Mirrorless Camera Showdown: Olympus E-M1 III vs Canon M6 II vs Fujifilm X-S20 – The Winner Will Surprise You!

Mirrorless cameras have taken over the photography world, offering DSLR-level power in compact bodies. Three standout options – the Olympus OM-D E-M1 Mark III, Canon EOS M6 Mark II, and Fujifilm X-S20 – each promise big performance in small packages. In this deep-dive comparison, we’ll pit these popular mirrorless models against each other. We’ll cover full technical specs, real-world performance (autofocus, image quality, stabilization, battery life), handling and ergonomics, video chops, expert and user opinions, pricing across markets, the latest news (and rumors of successors), and finally give a verdict on which camera is best for different types of users. Buckle up for an in-depth battle – the results may surprise you!

Technical Specifications at a Glance

Olympus OM-D E-M1 Mark III (2020, Micro Four Thirds): This pro-grade Micro Four Thirds body packs a 20.4MP Live MOS sensor (17.4×13.0mm) paired with a new TruePic IX processor. It features in-body 5-axis stabilization rated up to a jaw-dropping 7.5 stops (with Sync-IS lenses) and a blazing electronic shutter up to 1/32000s. Continuous shooting reaches 60 fps (electronic, AF locked) or ~18 fps with continuous AF. The 121-point on-sensor phase-detect AF system has cross-type points across the frame for fast focusing. The E-M1 III has a high-res 2.36M-dot EVF, dual SD card slots, and a rugged weather-sealed magnesium body (IPX1). It’s fairly compact for a pro body at ~134×91×69 mm and 580 g (body). The camera’s native ISO range is 200-25,600 (expandable to ISO 64). Notably, it includes Olympus’s unique features like Handheld High-Res Shot (50MP composites) and Live ND modes. In video, the E-M1 III shoots Cinema 4K (4096×2160) and UHD 4K (3840×2160) up to 30p with OM-Log400 profile, plus 1080p at 120p for slow motion. A 3.0-inch fully-articulating touchscreen and both mic and headphone jacks round out its multimedia credentials.

Canon EOS M6 Mark II (2019, APS-C): The M6 II is a compact APS-C mirrorless with a 32.5MP CMOS sensor (22.3×14.9mm) – the highest resolution sensor in this class. It uses Canon’s Dual Pixel CMOS AF across most of the frame, with 5,481 AF points for precise focusing (including eye-detect AF Servo for people). Continuous shooting is a standout: up to 14 fps with AF/AE, or an incredible 30 fps Raw Burst mode (with 0.5s pre-shot capture). The native ISO range is 100-25,600 (expandable to 51,200). There’s no in-body stabilization (IBIS) on the M6 II, so it relies on optical IS in lenses or digital IS in video. Shutter speeds go down to 1/16,000s (electronic) for freezing action. The camera is very portable at 120×70×49 mm and ~408 g (body only). It has a tilting 3.0″ touchscreen that flips 180° up (great for self-shots/vlogging), but notably no built-in viewfinder – an external EVF accessory (EVF-DC2, 2.36M-dot) can slide into the hot shoe. For video, the EOS M6 II offers uncropped 4K UHD up to 30p and Full HD up to 120p (120p with reduced Dual Pixel AF). Canon later added 24p via firmware. It lacks a flat/log profile (no C-Log), but Dual Pixel AF makes focusing in video reliable. A mic input is present for audio, though there’s no headphone jack. The small LP-E17 battery is CIPA-rated ~305 shots per charge – decent, though using the add-on EVF will lower endurance.

Fujifilm X-S20 (2023, APS-C): The X-S20 is Fuji’s newest mid-range 26.1MP camera, using the proven X-Trans 4 BSI sensor (23.5×15.6mm) coupled with the latest X-Processor 5. This combo brings cutting-edge features. Notably, the X-S20 introduces Fuji’s improved 5-axis in-body stabilization rated up to 7.0 stops – a boost over its predecessor’s ~5-6 stops. Despite its compact size, the X-S20 has a deep grip and now uses the larger NP-W235 battery, dramatically improving battery life to 750 shots CIPA (and well over 1000 in real-world use). In fact, reviewers managed “way past” 750 shots, even into four digits, on a single charge in performance mode. The camera’s burst shooting isn’t far behind the M6II: up to 8 fps with mechanical shutter (now with a buffer for ~80 RAWs), or 20 fps with electronic shutter (1.25× crop) using its stacked-like fast readout (and up to 79 RAWs). The hybrid AF system gets a major upgrade with X-Processor 5, adding comprehensive subject-detection modes (humans, animals, vehicles, etc.) and much improved tracking accuracy. Externally, the X-S20 keeps a 2.36M-dot EVF and 3.0″ vari-angle touchscreen (now 1.84M dots). One limitation: it has a single UHS-II SD card slot (like others in its class). As a hybrid shooter’s camera, the X-S20 shines in video: it can record 4K at 60p (with a minor sensor crop) and even 6.2K open-gate (3:2 full-sensor) at 30p for creative reframing. Impressively, it offers 10-bit internal recording and F-Log2 flat profile for up to 13+ stops dynamic range, and can output ProRes RAW or Blackmagic RAW via HDMI at 6.2K. High-speed 1080p up to 240p is on tap as well (great for slow-motion). All of this comes in a 127×85×65 mm body weighing ~491 g. Fuji even added a dedicated Vlog mode on the dial, which engages a simplified interface with features like “Background Defocus” (auto wide aperture) and “Product Priority” AF that quickly pulls focus to objects shown to the camera. The X-S20 has both mic and headphone jacks (the latter a new addition over X-S10) for full audio monitoring. It’s truly built as an all-rounder content creation tool.

Real-World Performance (Autofocus, Image Quality, Stabilization, Battery)

