Nikon Z 70-200mm f/2.8 VR S II: One-minute review

Hot on the heels of the Nikkor Z 24-70mm f/2.8 S II, Nikon has delivered its second mark II lens for its Z-mount mirrorless cameras — and the Nikon Z 70-200mm f/2.8 VR S II is another 5-star success.

The pro telephoto zoom builds on the original Z 70-200mm by being much lighter (and a fraction smaller), featuring a totally removable Arca-Swiss compatible tripod collar, and offering better close-focusing skills and a new optical design which improves image quality in various ways, especially bokeh.

I found the pricier Sony 50-150mm F2 GM a more exciting telephoto zoom to test, but there's no such lens for Nikon cameras yet; and, overall, it's hard to find fault with Nikon's latest stellar 70-200mm f/2.8. While it easily joins the ranks of essential Nikon lenses there is a big jump in price — it costs $3,199 / £2,999 / AU$5,399, where its predecessor cost around $2,600 / £2,600 / AU$5,100 at launch, and that lens is now available for less.

Is the new lens worth the extra? For me, yes. My own 70-200mm f/2.8G ED VR II for Nikon DSLRs was my most-used lens for weddings and portraiture work, and it has paid for itself time and again over its years of heavy use.

When I made the switch from DSLR to mirrorless, I continued using that lens via an adapter, such is its quality and versatility for paid work, until the day I could consider upgrading to its Z-mount successor.

The Nikon Z 70-200mm f/2.8 VR S was enticing, but I didn't see enough of an upgrade over my DSLR lens to make it worth splashing out. The mark II version, with its new optical design and lightweight body, is the upgrade I've been wanting all along, especially for long shoot days.

Nikon has squeezed every bit of quality in can into a lightweight successor to what was already a stellar telephoto zoom, and I expect many pro Nikon photographers to buy, and rely on it for years to come.

Nikon Z 70-200mm f/2.8 VR S II: Price and availability

• Costs $3,199 / £2,999 / AU$5,399
• Two tripod collars and a lens hood included

At $3,199 / £2,999 / AU$5,399, the mark II version costs a lot more than the current price of the original, which is now available for around $2,397 / £2,379 at leading retailers, or closer to $2,100 / £2,100 / AU$4,000 secondhand.

I think the weight savings and improved optical design with better close-focusing are worth the extra outlay, and Nikon lenses often receive healthy price cuts soon after launch, too — for example, the 24-70mm f/2.8 mark II briefly saw a 10% saving, so the 70-200mm's pricing might become a moot point soon enough.

In the box, Nikon includes the (removable) tripod collar, a foot-less collar, plus a lens hood which features a sliding door for easy access to attached filters and adjustments a breeze; the lens accepts 77mm threaded filters.

Nikon Z 70-200mm f/2.8 VR S II: specs

Nikon Z 70-200mm f/2.8 VR S II: design

• The lightest 70-200mm f/2.8 lens available, weighing just 2.2lbs / 998g
• Tripod collar is fully removable, and you'll save 182g of weight when you don't need it
• Multiple function buttons and a customizable control ring, but no display

Size-wise, the 70-200mm mark II measures up similarly to Nikon's previous offerings. It's slightly smaller than the mark I for Z-mount, but slightly bigger than the version for DSLRs (see my photo comparison above). However, there is a big weight saving.

The Z 70-200mm f/2.8 VR S II weighs 2.2lbs / 998g, or 2.6lbs / 1,180g with the tripod collar attached — the latter for me is more often how I would set a lens like this up even without using a tripod, because the collar provides an easy hold of the lens between shots. Even factoring in the tripod collar, that's over 25% lighter than other Nikon 70-200mm f/2.8 lenses (the mark I weighs 1,360g without collar and 1,440g with it, while the DLSR version is a fraction heavier again), and the lightest lens of its kind for any lens mount.

The tripod foot is now Arca-Swiss compatible, which is probably the most popular tripod-plate type. Don't need the tripod collar? There's a 182g weight saving to be gained by removing it, and Nikon also supplies a lighter foot-less collar that can go in its place. For shoots when you know you won't be using a tripod, that's a decent weight reduction that will be appreciated over long hours lugging around gear (although, as I said, I prefer keeping the tripod collar attached).

One chief reason for the weight saving is the new optical design. Nikon has done away with three lens elements: the mark II has 18 elements in 16 groups, while the mark I has 21 elements in 18 groups.

With a simpler optical design, you might expect a compromise in terms of image quality, but the opposite is true — I'll talk more about image quality in the performance section below. There are also 11 aperture blades, versus nine blades in the other two 70-200mm lenses, and inevitably, the additional blades will form a more rounded diaphragm for pleasant and smoother bokeh — again more on this below.

Close focusing has been improved too — it's 0.38m at 70mm and 0.8m at 200mm, delivering a 0.3x maximum magnification at 70mm, compared to 0.2x in the mark I. For a telephoto zoom such as this, those are impressive close-focusing skills — not quite in the realm of macro photography, but easily versatile enough to capture little details sharply, such as wedding rings.

As for build quality, the lens is exactly what you would hope for from a pro optic: it's rugged and weather-resistant, equipped with lightning fast autofocus motors, and packed with a suite of external controls, including clicked aperture control and a customizable control ring.

The supplied lens hood now features a door which slides open for easy access to threaded filters — that's a handy addition for circular polarizer and variable ND filter users, because these (often essential) filters require rotating to adjust strength and you would otherwise have to remove the lens hood to access them.

The only thing that's arguably missing is a digital display for the lens settings, nor are there focus-distance markings, meaning you'll need to check the camera's displays if you need such information. The former could be helpful, but it would add weight to the lens.

Nikon Z 70-200mm f/2.8 VR S II: Performance

• Practically no lens distortions at any focal length or aperture setting
• Dreamy circular bokeh, especially at 200mm
• Speedy and practically silent autofocus

I've tried the lens at every key focal length and aperture setting, and I've struggled to find a single optical weakness; it's pin sharp even at f/2.8, and lens distortions are extremely well controlled.

Take the scene below, with dappled background light. It's a testing scenario for any lens, but chromatic aberration, flare, ghosting and vignetting are all well controlled, even with the aperture set to f/2.8 — the widest aperture, which is typically where lens distortions are most obvious.

Bokeh is dreamy too, especially with the lens set to 200mm. It's more defined (read: smaller) at 70mm — that's to be expected at a wider focal length. Only an even wider maximum aperture at 70mm, say f/2, would make bokeh a similar size to what we get at 200mm. Ultimately, the more you zoom in, the bigger bokeh gets. You can see below how bokeh changes at the wide and telephoto settings as I reduce aperture from f/2.8 to f/4, f/5.6, f/8 and f/11.

I've really appreciated the improved maximum magnification which now goes up to 0.3x, if you make the most of the lens' 0.38m minimum focus distance at 70mm, or up to 0.25x at 200mm. I'm often wanting to photograph little details, and the mark II lens is more versatile than the previous-generation lens for such tasks.

It's also a supremely fast lens for autofocusing — the exotically named Silky Swift VCM (voice coil motors) make light work of the moving 18 lens elements precisely for accurate, lightning quick and practically silent autofocus. Nikon says it's up to 3.5x faster than the previous 70-200mm lens and 50% quieter, plus focus tracking while zooming is 40% more effective.

The lens provides 6-stop vibration reduction image stabilization, which pairs effectively with sensor-based stabilization in pro mirrorless cameras such as the Nikon Z8 (which I paired with the lens for this test). For example, I've been able to get sharp handheld shots at 200mm using shutter speeds as slow as 1/4 sec (though not every time).

Nikon Z 70-200mm f/2.8 VR S II sample images

Should you buy the Nikon Z 70-200mm f/2.8 VR S II?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 70-200mm f/2.8 VR S II

• Nikon loaned me a sample unit for four weeks, and I used it with the Nikon Z8
• I've taken identical photos at 70mm and 200mm, adjusting only aperture throughout the sequence to compare image quality
• I've shot street photography, portraits, landscapes, closeups and more

I was fortunate to get a long review period with the 70-200mm lens, and to be able to use it with Nikon's pro Z8 mirrorless camera. During this time, I had a week-long trip to China where I was able to use the gear in wide-ranging scenarios; at night for street photography, taking portraits and so on.

