right shoulder. There’s a front and rear dial for exposure control, and ample buttons (ISO, WB, QUAL, etc.) spread around. One notable change: Nikon removed the second SD card slot that the earlier D7200 had, which caused some controversy. The D7500 has a single SD slot (UHS-I). They also removed compatibility with older manual-focus lenses – the D7500 lacks the screw-drive AF motor and AI indexing tab, meaning it won’t autofocus older AF-D lenses and won’t meter with pre-AI lenses (Nikon listed this as “non-CPU lenses will be manual only” in cons). For most modern lens users this is minor, but for legacy lens fans it’s a difference vs the D7200. On the back, the D7500 has a 3.2” tilting touchscreen (tilts up or down, but not fully articulating) for live view and menu navigation. It’s a high-quality screen (922k dots) and the touch interface is handy for things like playback zoom or setting focus point in live view. The optical viewfinder offers ~0.94× magnification and 100% coverage, similar to the 90D’s (so, a large and bright finder by APS-C DSLR standards). In handling, the D7500 feels a tad more compact than the 90D, and indeed Nikon eliminated a couple of features to streamline it: for instance, it does not support an add-on battery grip (there are no contacts for it). Nikon likely figured the target buyer wouldn’t need a bulky vertical grip, but it’s worth noting if extended battery or vertical controls matter to you. Despite a few simplifications, ergonomics are excellent. DPReview’s shooting experience article praised the D7500’s “well-designed ergonomics and handling”. The body feels solid in hand, and all important buttons (like AF-On, joystick d-pad, etc.) are within easy reach. In essence, Nikon made the D7500 a slightly leaner, more affordable enthusiast DSLR that still “packs in serious performance” and weather sealing. It gives up little in build quality – as evidenced by it being one of the last DSLRs Nikon is still (as of 2023) offering for sale.
• Sony A6600: The lone mirrorless here, the A6600 is significantly smaller and lighter than the two DSLRs. It measures 120 x 67 x 69 mm and weighs about 503 g with battery – roughly 200 grams lighter than the 90D or D7500. Despite its compact size, the A6600 has a sturdily built magnesium alloy body with dust and moisture resistance (Sony says it’s sealed against light rain and dust, though perhaps not as thoroughly as the larger DSLRs). The grip on the A6600 was enlarged compared to earlier A6xxx models to accommodate the bigger battery; it’s now quite comfortable for a small camera, and most people can get a full hand grip. However, it’s still not as “full” as a DSLR grip, and those with very large hands might find their pinky finger drifting under the camera. The A6600 uses an electronic viewfinder (EVF) located on the top-left corner (rangefinder style). It’s a 2.36-million-dot OLED EVF with 0.70× equivalent magnification. The EVF quality is good – bright and with fast refresh (up to 60 fps or 120 fps in high frame rate mode) – but coming from an optical finder, one notices it’s a bit smaller in view and has that digital look. The plus side is it can display real-time exposure, focus peaking, histograms, and even replay images – things an optical VF cannot do. Sony also gave the A6600 a 180° flip-up 3” touchscreen. Unlike the side-articulating design of the 90D, the A6600’s LCD flips upward to face forward (above the camera) or can tilt down a bit for overhead shots. This is great for self-recording, though if you mount accessories in the hot shoe, they might block the screen. The LCD is slightly lower resolution (921k dots) than the Nikon’s, and Sony’s touch functionality is limited (you can select focus or swipe through images, but you can’t navigate menus by touch on this model). In terms of controls, the A6600 has the fewest external buttons and dials of the three. It retains the typical Sony layout: one top dial for modes, one top dial for primary exposure control, and a rear dial that doubles as a 4-way selector. There are several customizable buttons (C1, C2, etc.) you can assign to common tasks, and the Fn quick menu is handy, but overall it’s a more minimalist interface. DPReview tactfully phrased it as “acceptable ergonomics” – Sony did improve the grip and added the headphone jack, but the A6600 still inherits a somewhat cramped UI from its predecessors. For example, there is no joystick for moving focus points (you tap the screen or use the d-pad), and some users miss having a front dial or more direct buttons. That said, many photographers adapt to the Sony controls quickly, and the trade-off is a very compact body. The smaller form is great for travel and street photography – it doesn’t scream “pro camera,” and you can carry it all day without fatigue. With a small prime lens, the A6600 can even fit in a jacket pocket. In build quality, it’s quite tough – owners have put A6xxx series cameras through heavy use and they’ve held up well. It also has the advantage of a silent shooting mode (electronic shutter), which the DSLRs cannot do; this can be valuable for shooting in quiet environments (though in rolling-shutter-sensitive situations it’s less ideal).

Viewfinder experience is a key ergonomic difference: The DSLRs give an optical, lag-free view – many prefer this for its clarity and the connection to the scene. The A6600’s EVF gives you real-time exposure preview and can zoom in on focus, etc., but it’s an electronic interpretation. As Shutterbug’s editor put it, “One reason I’m not ready to give up on DSLRs is that I greatly prefer shooting with an optical viewfinder”, though he acknowledged mirrorless EVFs are improving. This is subjective; some love the WYSIWYG nature of EVFs, others love the purity of OVFs. In dark conditions, an EVF can actually brighten the scene to help you see, whereas an OVF will be dark. Conversely, in bright daylight an OVF is extremely clear, whereas some EVFs might lag or show noise in low light.

Other ergonomic points:

• Shutter durability: The 90D is rated for 120k or 200k actuations (Canon doesn’t publish, but Shutterbug mentioned 200k cycles). The D7500 likely around 150k (Nikon often states these in tech docs). The A6600 has no official mechanical shutter life spec, but typically mirrorless have durable shutters; also you can use electronic shutter to avoid wear.
• Extras: All three have built-in flash except the A6600 (Canon and Nikon include pop-up flashes which can be handy for fill light; Sony omitted it on the A6600 to make room for IBIS and larger battery en.wikipedia.org).
• Menus: Canon’s menus are widely regarded as very user-friendly (tabbed and color-coded). Nikon’s menus are also logical, with the “i” quick menu for on-the-fly settings. Sony’s menu system at the time of A6600 was considered complex, but one can rely on custom buttons and Fn menu to mitigate diving in too often.
• Custom modes: Canon has one custom mode on the dial (C), Nikon has two (U1, U2), Sony has none on the dial (but you can save up to 3 recallable presets within the menus). So Nikon offers the most quick switch custom shooting setups.
• Shutter sound: The DSLRs have a mirror slap, though both have optional quiet modes. The A6600’s mechanical shutter is fairly quiet, and it offers a fully silent mode if needed.

