Best Camera for Beginners 2026: 7 Honest Picks + Buying Guide
Last year I watched my nephew walk into a store with his savings and walk out with a $1,200 camera kit. A salesperson told him it would turn him into a professional photographer. Three months later, that camera collected dust in his closet while he shot everything on his iPhone.
Nobody told him the truth: buying your first camera isn’t about having the most megapixels or the fanciest features. It’s about finding gear that matches how you’ll actually shoot.
I’ve spent 10+ years creating films and travel content for PeekAtThis. Tested cameras from $200 point-and-shoots to professional cinema rigs. When I shot Blood Buddies on a micro-budget, I used gear that cost less than most people spend on a kit lens. The film looked fine. Nobody asked about my sensor size.
Early on, I bought a jib arm I used exactly once. It sat in my closet for two years before I sold it for a third of what I paid. The camera body was never the problem. My impulse to buy my way out of learning was.
The best beginner camera is the one you’ll actually use. Not the one with the longest spec sheet.
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The best camera for beginners in 2026 is the Canon EOS R100 — around $599 with a kit lens. It has guided menus that explain settings as you shoot, reliable face-and-eye autofocus, and access to Canon’s full RF lens lineup. For vlogging specifically, the Sony ZV-E10 II is the better pick. Skip anything over $1,200 for a first camera.
What’s the Best Camera for Beginners in 2026?
The Canon EOS R100 is the best beginner camera for most people in 2026. At roughly $599 with an 18–45mm lens, it offers guided menus, face-and-eye detection autofocus, and a clear upgrade path through Canon’s RF mount. If you plan to film yourself regularly, the Sony ZV-E10 II is the smarter choice. Avoid spending more than $1,200 on a first body — anything above that buys features you won’t understand for two years.
Why Camera Shopping Feels Impossible
Camera manufacturers have made buying gear unnecessarily confusing on purpose — every brand needs you locked into its lens ecosystem before you know enough to notice. They bombard you with jargon. Megapixels, ISO ranges, autofocus points, sensor formats. It’s like they want you to feel stupid so you’ll just buy whatever the salesperson recommends.
Every photography blog recommends different cameras. Each claims theirs is the “ultimate choice.” Meanwhile, store employees push whatever model they need to clear from inventory.
The real problem is that most buying guides are written by gear collectors who forgot what it’s like to buy your first camera. They haven’t felt that overwhelming moment of not knowing if you should spend $500 or $2,000.
The Common Beginner Mistake: Walking into a store without a written budget and letting a salesperson upsell you to the next model because it has “better low-light performance.” You don’t know what low-light performance means yet, and you won’t need it for your first three months of shooting in daylight and living rooms.
You want better photos than your phone can take. Maybe some video. You don’t want to blow your savings on equipment you’re unsure you’ll use in six months. Buying the wrong camera means you’ll either outgrow it immediately or find it too complicated and never touch it. Both waste your money.
The Real Reason Camera Advice Sucks
Camera companies don’t market to beginners — they market to the fantasy of being a professional, which is a different customer with a different budget. Look at any beginner camera ad: someone’s shooting a wedding, someone’s hanging off a cliff with a telephoto lens. They’re selling dreams, not learning tools.
The industry assumes you’ll upgrade, so entry-level cameras ship packed with advanced features you won’t understand for years, buried in menus with no explanation. Canon wants you buying Canon lenses forever. Same with Nikon, Sony, and Fujifilm. Most advice treats all beginners the same — the vlogger doesn’t care about 50-megapixel scenic shots, and the wildlife photographer doesn’t need a flip screen. Nobody asks what you actually want to photograph.
How to Choose Your First Camera (The Smart Way)
Three questions decide your camera, not brand loyalty and not spec sheets. Answer these honestly before you look at a single product.
1. What will you mainly photograph?
- People, events, and portraits
- Landscapes and travel
- YouTube content and vlogs
- Action and sports
- Street photography and everyday moments
2. What’s your realistic budget — not the “if I save up” number, the amount you can spend today without financial stress?
- Under $500: entry-level mirrorless or DSLR with kit lens
- $500–$800: mid-range mirrorless with better features
- $800–$1,200: advanced beginner cameras with pro features
- $1,200+: you’re probably overthinking this
3. Do you want to learn photography, or just take better photos? This isn’t judgment. Automatic modes that make images look good immediately are a legitimate goal. Mastering manual exposure is a different goal. They point to different cameras.