When I test lenses, I make sure all in-camera lens corrections are turned off. I shoot in RAW & JPEG format and compare files between uncorrected raws and processed JPEGs, which allows me to check for lens distortions, such as vignetting and chromatic aberration.

By taking a sequence of identically composed images at the wide and telephoto settings of the lens, beginning at f/2.8 and cycling through the aperture range in full stops, I can see which settings are best for quality, plus how bokeh looks and changes at various apertures.

First reviewed April 2026

DJI Mic Mini 2: one-minute review

The DJI Mic Mini 2 is DJI's second-generation entry-level wireless microphone system, replacing the late 2024-released Mic Mini, which we previously rated as the best small wireless mic.

The headline new feature is a set of interchangeable magnetic front covers for the transmitter units, available in colors ranging from white and black to a vivid magenta. Beyond the colorways, the other notable addition over the original Mic Mini is a trio of voice tone presets — Standard, Rich, and Bright — designed to let users subtly shape their vocal recordings.

Everything else will be instantly familiar to anyone who owns the original Mic Mini: the same compact and lightweight transmitter and receiver form factor, the same 24-bit 48kHz audio quality, the same maximum range of 400m with the standard receiver (or 300m with the mobile receiver), and the same claimed battery life of 11.5 hours for the transmitter and 10.5 hours for the receiver, extendable to 48 hours total using the charging case. Two-level active noise canceling is included, and the system is compatible with DJI's OsmoAudio ecosystem, meaning it connects wirelessly without a receiver to devices like the Osmo Action 6 and Osmo 360.

In my testing, audio quality proved crisp and clear, and the active noise canceling did a solid job of taming ambient noise. The voice tone presets, however, were a different story: the differences between Standard, Rich and Bright were so subtle in practice as to be barely worth mentioning, let alone factoring into a buying decision.

That verdict could stand in for the Mic Mini 2 as a whole, really. For buyers new to the world of wireless mics, it's an excellent option: lightweight, affordable, versatile, and easy to use. But for anyone coming from the original Mic Mini, the interchangeable covers and voice presets aren't a compelling reason to upgrade.

Also worth noting: DJI has confirmed that a Mic Mini 2S is coming this summer, bringing with it internal storage for solo recording and support for up to four transmitters simultaneously. If those features matter to you, it's worth sitting tight for now.

The Mic Mini 2 is a fine product sold at a great price. It just happens to be a product that DJI has already announced it will meaningfully improve in a matter of months – which makes it a harder sell than it might otherwise be.

DJI Mic Mini 2: price and release date

• Priced from £49 / AU$89
• Sold in two bundles – but transmitters not available separately
• Available now (except in the USA)

The DJI Mic Mini 2 was released worldwide on April 28 2026 – although, as with all recent DJI products, it will not officially launch in the USA. Not yet, anyway.

DJI offers the Mic Mini 2 in two bundles: the DJI Mic Mini 2 (2 TX + 1 RX + Charging Case) package costs £89 / AU$149 and includes two transmitters, a receiver, a charging case, two windscreens, two white magnetic front covers, two black magnetic front covers, two magnetic clips, two magnets, a carrying pouch, a USB-C mobile phone adapter, a 3.5mm audio cable, a USB-C charging cable and a box of multi-color magnetic front covers (see below).

Also available is the DJI Mic Mini 2 (1 TX + 1 Mobile RX + Charging Case) bundle, which includes a single transmitter, a mobile receiver, a small charging case, one windscreen, one black magnetic cover, one white magnetic cover, one magnetic clip, one magnet, one USB-C charging cable and a carrying pouch. It's priced at just £49 / AU$89.

Unlike the original Mic Mini, DJI doesn't appear to be selling Mic Mini 2 transmitters (mics) solo – at least not at launch. That's a shame – for some buyers using the Osmo Audio system or linking the transmitter directly to their phone via Bluetooth, a receiver and charging case may not be necessary.

However, the overall pricing seems much cheaper than the original Mini, which at launch cost £145 / AU$245 for the complete kit and £49 / AU$69 for individual TX units. So in terms of value, I think the Mic Mini 2 has a lot going for it.

DJI Mic Mini: specs

DJI Mic Mini 2: Design

• Transmitters support swappable front panels
• Clip or magnetic attachment
• Receiver offers manual audio gain, but no monitoring

If we're talking transmitters (also known as the TX units), the Mic Mini 2 looks a lot more like the full-size Mic 3 than it does the original Mic Mini. There's one key difference though: the Mini 2 supports swappable magnetic front covers, which can be prised off with a fingernail and replaced with another of a different color.

The DJI Mic Mini 2 (2 TX + 1 RX + Charging Case) bundle I was sent to review features a whole range of covers, from staid white and black to eye-popping magenta. These might come across a little gimmicky on paper, but they're harmless and fun – even if I can't really think of too many practical reasons why you'd need them (DJI markets them for outfit matching).

Besides the covers, the TX can be fitted with a clip-on furry windshield for outdoor use, as well as two other magnetic accessories for mounting: a small clip for attaching it to collars, caps and lapels, and a single (but sufficiently strong) magnet for clipping it directly to thinner fabrics. The clip's direction can be selected when attaching it, which is handy.

There's also an indicator light and a couple of buttons for powering on/off and pairing the TX with different devices, but other than that, the TX is pretty simple. It doesn't feature on-board storage and, with no USB-C port, can only be recharged in the charging case.

The standard receiver (or RX) looks identical to the original Mic Mini's to my eyes. It suffers from the same drawback, too: with no on-board LCD display, there's no way to monitor levels on the hardware. Still, I suppose that's what the more pro-friendly Mic 3 is for – the Mic Mini 2 is the affordable option, and cuts must be made somewhere. The receiver does have a clip for attaching to clothing, which can also slide onto a camera cold shoe, plus a USB-C adapter for plugging into smartphones (there's a Lightning adapter too, which I used with my iPhone 13, but it's an optional extra rather than included in the box). There's also a 3.5mm jack, dial for adjusting audio levels and power and pairing buttons.

Additionally, the new DJI Mic Mini 2 (1 TX + 1 Mobile RX + Charging Case) bundle comes with a mini receiver unit designed only for attaching to a mobile phone (as with the standard RX, this appears to be the same mobile RX that was available as an accessory for the original Mic Mini). I didn't test this myself (check out our experience with the receiver via the link above) but it's much lighter, smaller and more streamlined than the standard RX, and won't look as awkward when plugged into your handset.

DJI Mic Mini 2: Performance

• 11.5 hours battery life (transmitter), 10.5 hours battery life (receiver)
• Up to 400m range
• Two-level noise reduction and three voice tone presets

The Mic Mini 2 offers 24-bit 48kHz quality audio, just like the original Mic Mini. It's similar in other ways, too: there's a maximum range of 400m between TX and RX; the claimed battery life is the same (11.5 hours for a TX, 10.5 hours for the receiver and a total of 48 hours with the charging case); and there are two levels of active noise cancelling included. Both generations also feature automatic volume limiting to avoid clipping.

And, like the first Mic Mini, it also works seamlessly with OsmoAudio ecosystem products like the DJI Osmo Action 6 and Osmo 360 cameras and Osmo Mobile 8 smartphone stabilizer.

In fact, aside from the changeable covers, the only major difference I could find between this second-gen Mini and the first is the addition of three voice tone presets – Standard, Rich and Bright – which are designed to slightly tweak how vocal recordings sound. In practice, I found the differences between the three settings to be negligible, so I would say that owners of the original Mic Mini have no compelling reason to update to the new model.

Newcomers looking for a cheap wireless microphone option that performs well will be very happy with what's on offer here, though. I found the Mic Mini 2's quality to be crisp and clear, and a noticeable step up from the built-in mics found in smartphones, vlogging cameras and mirrorless cameras, and the mounting and connectivity options and general ease of use make it a joy to live with. The two-level active noise cancelling works well enough too – I tested it with a fan running in my office and, while it could still be heard whirring away even on the strongest noise cancelling setting, it was reduced enough to prevent it becoming an issue.