In summary, Canon and Nikon DSLRs excel in classic handling – they feel substantial, with generous grips and direct controls. The 90D particularly gives an “enticing option for more experienced users” who want lots of buttons and a sturdy feel. The D7500 is a tad more compact but still built for “serious performance”, lacking only a few features like dual slots or grip support that its bigger siblings have. The Sony A6600 emphasizes portability and modern design – it’s small yet tough, and while it has fewer physical controls, it makes up for it with things like an EVF that can show you a live histogram or eye AF box. Each appeals to a slightly different shooting style: the DSLRs are great for all-day ergonomic comfort and quick adjustments with physical dials, whereas the Sony is great for traveling light and leveraging technology (IBIS, EVF overlays) in the field.

Lens Ecosystem and Compatibility

A camera is only as good as the lenses you can use with it, and here we have three different mount systems: Canon EF (90D), Nikon F (D7500), and Sony E (A6600). All three systems offer extensive lens choices, but with some important distinctions in 2025.

Canon EOS 90D – EF Mount: The 90D uses the Canon EF mount (EF-S for APS-C lenses, but it’s physically the same mount as EF). This mount has one of the largest lens ecosystems in history. Decades of Canon EF lens production mean hundreds of native lenses are available, from affordable nifty-fifty primes to elite L-series telephotos. You have full compatibility with EF-S lenses (designed for APS-C) and EF lenses (full-frame). For APS-C, Canon’s EF-S lineup includes versatile zooms (18-135mm, 10-18mm ultra-wide, etc.) and primes like the 24mm f/2.8 STM pancake. For higher quality, many users put EF full-frame lenses on the 90D – for example, the EF 70-200mm f/4L IS makes a great wildlife combo (with 1.6× crop reach). Autofocus and metering work seamlessly with all EF/EF-S lenses. Additionally, third-party support for EF is massive: Sigma, Tamron, Tokina, and others have made many EF mount lenses over the years. In 2025, one consideration is that Canon has shifted new lens development to the RF mount (for its mirrorless cameras). So while the EF mount lens selection is enormous, there likely won’t be many (or any) new EF lenses coming out. That said, the existing selection is more than enough for almost any need, and the used lens market is very healthy. You can find excellent deals on EF lenses as mirrorless adoption increases. Also, should you move to a Canon RF mirrorless in the future, Canon’s EF-RF adapter lets you use your EF/EF-S lenses on mirrorless with full functionality – so your lens investment is not wasted. As one expert noted, the 90D’s appeal includes “compatibility with a veritable boatload of Canon EF lenses”, giving users access to an incredible range of optics. One slight drawback: some of Canon’s latest optical innovations (like super-compact RF lenses or new fast apertures) are RF-only, but again, EF has plenty of stellar glass (e.g. the EF 50mm f/1.8 STM for $125 or the legendary EF 300mm f/2.8L for sports). In short, the 90D enjoys an outstanding lens ecosystem – arguably the widest overall, if we include the entire Canon EF catalogue and third-parties. From an ultrawide 10-22mm for landscapes to a 100mm macro or 400mm telephoto, there’s essentially nothing you can’t mount on the 90D.

Nikon D7500 – F Mount (DX/FX): The D7500 uses the Nikon F mount, which is even older (dating back to 1959!) and similarly boasts a huge array of lenses. Specifically, the D7500 is a DX-format DSLR, meaning it’s optimized for Nikon’s DX (APS-C) lenses, but it can also use FX (full-frame) lenses with a 1.5× field of view crop. Nikon’s own DX lens lineup is somewhat modest – they produced a number of kit zooms and a few standout DX lenses (like the 16-80mm f/2.8-4, or 35mm f/1.8 DX prime). However, the real strength for enthusiasts is that the D7500 can leverage the extensive FX lens lineup for top optical quality. For example, wildlife shooters often pair it with an FX 300mm or 500mm prime (getting a 1.5× reach benefit), and portrait shooters might use an FX 50mm or 85mm prime. All those lenses work flawlessly on the D7500 (autofocus included, except with older screw-drive lenses as noted). The F-mount also enjoyed huge third-party support – Sigma and Tamron have many F-mount options (the Sigma 18-35mm f/1.8 DC, for instance, is a popular sharp zoom for DX). Similar to Canon, Nikon has largely ceased new F-mount lens development as of a few years ago, focusing on the Z mirrorless mount. But F-mount lenses are still widely available new and used. In fact, Nikon’s last DSLR lens releases (like the AF-P 70-300mm VR) are excellent performers and work great on the D7500. Another aspect: the Nikon F mount backward compatibility. If you’re a lens collector, the D7500 can mount most Nikon lenses made in the last several decades. It will meter with AI and AF-D type older lenses (though it won’t autofocus AF-D since D7500 has no in-body motor). Still, being able to use, say, a classic manual 50mm f/1.2 or a vintage fisheye can be fun – the D7500 won’t meter with pre-AI lenses and has no focus motor for AF-D, so it’s not as flexible as a D500 or D7200 in that regard. But it does allow using modern AF-S and AF-P lenses without issue. Nikon’s DX users sometimes lament the lack of primes – for example, Canon made a 24mm and 10mm EF-S prime, whereas Nikon mostly advised DX users to use FX primes. Nonetheless, the options are still vast (Nikon’s own FX 35mm f/1.8G, 50mm f/1.8G, 85mm f/1.8G are affordable and great on D7500). Overall, lens availability is excellent for D7500: you have about 300 Nikon F lenses from decades of production at your disposal, plus countless third-party choices. One caveat: future support – Nikon’s focus is on Z-mount now. In a few years, finding F-mount lenses new might become harder as stock dwindles. But used F lenses will be around for a long time, and Nikon has promised to support DSLR users with service for years. And like Canon, Nikon makes an FTZ adapter for their Z mirrorless – so if you eventually switch, your F lenses can move with you (with AF for AF-S/AF-P lenses). In summary, the D7500 stands on a rich lens ecosystem as well. Whether you need a fisheye, a tilt-shift, a supertele, or an everyday zoom, there’s an F-mount lens for it. Amateur Photographer bluntly stated “Nikon DX format DSLRs are dead” in terms of new stuff, but also noted “the D7500 can still be bought used and full-frame models like D780/D850 are available. In our review of the Nikon D7500, we found it a very capable camera” – implying that the existing lenses and gear for it remain a compelling proposition even if no new DX DSLRs are coming.