Autofocus and Speed: All three cameras offer fast autofocus, but each with caveats. The Olympus E-M1 III uses a 121-point hybrid AF that’s tuned for action – in burst mode it can track subjects at 18 fps. Reviewers found its AF improved over the Mark II and capable of reliably tracking birds and wildlife, aided by the new joystick for quick point selection. It even inherited some intelligent subject tracking modes from the E-M1X (for airplanes, trains, etc.). However, contrast-detect involvement means its Continuous AF isn’t as “sticky” as the best from Canon or Sony. As DPReview noted, “the camera’s autofocus isn’t quite a match for Sony’s… but it’s still very good”. In good light, E-M1 III focuses swiftly and accurately; in low light its older sensor technology shows some limits. By contrast, Canon’s M6 Mark II boasts the renowned Dual Pixel CMOS AF across the frame, giving confident focus for both stills and video. It locks on quickly and eye-detection works well for people (faces) – the interface nicely integrates touch-and-drag AF when using the add-on EVF. DPReview found “the M6 II’s autofocus…more than capable for most types of shooting”, though not the very best for fast sports. Indeed, cameras like the Sony A6400/A6600 slightly outpace it in AF tracking consistency. Still, with up to 30 fps raw bursts, the M6 II can capture split-second action – but note that its Raw Burst mode has some quirks (it uses a short 0.5s pre-buffer and composite CR3 file that requires in-camera extraction). Fuji’s X-S20, meanwhile, leveled up significantly from its predecessor by introducing the latest AF algorithm from Fuji’s high-end bodies. It recognizes a broad range of subjects (faces/eyes, animals, birds, automobiles, etc.) and is far more adept at holding focus on moving targets. Reviewers report a “considerably improved” hit rate for action shots. The X-S20 fires at 8 fps mechanical (with full AF) and can push 20 fps electronic – ideal for capturing fleeting moments. In practice, its AF is now highly competitive; only the lack of a stacked sensor (for even faster sensor readout) differentiates it from pricier models. In low light, Fuji’s BSI sensor plus improved processing also help the X-S20 lock focus where older models might hunt.

Image Quality: Each camera targets a different sensor size, which affects output. The Olympus E-M1 Mark III’s 20MP Four Thirds sensor delivers excellent images for its size: colors are punchy (Olympus is known for pleasing JPEG color science) and the resolution is sufficient for most uses imaging-resource.com. Dynamic range and high-ISO performance, however, lag behind APS-C rivals. In fact, this is a point of critique – as one expert bluntly put it, “this sensor has long since given its best… below average dynamic range [and] ISO performance… in 2020… that hurts when…the most important thing…getting good images, isn’t [the E-M1 III’s] strongest asset”. In other words, the E-M1 III can produce beautiful photos (especially at base ISO), but noise creeps in faster at higher ISOs and you don’t have as much flexibility lifting shadows in post compared to the newer APS-C sensors. Olympus mitigates this somewhat with class-leading stabilization (letting you use lower ISO or slower shutter handheld) and special modes like tripod High-Res Shot for 80MP images of static scenes. By contrast, the Canon M6 Mark II’s 32.5MP APS-C sensor offers class-leading resolution and very good noise performance for APS-C. Its dynamic range is competitive, on par or better than 24MP rivals – Imaging Resource noted the M6 II “outperforms the 24MP sensor used in Sony’s a6xxx series” in image quality tests. In real use, you can expect detailed, sharp images; the high pixel count allows more cropping or larger prints (at the cost of very large file sizes). Native JPEGs from Canon have pleasing color (though less punchy than Olympus or Fuji by default), and RAW files have enough latitude for serious editing. The only drawback is that squeezing 32.5MP on APS-C pushes the limits of lens resolution – to get the most, you’ll want sharp glass. Also, diffraction can slightly soften images at smaller apertures (f/11+). Meanwhile, the Fujifilm X-S20’s 26MP X-Trans sensor may not be new silicon, but it’s a proven performer. It strikes a great balance: images have that characteristic Fuji look with film simulation modes delivering gorgeous in-camera colors (the new Nostalgic Neg film sim is a highlight for rich warm tones). Dynamic range is strong (rivaling Canon’s sensor) and high ISO noise is well-controlled up to ISO 3200-6400 in most situations. Many photographers won’t miss the step up to Fuji’s 40MP sensor for this class of camera, since 26MP is plenty for most needs and avoids the rolling shutter and data overhead penalties of a higher pixel count. Importantly, Fuji’s lack of an anti-aliasing filter (and X-Trans color filter array) can deliver extremely crisp details, though the difference is subtle. Bottom line: The M6 Mark II resolves the most detail (in good light at low ISO), the X-S20 delivers fantastic all-around APS-C image quality with unique color profiles, and the E-M1 III produces the best images possible from a Micro 4/3 sensor (great colors and sharpness, but limited by that sensor’s size in dynamic range and noise).

Stabilization: Here the Olympus unquestionably dominates – the OM-D series has long held the crown for in-body stabilization. The E-M1 Mark III’s 5-axis IBIS unit, when combined with certain Olympus lenses, is rated up to 7.5 stops of shake reduction. Even standalone, it’s around 7.0 stops – meaning you can handhold multi-second exposures with a steady technique. Reviewers were astonished: “Olympus’ incredible on-sensor stabilization… they publish 7.5 stops, and I believe them: this stabilization is the real deal.” In practical terms, the E-M1 III can produce sharp shots at shutter speeds that would be impossible on the others without a tripod. This is invaluable for low-light stills and also makes the E-M1 III a steady video platform (more on that later). The Fujifilm X-S20 also features in-body stabilization, and it’s greatly improved from the previous model. With a redesigned IBIS module, Fuji claims up to 7 stops compensation. In testing, it effectively allows handholding at perhaps 1/8 or 1/4 second with a wide lens – not quite Olympus territory, but not far off. It’s a game-changer for Fuji users who do handheld photography, and it smooths out video footage as well. Canon’s M6 Mark II, however, has no IBIS. To get stabilization, one must use optically stabilized EF-M lenses (like the EF-M 15-45mm kit or EF-M 18-150mm) or rely on digital IS in video (which incurs a crop and isn’t as effective as true IBIS). This puts the M6 II at a disadvantage for handheld shooting in low light. However, its high burst speeds and excellent high ISO performance partially compensate (for capturing action and avoiding blur via faster shutter speeds). Still, when shooting static subjects in dim light, Olympus and Fuji clearly let you shoot at much slower shutter speeds than the Canon can manage handheld.

Battery Life: Mirrorless cameras aren’t known for stellar battery endurance, but these models show a range. The Olympus E-M1 III’s BLH-1 battery is rated around 420 shots per CIPA (using EVF) – enough for a solid day of casual shooting, though heavy users or pros will want spares. It can be charged via USB (including powerbanks) which is convenient in the field. The Canon M6 Mark II’s smaller LP-E17 is rated 305 shots per charge (LCD use). In real-world usage, many users report around 400 shots in a session with mixed LCD/standby use, but if you attach the EVF or do a lot of Wi-Fi transfer, the battery will drain quicker. The M6 II’s battery is one area where its compact size forced a compromise – fortunately the batteries are cheap and small, so carrying a couple extras is easy. The Fujifilm X-S20, on the other hand, greatly benefits from Fuji’s newer high-capacity battery (NP-W235). CIPA rates it 750 frames per charge, which is class-leading. Reviewers confirm it easily exceeds that in practice: “I managed over 90 minutes of 4K video on one charge… CIPA 750 frames, but I got way past that into four digits” on one battery. In other words, the X-S20 can go a full day (or several days for light shooters) without a battery swap – a huge plus for travel and video work. This puts the X-S20 in a different league from its predecessor and indeed from the Olympus/Canon in terms of battery stamina. All three cameras support USB charging; the X-S20 and E-M1 III even support operation while powered via USB-C PD (useful for long video takes or time-lapses, essentially giving unlimited runtime with a power bank).