Interestingly, DJI tells me that a Mic Mini 2S is coming later in 2026, offering some real upgrades over the original Mic Mini. The Mini 2S's TX units will have internal storage space to support solo recording, and users will be able to connect up to four transmitters to a single receiver. It's launching this summer.

Should I buy the DJI Mic Mini 2?

Buy it if…

Don’t buy it if…

DJI Mic Mini 2: also consider

How I tested the DJI Mic Mini 2

• Several days of testing indoors and outdoors
• Connected to iPhone 13, DJI Osmo Action 6 and Panasonic Lumix GH6
• Tested with Bluetooth, OsmoAudio and RX

I've not had a huge amount of time to spend with the Mic Mini 2, but in the several days since my sample arrived I've managed to test it both indoors in quiet conditions and outside amongst traffic and wind noise. I've also paired with my iPhone 13, a DJI Osmo Action 6 action camera and my Panasonic Lumix GH6 mirrorless camera, testing it with and without the receiver unit involved.

• First reviewed: April 2026
• Read more about how we test

Polaroid Hi-Print 3x3: review

I’m an instant photography fan, and a firm believer that one photographic print is worth a thousand forgotten files mouldering away in a cloud-storage account – so new products from Polaroid always grab my attention. Since its revival in 2017 – following the acquisition of the brand name by a group of analog evangelists named ‘The Impossible Project’ – Polaroid has gone from strength to strength, building up an impressive range of instant cameras and printers (my personal favorite is the Polaroid Flip).

The Polaroid Hi-Print 3x3 is the brand’s newest Bluetooth printer, designed to quickly turn images from your phone’s camera roll into real, tangible prints measuring 3x3 inches. It doesn’t take classic Polaroid instant film, instead using a heat-based dye-sublimation to quickly transfer images to paper. Very quickly, in fact – the Hi-Print 3x3 can spit out a print in comfortably under a minute.

Polaroid offers two other similar printers – the smaller Hi·Print 2x3 and the larger Hi-Print 4x6. However, the Hi-Print 3x3 offers two key USPs that make it more than just a gap-filler in the lineup.

The first, and most significant, is that the Hi-Print 3x3 has a built-in slot for a square photo on one side, with a transparent protective cover that can be placed over the top. Thanks to its boxy rectangular shape, it can be stood vertically on a flat surface and used to display the inserted image – meaning it functions as printer and frame all in one. Nifty!

The second is the fact that it prints images in square format, rather than the rectangular 2x3” or 4x6” formats of the other printers. Your mileage may vary on this one, but for me, a Polaroid isn’t a Polaroid if it doesn't have that distinctive square shape, and even though the prints from the Hi-Print 3x3 are made using an identical process to the other two printers, they just feel much more like Polaroids than the rectangular prints do.

Printing is done via your phone, using the Polaroid Hi-Print app available for iOS or Android. Be warned that the printer can only connect through the app – at first I tried connecting via Bluetooth directly, and was confused as to why it wasn’t working. Once I booted up the app, the pairing was instant.

Once you’ve selected an image to print from your phone’s camera roll, you are presented with a fairly comprehensive selection of editing tools, including sliders for brightness, contrast, shadows, highlights, saturation, etc, as well as cropping and straightening.

It’s the latter two compositional tools that will likely get the most use. As far as color, dynamic range and exposure are concerned, the majority of modern smartphones have automatic photo-processing that probably beats anything you’re going to achieve with a set of fairly imprecise sliders. However, since you’re printing in square format and your phone will shoot wider than that, your images are always going to be cropped, so it’s worth getting into the habit of ensuring the crop is where you want it, and the composition is to your taste.

There are also options to add stickers and text to your images, and the box contains a set of physical stickers for use on the finished print, if so desired. I did not desire, but you do you. The battery lasts well, and can quickly and easily be topped up via USB-C when needed.

The print quality itself, I would call pretty good. You’ll likely be pleased the first time a print comes out – the colors are big, bold and vivid. There’s none of the washed-out look that can plague some instant digital printers, especially those that use zero-ink (ZINK) printing like Kodak’s Printomatic camera or Canon’s Canon Ivy Cliq+2. In terms of visual impact, Polaroid has them both beat. It doesn’t quite have the lo-fi magic of Polaroid’s I-Type film utilized by cameras such as the premium I-2, but that’s what makes it much cheaper to run.

In my time with the Hi-Print I did run into one mis-print, caused apparently by paper misalignment. This necessitated a restart of the printer and a redo of the print, cutting my pack of ten down to nine. Not ruinous, but a shame, and since it was my first print, it wasn’t the best first impression!

The prints don’t hold up to super-close scrutiny, not that I’d expect them to. When inspected closely, fine detail can appear rather smudgy. Landscape-style images with distant detail tend to fare the worst – in general, the best subject for a print is one with a nice big subject, front and centre. The tonal range isn’t bad though – I fed through some images featuring sunset skies, and the printer did a better job than I expected of reproducing the subtle interplays of blues and oranges. Not amazing, but not bad.

The frame functionality may sound like a gimmick, but I found it rather charming, and I think it extends the fun factor of the printer. Being able to slot in different images whenever you want, according to your mood or the time of year or whatever else – it’s fun! I could especially see it appealing to a younger person who wants some changeable decoration for their room. The small dimensions and freestanding design of the Hi-Print allow it to easily be displayed on a shelf, windowsill or bedside table.

It’s nothing groundbreaking, but it’s a fun way to get photos off your phone and into the real world. I’ve enjoyed my time with it, and while digital instant printing doesn’t capture the alchemical magic of instant film, this for me is as close as it has ever come.

Polaroid Hi-Print 3x3: price & release date

Polaroid took the wraps off the Hi-Print 3x3 in April 2026. It’s available for a starting price of $119.99 / £99.99 / AU$ 194.00, and that’s with a set of ten sheets included. Once you’ve blown through those, a re-up cartridge of 30 sheets can be picked up for $24.99 / £22.99 / AU$44 (there are also bulk-buy packages that work out a little cheaper per sheet). True Polaroid I-type instant film is much pricier per print.

This starting price puts it in the middle of Polaroid’s printer range – the smaller Polaroid Hi·Print 2x3 Generation 2 is available for $109.99 / £89.99 / AU$176, while the larger-format Polaroid Hi-Print 4x6 starts at $149.99 / £129.99 / AU$264.

Polaroid Hi-Print 3x3: specs

Should I buy the Polaroid Hi-Print 3x3?

Buy it if…

Don’t buy it if…

Polaroid Hi-Print 3x3: also consider

How I tested the Polaroid Hi-Print 3x3

• I tested the Polaroid Hi-Print 3x3 using two full cartridges of paper
• I transferred and edited photographs from my phone using the Android version of the app
• I mounted the photos into the frame and displayed them at various points around my home

Polaroid sent me the Hi-Print 3x3 to try, along with several cartridges of paper. I downloaded the app to my phone and used it to connect to the printer, testing out the editing functions before sending images to the printer.

I selected a variety of different images, including landscapes, selfies, pet images, food shots and more, with a range of colour tones and compositions.

Once images were printed, I displayed them in the slot as specified, and placed them in various spots around my home to see how they looked.

• First reviewed: April 2026
• Read more about how we test

Vantrue Pilot 2: two-minute review

It’s becoming increasingly difficult to stand out in the overcrowded dash cam marketplace. However, Vantrue is having a stab at it with the Vantrue Pilot 2 dash cam, which the brand claims is the world’s first model to incorporate thermal imaging. This is certainly a first for me, and having reviewed the best dash cams on the market, this three-channel model plus the thermal camera did sound promising.

The Vantrue Pilot 2 dash cam has been in development for a while, with a Kickstarter campaign launching the initial design and production set to commence around now, with deliveries expected in the middle of the year. However, while the thermal imaging is a draw, the main appeal of this package is how it can used to bring a host of smart features to older cars. This is down to the other major feature, the touchscreen hub, which works rather like an infotainment screen of the type you'd see in most modern vehicles.