Sony A6600 – E Mount (APS-C & FE): The A6600 uses Sony’s E-mount, which is a modern mirrorless mount introduced in 2010. Initially, Sony’s APS-C E-mount lens selection was limited, but it has grown significantly and, importantly, the A6600 can also use all the full-frame E-mount (FE) lenses natively. So the lens ecosystem for the A6600 is effectively the entire Sony E-mount lineup. This includes about 20+ APS-C-specific lenses and over 40 full-frame lenses from Sony, plus many more from third-party manufacturers (Sigma, Tamron, Zeiss, Samyang, etc.). The strength of E-mount is that it’s actively growing – even in 2025, new lenses are being released for Sony mirrorless. The weakness for APS-C is that Sony has sometimes prioritized full-frame lenses, resulting in fewer high-end APS-C lens options. Still, there are some excellent APS-C lenses: the Sony 16-55mm f/2.8 G standard zoom and 70-350mm telezoom are pro-quality glass released in 2019 specifically for APS-C. There are also compact primes like the 16mm, 30mm, 56mm f/1.4 trio from Sigma (well-regarded for sharpness) and Sony’s own 24mm f/1.8 Zeiss or 35mm f/1.8 OSS. For ultra-wide, Sony offers a 10-18mm f/4 OSS. For macro, there’s a 30mm and 50mm macro APS-C. In short, most standard needs are covered in native APS-C. If something is missing – e.g., a very fast telephoto prime – you can mount the full-frame version. The A6600 will simply use the center of the image or you can turn off auto-crop and use full sensor (with some vignetting on wide full-frame lenses). Using full-frame (FE) lenses on A6600 comes with pros and cons: You get often better optics (many of Sony’s best lenses are FE), but they can be larger and heavier than APS-C bodies ideally balance with. For example, you can put a Sony 70-200mm f/2.8 GM on the A6600 and it will autofocus great, but the combo will feel front-heavy and the small body won’t have the heft to counterbalance well. Many A6600 users stick to smaller FE lenses (like the FE 35mm f/1.8, FE 85mm f/1.8) which do pair nicely size-wise. Another big advantage: third-party lenses in E-mount. Companies like Sigma and Tamron have wholeheartedly embraced E-mount with autofocus lenses. Tamron makes excellent compact zooms (17-70mm f/2.8 VC for APS-C, 11-20mm f/2.8, etc.), which are popular on the A6600. Sigma offers the trio of f/1.4 primes and some full-frame Art series that can be used. Samyang/Rokinon has small AF primes (like 12mm f/2 APS-C for astro). In addition, because E-mount is mirrorless with short flange distance, you can adapt many manual lenses easily (vintage SLR lenses via cheap adapters, or specialist cine lenses). The A6600 won’t autofocus adapted DSLR lenses natively without smart adapters (there are adapters to use Canon EF lenses on Sony E with decent AF performance, interestingly). But generally, one buys into Sony E to use native mirrorless lenses. By 2025, the E-mount ecosystem is extremely robust – arguably the most active in terms of new releases, thanks to Sony’s full-frame popularity.

One factor to consider: future system growth. If you think you might upgrade to full-frame later, Sony E has a clear path (all your FE lenses on A6600 would work on a full-frame Sony body). Canon and Nikon’s DSLR mounts do not directly mount to their new mirrorless cameras without adapters. However, as noted, adapters exist and work well (Canon EF to RF adapter is essentially flawless, Nikon FTZ for F to Z is very good but doesn’t support screw-drive AF). So you won’t be stuck, but it’s an extra piece. On the flip side, staying DSLR means you can take advantage of loads of affordable used lenses right now, often at better prices than mirrorless glass. For example, a used pro 300mm f/4 for Nikon F might cost much less than any equivalent for Sony.

In summary:

• Canon 90D/EF system: Enormous selection and an “entire boatload” of lenses to suit any budget or need. No new EF lenses coming, but you likely won’t need any that don’t already exist. Great for those who already have Canon glass or want cheap used deals.
• Nikon D7500/F system: Similarly vast lens choices, especially leveraging Nikon’s legendary lenses. The DX-specific range is smaller, but using FX lenses fills the gap. The F-mount era is winding down, but it leaves behind a treasure trove of optics for D7500 owners.
• Sony A6600/E system: Fewer total lenses historically, but a rapidly expanding modern lineup. It covers most bases now and continues to grow. You get mirrorless-specific advantages (compact designs, new tech like linear motors for AF). A6600 shooters have a healthy mix of Sony’s own lenses and excellent third-party options, and this system will continue to be supported for years to come (as it’s Sony’s main mount).

Each system has its nuances, but none will leave you short of glass. If we consider purely 2025 context: the Sony E-mount is the one with ongoing lens innovation, whereas Canon/Nikon DSLR mounts are in legacy support mode with huge back catalogs. One expert comment from DPReview’s R7 review highlights the mirrorless trade-off: Canon’s new RF-S (APS-C mirrorless) lens selection is limited and “while EF and EF-S lenses can be used via an adapter, they tend to be pretty bulky to use” on a small mirrorless. This underscores that if you commit to the DSLR now, you may eventually be adapting those lenses to mirrorless – which works but can be a bit clunky. Meanwhile, investing in Sony E lenses now means you’re in a current system directly. However, if you have a cache of Canon or Nikon glass already, the 90D or D7500 will use them beautifully with native performance – no adapter needed (and in many cases DSLR lenses are cheaper than their mirrorless equivalents). So the “lens ecosystem” question might also depend on your existing gear and future plans.