Handling and Usability (Design, Controls, Menus)

Each of these cameras handles differently, reflecting their design philosophies. Olympus E-M1 Mark III feels every bit a “pro” camera shrunken down. If you’ve held an E-M1 Mark II, the Mark III will be immediately familiar imaging-resource.com – Olympus kept the body shape and most controls almost identical, even the weight is roughly the same. That’s not a bad thing: you get a deep, comfortable grip and a plethora of physical controls. Dual control dials (front and rear) fall naturally under your fingers, there are numerous customizable function buttons, and now a handy autofocus joystick is added (inherited from the larger E-M1X) for quick AF point adjustments. Olympus’s menu system is famously dense – it offers incredible customization, but new users might find it overwhelming at first. The learning curve is eased if you’re upgrading from a prior OM-D model (since it hasn’t changed drastically). The E-M1 III is fully weather-sealed (dustproof, splashproof, freezeproof to -10°C); combined with many M.Zuiko Pro lenses, it’s a camera you can confidently use in harsh environments. The EVF is 2.36M-dot which today is middling resolution, but still clear and with a smooth 120fps refresh. Notably, the E-M1 III has dual card slots (both UHS-II SD), a must for pro workflow or backup – neither the M6 II nor X-S20 offer this. In the hand, the E-M1 III feels solid and well-balanced even with larger lenses. Owners often praise that “it hasn’t physically changed much… as an E-M1 II owner I felt right at home…learning curve was practically nonexistent”. This makes it an easy upgrade within the Olympus system, though it doesn’t introduce modern touch conveniences like a full touch menu (the touchscreen is mainly for AF point selection and image review).

Canon EOS M6 Mark II takes a different approach – prioritizing compactness. Essentially an “EOS 90D in a mirrorless body”, the M6 II packs pro-level guts into a petite 408g package. The body has a shallow but usable grip; since it’s so light, even small lenses balance fine. Canon improved the controls over the original M6: there’s now an additional top dial (for exposure comp or custom function) and even a dedicated AF/MF switch with an AF-ON button for back-button focus. These additions earned praise, making the M6 II “a likeable and engaging camera to shoot with” since you don’t feel short-changed on direct controls. However, it remains a camera designed for portability: the EVF is optional, which means if you attach it to the hotshoe, you can’t use that hotshoe for a flash or mic in tandem (a quirk some vloggers and strobists dislike). The upside of the removable EVF is you only use it when needed – the camera can be extremely slimline for travel or street shooting without it. The 180° flip-up LCD is fantastic for selfies/vlogging, but if the EVF is mounted, it blocks the LCD’s upward swing. Build quality is good (metal body shell), though not weather-sealed – keep it protected from heavy dust or rain. The menu system is Canon’s typical user-friendly interface, logically arranged and easy to navigate (especially if you’ve used any EOS camera). One notable usability feature: eye-detection AF works seamlessly and the touch-and-drag AF (when using EVF) is very intuitive, letting you drag your thumb on the screen to move the focus point while composing through the finder. Overall, shooting with the M6 II is fun – as one reviewer summarized, “Above all, it’s engaging and enjoyable to shoot with. I’ve found it to be a really solid photographic companion.”

Fujifilm X-S20 blends some of Fuji’s classic charm with a modern control scheme. Unlike X-T series cameras with retro shutter/ISO dials, the X-S20 uses a PSAM mode dial and three command dials – a setup many upgraders from other brands will appreciate. In fact, the X-S20’s control layout is praised: “the modern command dials are my preference…there are three of them” allowing direct control of aperture, shutter, ISO etc. without diving into menus. The camera is small and “very comfortable, with a slightly wider profile to accommodate the new larger battery”, as one reviewer noted. The grip is deeper than on Fuji’s older midrange bodies, giving a secure hold (though people with very large hands might still curl a pinky under the body). Build-wise, the X-S20 is solid but not weather-sealed – something to keep in mind for outdoor use. At 491g it’s heavier than the M6 II, but that’s largely due to the much bigger battery and IBIS unit – a worthy trade-off for most. The EVF is the same 2.36M-dot unit from X-S10; adequate but not particularly high-res by 2025 standards. The rear LCD is fully articulating, great for video and odd angles (and it won’t be blocked by microphones or cables, since Fuji smartly placed the mic jack above the screen hinge). Fuji’s menus have improved over time – the X-S20 has a “still/photo” switch in the menu to segregate settings, and the new Vlog Mode simplifies operation for novices. Long-time Fuji users might miss some direct dials, but they’ll enjoy film simulation hotkeys and Q-menu shortcuts. For newcomers, the X-S20 is easy to handle – you can shoot it much like a Canon or Nikon interface. A nice touch: the X-S20 added a headphone jack (via USB-C adapter or an included dongle) which video shooters appreciate. One downside of the X-S20’s small size is the single card slot and the somewhat cramped buttons – but Fuji did raise and stiffen some buttons for better feel. Also, the X-S20’s IBIS means you feel some motion of the sensor when powered off (a faint thud if you shake the camera) – normal but worth noting if you’re new to IBIS bodies. In summary, the X-S20 is “compact but in all the good ways” – it packs a lot of power without handling like a toy. The ergonomics are refined, and as Chris Niccolls put it, the X-S20 is “very lightweight… yet controls are nicely refined and the battery life is way above what one would expect at this price”.

Video Capabilities and Features

All three cameras can shoot 4K video, but the breadth of video features varies significantly – especially favoring the newer X-S20.