For me, this is actually the main appeal of the Vantrue Pilot 2 dash cam, because the 6.25-inch touchscreen supports both Apple CarPlay and Android Auto, as well as having voice command functionality, Wi-Fi 6 connectivity, and a storage capability of up to 1TB via a micro-USB slot. It can be mounted to a dashboard or similar location in older vehicles with more conventional dashboard layouts. Where it’s less useful is in a modern vehicle with an existing infotainment screen and all the functionality that comes with it.

Aside from the headline-grabbing features, the Vantrue Pilot 2 dash cam is a workmanlike exercise in covering all angles. The cameras comprise one front-facing unit that sticks to the windshield and has a cockpit-facing lens, too, while the rear-facing unit sits in the rear window capturing the view out the back. Meanwhile, the thermal imaging unit is meant to be fixed to the outside of a vehicle, using a clamp and bracket design. It can be attached to the back edge of a vehicle’s hood, or somewhere in the grille area – but note that it relies on a cable connection, so that has to be factored into its fitment.

The camera specifications are solid enough, with f/1.8 large aperture Sony Starvis 2 sensors (5-megapixel MX675 for the front and 2-megapixel IMX662 for the rear) and Novatek NT98530 dual-core processors boosted by 2.0 TOPS AI computing power providing plenty of appeal. The units can function between temperatures of -20℃ ~60℃, meaning they’re suited to all kinds of operating environments.

Meanwhile, the thermal imaging unit boasts a 12μm WLP high-performance vanadium oxide uncooled infrared detector, plus there are four infrared lights for the cockpit camera. There’s GPS, a 2.4G/5.0G Hz Wi-Fi 6 module, along with a supporting Vantrue app for overall management of files.

All things considered, the Vantrue Pilot 2 dash cam is a complete package – although there are a few comparable products in the Vantrue range that function similarly, minus the thermal imaging camera. The Vantrue Nexus 5S dash cam is a prime example, and available for just $399.99 (£295 approx).

Vantrue Pilot 2 dash cam: price and availability

At the time of writing, the unit sent in for review was an early production model and Vantrue’s pricing was also seemingly tentative. Deliveries of the Vantrue Pilot 2 dash cam are set for June, with a suggested price of $805 (£594 approx). Vantrue has also been offering early bird deals with 43% off, bringing the price of the dash cam down to $499 (£368 approx). As menioned above, though, the Vantrue Nexus 5S dash cam is a great alternative and available for just $399.99 (£295 approx). It's just as good, if you're not in need of the thermal imaging camera and/or touchscreen hub unit.

Vantrue Pilot 2 dash cam: specs

Vantrue Pilot 2 dash cam: Design

Make no mistake, the Vantrue Pilot 2 dash cam bundle is a chunky one – you'll need some space in order to accommodate the core touchscreen unit plus the cameras. Central to the action is the base or hub unit, which has the touchscreen plus all the connection points for the various cables that come included. Thankfully, Vantrue has marked up all the ports as well as the cables with clear indications as to what goes where. Step-by-step instructions are also included in the box. Note, though, that the design might not work for those with limited cabin space.

Construction of the various components is solid enough, with positive connections for all the ports, so it feels like the package will handle the effects of vibration and general use over time. The quality of the plastic for the cameras and hub feels of a good quality too. Overall, the impression is that the Vantrue Pilot 2 dash cam is a premium bundle.

Even novice users will find the design of all the component parts easy enough to plumb in and configure. What is less straightforward is getting everything into place, especially that touchscreen unit, which I found difficult to accommodate in a car with an infotainment screen on the dash. Fitting the front and cockpit-facing camera was a doddle though, using a sticky pad to affix to the windscreen, via a static sheet between the glass and the sticky pad if preferred. The same goes for the rear-facing camera, and both come with familiar barrel-style bodies that will be familiar if you’re familiar with Vantrue products.

The most unusual part of the overall design is the thermal imaging camera. This is a chunky unit that's designed to be mounted externally. The design itself seemed robust enough to spend its life outside a vehicle, although I’d assume the lens will require regular cleaning to perform optimally. This was also the trickiest part to fit. Vantrue has outlined a variety of ways to mount the external camera in its documentation, with the most obvious method being to clamp it to the rear edge of a vehicle’s bonnet. This took some effort on the vehicle I was using.

Similarly, the instructions didn't make clear what to do with the cable. I’m assuming it needs to be fed through the dash somewhere and then up through the engine bay – which, because I was using a test vehicle, resulted in my simply feeding it through the passenger-side window. Again, this additional step makes initial set-up of the Vantrue Pilot 2 dash cam more complicated, alongside placement of the touchscreen hub – if you have a vehicle with no obvious place to put it.

Granted, Vantrue has designed the touchscreen unit with a self-adhesive base and even supplied holes for more permanent fixing. There’s also a bracket that allows it to be angled slightly; but in my test vehicle I still struggled to find a proper home for it. Once fixed in place, though, both the screen and the presentation of the graphics therein were impressive. It all worked nicely with the required finger taps, too.

Vantrue Pilot 2 dash cam: Performance

One of the best things about the Vantrue Pilot 2 dash cam is the heads-up-style display – aside from finding somewhere to fix it in a modern vehicle, that is. It's the go-to area for the initial setup process, with clear touchscreen options that include formatting the microSD card. Similarly, configuring Apple CarPlay via the on-screen icon and connecting with my phone via Bluetooth proved straightforward.

I'm also a fan of the chunky icons in the system setup area. Using them I could tweak everything from Wi-Fi and warning tones, to making adjustments to the voice control and more general settings. There are also quick-access tabs for audio recording plus rain/fog modes and a parking mode option, too. Like most other dash cam models, the parking modes need to have the dash cam hard-wired into the vehicle, which then unlocks a wider range of features such as 24/7 monitoring while parked up.

I couldn’t really find fault with any of the footage delivered by the cameras in the Vantrue Pilot 2 dash cam bundle. The colour and overall quality was excellent, while road signs and license plates were crisp and clear, too. Even the thermal imaging worked as I’d expected, although I still don't see any major advantage to having it over any other dash cam that comes armed with "night vision".

The major issue I have with the Vantrue Pilot 2 dash cam is that it seems like overkill. I can see the setup working in an older vehicle that doesn’t already have a touchscreen, nor other modern day tech accoutrements. However, if that’s the case then this does make it a rather niche product, much like rear-view mirror dash cams. The other issue I experienced was trying to find somewhere suitable to position the hub, where it wouldn't get in the way of the other parts of the cockpit.

Having said all that, I did welcome the delivery of the footage. This was either via a four-way split screen showing all angles, or with only one view displayed on the whole screen. The ability to condense the view slightly and have the app widgets, such as Apple CarPlay, displayed to the left of the picture was also neat. While the cameras delivered great quality and colour, the thermal imaging was notable for displaying objects in a garish green hue in one quarter of the divided screen view. Useful for hunting Bigfoot, perhaps?

Indeed, the thermal imaging camera worked well enough: best illustrated when I pointed it towards myself, creating a ghostly apparition on the screen. However, this camera is designed to be more of a supplement to coverage provided by the other lenses. It might be handy for anyone heading into the great outdoors in a 4X4, for example, which is likely to have plenty of options for mounting it on the exterior. However, on regular vehicles, I’d say this aspect is decidedly niche.

Vantrue reckons it will prove useful when conditions are so poor that it’s difficult to see anything ahead. Personally speaking, if conditions get that bad, I think I’d be pulling over until things improved.

One important thing to note is that if you want to access the parking monitoring features then you'll need the optional hardwire kit. This does increase the potential of the bundle, although I found the Vantrue Pilot 2 dash cam an impressive proposition out of the box simply using a plug-in 12V power supply.

Should you buy the Vantrue Pilot 2 dash cam?

Buy it if...

Don't buy it if...