Battery Life, Connectivity & Software Support

In day-to-day use, practical things like battery endurance and connectivity can greatly affect the shooting experience. Here’s how our three contenders stack up:

Battery Life: The two DSLRs have a traditional advantage here thanks to their optical viewfinders (which draw virtually no power when framing) and high-capacity batteries. The Canon 90D is rated for approx 1,300 shots per charge using the viewfinder (CIPA standard). In real-world casual use, many users get even more. This is excellent longevity – you can shoot an all-day event or a weekend hike on one LP-E6N battery. The Nikon D7500 is rated around 950 shots per charge (CIPA) with its EN-EL15a battery. Again, a very solid performance – easily a full day’s shooting. Nikon actually improved power management over the D7200, and “very good battery life” is listed among its pros. In practice, both DSLRs go far beyond any mirrorless in terms of stills per charge; plus you can always carry a spare and swap in seconds (and the Canon can accept the large BG-E14 grip for dual batteries if needed).

The Sony A6600, however, made big strides for mirrorless battery life by adopting the Sony Z-type battery (NP-FZ100). It’s rated at approximately 720 shots per charge with the EVF, or 810 with LCD use. These CIPA numbers are actually conservative – many A6600 users report getting over 1,000 shots in general use. DPReview noted the a6600 “has the best battery life of any mirrorless camera on the market at this time” (circa late 2019) alphashooters.com. Indeed, 810 shots CIPA is class-leading for mirrorless APS-C, rivaling some entry DSLRs. This means the A6600 largely killed off the battery anxiety that earlier Sony models (with smaller batteries) suffered from. For a day trip, one battery will usually suffice, and for heavy shooting, one spare will do. It’s worth mentioning that the A6600 battery is rechargeable in-camera via USB – you can top it up from a powerbank or USB-C source, which is convenient on the go (neither DSLR supports in-camera USB charging; they rely on external chargers). So while the DSLRs still last longer in absolute terms, the Sony’s endurance is impressively close and certainly “acceptable ergonomics” includes not having to swap batteries frequently.

Wireless Connectivity: All three cameras come with built-in Wi-Fi and Bluetooth, reflecting the mid/late-2010s push for easy image transfer and remote control.

• The Canon 90D offers Wi-Fi and Bluetooth LE. Through the Canon Camera Connect app (iOS/Android), you can connect the 90D to your smartphone to transfer images (JPEG or RAW), do remote shooting (with live view on your phone), and geotag images using your phone’s GPS. The Bluetooth provides an always-on connection for quick pairing and can do things like automatically send low-res images to your phone as you shoot (if configured) or use your phone as a simple Bluetooth remote. Canon’s wireless implementation is generally praised for being straightforward. Once initial pairing is done, reconnection is usually one tap. The 90D’s relatively fast DIGIC 8 processor and Wi-Fi allow reasonably quick transfers of full-resolution JPEGs. This is great for social media sharing on the fly. There’s also support for wireless printing and transferring to a computer via Canon’s EOS Utility. In 2025, Canon hasn’t added new features via firmware to the 90D’s Wi-Fi, but the existing setup covers most needs.
• The Nikon D7500 features Nikon’s SnapBridge system, which uses Bluetooth Low Energy to maintain a constant link with your phone and can automatically transfer 2MP resized images to your phone as you shoot, or sync time/GPS data. For full-resolution transfers or remote live view control, the D7500 switches to Wi-Fi (which the SnapBridge app manages behind the scenes). Early versions of SnapBridge (around 2016–2017) had a poor reputation – connection issues and sluggishness – but by 2020 Nikon improved the app significantly. With the D7500 (especially on newer firmware and app versions), it’s quite convenient: the low-power Bluetooth means you don’t have to manually connect each time; your photos can be trickling to your phone automatically, ready to share. If you prefer manual control, you can select and download images (including RAW if you want) over Wi-Fi. Remote shooting is supported too (you get a live view feed on your phone and can trigger the shutter, change settings). Nikon also allows basic camera control via the SnapBridge Bluetooth (like triggering the shutter remotely without live view for simple shots or starting a video). Imaging Resource noted the D7500 includes SnapBridge functionality and built-in Wi-Fi/Bluetooth for connectivity. One thing the D7500 lacks vs higher models: no NFC (some older Nikon models had NFC tap-to-connect; D7500 doesn’t, but that’s minor since BLE made it easy anyway). Overall, Nikon’s wireless is competent after its updates, though the app is perhaps still a bit less intuitive than Canon’s. In 2025, Nikon’s focus is on SnapBridge for all cameras (Z and DSLR alike), and they’ve even introduced a Mac/PC app (NX MobileAir) if one wants to transfer to computer via phone as a hub.
• The Sony A6600 comes with Wi-Fi and Bluetooth as well, using Sony’s Imaging Edge Mobile app (formerly PlayMemories Mobile). You can connect via Wi-Fi for image transfer (the camera can create its own hotspot or join a network) and for remote control with live view. The Bluetooth is used for geotagging (the camera can tag pictures with your phone’s GPS data) and for wake-on-demand connectivity. Sony’s system doesn’t do automatic background transfer of every shot, but you can mark shots in-camera for transfer (using a “Send to Smartphone” button). Many users find the Sony app straightforward for grabbing a few photos to post – you just tap to connect (or use QR code to pair initially) and you can browse the card and pull photos. One advantage: the A6600 can transfer RAW files as well (though slower), and it can also shoot remotely with full control over exposure, focus, etc. Another neat feature: you can use the A6600 as a webcam or streaming camera via USB (with Sony’s Imaging Edge Webcam utility) – in 2020 Sony released firmware to enable class-compliant USB video, which might not have been explicitly for A6600, but the trend allows these cameras to be repurposed for high-quality video conferencing easily. On the software support side, Sony tends to keep their cameras updated for a couple years: the A6600 saw firmware updates fixing minor issues and adding real-time animal eye AF. By 2025, it’s mature and likely won’t get more firmware features, but third-party apps and tethering software (like Capture One or Lightroom Classic) fully support it. The A6600 also offers NFC one-touch pairing – on Android you can tap your phone to the camera to initiate Wi-Fi connection (for iPhones, use QR code).