• Olympus E-M1 Mark III: Video was never Olympus’s primary focus, but the E-M1 III holds its own for casual and semi-pro video work. It captures Cinema 4K (4096×2160) at 24p and UHD 4K (3840×2160) up to 30p, using the full sensor width. It can also do 1080p at up to 120 fps for slow-motion. A major strength is its IBIS: the E-M1 III’s stabilization in video mode is exceptionally good for smoothing out handheld footage – arguably the best of this group (and you can add electronic stabilization for an even steadier shot, at a small crop). This makes it easy to get gimbal-like steadiness for walk-and-talk shots or handheld B-roll. Olympus added an OM-Log400 flat profile for the first time in this model, which gives more grading flexibility (up to ~12 stops dynamic range). However, video is recorded in 8-bit 4:2:0 internally (up to ~237 Mbps in C4K) and the camera lacks some of the advanced codecs or 10-bit options that Panasonic or Fuji offer. There’s focus peaking, zebra exposure warnings, and support for an external mic and headphones, which is great for enthusiasts. The E-M1 III’s autofocus in video is only contrast-detect (Olympus does not use PDAF for video), so continuous AF can be hit-or-miss – it tends to “wobble” or hunt a bit, especially in low-contrast scenes. It’s best for static focus or slow focus racks. Rolling shutter (jello effect) in 4K is present but not severe given the smaller sensor. A noteworthy feature: the E-M1 III has no recording time limit in 4K, and with its weather sealing and optional battery grip, it’s a durable choice for shooting in challenging conditions. Overall, it’s a capable video camera for 4K30 needs, interviews, and travel logs – just not specialized for high-end filmmakers.
• Canon EOS M6 Mark II: The M6 II was a leap for Canon’s APS-C in video. It offers 4K UHD up to 30p and Full HD up to 120p, oversampling from the full sensor width for crisp detail (no 4K crop factor to worry about). Importantly, unlike some earlier Canons, the M6 II maintains Dual Pixel AF in 4K (after a firmware update, it also got 24p added). This means video focus is smooth and confident, tracking subjects or pulling focus with touch – a strong point compared to Olympus. Colors out of camera are pleasing, and you can use Canon’s Picture Styles to dial in a flatter look (though there’s no true log or HDR PQ). The lack of in-body stabilization hurts here: handheld video will rely on lens IS or a gimbal. The M6 II does have a software IS option (“Movie Digital IS”) which can steady minor shake but it crops the frame and can’t match real IBIS. For vloggers, the M6 II’s flip-up screen is useful (assuming no EVF attached), and Dual Pixel AF does a great job keeping your face in focus. It also has a microphone jack to improve audio capture. Where the M6 II falls short is more advanced video specs – no 10-bit output or log, and limited video assist tools in-camera. Also, 1080p 120fps footage is recorded without sound and with fixed focus (Dual Pixel AF is disabled at 120p), suitable for slow-mo B-roll but a bit inconvenient. Rolling shutter is fairly well controlled in 4K thanks to line-skipping (you might notice some wobble on quick pans, but it’s better than some competitors of its time). One clever feature: the 30 fps Raw Burst mode can function like a short ultra-high-speed capture – not traditional video, but you could extract 18MP frames for a 30 fps sequence (useful for analyzing motion or creating a slo-mo GIF). In summary, the M6 II is a good 4K shooter for everyday video and vlogging, with excellent autofocus, but it’s not aimed at high-end cinematography. It’s more of a point-and-shoot video experience – which for many users (YouTubers, travelers) is exactly what they need.
• Fujifilm X-S20: This is where the X-S20 leaps ahead. Fuji essentially equipped this midrange camera with many video features from their flagship X-H2S line. The X-S20 can record internally in 10-bit 4:2:2 up to 4K/60p, using the high-efficiency HEVC codec. It also introduces open-gate 6.2K30p recording (using the entire 3:2 sensor). This open-gate mode is fantastic for content creators because you can capture more vertical field and then crop for horizontal or vertical outputs – or stabilize in post with extra margin. Through its micro HDMI, the X-S20 supports output of 6.2K RAW video (ProRes RAW or BRAW) to an external recorder – a feature unheard of in its class. It also now offers F-Log2 profile, expanding dynamic range (up to about 13 stops, though not as high as the stacked X-H2S). This means advanced users can color grade footage to a high standard. With the powerful processor, Fuji managed to minimize rolling shutter – by sticking with the 26MP sensor (with fast readout), the X-S20 avoids the jello effect that can plague the higher-res 40MP models. Autofocus in video benefits from the new subject detection; for example, it can steadily track eyes or switch focus to animals, etc., similar to Sony’s approach. Fuji also specifically targeted vloggers: the X-S20’s new Vlog mode engages a self-shooting interface, and features like Product Showcase AF (a mode where holding an object in front of the camera makes it refocus to the object, then back to your face when you remove it) are built-in – mimicking popular Sony vlogger cameras. The fully articulating screen and the solid on-board mic (plus that mic input and headphone jack) make the X-S20 ready for one-person video creation. Stabilization: The X-S20’s IBIS works decently for video, and there’s an optional digital stabilization (with 1.1× additional crop). Testers found that static handheld shots are rock-steady, but when walking or panning, you may still see some micro-shake or “wobble” (a common issue with IBIS systems, especially on wide angles). It’s fine for casual use, but dedicated video shooters might still prefer a gimbal for moving shots if ultimate smoothness is needed. The only real drawback encountered is overheating potential: in the most taxing modes (6.2K or 4K/60), the X-S20 will eventually heat up – one test saw ~34–36 minutes before overheating in 6.2K/30 and 4K/60 petapixel.com. In normal 4K/24 or 4K/30, however, it can record continuously beyond 2 hours without issue petapixel.com. Fuji even offers an optional fan accessory that screws onto the back; with the fan, the camera can run 6.2K/60p for well over an hour with no shutdown. This is a smart solution borrowed from Fuji’s higher models. All told, the X-S20 is a formidable video machine in a small package – it’s arguably the best choice in this group for serious videographers or hybrid shooters. As PetaPixel’s review stated, “Fujifilm has upped the X-S20’s video abilities in a big way… this has become a very powerful hybrid camera… value for the dollar is very high”.

Expert and User Reviews: What the Critics Say

All three cameras have garnered praise from critics, along with some pointed critiques. Let’s look at a sampling of quotes and opinions from reputable sources and experienced users:

• Olympus OM-D E-M1 Mark III: Upon release, DPReview lauded it as “our favorite Micro Four Thirds camera for stills shooters to date”, thanks to its blend of speed, portability, and ruggedness. They especially praised that despite using an older sensor, the Mark III “still manages to capture excellent images, shoot terrific 4K video, and provide top-notch AF and burst performance. Plus, its image stabilization system is absolutely out of this world!” imaging-resource.com. Indeed, across reviews, the 5-axis IBIS was repeatedly highlighted as class-leading. PetaPixel’s Jaron Schneider was amazed by the handheld high-res mode and stabilization, writing “I was handholding an equivalent 840mm lens…getting sharp images thanks in part to that IBIS…that’s a really excellent achievement, and why I ‘get’ what Olympus stands for.” He also noted “you can see [the stabilization] activate…and it’s incredible”. However, the limitations of the aging 20MP sensor were a common theme. PetaPixel didn’t mince words about image quality at high ISO: “ISO 3200 results in a sub-par image…abundance of noise…in 2020, when your competition is putting image quality first…it really can hurt [that] getting good images isn’t [the E-M1 III’s] strongest asset.” This essentially echoes many users’ feelings: the E-M1 III is a technical marvel with unmatched features (Pro Capture, Live Composite, etc.), but purely in IQ it’s catching up to larger sensors. Still, for many photographers (particularly wildlife and outdoor shooters), the trade-off is worth it. On forums, users often comment that in practical output (prints, online sharing) they are very happy with E-M1 III files – and that the benefits (lens compactness, IBIS, reliability) outweigh sensor shortcomings. In short, experts recommend the E-M1 Mark III to enthusiasts and pros who value rugged build, speed, and mobility over bleeding-edge sensor performance. It earned a Gold Award on DPReview and remains highly regarded among Micro Four Thirds fans imaging-resource.com imaging-resource.com.
• Canon EOS M6 Mark II: This camera was received as a bit of a hidden gem. DPReview gave it an 85% score and a Gold Award, calling it “a very capable camera… improved autofocus and refined ergonomics make it a likeable and engaging camera to shoot with.” Their conclusion noted it’s not class-leading in every area (Sony’s AF was slightly better, Fuji’s video a bit better, etc.), “…but it’s competitive across the board…with the highest resolution [APS-C] and excellent noise performance”. This balanced take was echoed elsewhere: the M6 II doesn’t absolutely dominate any one spec sheet category, but as a package it impressed many. Imaging Resource pointed out that “the M6 Mark II is better than any previous Canon APS-C camera” and that its new 32.5MP sensor “outperforms…Sony’s 24MP…when it comes to detail and high ISO”. They also applauded the 14 fps burst and general responsiveness (the DIGIC 8 processor makes it very snappy in operation – minimal lag). On the downside, the EF-M lens ecosystem was frequently mentioned as a limiting factor. There are simply not that many native EF-M lenses (especially telephotos or fast pro glass), since Canon was relatively slow to expand the lineup. However, as DPReview noted, third-party Sigma primes helped a lot, and you can adapt Canon EF DSLR lenses if needed. Many enthusiasts on user forums love the M6 II for travel and everyday shooting – “I upgraded… the M6 Mark II is a better camera than the M6 in almost every way”, said one user, adding that the 30fps raw burst “worked flawlessly” for capturing split-second action. Another user on Reddit called it “a great little camera…actually very capable in stills as well as video”. The criticisms typically revolve around the lack of EVF (or cost of the add-on), mediocre battery life, and the impending obsolescence of EF-M mount (more on that in the next section). But for those who bought it, the M6 Mark II has a loyal following. It’s often described as an “underrated” or even Canon’s “most underrated camera” for the time – people loved getting 32MP and Canon’s colors/AF in such a tiny form. In essence, experts and users view the M6 II as a fantastic tool for travel, street, and everyday photography, giving you big DSLR quality without the bulk. It was held back a bit by Canon’s strategic shift to RF mount, but as a camera on its own merits, it received very positive reviews.
• Fujifilm X-S20: Since it’s newer, the X-S20’s feedback comes from a 2023 perspective – and it’s overwhelmingly favorable. PetaPixel’s Chris Niccolls concluded that “the X-S20 has become a very powerful hybrid camera…Value for the dollar is very high…truly a Jack-of-all-trades. If you want versatility and affordability, look no further.” He particularly noted that Fuji managed to bring many of their high-end features down to this price. DPReview (via Richard Wong’s review) gave it a Silver Award and noted it “shoots charming, high-quality images, solid 4K video and arguably has more character than its competitors.” dpreview.com They did mention it “doesn’t stray from the original very much” in design – which actually was fine, since the X-S10 was already well-loved for handling. Fstoppers summed it up in their title as “Tiny but Mighty… a complete package for enthusiasts, hobbyists, vloggers, content creators, and a combination of all of the above”. That captures the consensus: the X-S20 is the ultimate multipurpose camera in its class. The improved battery life and autofocus drew immediate praise from virtually every reviewer (since those were two weaknesses of the X-S10). For instance, one reviewer noted “The battery life has now pretty much doubled…CIPA 750, and I got it way past that”, and “the new processor…autofocus acquisition and tracking have all improved considerably”. Video experts also hailed the X-S20 – the addition of 10-bit, 6K open-gate, and log in a midrange body is a big deal. There were a few critiques: the carryover 2.36M EVF resolution is a bit behind the times, and some lament that it’s not weather-sealed. Also, while the camera offers loads of features, it faces stiff competition from Sony’s new models (like the a6700) in autofocus and from Canon/Nikon in outright image sensor performance (some would love to see a lower-megapixel stacked sensor in a small body for extreme sports). But these are nitpicks given the price point. Actual users who bought the X-S20 have been very positive, often saying it’s “the best camera under $1500 for hybrid shooters”. Many were drawn by Fuji’s color science and film simulations, which remain a big selling point – the creative modes (e.g., Nostalgic Neg, Eterna cinema profile) give unique out-of-camera results that reviewers often showcase in samples. In summary, experts consider the X-S20 an extremely strong contender in the mid-level market – ideal for those who want one camera that does everything well. It may not have the largest sensor or the highest resolution, but as an overall package it received rave reviews.

Pricing and Availability (Global Markets)

Despite their differing ages, all three cameras are available on the market as of 2025, though their status varies:

• Olympus/OM System E-M1 Mark III: Initially launched at $1,799 USD (body) in 2020, the E-M1 III can now be found at lower prices. In the US, it’s often listed around $1,499 (body-only) on remaining stock, and sometimes on sale for closer to $1,299. However, with the OM System transition (see next section), brand-new units are getting scarcer. It’s widely available used; a good used price ranges around $750–900 for body in excellent condition. In Europe, the E-M1 Mark III’s last known retail price was about €1,299–€1,499, but many retailers now only carry the successor (OM-1). In the UK, it was around £1,599 at launch and can be seen near £1,150 on discount if stock remains. Given Olympus’s strong following, the second-hand market is active – one can pick up an E-M1 III in great shape for roughly £800. Availability: Officially, OM Digital Solutions (the new owner of Olympus imaging) still lists the E-M1 Mark III under the “OM-D” line, but it’s effectively been supplanted by newer OM System models. Many major retailers have shifted focus, so if you want a new E-M1 III, it’s wise to grab one sooner than later. Lenses for the Micro Four Thirds system remain plentiful, with both OM System and Panasonic continuing support.
• Canon EOS M6 Mark II: This model launched at $849 USD (body) and $1,099 in a kit with the 15-45mm lens and EVF, or $1,349 with 18-150mm + EVF. Currently, the M6 II is officially discontinued (as part of Canon’s phase-out of EOS M, detailed below). In the US, it’s getting hard to find brand-new; some stores might have leftover stock or kits – occasionally one pops up around $799 (body) new. Most likely you’ll find it on the used market where it holds value surprisingly well: even used bodies sell for about $600–700 (because of rarity and demand from fans). In Europe, the M6 II sold for ~€900 body-only. Now, after discontinuation, new units are rare. In the UK, one might find a kit in the £700-£800 range if a retailer is clearing inventory. Availability: As of late 2023, Canon Japan formally listed all EOS M models as discontinued. So, the M6 Mark II is no longer in production. That said, many units are in circulation second-hand. EF-M lenses likewise are out of production, but still obtainable (and many EF-M lens owners are selling as they transition to RF). If you’re buying into the M6 II now, factor in that you’re buying into a legacy system – you may have to rely on adapters (for EF DSLR lenses) or snag the remaining EF-M lenses while they’re around. The flip side: there may be deals on EF-M gear from clearance sales or owners jumping ship.
• Fujifilm X-S20: The X-S20 is a current model, having launched in mid-2023. Its MSRP is $1,299 USD (body) petapixel.com. Common kit options include pairing with the XF 18-55mm f/2.8-4 ($1,699 kit) or the XC 15-45mm power zoom ($1,399 kit). In the UK, launch pricing was £1,249 (body), and in Europe around €1,299-€1,349. Given its popularity, the price hasn’t dropped much – perhaps $50-100 discounts during holidays. It’s widely in stock at major retailers (B&H, Adorama, WEX, etc.). Notably, demand was so high initially that Fujifilm had to temporarily suspend new orders in Japan to catch up production petapixel.com – a testament to how sought-after it was on release. By 2025, supply has stabilized. Availability: The X-S20 is widely available globally. Fuji’s X-mount lens ecosystem is one of the strongest, with lenses at all price ranges from both Fujifilm and third parties (Sigma, Tamron, etc. now make X-mount lenses too). So getting glass for the X-S20 is no issue. One can expect the X-S20 to remain in Fuji’s lineup for a couple more years at least, and firmware updates may further enhance it (Fuji has a good track record of feature-adding firmware).

In summary, budget-wise: if you’re looking for the most affordable option, a used E-M1 Mark III might cost under $800, whereas used M6 IIs hover around $650. The X-S20 is the priciest (being new), at about $1,299. But consider whole-system cost: Micro Four Thirds lenses (Olympus/Panasonic) can often be found cheaper (and smaller) than equivalents for APS-C. Canon’s EF-M lenses, while limited in selection, are reasonably priced (the 22mm f/2 pancake is under $250 new, 11-22mm IS around $400). Fujifilm’s X-mount lenses span a huge range – some very affordable (XC lineup, Viltrox primes), some quite expensive (red-badge zooms). Depending on your needs, each system can be managed on a budget or can tempt your wallet with many lens purchases!

Current News, Updates, and Rumors of Successors

Technology marches on, and it’s important to know how these models fit into the evolving camera landscape of 2025. Here’s the latest news and credible rumors for each:

• Olympus/OM System OM-D E-M1 Mark III: Since 2021, Olympus’s camera business has reformed under OM Digital Solutions and the brand “OM System.” In practice, the OM System OM-1 (released 2022) became the effective successor to the E-M1 Mark III. In fact, OM Digital reps stated that the OM-1 is intended to replace the E-M1 III in the lineup (and not the older E-M1X). The OM-1 brought a new stacked sensor and even better performance, and more recently in 2024 an OM-1 Mark II was launched with further improvements. Meanwhile, the E-M1 Mark III remains on sale as a lower-cost option until stock runs dry. No “E-M1 Mark IV” is expected – OM System has moved away from the old naming. According to an interview with OM Digital, they confirmed the mid/high-end lineup will consist of just the OM-1 series and OM-5 series going forward (“no E-M1III successor”). So, fans of the OM-D series should look at the OM-1 or the new OM-3 (a mid-tier model launched in 2024) for the future – the E-M1 III is the last of its line under the Olympus name. On the rumor front, Micro Four Thirds watchers expect OM Digital to possibly introduce an OM-5 Mark III or perhaps an OM-3X (sports-oriented) in coming years, but nothing concrete has been confirmed about a direct E-M1 III replacement. The good news: the system is alive and well – new OM System lenses are being released, and firmware updates (the E-M1 III itself saw a few minor firmware tweaks, like improved lens support). In current news, OM Digital in 2025 has been celebrating strong OM-1 series sales and even hinted that an E-M1X-type high-end camera is “under consideration” for the future. But as far as the Mark III, it’s a mature product now. Olympus did issue a major firmware back in late 2020 that enabled bird detection AF, and that largely capped off its feature set. Bottom line: The E-M1 Mark III is in the legacy stage – still a great camera, but supplanted by the OM-1. If you buy one now, know that you’re essentially getting 2020 tech. The upside is you can now get it at a discount, and it remains a workhorse with no immediate obsolescence issues (MFT as a system has continued support).
• Canon EOS M6 Mark II (and the EOS M series): This is a story of an end of an era. In October 2023, Canon officially discontinued the EOS M series and all EF-M mount camera models. The M6 Mark II, as the flagship of that line, was thus the last of its kind. Canon’s focus has shifted entirely to the RF mount mirrorless system – including RF-S lenses for APS-C. Essentially, the Canon EOS R7, R10, R50, R100 (and any future APS-C RF bodies) are the spiritual and official successors to the EOS M line. It was a move widely anticipated because Canon didn’t announce any new M cameras after the M6 II and instead released multiple APS-C RF bodies in 2022-2023. Canon Japan listing all M cameras as “discontinued” was the formal nail in the coffin. What does this mean for M6 Mark II owners? In practical terms, the camera will continue to work as it always has. But there won’t be a “Mark III” or new EF-M lenses. If you need to upgrade within Canon, you’ll be looking at the RF system (likely an EOS R7 or its future iterations for an APS-C upgrade). On the bright side, EF-M gear is fairly mature – there’s a decent range of lenses and lots of adapters out there to use EF lenses. And Canon has pledged to service and support EOS M products for some years. It’s also worth noting that despite being discontinued, the M6 II is still cherished by users – many prefer its super-compact form which even the new RF-S bodies (like R10 or R50) didn’t quite replicate. A DigitalCameraWorld article in 2024 lamented “Canon officially discontinued the EOS M series… don’t expect it to come back”, noting that Canon now lacks such truly pocketable ILC cameras in its lineup. In terms of current news, there’s no new firmware or updates since late 2020 for the M6 II. The camera community rumor mill did at one point talk about a possible “EOS M7” (a higher-end EOS M) back in 2020, but that never materialized and is moot now. Bottom line: The M6 Mark II is a discontinued model in a discontinued system – there’s no direct successor and Canon’s energy is in the RF system. It’s still an excellent camera, but one to buy knowing it’s the end of the line. If you love it, stock up on a couple of EF-M lenses now or the EF adapter. Otherwise, consider Canon’s R50/R10 (for a more entry-level upgrade) or R7 (for a higher-end APS-C with built-in EVF) as the next step in Canon’s ecosystem.
• Fujifilm X-S20: Being relatively new, the X-S20 is firmly in Fuji’s current lineup. No successor is on the horizon yet – Fuji typically refreshes midrange models every 2-3 years. So an “X-S30” or similar would not be expected until maybe 2025-2026, and there have been no credible rumors of one as of early 2025. The X-S20 itself has gotten firmware updates addressing minor bugs, and Fuji announced in late 2023 some planned firmware enhancements (e.g., improved lens compatibility, maybe new film simulations down the road). One interesting bit of news: The X-S20 (along with the high-demand X-T5) saw such strong sales that Fuji had to pause new orders temporarily in Japan in mid-2023 – a testament to its popularity, but that issue has resolved as production caught up. Fuji did release an external cooling fan accessory for the X-S20, which was initially in short supply but is now available – a sign that Fuji expects some users to push the video limits of this camera. As for competing models and how X-S20 fits: In mid/late 2023, Sony launched the A6700 (a 26MP APS-C mirrorless with AI autofocus and 4K60), which is a direct competitor. Fujifilm seems positioned to counter any future midrange competition with firmware refinements rather than new hardware immediately. On the rumor front, the Fuji community is more abuzz about other upcoming models (like an X-Pro4 or X100V successor) – nothing specific about the X-S20’s line. It’s likely Fuji will let the X-S20 enjoy a healthy life cycle. If anything, an X-S20 owner might look forward to trickle-down firmware from higher models. For example, if Fuji adds features to the X-H2 via firmware, sometimes those optimizations find their way to lower models if hardware allows. Summing up: no new X-S series camera is confirmed or strongly rumored yet, so the X-S20 should remain the mid-tier hybrid choice in Fuji’s stable for a while.