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Camera Types Explained (Without the Jargon)
Mirrorless is the modern default for most beginners — smaller, better for video, and the electronic viewfinder shows your exposure before you shoot. DSLRs are the proven, budget-conscious choice: bigger and heavier, but better battery life and a huge secondhand lens market. Point-and-shoots are maximum simplicity — fixed lens, automatic everything, pocketable, and a genuine upgrade over a smartphone for travel.
Sensor Sizes That Actually Matter
For beginners, APS-C is the sweet spot. Full-frame gives the best image quality at the worst price and weight. APS-C balances quality, price, and size. Micro Four Thirds gives you the smallest system with a modest low-light tradeoff. You get enough background blur to learn depth of field, enough sensor area to shoot indoors without a flash, and lenses that don’t require a backpack with a waist strap.
The 7 Best Beginner Cameras of 2026
I've tested these personally or know filmmakers who rely on them daily — listed by use case, not ranking. Every pick below includes an honest drawback and a clear warning about who should skip it, because a recommendation without a downside isn't a recommendation, it's an ad.
| Camera | Price (w/ lens) | Sensor | Best For | Key Feature | Main Limitation |
|---|---|---|---|---|---|
| Canon R100 | ~$599 | 24MP APS-C | Overall Value | Guided menus | Fixed screen |
| Fujifilm X-M5 | ~$899 | 26MP APS-C | Content Creation | 6.2K video | No viewfinder |
| Sony ZV-E10 II | ~$1,099 | 26MP APS-C | Vlogging | 4K/60p, updated menu | No IBIS, pricier |
| Nikon Z fc | ~$1,097 | 21MP APS-C | Style & Inspiration | Retro dials | Pricey |
| Olympus E-M10 IV | ~$799 | 20MP Micro Four Thirds | Travel | 5-axis IBIS | Smaller sensor |
| Canon EOS R50 | ~$799 new, ~$600 used | 24.2MP APS-C | Step-Up from Entry-Level | Flip screen, uncropped 4K | No IBIS, smaller grip |
| Ricoh GR IIIx | ~$1,097 | 24MP APS-C | Street Photography | Pocketable | Fixed lens |
The Production Reality: On a real set, the camera that survives is the one that fits in your hand well enough that you don't fumble the battery door while swapping cells in the dark. Spec sheets don't tell you which body has a menu you'll memorize by muscle memory at 2:00 AM. The R100's guided menus matter more than its 24 megapixels when you're cold, tired, and can't remember what ISO does.
1. Canon EOS R100 — Best Overall Value
Price: ~$479 body, ~$599 with 18–45mm kit lens Sensor: 24.1MP APS-C
- Best for: Beginners focused on photography who want room to grow without drowning in menus.
- Honest drawback: Fixed screen that doesn’t tilt, no touch control, no in-body stabilization, and 4K video that crops in and loses reliable autofocus.
- Who should NOT buy this: Vloggers, handheld video shooters, or anyone who needs to film themselves. The fixed screen makes self-recording nearly impossible.
- Real production use case: The guided menus explain what aperture and shutter speed actually do as you turn the dial. I recommend this camera more than any other because it teaches you photography instead of assuming you already know it. It’s simple enough for day one but won’t hold you back as you improve.
- Budget alternative: A used Canon EOS M50 Mark II if you want a working flip screen, though you’ll be buying into the discontinued EF-M mount.
- Compatibility: RF mount natively; EF and EF-S lenses work with Canon’s inexpensive adapter.
2. Fujifilm X-M5 — Best for Content Creators
Price: ~$799 body, ~$899 with 15–45mm kit lens Sensor: 26.1MP APS-C
- Best for: YouTubers and content creators who want film simulations and solid video without grading.
- Honest drawback: No viewfinder, no in-body stabilization, and a smaller lens selection than Canon that gets expensive fast once you go past the kit lens.
- Who should NOT buy this: Photographers who shoot in bright sunlight and need a viewfinder to compose, or low-light shooters who need in-body stabilization to save handheld shots.
- Real production use case: I used the Classic Neg film simulation on a weekend project where I had zero time to grade. The footage came out of the camera looking finished. That’s not a gimmick — it’s a genuine time-saver when you’re delivering fast. I also ran it on “12: What’s in the Box” specifically for its footprint, small enough to shoot in tight spaces without anyone clocking that a camera was even out.