Wired Connectivity and Tethering: On the hardware side, all three have USB ports (Canon and Nikon use USB 2.0 Micro-B, Sony uses Micro USB as well, unfortunately not USB-C on the A6600). They have HDMI outputs (all use Micro HDMI type D). They also all have microphone 3.5mm inputs, and importantly both the Nikon D7500 and Sony A6600 have headphone outputs for audio monitoring en.wikipedia.org; the Canon 90D also includes a headphone jack (Canon doesn’t always on midrange, but the 90D does – making all three equal in that regard). This is great for video shooters to monitor sound. The D7500 and 90D have a PC sync port for flashes (Sony does not). In terms of tethered shooting (controlling via computer), the Canon works with EOS Utility software for live view tether and transfer; Nikon can use Camera Control Pro 2 (paid software) or third-party like DigiCamControl; Sony can use Imaging Edge Desktop (free) to shoot tethered with live view on PC. Each brand’s software ecosystem supports these models, and Adobe/other raw converters have long added support for their RAW files (90D CR3 raw, D7500 NEF, A6600 ARW are all supported in Lightroom, etc.).

Firmware and future support: Given their release dates, none of these cameras are likely to get significant new firmware features anymore. The 90D had its 24p update early on and minor fixes. The D7500 got a couple of compatibility updates (supporting new lenses, etc.). The A6600 got eye AF improvements and bug fixes. Manufacturers are now focused on newer models (Canon R7/R10, Nikon Z50/Zf, Sony A6700). However, all three will continue to be supported in terms of repair services and compatibility for some years. Nikon’s official stance (2023) is they have parts to repair D7500 and others for a while. Canon likely similarly. On software, all three are well integrated into existing workflows – so things like tethering, flash system (each can wirelessly control flashes off-camera with appropriate triggers), and editing software support are mature and stable.

In camera software features: A quick note – each camera has some neat software functions internally. For instance, the 90D has creative filters, in-camera RAW processing and HDR mode, multiple exposure shooting, etc. The D7500 similarly has in-camera RAW processing, a time-lapse movie mode, and exposure bracketing up to 9 frames. The A6600 offers things like interval shooting (for time-lapse) and various Creative Styles and Picture Profiles for video. None of them have things like GPS built-in (they rely on phone linking for geotagging if needed).

Overall, in terms of battery and connectivity, the 90D and D7500 will delight still shooters with their long battery lives, while the A6600, though not matching optical VF endurance, “has the best battery life of any mirrorless” as of its release alphashooters.com, making it a non-issue for most. All three connect to smartphones for sharing and remote control; Canon’s system is arguably the simplest, Nikon’s SnapBridge enables cool always-on transfers, and Sony’s offers robust remote features and PC integration. As we move forward, keep in mind Canon and Nikon DSLRs won’t see new features, but their existing support is stable. Sony’s ecosystem continues to evolve, though for the A6600 specifically, major updates will likely be via its successor (the A6700) rather than new firmware.

Pricing and Value (August 2025)

As of 2025, these cameras are no longer the latest models in their segment, which means significant price drops and deals are available – a big win for value-conscious buyers. Let’s look at original launch prices versus current pricing, and the overall value proposition each camera offers now:

• Canon EOS 90D: Launched in late 2019 at $1,199 USD (body-only). It was positioned as an affordable alternative to the 7D Mark II, with many similar features. By mid-2025, the 90D is still available at many retailers, though stock may be dwindling if production has slowed. We’ve seen it on sale new for around $999 (body) and even lower during holiday deals. Canon’s official store and major shops sometimes bundle it with a kit lens (18-135mm) for ~$1,299. On the used market, 90Ds commonly go for around $700-$800 depending on condition/shutter count. Importantly, there are rumors and reports that the 90D may have been discontinued by Canon in some regions – Canon hasn’t formally announced it globally, but it’s plausible given their mirrorless focus. Indeed, an ePhotozine forum post from 2022 indicated “WEX Photographic inform me that the 90D is being discontinued”. Even if discontinued, units remain available and support will continue. In terms of value, the 90D offers a lot: a 32.5MP sensor and 10 fps in a rugged body at well under $1k is a good deal. When it launched at $1199, it was already considered a very strong value against similarly priced mirrorless. In 2025, for around $900, it’s arguably a bargain for enthusiasts who don’t mind DSLR form. You’re getting Canon’s latest (and possibly last) APS-C DSLR tech – which means excellent dual-pixel AF, uncropped 4K, etc., features not seen in earlier models like the 80D. Photography Blog’s review concluded the 90D is “a relatively affordable price” for what it delivers, a versatile all-around DSLR for advanced amateurs. If you have existing EF lenses, the value is even higher (no need to buy new lenses). On the flip side, one must weigh that Canon’s mirrorless EOS R7 (the spiritual successor) costs only about $1,499 new – but the R7 body is more expensive and if you go that route, maybe your EF lenses via adapter or buying new RF lenses adds cost. So a 90D at ~$1k could be seen as a budget-savvy alternative to jumping into mirrorless. Overall, the 90D remains one of the best price/performance Canon DSLRs you can get, especially if you want high resolution without breaking the bank. As Techradar noted in a 2025 DSLR roundup, “the Canon EOS 90D is the best current Canon DSLR” in their view, underscoring that it’s a current top choice for value in Canon’s DSLR line.
• Nikon D7500: It debuted in mid-2017 at $1,249 USD (body-only), about the same bracket as Canon’s 80D at the time. Now in 2025, the D7500 can be found heavily discounted. Nikon officially lists it on sale for $749 body-only on their USA site – an incredible price for the performance (this undercuts even the launch price of the much lower-end D5600 back then). With a kit lens (18-140mm or similar) it might be around $1,000. The used price is generally around $500-$600, sometimes less, because a lot of hobbyists upgraded or the market has many due to its age. Nikon has officially confirmed that its DSLR lineup is winding down: by 2023, they “officially discontinued the D6, leaving D850, D780, and D7500 as the only remaining current DSLRs”, all of which are deeply discounted. That statement suggests Nikon likely ceased manufacturing new D7500 units and is selling through stock. That said, the D7500 is still supported and is the most affordable of those remaining DSLRs. For value, at ~$750 new, it’s astonishing – you get near-D500 performance (which was a $2k camera) at a fraction of that price. It’s an excellent deal for someone who wants a robust camera for action or general shooting and values the F-mount lens selection. When considering value, one should note that Nikon’s mirrorless APS-C, like the Z50 kit, is around $1,000 with lens. The D7500, with arguably better build and a richer lens ecosystem (F-mount), for under $800 new is compelling if you’re okay with DSLR form and its video limitations. Many budget-conscious photographers might pick up a D7500 plus a used 17-55mm f/2.8 or 70-300mm lens and have a very capable kit for much less than a new mirrorless setup. Nikon itself pitched the D7500 as giving flagship D500 quality at a mid-range price – and in 2025 that price is lower than ever. Thus, the D7500 arguably offers the highest bang-for-buck for pure still photography among these three, if you can get one at current sale prices. It’s also a great “last chance” to get a brand-new Nikon DSLR before they’re gone.
• Sony A6600: Launched in late 2019 at $1,398 USD (body-only) – it was the priciest of the bunch originally. Sony positioned it as a premium APS-C body with features like IBIS and the Z battery, hence the higher cost. In 2023, Sony released the A6700 (its successor) at $1,399, effectively taking over that price point. As a result, the A6600 has seen price cuts. In early 2025, it’s not uncommon to find the A6600 on sale for around $1,000 (body), and even as low as $900 during clearance events. Some retailers bundle it with the 18-135mm lens for maybe $1,199-$1,299. Since it’s relatively recent, used prices are not dramatically lower – usually in the $800 range body-only. Sony tends to discontinue older models once stock is gone; the A6600 may still be in stock through 2024/25 but likely will phase out in favor of A6700. In terms of value proposition, the A6600 at ~$1k offers a lot of tech: leading-edge AF, IBIS, a big battery, 4K video, etc. However, one could argue the Sony a6700 at $1,399 (with a new 26MP sensor, 4K60, improved AI autofocus, etc.) provides even more at a slightly higher cost. So the A6600’s value depends on pricing – if you find it heavily discounted, it’s great; if near its original price, the newer model might tempt you. Compared to the DSLRs, the A6600 is still the most expensive option here in absolute terms (especially when the DSLRs are on deep discount). So if budget is tight, one of the DSLRs could save a few hundred dollars. But one must also consider system value: Sony E-mount lenses range widely in price; there are affordable options (Sigma primes ~$300, some kit zooms ~$250) and pricey ones (GM lenses $1500+). Meanwhile, many high-quality Canon/Nikon F lenses can be found used at lower costs. So system cost can favor DSLRs for now. On the flip side, investing in Sony now might be more future-proof (no immediate system switch needed down the line).