Final Verdict and Recommendations

Each of these cameras is excellent in its own right, but they cater to somewhat different users. Here’s our take on which camera might be “best” depending on who you are:

• For Vloggers and YouTubers: The Fujifilm X-S20 is arguably the top pick. Its fully articulating screen, superb video specs (4K60, 10-bit, even a dedicated Vlog mode with product showcase AF), and class-leading battery life address exactly what on-the-go content creators need. You can shoot a high-quality talking head segment in 6.2K, flip the screen for selfie framing, use the internal F-Log2 or film sims for a distinct look, and not worry about the battery dying mid-shoot. The built-in IBIS and optional digital stab make handheld vlogging smooth (though heavy walking will still need a gimbal for perfection). Plus, Fuji’s lens range includes great options for vlogging – like the compact XF 10-24mm or 18-55mm. The Canon M6 Mark II is a decent choice for casual vloggers – its Dual Pixel AF will keep you in focus reliably and the flip-up screen is useful. It’s very small and lightweight, so it’s easy to hold out at arm’s length. However, no IBIS means you’ll want a stabilized lens or tripod, and its video feature set is more limited (capped at 4K30, 8-bit, etc.). Still, for simple high-quality full HD/4K clips, the M6 II delivers pleasing results with minimal fuss, and Canon’s skin tones are flattering. The Olympus E-M1 Mark III would be our third pick for vlogging – it has great stabilization (you can basically “run and gun” with it and still get steady footage), and the flip-out screen plus mic jack are vlog-friendly. Its C4K 24p can give a bit more cinematic look too. But the autofocus in video isn’t as dependable for focusing on your face while moving, and it’s heavier to hold for long pieces to camera. Also, the older codec means larger file sizes for comparable quality. In short: X-S20 if you’re serious about vlogging or need the best video, M6 II if you’re more casual and prefer Canon’s ease, E-M1 III only if stabilization or MFT’s other benefits trump your need for cutting-edge video AF.
• For Travel and Street Photography: Olympus E-M1 Mark III shines here for a few reasons: it’s extremely rugged and weather-sealed, so it can handle dusty deserts or rainy cities with ease. The Micro Four Thirds lenses are the most compact – you can carry a tiny 17mm f/1.8, a 45mm f/1.8, and maybe a 12-40mm zoom and cover a ton of range in a small bag. The 2× crop factor is actually a boon for wildlife or distant subjects you encounter while traveling (a 150mm lens becomes a 300mm equivalent reach, in a very portable form). And if you’re in a stunning location at dusk, the E-M1 III’s stabilization lets you capture sharp low-light shots without a tripod. Additionally, the Live Composite and LiveTime features are beloved by night photographers (star trails, city light trails, etc.). The Fujifilm X-S20 is a very close second for travel. It’s only slightly larger, but still quite compact, and its image quality is better in challenging lighting (higher ISO capability). The film simulations can make street shots look gorgeous straight out of camera, which travelers who want to share on the go will appreciate. Battery life is a major plus – you might not even need to pack a charger on a weekend trip. It’s not weather-sealed, so you’d need a bit more care (or pair it with one of Fuji’s weather-sealed lenses to mitigate). But its versatility – one day you’re shooting landscapes in 6K video, the next you’re doing street candids with classic chrome film sim – is fantastic for a traveling creative. The Canon M6 Mark II is also a good travel camera in terms of compactness and resolution – it’s the smallest of the bunch and practically pocketable with a pancake lens. It’s awesome for street photography because it’s inconspicuous (especially in black, it looks like a tiny point-and-shoot). 32MP allow you to crop in on distant details of a scene. On the downside, battery life means you’ll need spares on a long day out, and the lack of an EVF can be a pain in bright sunlight (you can attach the EVF-DC2, but that adds bulk). Also, if you need a broad range of focal lengths for travel, EF-M lens options are limited – though the EF-M 18-150mm is a convenient travel zoom covering a big range in one lens. So, we’d say: if weather sealing and telephoto reach are priorities (e.g., safari, hiking), go Olympus. If you want a one-camera-does-it-all for travel vlogging + photography, go Fuji. If ultra-compact size and high resolution are key (city breaks, street), the Canon is a fine choice if you’re okay with its system limitations.
• For Hobbyists and Everyday Photography: All three are actually aimed at enthusiast photographers, so it depends on your style. The Fujifilm X-S20 offers a fun factor with Fuji’s retro film modes and is a solid pick for someone who enjoys photography as a creative hobby. The JPEGs look great without editing, inspiring you to experiment. Plus, you have room to grow – you can try a bit of everything (portraits, sports, macro, video) and the X-S20 can handle it. The Canon M6 Mark II would appeal to hobbyists who perhaps already have some Canon gear or just love a straightforward shooting experience. It’s very much a “pick up and get results” camera – Canon’s out-of-camera colors and reliable metering mean you can trust it in auto or use creative filters via Canon’s menus for everyday snaps. Its compactness encourages you to take it everywhere, which is great for family, pets, events – the best camera is the one you have with you. The Olympus E-M1 Mark III might suit the more technically inclined hobbyist – someone who enjoys the process of setting up a shot and exploring advanced features. It has countless custom settings, so a tech enthusiast can tinker to their heart’s content (you can assign almost any function to buttons, create custom shooting modes, etc.). Its shooting experience – snappy 60fps bursts, Pro Capture that starts buffering images before you fully press the shutter – can actually be quite fun if you’re, say, trying to capture lightning or the perfect moment of a bird taking off. For everyday family snapshots though, the E-M1 III might be overkill in complexity (and weight), whereas the M6 II or X-S20 might be simpler and more spontaneous. In summary, hobbyists who are artistically driven might love Fuji’s vibe, those who want ease and an all-arounder might lean Canon, and those who are gearheads or love outdoor adventures might enjoy Olympus.
• For Semi-Pros and Advanced Enthusiasts: By semi-pro, we mean someone doing paid shoots or very demanding photography (sports, weddings, etc.), but perhaps on a budget. Here the Olympus E-M1 Mark III has some clear advantages: build quality and dual card slots (for backup) are big for professional work. It’s also the only one that can use a battery grip for extended shooting times (helpful in events or sports for portrait orientation grip and more power). Its reliability in harsh conditions is proven – many pro wildlife and adventure photographers have used E-M1 series bodies in extreme scenarios. Also, the lens ecosystem on MFT includes some super fast telephotos (300mm f/4, 150-400mm f/4.5 with built-in teleconverter, etc.) that have no direct equivalent in size/weight on APS-C – that’s why many bird photographers still love Olympus; you can achieve a 600mm-800mm equivalent reach in a hand-holdable kit. If you are a sports shooter, the E-M1 III’s 18 fps continuous AF or 60 fps Pro Capture for peak moment can be invaluable (e.g., capturing the exact moment a runner crosses a finish). Downsides for pro use: the image quality ceiling is lower, so for large prints or if client demands are high, the files aren’t as malleable as full-frame (but that’s outside this comparison anyway). The Fujifilm X-S20 can serve a semi-pro in some fields – notably video content creation, weddings (as a second body perhaps), or as a lightweight documentary camera. Its image quality will surpass the Olympus in low light, which could be important for event shooters (indoor, night). However, the lack of dual card slot and middling EVF resolution make it a riskier primary camera for once-in-a-lifetime moments (e.g., you wouldn’t want a card corruption to lose all wedding photos). Semi-pros could still use it very effectively for things like real estate videos, corporate interviews (the 10-bit video and raw output are huge there), or as a travel pro camera for NatGeo-style video/stills in one. The Canon M6 Mark II is the least fitting for traditional “pro” work simply because of its ergonomic and system limitations – no integrated EVF, no dual card, limited battery, and the EF-M system being discontinued (no future support). A semi-pro who loves Canon would have already moved to EOS R system. That said, the M6 II could be a great second body for a Canon shooter – for instance, a wedding photographer could stash an M6 II with a 22mm in their bag for candid shots or a different perspective, and later integrate the images easily with their Canon full-frame files (consistent color science). For advanced enthusiasts (not making money, but very serious), any of the three could work depending on interest. For example, a wildlife enthusiast on a budget – Olympus is ideal. A videographer or hybrid shooter – Fuji wins. A high-res landscape hobbyist – tough call, maybe the Canon for sheer resolution or Olympus for the high-res mode (if using tripod) which can produce 50MP handheld or 80MP tripod shots.