- Budget alternative: A used Fujifilm X-T30 II gets you an actual viewfinder, at the cost of the newer film simulations and flip screen.
- Compatibility: X-mount; third-party options from Viltrox and Sigma are growing.
3. Sony ZV-E10 II — Best for Vlogging
Price: ~$999 body, ~$1,099 with 16–50mm power zoom lens Sensor: 26MP APS-C
- Best for: Serious vloggers and YouTube creators who need a camera built around self-recording.
- Honest drawback: No viewfinder, no in-body stabilization, and a roughly $300 jump over the original ZV-E10 it replaced.
- Who should NOT buy this: Still photographers who want a viewfinder, or anyone on a strict sub-$700 budget — the upgrades here (faster sensor, real 4K/60p, better battery, cleaner menu) only matter if you’ll actually use them.
- Real production use case: I point every aspiring YouTube creator to this camera. The product showcase mode auto-focuses on items you hold up to the lens, then snaps back to your face when you lower them — for unboxing or review channels, that one feature saves more time than a faster memory card. For a deeper look at vlogging-specific options, see our full guide to vlogging cameras. If you need the full kit — mics, lights, tripods — check our beginner vlogging gear guide.
- Budget alternative: The original ZV-E10 used, if you can find one meaningfully under $500. You’ll live with the older sensor’s heavier 4K crop and weaker battery, but it’s still a real vlogging camera for less money.
- Compatibility: Sony E-mount; massive third-party lens support from Sigma, Tamron, and others.
4. Nikon Z fc — Best for Style & Inspiration
Price: ~$956 body, ~$1,097 with 16–50mm kit lens Sensor: 20.9MP APS-C
- Best for: Photographers who want physical dials, not a menu, standing between them and their exposure settings.
- Honest drawback: More expensive than similarly specced cameras, no in-body stabilization, and a Z DX lens selection that’s still thin.
- Who should NOT buy this: Video shooters who need reliable autofocus tracking across a fast-changing frame — the retro dials look great but slow you down when the light shifts quickly.
- Real production use case: I carry this on casual days specifically because the dials slow me down. The physical controls for shutter speed, ISO, and exposure compensation forced me to think about exposure in a way no menu ever did. On a fast street shoot, they slowed me down just enough to make deliberate choices instead of spraying the shutter.
- Budget alternative: The Nikon Z30 skips the retro dials and viewfinder-less body for meaningfully less money if the aesthetic isn’t the point for you.
- Compatibility: Z mount; full-frame Z lenses work but balance poorly on the small grip.
5. Olympus OM-D E-M10 Mark IV — Most Feature-Packed
Price: ~$649 body, ~$799 with 14–42mm kit lens Sensor: 20.3MP Micro Four Thirds
- Best for: Travelers who want the smallest, lightest complete system they can find.
- Honest drawback: The Micro Four Thirds sensor gives up some low-light performance versus APS-C, and contrast-detect autofocus isn’t as sticky as phase-detect systems when tracking moving subjects.
- Who should NOT buy this: Low-light photographers shooting concerts or dim interiors without a fast prime — the sensor hits its ceiling about a stop earlier than APS-C.
- Real production use case: I bought this for my ex because she wanted quality without hauling gear. On a rainy evening in Lisbon, the 5-axis in-body stabilization let her shoot handheld at 1/4 second. The image wasn’t perfect, but it was sharp enough to keep — that’s what saves footage from looking like a handheld earthquake without needing a gimbal.
- Budget alternative: A used Olympus E-M10 Mark III drops the price further and still has usable stabilization, at the cost of a lower-resolution EVF.
- Compatibility: Micro Four Thirds mount, shared with Panasonic, so the lens selection is deep and affordable.
6. Canon EOS R50 — Best Step-Up from Entry-Level
- Best for: Beginners who looked at the R100 but need a flip screen, uncropped 4K video, and touchscreen control without jumping to a $900+ price tag.
- Honest drawback: No in-body stabilization. Battery life is mirrorless-typical — you’ll burn through a cell in a long afternoon. The grip is smaller than the old Rebel DSLRs, so larger hands feel cramped after an hour of shooting.
- Who should NOT buy this: Anyone who can live with the R100’s fixed screen — you’re paying $200 more for features you might not use. Low-light handheld shooters who need IBIS should look at the Olympus or save for a used Fujifilm X-S10 instead.