When assessing overall value:

• The Canon 90D offers an attractive mix of high resolution and well-rounded features at a mid-range price. It’s a great value for a serious enthusiast who doesn’t need the latest mirrorless but wants a dependable do-it-all camera. As one Canon Community user in 2023 opined, “The 90D is a camera for enthusiasts who are still not ready to embrace the mirrorless revolution and one that can get the job done in almost any situation.” That captures its value: you’re getting performance that, for most tasks, is more than sufficient in 2025, without paying the early-adopter tax for new tech.
• The Nikon D7500 is arguably the budget king for stills. At its current prices, it undercuts many entry-level mirrorless while delivering semi-pro performance. If your focus is photography and you want the best quality per dollar, the D7500 is hard to beat. And since it’s one of Nikon’s last DSLRs, it may even become something of a cult classic for DSLR holdouts. Of course, if video or mirrorless features are needed, that subtracts from its value to those users.
• The Sony A6600 commands a bit of a premium, but you get premium features. Its value is strongest for hybrid shooters (stills+video) who will use its advanced AF, IBIS, and long battery to the fullest. It’s also part of an ecosystem that’s alive and well, so the investment holds value as you can upgrade bodies later and keep lenses.

In plain terms, if someone in 2025 has around $1000 to spend on a camera body:

• For maximum still photography performance per dollar: Nikon D7500 is an excellent choice (and put savings into a good lens).
• For a balance of high-res stills and some video: Canon 90D provides huge resolution and decent video at a nice price now.
• For cutting-edge autofocus and video in a compact form: Sony A6600, especially if found on sale, delivers modern mirrorless benefits alphashooters.com.

All three have strong value propositions to different audiences, which is part of why they remain popular in discussions even years after release.

Recent Developments and Future Outlook (as of 2025)

The camera world has evolved rapidly since these models launched. It’s important to understand how each fits into its maker’s future lineup – and if there are successors or system changes that might influence your decision.

Canon’s path: Canon has essentially drawn a close to new DSLR development. In late 2021, Canon’s CEO confirmed that the EOS-1D X Mark III would be their last flagship DSLR, signaling a full shift to mirrorless R-series cameras. While Canon didn’t explicitly say “no more 90D-class DSLRs,” industry consensus is that the 90D is likely the last of the double-digit EOS line. Instead, Canon introduced the EOS R7 in 2022, a mirrorless APS-C model that many see as the 90D’s (and 7D Mark II’s) spiritual successor. DPReview straight-up states, “The Canon EOS R7 is the natural successor to two popular cameras, the mirrorless EOS M6 II and the EOS 90D DSLR.” dpreview.com The R7 carries a 32.5MP APS-C sensor (likely very similar, if not the same, as the 90D’s sensor) but adds a modern DIGIC X processor, in-body stabilization, 15 fps mechanical/30 fps electronic bursts, and Canon’s Dual Pixel CMOS AF II system (with subject detection algorithms). It’s essentially what a “Canon 95D” might have been, but in mirrorless form. The R7 is priced around $1499 (body), so a bit higher than 90D’s launch, but not by much. For a 90D owner or prospective buyer, the R7 is the mirrorless upgrade path – using RF mount lenses (or adapting EF lenses). In terms of recent news, Canon has been rolling out APS-C RF-mount lenses to support the R7 and the cheaper EOS R10/R50. However, the RF-S lens selection is still small. Many 90D users with EF-S lenses can adapt them to R7 fine (the EF-S 18-135mm on R7 works via adapter, for example). It’s worth noting that the EOS 90D itself received positive press even in 2023/2024 as a great DSLR option for those not ready for mirrorless. There’s a lively community of DSLR users who feel no rush to switch. Canon’s continued firmware support (like adding 24p) and selling the 90D alongside mirrorless in 2022 shows it wasn’t immediately abandoning those users. But by 2025, stock is likely dwindling. Anyone buying in now should know it’s a mature product with no direct follow-up. If you absolutely want an optical viewfinder and Canon system, the 90D is the pinnacle of that for APS-C. But if you think you’ll want newer tech down the line, Canon’s focus is entirely on EOS R. On a fun note, Canon’s EOS M6 Mark II (which was like a mirrorless 90D in 2019) was discontinued as well, consolidating APS-C into the RF mount. So the 90D kind of represents the end of one era – it’s arguably “Canon’s best ever enthusiast APS-C DSLR” as some reviews put it, and Canon seems content to let it remain the last word on that front.