How I tested the Vantrue Pilot 2 dash cam

• I installed the dash cam in an SUV for an initial period of two weeks
• I used it for various day and night journeys, in various types of weather
• I connected it to my phone, and downloaded recordings to check their quality

Vantrue loaned me the Pilot 2 dash cam and supplied everything I needed to test it, including a microSD card. The unit was essentially a finished product, although Vantrue flagged that some features weren't quite complete. Android Auto, for example, could not be configured on my test unit; but will be ready come the launch.

The package was plumbed into a test vehicle, using all of the supplied cables and connectors. Vantrue also supplied a hardwire kit, but since the product was reviewed in a test car, bonus features such as parking monitoring weren't tried out – although these are the same as those found in other Vantrue dash cams across the range.

Vantrue also offers its supporting app, which is available for both Apple iOS and Android. I installed the Vantrue app on an Apple iPhone 16, while connectivity of both the Wi-Fi and Bluetooth was also checked in a variety of daily use scenarios and proved reliable.

• First reviewed April 2026

Thermal Master P4: 30-second review

The Thermal Master P4 is the latest addition to the brand's P-series of smartphone thermal cameras, and technically, it eclipses the previous P3 design. Rather than offering a single thermal sensor, it pairs the now-familiar 256x192 VOx microbolometer with a visible light camera, creating a dual-lens design. Thermal Master calls the world's first of its kind in this class, ignoring all the phones with thermal cameras that already have this capability.

That combination unlocks four imaging modes. Users can switch between standard infrared, visible light, IR-Fuse (a blended overlay), and MIX mode, which fuses both streams in real time.

We’ve seen this work extremely well on phones that support the same approach. And the only issue is often that, because each sensor sees a slightly different angle, the two images sometimes don’t align well. This is especially true when working close up.

To address this on the P4, Thermal Master introduced the IR Eraser function that allows rapid toggling between thermal and optical views, which is useful for aligning what you are seeing thermally with the physical layout of the object in front of you.

What the P4 doesn’t deliver is a new thermal sensor. Therefore, it has the same resolution as the P3, with native 256x192 capture enhanced to 512x384 through the X3IR software algorithm. Sensitivity is rated at under 35 mK, and there are 15 professional measurement modes, including point, line, rectangle, and circle tracking. The temperature range runs from minus 20 degrees Celsius to 600 degrees Celsius, with an accuracy of plus or minus 2 degrees Celsius.

There is, however, a significant caveat. The P4 is Android only. There is no iOS version, and Thermal Master makes no suggestion that one is planned. For iPhone users, the P3 or P1 cameras remain the only choices from this brand. It can be used with a PC, though it requires a way to hold the camera, since Thermal Master doesn’t include a tripod or stand.

Overall, for those who work on heating/cooling installations, engines, or power distribution systems, the P4 could be a remarkably useful tool. But its lack of a macro capability makes it unsuitable for electronics repair.

Thermal Master P4: price and availability

• How much does it cost? $400/£360/€400
• When is it out? It is available now
• Where can you get it? Direct from the Thermal Master website, with shipping from regional warehouses in the US, UK, EU, and China. And via online retailers.

First off, save 10% on the Thermal Master P4 at Amazon and the official store when you use the code THERMALBF10.

The P4 carries a standard price of $499 USD, though at the time of writing, Thermal Master was running a sale that reduced the cost to $399 USD.

Direct from Thermal Master, UK buyers pay £359, which seems a little excessive at current exchange rates compared to the dollar price. European buyers pay €399, which, given that the Euro is stronger than the Dollar, is disappointing.

It is worth noting that Thermal Master states that all listed prices include applicable import duties and taxes for supported regions, thereby removing the risk of unexpected fees at delivery.

Those expecting to find it cheaper on Amazon.com will be disappointed, since it’s the same cost as from Thermal Master. And, the same is true on Amazon.co.uk.

By comparison, the Thermal Master P3 retails at $279 USD (sale from $349 USD), making the P4 a notable step up in price. The FLIR One Pro sits at around $429 USD, so the P4 is in competitive territory. For European buyers, the TOPDON TC001 at roughly $209 USD offers a lower-cost alternative, though it lacks the dual-lens feature set.

Given that this is the same thermal sensor, adding a low specification conventional sensor and charging an additional $120 over the P3 makes the P4 something of a gouge.

• Value score: 3.5/5

Thermal Master P4: Specs

Thermal Master P4: Design

• Ultra compact
• Extension cable included, but no tripod
• Dual-lens layout with infrared and visible light sensors
• No iOS support

Before we get into the weeds of what makes the P4 a truly desirable thermal camera, I need to call out how lovely the engineering of this tiny 26,5g camera is.

It’s an all-metal construction that apes a compact camera layout, with a USB port protruding from its top. Therefore, it's clearly designed to be inserted into a phone's USB port and operated entirely via software. That’s good, because buttons on the camera would have introduced forces that would translate through to the USB port unfavourably.

Thermal Master includes a 50cm USB-C extension cable, which makes good sense since getting the camera away from the phone body improves the view, and some rugged designs block attachment with rubber plugs. However, as was an issue previously with the P1 and P3, how are you meant to direct the camera, hold the phone, and operate the software unless you have three hands?

I’m not sure, but amazingly, after an outlay of $400, there is still no tripod or stand in the box. Holding the extension cable with the camera dangling at one end while operating the app with the other hand remains an awkward arrangement at best, and I’m rapidly losing patience with the idea that Thermal Master will ever notice this issue.

What is good about this design is that the thermal and visible light sensor centres are only about 10cm apart, reducing the parallax effect between the images. But the camera doesn’t come with a lens cap to prevent debris from getting on either sensor.

The last point is critical and, thankfully, isn’t an issue for this reviewer: the lack of support for Apple iOS. There are no adapters to plug the P4 into an iPhone, unless it has a USB-C port, and the software to use it is not on the Apple App Store.

It may be that this might be addressed by an Apple version in the fullness of time, but it's rumoured that Apple will do away with ports altogether (to avoid being told by the EU to add them) and charge wirelessly, which would scupper Thermal Master and a significant selection of hardware addon companies.

It’s worth noting that the camera can also be used with a PC if it has a USB-C port.

Overall, the construction quality is high, and with dual sensors, it has the credentials to be the best Thermal Master phone accessory. However, the inability of Thermal Master to deliver on both Android and Apple platforms, and the lack of a tripod, serve to undermine this proposition and the relatively high asking price.

Design score: 3.5/5

Thermal Master P4: User experience

• Android 6.0 or above required, no iOS version
• 4 imaging and 15 temperature modes

A key limitation of the P4 is the Android-only compatibility. Thermal Master offers no iOS version of the P4, and no Lightning or USB-C to Lightning adapter is included. iPhone users must look elsewhere in their range.

The Temp Master app is the same software used across the P-series. On the positive side, this means 15 measurement modes, 12 colour palettes, temperature alarm functions, and time-lapse recording are all present.

But the central selling point of the P4 is the dual-lens arrangement, and that brings the MIX mode that combines data from both the thermal and optical sensors. This works brilliantly in most respects, and better than I’ve ever seen it work on phones with thermal sensors.

However, the positioning of the two image sources isn’t always ideal, and that’s not due to the sensors being slightly offset. It’s because the phone is handheld, and the thermal image's refresh rate is much lower than that of a conventional light sensor. Therefore, the conventional light data is always ahead of the thermal, something that wouldn’t be an issue if the phone (or camera) were on a tripod or other support.

This is especially evident when you use the IR Eraser function, a mode that lets you rub on the image with a finger to reveal the live image source beneath. This is a useful mode, but due to the lag of the thermal component, the window is often slightly out of fit with the thermal.

The IR-Fuse mode blends both streams into a single image where the conventional image source takes priority. And, if you want, there is a purely thermal mode. But using that would entirely undermine buying the P4, since you could get the same experience on the P3 for less.

For general HVAC and building inspection work, the dual-lens feature genuinely adds something. Identifying a damp patch or a failing insulation section is clearer when you can overlay the thermal reading onto a visible light reference. But for PCB work, the P3 with its macro lens and manual focus is still likely the better choice.