- Real production use case: I handed this to a PA on a micro-budget shoot when my main rig was locked on a gimbal. The flip screen let her grab a reverse-angle interview shot without a monitor, and the uncropped 4K/30p matched my timeline without any scaling headaches in post. It’s the camera I point people to when they say, “I like the R100, but I need to film myself too.”
- Budget alternative: Buy the Canon EOS R100 instead and put the $200 difference toward a spare battery, a 64GB card, and your first RF 50mm f/1.8 prime. You’ll learn more from that lens than from a flip screen.
- Compatibility: RF mount natively; EF and EF-S lenses work with Canon’s adapter. Same ecosystem as the R100, so you’re not learning a new system if you upgrade later.
7. Ricoh GR IIIx — Best Compact Camera
Price: ~$1,097 Sensor: 24.2MP APS-C
- Best for: Street photographers and minimalists who want one perfect lens in a pocketable body.
- Honest drawback: Fixed 40mm lens, no 4K video, conservative battery life, and no viewfinder.
- Who should NOT buy this: Anyone who wants zoom flexibility, interchangeable lenses, or thinks they might want a different focal length within the next year — the fixed lens is a commitment, not a limitation to work around.
- Real production use case: This lives in my jacket pocket for the moments you can’t plan for. The fixed 40mm f/2.8 forces you to move your feet for composition instead of zooming your way out of a bad frame. I shot a short documentary segment with it during 30 minutes of unexpected access, when my main rig was locked in a hotel safe. It’s genuinely powerful enough to replace a full system for street and travel work.
- Budget alternative: The standard Ricoh GR III has a wider 28mm-equivalent lens for similar money, if 40mm doesn’t fit how you shoot.
- Compatibility: Fixed lens; no mount system; built-in ND filter.
How to Actually Buy Your Camera (Step-by-Step)
Buying the camera is the easy part — the sequence below is what actually keeps you from overspending or under-buying.
Step 1: Set your total budget. Include the body, kit lens, a minimum 64GB memory card, and a spare battery. Most kit bundles cover the basics but not the extras.
Step 2: List your must-have features, not your wants. Pick 3–5 you’ll genuinely use. For my film work: 4K video, mic input, stabilization. For travel: compact size, weather sealing, long battery life. Be honest about what you’ll actually use.
Step 3: Choose your camera system. Lenses don’t cross brands, so this is the decision with the longest tail. Canon RF has the deepest lens selection; Nikon Z is growing with strong value lenses; Sony E has the widest third-party support; Fujifilm X leads on in-camera color; Micro Four Thirds wins on size and weight. If your main interest is narrative or short-film work rather than general photography, our budget filmmaking cameras guide covers bodies optimized for video production.
Step 4: Buy used to save money.
The Budget Reality: Camera gear holds its value unusually well. Buy used from a reputable dealer — MPB, KEH, or Adorama’s used department — shoot for six months, and you can typically resell for close to what you paid if it turns out not to be the right fit. Renting a camera for a weekend costs roughly 10–15% of the used purchase price, so if you’re unsure whether you’ll stick with it, rent the body you’re considering before buying. I once bought a $900 body I used for three shoots, then sold it at a $300 loss because I hadn’t tested the ergonomics first. Two $40 rental weekends would have saved me that mistake.
Step 5: Master your camera before buying more gear. Shoot for three months with just the kit lens. Learn its limitations by hitting them, not by reading about them.
I learned this one the expensive way. I was shooting a low-light indie dialogue scene in an under-lit apartment at night, wide open at f/3.5 on a stock kit lens, shutter dragging at 1/30th because there wasn’t enough light to go faster. I assumed I’d fix it in post. You cannot fix a shutter speed that’s already too slow to freeze motion, and you cannot un-crush noise that’s already baked into the file.
That scene needed real lighting or it needed to not be shot on that lens — post-production was never going to save it. A basic variable-aperture kit lens will hit that wall fast, and hitting it yourself teaches you more about exposure than any tutorial will.
Features That Actually Matter (And What Doesn’t)
Skip anything sold to you as a headline number — megapixels, brand prestige, and “latest model” status rarely change what your footage actually looks like.
Overrated features:
- Megapixels. I used to chase megapixel counts. Bought a 36MP body once thinking more resolution would fix my composition. It just meant I could see my mistakes more clearly in post. Anything above 16MP is plenty for screens; most modern cameras sit at 20–24MP regardless of price.