Nikon’s direction: Nikon, too, has pivoted strongly to mirrorless with its Z mount. They released the Nikon Z50 in late 2019 (a 20.9MP APS-C mirrorless using much of D7500 tech) and later the retro-styled Z fc (2021) and entry Z30 (2022), all using the same 20.9MP sensor. These cameras cater to the segment the D7500 once served, albeit none has matched all the D7500’s capabilities (for instance, the Z50 has 11 fps and excellent video AF, but no weather sealing or high buffer; the Z fc is more style-oriented; the Z30 is for vloggers with no EVF). Nikon hasn’t yet released a high-end APS-C mirrorless like a “Z70” or “Z90,” but rumors are strong that one is coming. Cameraegg.org and other rumor sites mention “Nikon Z70…a high-end APS-C (DX) Z-mount mirrorless camera to be announced in 2024–2025 to compete with Sony a6700.” If a Z70 materializes, that would truly be the D7500/D500 successor in mirrorless form, likely with a new 24MP or higher sensor and robust build/AF. Some Nikon enthusiasts in forums have expressed longing for a “D500 replacement” – whether that ends up being called Z70 or perhaps Nikon might encourage those users to go full-frame. An interesting insight from a DPR forum: “The D7500 buyer should really be looking to whatever replaces the Z6II as that is likely the closest thing to the D7500 we’re going to see.” The reasoning is Nikon might not make a mid-tier DX mirrorless at all, instead pushing enthusiasts to full-frame Z5/Z6 line. However, latest rumors as of late 2024 suggest a Nikon Zf (full-frame retro) and possibly a Z50 Mark II, but no concrete Z70 yet. So in the interim, the D7500 remains the latest Nikon APS-C DSLR available. Nikon officially discontinuing models: In May 2023, as cited, Nikon Japan listed only D850, D780, D7500 as current, implying all others (D500, D7200, etc.) were done. The D7500 thus may be the last Nikon DX DSLR you can buy new. For someone invested in F-mount or who prefers DSLRs, this is a key point: it’s the end of the line, but also a proven one. In Nikon’s mirrorless Z mount, to get something equivalent in performance, one might have to wait or consider the full-frame Z5 (as one forum user suggested for D7000-series buyers). Value outlook: D7500 likely will go out of stock by 2025’s end or 2026 if not earlier, as Nikon sells through. So if you want one new, now’s the time. But as far as support, Nikon will provide repairs for years and F-mount lenses will be around.

Sony’s trajectory: Sony has been all-in on mirrorless for over a decade (they ceased new A-mount DSLR development long ago). For APS-C E-mount, the A6600 was top-dog until mid-2023, when Sony launched the Sony A6700. The A6700 is indeed the successor: it brought a new 26MP BSI sensor (shared with the FX30 cine camera), 4K up to 120p (with crop for 120p), improved AI autofocus (using tech from Sony’s latest full-frames like subject recognition for vehicles, etc.), a slightly revised body with a larger grip and a front dial, and the new menu system. Priced at $1399, the A6700 basically slots in where the A6600 was. The A6600 is likely to be discontinued once inventory sells off (Sony typically doesn’t keep old models around too long after successor arrives, though sometimes they do for a cheaper tier, but given the A6700 replaced it at the same price, the A6600 might fade out). That said, the A6100 and A6400 were kept in market for a while even after newer ones, due to demand for lower cost options. Sony might similarly leave A6600 on market at lower price until A6700 production fully ramps. In any case, the Sony APS-C lens ecosystem got a boost in 2022–2023 with new releases (like an 11mm f/1.8, 15mm f/1.4, 10-20mm PZ, etc.), showing Sony’s commitment to APS-C system. Also noteworthy: Sony’s imaging sensors are in many cameras – the 26MP BSI in A6700 is also likely to appear in Fujifilm models and maybe Nikon’s future DX. The A6600 itself, despite being replaced, doesn’t suddenly become bad; it’s still quite up-to-date. But prospective buyers should weigh if spending a bit more for the A6700 makes sense (for features like 10-bit video, even better AF, etc.). If your focus is primarily stills, the A6600 vs A6700 differences aren’t night-and-day; the biggest stills difference might be 26MP BSI sensor giving a little edge in dynamic range and slight resolution bump, plus the new AF algorithms (like human pose estimation). If those aren’t critical, the A6600 remains a very capable tool and will be supported by Sony’s firmware only if critical bug fixes needed (though none are expected). Being mirrorless and current mount, any lenses you buy for A6600 obviously work on future bodies (like A6700 or even Sony full-frame with crop mode). So Sony users are in a stable spot – the question is just picking the right body for your needs and budget.

Expert opinions & closing thoughts: It’s worth noting how professionals and reviewers see these cameras in hindsight:

• Canon 90D: After DPReview’s in-depth testing, they gave it an 85% score (Silver Award) and concluded it’s a compelling choice for folks wanting DSLR handling with modern features. They highlighted excellent image quality and competitive Live View AF. Many experts at the time said the 90D showed DSLRs could still innovate (32MP and uncropped 4K were big deals then). By 2025, some experts say if you strictly shoot sports/wildlife, maybe an R7 is better, but the 90D remains an “excellent all-rounder that can serve family, action, and video needs capably”. Its value is in flexibility: it’s good at many things, not just specialized.
• Nikon D7500: It was highly praised as well – DPReview gave it 86% (Silver Award) and called it “an outstanding stills camera” with ergonomics and speed improvements. They noted its one weakness was video AF and the 4K crop, but for pure photography it nearly mirrored the D500’s quality. Many photographers still adore the D7500 for being simple and effective – fewer pixels means easier storage and editing, yet images are gorgeous and prints large enough for most. Wildlife shooters on a budget often choose D7500 plus a telephoto lens as a poor-man’s D500 kit, with very satisfying results. In 2024, Photography Life reflected on Nikon vs others and noted that while Nikon’s mirrorless are great, DSLRs like D7500 still deliver for those who prefer OVFs.
• Sony A6600: Received a DPReview Silver Award with 83%. DPReview’s conclusion (quoted earlier) lauded its AF, image quality, IBIS, and battery, but also pointed out the sensor’s age and that competitors had caught up in some areas alphashooters.com. That quote basically suggested the A6600 was a fantastic camera held back slightly by using tech (sensor) that wasn’t a leap over previous models. Nonetheless, for someone coming from a much older camera or a smartphone, the A6600’s results are outstanding. The acceptable ergonomics comment implies that while not the most comfortable or intuitive body, it gets the job done and you acclimate to it. As of 2025, experts would say the A6700 is the better buy if budget permits, but the A6600 at a discount is still a great choice if you want those Sony strengths in a cheaper package. It’s still among the top APS-C cameras for action and video combined.

In the final analysis, each camera here represents the best of its kind for a certain era:

• The Canon 90D (2019) and Nikon D7500 (2017) are perhaps the last hurrahs of mid-range APS-C DSLRs, and they refined that formula to a high level. They cater to photographers who love the optical viewfinder experience, strong battery life, and native lens libraries built over decades. They prove that DSLR design is mature and reliable – there’s a reason some people are keeping their DSLRs even as mirrorless rises. If you prioritize ergonomics, OVF, and maybe cost, they are super appealing in 2025.
• The Sony A6600 embodies the mirrorless advantage (on-sensor AF everywhere, smaller form factor, cutting-edge eye AF, etc.) while mitigating traditional mirrorless downsides (it has great battery, has IBIS to offset lack of mirror steady-shot). It’s a forward-looking camera – part of a system that will continue to grow. If you want the latest tech and especially if video is important, the A6600 (or its successor) is logically where to lean.

Ultimately, the “winner” of this showdown depends on the user’s needs:

• Image quality: All are excellent, with Nikon slightly ahead in dynamic range, Canon leading in resolution, and Sony in a solid middle alphashooters.com.
• Autofocus: Sony leads (especially for tracking) alphashooters.com, Canon is superb in Live View (nearly matching Sony in many cases), and Nikon is superb in viewfinder AF for stills.
• Speed: Canon’s 10 fps is fastest mechanical, Nikon’s 8 fps is very good with big buffer, Sony’s 11 fps plus mirrorless no-blackout gives a modern shooting experience.
• Video: Sony clearly best (4K oversampled, no limit, best AF, IBIS) alphashooters.com; Canon next (good 4K, great AF, but no IBIS and 30min limit) imaging-resource.com; Nikon last (sharp 4K but big crop and weak AF).
• Ergonomics: Nikon and Canon have an edge in comfort and handling dials; Sony wins portability.
• Lenses: Canon/Nikon have huge legacy options (cheap and abundant) but little future expansion; Sony has fewer cheap legacy options but a growing modern lineup (and third-parties filling gaps).
• Future-proofing: The Sony (and mirrorless in general) is the current industry focus – if you plan to invest in a system for the next 5-10 years, E-mount is actively developing. Canon/Nikon DSLRs are static systems now (no new bodies or lenses coming), but they’re not obsolete – they’ll take amazing photos for years, and you can always adapt lenses to mirrorless later.

Each camera here is a great tool – none is a bad choice. It boils down to what you value in 2025. The good news is, whichever you pick, you’re benefiting from mature, refined camera engineering and falling prices, meaning you get tremendous capability for your money. Whether you side with the DSLR classics or the mirrorless marvel, you’ll be able to create stunning images and videos with the Canon 90D, Nikon D7500, or Sony A6600.

Sources:

• Canon EOS 90D Review, DPReview – “It gains a new higher-resolution sensor with excellent Raw image quality, and offers competitive live view AF (with eye detect) as well as 4K video capture, all in a familiar package.”
• Imaging-Resource 90D Review – “At first glance, the Canon 90D just looks like a classic Canon DSLR… Under the hood, however, there are lots of improvements… image resolution, AF, burst shooting and video recording… it’s still capable of taking great photos, shooting pleasing high-res video, and has excellent AF and performance.”
• Nikon D7500 Review, DPReview – “The D7500 is an outstanding stills camera and a refinement of an already excellent DSLR… added speed and buffer depth… improved subject recognition… excellent ergonomics. 4K video is a nice selling point, but the 1.5x crop and crummy video AF dim its appeal for movie makers. But for stills shooters, the D7500 is one beast of a camera.”
• Imaging-Resource D7500 Review – “New carbon fiber body is light, compact and very comfortable; Same excellent image quality as the flagship D500; Quick 8.2 fps burst shooting with generous buffer; Very fast, accurate autofocus… Very good battery life; Records ultra HD 4K and 60fps Full HD too.”
• Sony A6600 Review, DPReview – “The Sony a6600 has an industry-leading autofocus system, is capable of excellent images and video, comes with very useful in-body image stabilization and has the best battery life of any mirrorless camera on the market at this time. However, its sensor is getting a bit long-in-the-tooth, and competitors have caught up or surpassed it regarding video quality and features, resolution and handling. But for family photography and even some sports and action, it’s easily worth your consideration.” alphashooters.com
• Shutterbug on Canon 90D – “The new Canon EOS 90D is a solid mid-sized DSLR targeted at advanced amateurs at a relatively affordable price. It’s a versatile all-around DSLR that will deliver pleasing results for sport/action, landscape, and travel photography, as well as shooting portraits.”
• Photo.net on Nikon’s DSLR status – “Nikon has officially discontinued the D6, and the only remaining ‘current’ DSLRs are the D850, D780, and D7500 and they are all deeply discounted.”
• DPReview on Canon R7 vs 90D – “The Canon EOS R7 is the natural successor to two popular cameras, the mirrorless EOS M6 II and the EOS 90D DSLR.” dpreview.com
• Reddit user summary (Cameras forum) – “The D7500 will have the better AF tracking while using the OVF. However, the 90D, when in live view, will have the better AF – down to the eye of a player.”