I’m inclined to believe that not providing a macro mode was a tactical choice by Thermal Master, since the P3 probably still sells well. Having the P4 come along and cannibalise P3 sales wouldn’t be a smart move.

I suspect, at some point in the future, when the P3 and P4 are end-of-line, a new P5 will appear that offers both the dual sensor capability and a macro mode, but that’s a guess.

The free PC analysis software is a genuine bonus at this price. It supports 2D and 3D thermal editing, report generation, and works with both offline image files and live connections.

If you detect a slight frustration here, it's that this camera has the ability to create some of the best thermal imagery I’ve seen at this price point, but the lack of any way to lock the camera physically or a macro mode, stops it from being the best choice for all thermal requirements.

The P4 is easily better than any thermal camera I’ve seen on a phone, although it costs more than the price of one of those, and you still have to provide the phone.

• User experience score: 3.5/5

Thermal Master P4 Camera samples

Thermal Master P4: Final verdict

If it weren’t for some obvious issues where the phone or camera should be kept stationary, I might argue that it's worth the extra cost over the P3 for the improved quality of the results. But the P3 had a macro mode that made it useful for those hunting circuit board component issues.

That reduces the potential areas where it can be useful, even if it still leaves plenty of jobs it can do, but at this price, customers will want it all. Something else it appears Thermal Master seems disinclined to offer is compatibility with Apple iOS devices. The P3 supported Apple iOS customers from the outset, so perhaps it's not coming for the P4?

These issues, and the high cost, take some of the shine off what could have been an entirely positive review. For those who don’t use Apple-branded equipment and aren’t bothered by the price or lack of a macro mode, this is a great choice and a notch up from previous devices.

Should I buy a Thermal Master P4?

Buy it if...

Don't buy it if...

Also Consider

DJI Lito X1 and Lito 1: One-minute review

DJI's Lito series represents the company's latest bid to own the entry-level camera drone market — and with the Lito X1 and the more affordable Lito 1, it's made a compelling case. Both are compact folding drones in the same pocket-friendly mould as DJI's Mini series, weighing under 250g and earning a C0/UK0 class designation that means you can fly them almost anywhere, including over people.

Out in the field, the Lito models impress on almost every front. Flight performance is smooth and stable; I flew in challenging coastal conditions in the UK and the drones held their own, and despite an 81dB noise rating, both models are surprisingly unobtrusive in the air.

Battery life is a high point too, with up to 36 minutes on a charge comfortably outpacing DJI's Neo 2 and other entry-level rivals. What really sets the Lito apart at this price, though, is its obstacle sensing: full omnidirectional coverage comes as standard on both models, while the X1 adds forward-facing LiDAR for even sharper hazard detection — a significant upgrade over the downward-only sensor on the DJI Mini 4K.

On the camera front, both drones punch above their weight. The Lito X1's 1/1.3-inch sensor captures 10-bit 4K 60fps footage with D-Log M support and 14 stops of dynamic range, giving videographers real room to work in post. The Lito 1's 1/2-inch sensor is no slouch either, though it lacks that dynamic range, and isn't as comfortable in lower-light situations.

I'd recommend most buyers stretch to the X1; the small premium over the Lito 1 also gets you LiDAR, 10-bit shooting and 42GB of built-in storage, which is a lot of extras for a modest price jump. Neither drone is perfect: the digital zoom gets noticeably soft at its tightest setting, the X1 has a default tendency to overexpose, and neither camera can rotate to shoot vertical video natively.

At £299 / AU$539 for the Lito 1 and £369 / AU$619 for the Lito X1, DJI has priced this series aggressively. The X1 in particular offers a spec sheet that rivals far pricier drones, making it one of the best-value camera drones available right now. US buyers should note that, like other recent DJI products, the Lito series isn't officially available stateside and can only be sourced through grey market channels. For everyone else, it's an easy recommendation from me.

DJI Lito X1 and Lito 1: Price and release date

• Launched on April 23 2026
• Lito 1 priced from £299 / AU$539, Lito X1 from £369 / AU$619
• Fly More Combo bundles available for both drones

The Lito series was introduced worldwide on April 23 2026, and is available to order now from DJI's website and other retailers – except in the United States where, as with all recent DJI products, there are no plans to bring it to retailers (although buyers may be able to acquire it through certain retailers on the grey market).

As mentioned above, there are two models available at launch: the barebones Lito 1, and the more premium Lito X1. These are priced at £299 / AU$539 and £369 / AU$619 respectively, and are also available in Fly More Combos for £429 / AU$779 and £599 / AU$1,069. The Lito 1 Fly More Combo comes with two additional batteries, a three-battery charging cradle, an RC-N3 controller, and a carrying bag; the Lito X1 features the same, but swaps the RC-N3 controller for the touchscreen-equipped RC 2 model.

The Litos are slotting in right at the bottom of DJI's drone range, alongside models like the Mini 4K, Neo 2 and Flip. In fact, I suspect the Mini 4K is about to be phased out in favor of the Lito, as the Lito is superior in every major respect, but the Neo 2 and Flip will remain, as they offer something a little different.

Is the Lito good value? Yes, in short — it's the same price as the Flip and more expensive than the Neo 2, but offers better battery life than both (significantly so, compared to the Neo 2) and better obstacle sensing than the Flip. In fact, the Lito X1 offers similar specs to the Mini 4 Pro (another drone that I believe may be on the way out of DJI's lineup) at a significantly lower price.

• Price score: 5/5

DJI Lito X1 and DJI Lito: Specs

DJI Lito X1: Design and build quality

• Folding sub-250g body, similar to Mini series
• Labelled UK0 / C0 class
• 42GB of internal storage (X1 model only) plus microSD slot

The Lito X1 and Lito 1 are virtually identical in design, with the only real physical difference being a (very) slight variation in the color of their plastic bodies. If not for that, and the product name displayed on their prop arms, the two drones would be impossible to tell apart.

The folding design is reminiscent of DJI's Mini series, and like those drones, the Lito weighs under 250g. As a result it's classed C0 in Europe and UK0 in the United Kingdom, meaning it can be flown almost anywhere, as well as close to and above "uninvolved" people. Additionally, the Lito's folding design means it's one of the few drones out there that I could genuinely say is pocket-sized – although we're talking trenchcoat pocket rather than jeans pocket here.

As with most of its drones, DJI supplies the Lito with a plastic cap to protect the camera and gimbal when they're not in use, but no carry case by default — you'll have to upgrade to the Fly More Combo if you want a bag.

In general, the drone is well built, despite its weight. The plastic used for the body is sturdy, with built-in feet/landing gear to prevent the sensors getting damaged when it's sitting on a surface; the propellers, however, are largely unprotected, so some care is required when handling.

The battery slides in and out from the back, which is also where you'll find the USB-C port and microSD slot. The USB port can be used for charging and data transfer, while the microSD slot supports storage. The Lito X1 also includes 42GB of built-in storage space, which can be supplemented with microSD if required, but you'll need a microSD card for the Lito 1.

The RC 2 and RC-N3 controllers supplied with the Lito are tried and tested models that we've covered in previous DJI drone reviews. Suffice to say they're solidly built and comfortable in the hand, and the RC 2 has a very impressive built-in touchscreen.

• Design score: 5/5

DJI Lito X1: Features and flight performance

• QuickTransfer uses Wi-Fi 6 to move files quickly to a mobile device
• Both Lito 1 and Lito X1 offer omnidirectional obstacle avoidance, plus LiDAR on Lito X1
• Up to 36 minutes of flight time per battery

We've always rated the DJI Mini 4K as the company's best bang-for-buck beginner's model, but it had one drawback: a lack of object detection, leaving it liable to crashing into fences, lampposts, tree branches and the like.

The Lito drones, however, come with full omnidirectional object sensing, allowing them to dodge structures and hazards with ease. In fact, the Lito X1 even comes with forward-facing LiDAR, giving it even better hazard perception, even in the sort of low-light situations where the Lito 1's vision-based system proves incapable.