- Brand loyalty. Canon-versus-Nikon-versus-Sony arguments are mostly tribal. All three make competent gear — pick based on lenses and features, not the logo.
- Latest models. Last year’s camera is usually 90% as good for half the price of this year’s.
Features that matter: autofocus performance with face and eye detection, lens availability for the genres you actually want to shoot, ergonomics you can only judge by holding the camera, battery life (mirrorless drains faster than DSLR — budget for a spare), and image stabilization, which helps in low light but isn’t essential.
The lesson shows up fastest in a lobby, not a spec sheet. I hit it during a hotel lobby shoot for a client: the kit lens topped out at f/3.5, and the lobby was lit like a cave. I pushed the ISO until the image turned to visible grain, then opened the aperture as wide as it would go. The photo was technically rough, but I finally understood why aperture and sensor size matter together. I didn’t need a faster lens yet — I needed to understand why I was missing the shot in the first place.
What Audiences Actually Feel: Nobody watching your video is evaluating your sensor’s dynamic range. They’re responding to whether the frame is in focus when it needs to be, whether the audio is clean, and whether the shot holds still enough that they’re not distracted by the camera instead of the content. A technically “worse” camera used confidently reads as more professional than a technically “better” one used nervously.
Key Takeaways
- The best beginner camera is the one that matches how you’ll actually shoot, not the one with the most features.
- For most people, the Canon EOS R100 is the strongest all-around first camera; vloggers should get the Sony ZV-E10 II instead.
- Skip anything over $1,200 for a first camera — you’re paying for headroom you won’t use for at least a year.
- Buy used where you can; camera gear depreciates slowly and a six-month resale usually recovers most of your money.
- Shoot three months on just the kit lens before buying anything else — you’ll know exactly what you’re missing instead of guessing.
- Every camera on this list has a genuine drawback and a specific reason someone should skip it — if a recommendation doesn’t have both, be skeptical of it.
Quick Recap: The 7 Best Beginner Cameras
Match the camera to your use case, not the marketing. Here's a quick summary:
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What camera should I buy as a beginner?
Buy the Canon EOS R100 if you’re learning photography, or the Sony ZV-E10 II if you’re vlogging. Both come with guided menus and autofocus that won’t hold you back while you learn. I’ve recommended the R100 to enough first-time shooters that I stopped counting after the fifteenth.
Mirrorless vs DSLR — which is better for beginners?
Mirrorless, for most beginners. It’s lighter, better for video, and the electronic viewfinder shows exactly what your photo will look like before you shoot. DSLRs still win on battery life and cheap used lenses, but no manufacturer is developing new DSLR bodies or lenses — you’re buying into a system with no future.
What features should beginners look for in a camera?
Guided menus or beginner modes that explain settings, reliable face-and-eye autofocus, and a screen that tilts or flips if you plan to film yourself. Ignore megapixel counts and focus on ergonomics — if the camera feels like a brick in your hands, you won’t carry it.
Is a beginner camera worth buying over a smartphone?
Yes, if you want to learn manual controls, shoot in low light, or use interchangeable lenses. A smartphone is genuinely fine if you only post to Instagram and never edit your photos. A dedicated camera gives you depth-of-field control, RAW files, and lenses for specific situations — a phone gives you convenience. Most people who buy a camera and never learn its controls would have been better off upgrading their phone. For a deeper breakdown of when each tool actually wins on a real shoot, see our digital camera vs. smartphone comparison.
How much should a beginner spend on a first camera?
$500–$800 is the sweet spot — enough for a capable mirrorless body with a kit lens, without paying for features you won’t use for a year. Spend less and you’ll likely outgrow the camera fast; spend more and you’re usually buying headroom before you know what you need it for.
What are the best entry-level cameras for photography?
Canon EOS R100 for overall value, Nikon Z fc for style and handling, and Olympus OM-D E-M10 Mark IV for features and portability — the right one depends on which of the three questions in this guide matters most to you.
What size sensor is best for beginner photographers?
APS-C offers the best balance of image quality, price, and system size for beginners. Full-frame is overkill and expensive at this stage. Micro Four Thirds is more compact with a real, if modest, low-light tradeoff.
Do beginners need interchangeable lenses?