Final recommendations:

• Olympus OM-D E-M1 Mark III – Choose this if you need a robust, action-ready camera. Ideal for wildlife, sports, outdoor landscapes, and situations where portability + weather-sealing trump ultimate image quality. It’s also great for photographers invested in the Micro Four Thirds system or who want access to Olympus’s unique features (Live Composite, etc.). Keep in mind the sensor’s low-light limits – if you often shoot above ISO 3200 and crave super clean files, you might look elsewhere or to the OM-1. But for daylight and controlled lighting, the E-M1 III produces gorgeous results and can capture moments most other cameras would miss thanks to its speed and IBIS.
• Canon EOS M6 Mark II – This is the camera for travelers, street shooters, or Canon devotees who want the highest resolution in the smallest form. If you value a compact kit and plan to shoot mostly in good light (or with flash), the M6 II is a joy. Its images have plenty of detail to crop, and it handles like a nimble little brother of Canon’s DSLRs, with the benefit of Dual Pixel AF. It’s also a good fit if you already have Canon EF lenses – the adapter works very well, effectively letting the M6 II serve as a mini-DSLR body (many users even attach big EF 70-200s or 100-400s to it for wildlife – a bit unbalanced but the crop factor and resolution give great reach). The big caveat is future support: the EF-M system is discontinued, so invest in it only if you’re okay with no new lenses or bodies coming. As a standalone tool it’s fantastic, but it’s a dead-end path for expansion.
• Fujifilm X-S20 – The X-S20 is our pick for the best all-rounder and value in this trio (especially for hybrid shooters). If you do a bit of everything – shoot photos, shoot video, vlog, action, portraits – and you want a camera that excels at all without major compromise, the X-S20 is hard to beat. Fujifilm has actively updated and supported its X system, so you’re buying into a thriving ecosystem. Plus, you get those lovely Fuji colors and film simulations which inspire creativity. The X-S20’s only real downsides (no weather seal, single card) are not deal-breakers for most enthusiasts. For anyone starting fresh or looking to upgrade an older midrange camera, the X-S20 *“makes the case as the best camera under $1,500” and indeed, many reviewers have called it one of the best mid-tier cameras on the market in 2023/2024.

In conclusion, you can’t go terribly wrong with any of these cameras – they’re all highly capable. The “winner” depends on your needs: the Olympus E-M1 Mark III is a pro-grade powerhouse in a small package for speed and durability, the Canon M6 Mark II is a compact high-resolution performer perfect for travel and everyday shooting, and the Fujifilm X-S20 is the modern do-it-all champion for hybrid content creators. Each has a unique character: Olympus inspires confidence to brave the elements, Canon makes photography feel simple and fun, Fuji sparks creativity with its film heritage. Consider what you shoot most and what features matter to you, and that will guide you to the camera that will serve you best in your photographic journey. Happy shooting!

Sources: Olympus, Canon, and Fujifilm official specifications and press releases; DPReview, PetaPixel, Imaging Resource and Fstoppers reviews imaging-resource.com; user reports from forums and Reddit for real-world experiences.