The Lito models also come with the usual DJI boons like one-button take-off, return-to-home and landing, highly accurate GPS and good in-flight stability. DJI claims the Lito models offer wind resistance up to 10.7m/s, but having flown them in wind speeds far exceeding that, I'd say the company is being conservative.

Using either the RC 2 or RC-N3 controller and the DJI Fly app, flying the Lito is a piece of cake. The drone nimbly responds to the controls and boasts a video transmission range far longer than anyone would reasonably want to test, along with impressive battery life. You can get up to 36 minutes of flying time on a single charge, says DJI, and while the reality is likely to be more like 25 minutes of anxiety-free flying before the app repeatedly nags you into landing, that's a lot of air time for a cheap, entry-level drone.

Other features worth mentioning are the bevy of automated flight modes, such as Spotlight (which keeps the camera trained on a subject while you pilot the drone), ActiveTrack (which follows moving vehicles and people while navigating around obstacles) and user-set waypoint flying, plus the Wi-Fi 6-based QuickTransfer system, which can move huge video files from the drone to your mobile device's storage in seconds.

• Flight performance score: 5/5

DJI Lito X1: Image and video quality

• Lito X1 has 1/1.3-inch sensor, while Lito 1 has 1/2-inch sensor
• Lito X1 supports 10-bit video and D-log M color profile
• Both drones shoot JPEG and DNG photos at 12MP and 48MP

Most of DJI's drones now record 4K video — even the bargain-basement original DJI Neo — but the Lito X1 and Lito 1 offer a better flavor of 4K than the existing entry-level Mini 4K model's 4K 30fps footage, captured from a 1/2.3-inch sensor. The Lito 1 records 8-bit 4K 60fps video from a slightly larger 1/2-inch sensor (presumably the same one that's in the DJI Neo 2), while the Lito X1 records 10-bit 4K 60fps video using a 1/1.3-inch sensor (which I suspect is the same as the one in the DJI Flip, Mini 4 Pro and Avata 2). Both use a 3-axis gimbal to steady the camera as they shoot.

The Lito X1 also supports the flat D-log M color profile, offering a dynamic range of up to 14 stops when graded in post-production — something that's sure to appeal to demanding aerial videographers who enjoy tweaking their own footage to perfection. You can see both straight-from-the-camera and graded footage in my sample video above, and further down there's another video showcasing the Lito 1's camera which, while certainly a step down from the X1's, is no slouch itself, especially in good lighting.

I'm impressed with the results from both cameras, both video and 12MP/48MP stills (which can be captured in raw DNG as well as JPEG); the Lito X1 is especially noteworthy.

That being said, these are still entry-level models, and they can't match results from the likes of the DJI Mini 5 Pro or Air 3S. This is especially true when you attempt to 'zoom' in, which is where the sensors' small sizes shows their limitations. You can see examples in my videos, but the digital zooms on both Litos are somewhat disappointing. I also felt that the X1 had a tendency to overexpose its video by default, but even if this isn't tweaked in a future firmware update it's something the user can fix by adjusting the EV.

Overall, it's fair to say that the cameras on the Lito X1 and Lito 1 are really solid by entry-level standards, and a step up over what we've seen on the Mini 4K.

• Image and video quality score: 4.5/5

DJI Lito X1: Testing scorecard

Should I buy the DJI Lito X1/Lito 1?

Buy it if...

Don't buy it if...

DJI Lito X1: also consider

How I tested the DJI Lito X1 and Lito 1

• I tested all flight modes and control methods
• I captured both videos and photos
• I tested the drones' tracking and safety features

About a week before the official launch, DJI sent me both the Lito X1 Fly More Combo and the basic Lito 1 package (including the RC-N3 controller) to test. That gave me a few days to take both drones out and about for real-world flight and camera tests in a range of conditions.

I flew in both windy and calm weather, and was able to test the two drones' cameras in low-light conditions. I tested not only manual flight, but autonomous modes like Spotlight, ActiveTrack and MasterShots, as well as assessing how DJI's battery-life and object-avoidance claims held up to real-world conditions.

After flying, I edited together the videos you see above using DaVinci Resolve 20, including using LUTs and color correction for the D-log M footage I captured with the Lito X1. I also tweaked the DNG raw still photographs I took with both drones using Adobe Lightroom.

• First reviewed: April 2026
• Read more about how we test

DJI Osmo Pocket 4: One-minute review

I've been around the content creator's block enough times to say that the DJI Osmo Pocket 3 is easily the most popular vlogging camera for creators on the go. I've seen the tiny, gimbal-stabilized 4K camera in the hands of so many people, and with good reason — it's a fabulously discreet and powerful pocket video camera.

Ahead of what could be a stampede of new rivals, not least of which could be the rumored Insta360 Luna, DJI now looks to build on the success of its two-and-a-bit-year-old vlogging camera with a new and improved successor, the Osmo Pocket 4.

Considering the time between the two cameras, and how swift DJI has been in bringing genuine improvements to its camera gear in recent years, especially its drones such as the Mini 5 Pro, I expected a little more from the Pocket 4. That being said, there are a few notable upgrades worth knowing about — I've unpacked those in more detail in this Pocket 4 vs Pocket 3 article.

All the bits I appreciate about the Pocket 3 remain — the compact design, stellar video stabilization performance, crisp 4K video, the easy switch between vertical and horizontal video, and direct connection with wireless mics.

What DJI has done in the Pocket 4 is add some welcome polish. The new features might not leap out on a spec sheet, but in real use they combine for a slicker user experience.

Top upgrades include better slow-motion recording, now up to 240fps in 4K, better-quality 4K video with 10-bit color depth and wider dynamic range now up to 14 stops, slicker subject tracking which is available in more modes, better battery life, 107GB of internal memory, and refined controls, such as a new magnetic gimbal arm which accepts accessories such as a fill light (see the hero image).

It's not a big upgrade per se, but it's enough of an improvement that I would recommend Pocket 3 owners take a look, and it's an easy recommendation for first-time buyers looking for a powerful and small vlogging camera besides their smartphone.

DJI has tightened its stranglehold on this pocket video camera market, but for how long? When Insta360 enters the stage, it might just wrestle the spotlight away from this playing-it-safe Pocket 4 upgrade.

DJI Osmo Pocket 4: price and release date

• Announced on April 16 2026
• Available in Essential, Standard and Creator Combo kits
• Prices start at £429 / AU$749, with US availability and pricing TBC

The DJI Osmo Pocket 4 was unveiled on April 16 2026 in Essential, Standard and Creator Combo packages. The Essential Combo costs £429 / AU$749, the Standard Combo is £445 / AU$769 and comes with the gimbal clamp and tripod handle, while the Creator Combo, which adds Mic 3 transmitter, wide-angle lens, magnetic fill light, mini tripod, and carry bag accessories, costs £549 / AU$959, and is better value for DJI newcomers.

There's no US pricing or availability at launch through official DJI channels, given DJI's ongoing issues in the US. Like most DJI products, the Osmo Pocket 4 is excellent value considering what it's capable of, and it'll be a tough ask for future rivals to beat it.

• Price score: 4.5/5

DJI Osmo Pocket 4: specs

DJI Osmo Pocket 4: Design

• Similar pocket-size dimensions to the Pocket 3, with rotating screen and gimbal-mounted camera
• USB-C fast charging and a handy 107GB of internal storage in addition to micro SD
• New controls added, and smarter joystick response

The Pocket 4 has a familiar look about it, because it keeps a similar Pocket 3 form factor that has won many admirers, even if it is a tiny bit taller.

I can't stress enough how important its compact dimensions are for vlogging on the go. The Pocket 4 is even more discreet for video than a phone, and in my experience I've never had anyone take issue with me filming in public with an Osmo Pocket. Put simply, you can film freely with one of these.

At first glance you might think there's nothing new in this latest model, but there are in fact some helpful design tweaks. For instance, the speed of the gimbal's movement responds to how firmly you push the joystick, making quick or more precise adjustments possible — whereas before the movement was a single speed.