Only if you plan to explore multiple types of photography. A fixed-lens point-and-shoot is genuinely fine for travel and casual shooting. Interchangeable lenses open up more creative range as your interests narrow.
What cameras are good for both photo and video?
The Fujifilm X-M5 (6.2K video), Sony ZV-E10 II (4K/60p, strong autofocus), and Canon EOS R100 (solid 4K basics) all handle both well. If video is the priority, go with the X-M5 or ZV-E10 II over the R100.
Where to Buy Your Camera
Buy from a retailer that stands behind the sale, not just whoever has the lowest number on the page.
Best options: B&H Photo (bhphotovideo.com) for expert service and no tax in most states; Adorama (adorama.com) for similar service and a strong used department; MPB (mpb.com) for warrantied used gear; KEH (keh.com) for another reputable used dealer with clear grading standards; Amazon if you check the seller’s reputation first; local camera stores for hands-on time before you commit.
Avoid: random third-party Amazon sellers with no track record, “too-good-to-be-true” prices from unknown sites, and buying the newest model at launch — wait three to six months for prices to stabilize.
One specific trap: international body-only listings bundled with a third-party charger and a kit lens that turns out to be from an entirely different generation than advertised. Buyers think they’ve saved $150–$200. Then they find out the manufacturer won’t honor a warranty claim, because the serial number traces back to a different regional market than the one they’re shooting in. A grey-market body often ships without a valid regional warranty at all — I watched a friend save $80 on a camera from an unauthorized dealer, then get quoted $300 for a repair the manufacturer would have covered for free. Check the listing’s fine print for “international version” or “grey market” before you save that money — it’s rarely worth what it costs you later.
The Gear You’ll Actually Need
Beyond the camera body: an extra battery ($30–50, since mirrorless drains fast — buy a genuine manufacturer battery, not a third-party knockoff that swells in the charger), memory cards ($20–40, get at least one 64GB SD card and ideally two, and format the card in-camera before every shoot), a camera bag ($30–100) to protect your investment, and a lens cleaning kit ($15, a microfiber cloth and blower bulb are enough).
A tripod is optional at $50–150, mainly useful for long exposures and video — skip it if you’re buying a vlogging camera with a wide lens, since you can brace against walls instead. Skip the largest memory card on the shelf, too: a 128GB card sounds efficient, but a 64GB card that fills up faster forces you to actually cull your shots instead of letting years of unsorted files pile up. Skip expensive filters and fancy straps entirely until you know you need them.
Conclusion
The best beginner camera is the one you’ll actually use. I’ve shot projects on $300 bodies that looked better than work shot on $3,000 bodies by people who didn’t understand exposure — the gear matters less than the marketing wants you to believe, but it isn’t nothing either. A cheap camera placed well beats an expensive one you’re too intimidated to take out of the bag.
The production reality is that no camera on this list will make your first year of shooting easy. You’ll hit a low-light wall like I did with a kit lens. You’ll second-guess a purchase. You’ll probably want to upgrade before you’ve actually mastered what you already own. That’s normal, and it’s not a sign you bought the wrong camera — it’s a sign you’re using it.
If you’re just starting out: order the Canon EOS R100, charge the battery, and take 100 photos this weekend. Delete 90 of them. That’s your first real lesson, and no spec sheet can teach it for you. If you’ve already made the $1,200 mistake my nephew made, sell what you’re not using while it still holds value, buy something in the $500–$800 range instead, and don’t let the mistake convince you photography isn’t for you. The only wrong choice is the one that keeps you from pressing the shutter.
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About the Author
Trent Peek is a filmmaker, writer, and producer based in Victoria, BC, and the founder of PeekAtThis.com. His production credits include set decoration on Netflix’s Maid, and writing/directing Going Home (2024 Soho International Film Festival) and Noelle’s Package (48-hour festival winner, shot on smartphone). He’s also a former President of Cinevic, Victoria’s Society of Independent Filmmakers, and works as a doorman at a four-star hotel — a job that’s taught him as much about reading people under pressure as any film set has.
When he’s not writing articles, testing gear, or working on film projects, Trent enjoys traveling, reading, exploring new technology, and developing future film ideas — many of which may never leave the notebook stage.
P.S. Writing in the third person still feels weird.
Trent recently appeared on the Pushin Podcast — listen to the full episode — where he discussed independent filmmaking, directing actors, production challenges, and lessons learned from working in film.