DJI has also added two new buttons under the screen, which are only visible when the display is flipped horizontal, but which provide shortcuts to useful regularly used controls, including the 2x lossless zoom.

The gimbal arm has been fitted with a magnetic surface and electronic contacts, which can be used to pair accessories, such as the new magnetic fill light included in the Creator Combo kit (see below).

On connection, the light automatically fires up because it's powered by the camera. Its output is minimal, and of no real help in bright daylight, but it's certainly useful in dimly lit spaces or at night.

Otherwise, the design is mostly as you were. The gimbal is supremely effective for smooth video on the move, the rear screen still rotates 90 degrees to switch between horizontal and vertical recording, and there's still a micro SD card slot (now with a protective cover) and USB-C charging.

There are other additions regarding memory and power, which I'll get onto next.

• Design score: 4.5/5

DJI Osmo Pocket 4: Performance

• Improved subject tracking
• 107GB of built-in memory added
• Higher-capacity battery extends record times

Despite it effectively being the same size as the Pocket 3 (just a fraction taller), there's a higher-capacity 1,545mAh battery squeezed into the Pocket 4 — that’s 20% more power compared to the older 1,300mAh unit.

This new battery provides up to four hours shooting time, but the small print stipulates that this for recording 1080p video at 24fps, and with wireless connections and the screen turned off. If you're recording 4K video, expect shooting times to be significantly less.

Still, that's quite the feat for such a tiny camera, plus charge times have been reduced, so you can be ready to shoot again quicker. From flat, the Pocket 4's battery can get to 100% charge in 32 minutes, or an 80% charge in just 18 minutes. Again, the small print says those numbers are for using DJI's 65W PD charger (sold separately, or included in the Creator Combo kit). I don't have the numbers for regular USB-C charging.

In addition to microSD card memory (compatible with cards up to 1TB), DJI has fitted the Pocket 4 with 107GB of built-in storage. which is sufficient for many hours of 4K video files, while the Pocket 3 has none. Both can record onto microSD.

There’s next-gen Wi-Fi 6 and USB 3.1 support in the Pocket 4 too, plus faster wired transfer speeds, making for a speedier workflow on the move.

Subject tracking has seen a boost in performance, with an upgrade to DJI's latest Active Track 7.0 (the Pocket 3 uses Active Track 6.0). A double tap on your subject in the frame initiates tracking, with the ability to track people, animals, vehicles and more.

DJI has let subject tracking loose in that it's available in more shooting modes. It's one of many instances where the Pocket 4 feels like a more polished all-rounder than the Pocket 3, which has many similar features but is hampered by what feel like unnecessary restrictions on which shooting modes you can use them in.

One drawback that does remain, however, is that the Pocket 4 can get a little warm when using its more power-hungry features. I've not had any overheating issues, but you're aware of the camera warming up when you're holding it.

• Performance score: 5/5

DJI Osmo Pocket 4: Image and video quality

• 1-inch sensor and single camera with 4K video up to 240fps
• New color profiles added, including D-Log and filmic looks
• Low-light further boosts the improved 14 stops dynamic range

For most people, the outright image quality of the Pocket 4, while impressive for pro vloggers, won't be enough reason to upgrade from the Pocket 3, which was already impressive in this regard. Both cameras are fitted with a 1-inch sensor, but DJI says the Pocket 4's 4K video output is optimized with 14 stops of dynamic range and 10-bit color depth.

One factor contributing to improved tones is the addition of a D Log color profile, which is available in the Pro setting. It's DJI's best flat color profile (also found in the pricey Mavic 4 Pro drone) which gives greater editing scope for color graders. The Pocket 3 offers D Log-M, which is a bit like a light version of D Log.

DJI says that the Low Light mode further boosts dynamic range and overall image quality from its previous Pocket. I haven't directly compared the two, but from the recordings I've made with the Pocket 4, detail in dark scenes looks a little cleaner than I remember.

There are also six new film tones to choose from for stylized baked-in looks, handy for users who would rather not mess around with Log and color grading. I've happily used a couple of these profiles regularly – 'Movie' is nice and punchy.

Slow-motion recording receives a boost, in that the Pocket 4 can shoot up to 240fps — that’s 8x slow-mo — in 4K and 1080p. The Pocket 3 is limited to 120fps for 4K, but can also shoot at 240fps in 1080p.

For stills photography, a SuperPhoto mode ups resolution from 9.4 megapixels to 37 megapixels, for more detailed snaps. That's for 1:1 aspect ratio pics, the resolution drops to 33 megapixels when switching to 16:9.

Even in stills mode, the Pocket 4 is clearly a video-focused camera, in that it doesn't offer 3:2 and 4:3 aspect ratio stills common among photographers.

The 2x lossless zoom is easily selected by pressing the left of the two new buttons under the Pocket 4's display, and again DJI has loosened previous restrictions for this feature — it can now be used in photo mode and when subject tracking is active.

Yes, image quality upgrades are minor in the Pocket 4, but for professional users there's just about enough to merit swapping out their Pocket 3.

• Image and video quality score: 4.5/5

DJI Osmo Pocket 4: testing scorecard

Should I buy the DJI Osmo Pocket 4?

Buy it if...

Don't buy it if...

DJI Osmo Pocket 4: also consider

How I tested the DJI Osmo Pocket 4

• DJI loaned me the Creator Combo kit a few weeks before the product's launch
• I regularly used the Pocket 4 and all of its accessories
• I've tested its new features, including 240fps slow-mo recording

DJI loaned me an Osmo Pocket 4 Creator Combo kit, which comprises the camera, gimbal guard, magnetic fill light, grip handle, battery handle, mini tripod and DJI Mic 3 transmitter. I used all of these accessories throughout my review period ahead of the product launch, which spanned the best part of a month.

I briefly compared how the Pocket 4 differs to the Pocket 3 by holding both products side by side, though I haven't shot like-for-like videos with the two cameras to compare quality.

I've shot video in all resolutions and frame rates — that's 4K and 1080p up to 240fps — utilized subject tracking, and shot comparison clips using the various color profiles, including D-Log and the six presets, and used the SuperPhoto and regular photo modes in RAW and JPEG format.

I've recorded onto the camera's internal memory, and run the camera battery down and checked recharge times using a standard USB-C cable.

• First reviewed: April 2026
• Read more about how we test

Panasonic Lumix ZS300 / TZ300: two-minute review

Eight years ago, and before my time as Cameras Editor, TechRadar called the Lumix ZS200 / TZ200 "the most advanced travel zoom camera" and gave it a near-perfect 4.5 / 5 rating in its review — and that discontinued model now has a surprise successor, the Lumix TZ300.

Like the 2018 original, the Lumix ZS300 / TZ300 packs a stabilized 24-360mm f/3.3-6.4 lens and large 1-inch sensor, shooting 20MP stills and 4K video — a tempting cocktail of quality and versatility, all in a truly pocketable body.

Despite the years, there's very little between the two cameras; in fact, I can tell you the key differences in a single sentence: the 2026 model gains USB-C charging, but loses a built-in viewfinder. That’s it.

It’s great to see the once-popular travel zoom compact readily available again — I thoroughly enjoyed reviewing the older model long before my TechRadar days — and it's now compliant with common charger EU laws thanks to its USB-C port, and ready to compete for a spot on my best compact cameras round-up. However, in a way the 2026 version is a pricier downgrade.

Will Panasonic's decision to strip the Lumix TZ300 back, without seemingly compensating with new features, come back to bite it?

The fact is, compact camera shipments are on the up again, and right now the Lumix TZ300 still has little competition, so Panasonic might just cash in anyway — I don’t think it needs to improve is flagship travel zoom compact to maximize sales, just make it available again, which is what it's done.

Removing the viewfinder no doubt cuts costs down (not that those savings are passed onto the consumer), and could be a reflection on how people tend to rely on screens more in 2026. For me, it doesn’t feel like a dealbreaker — the EVF in the original model wasn’t the best in any case.

What bothers me more is that the new version offfers no compensation — there’s just more plastic in place of where the viewfinder once was — and it feels dated in other areas. For example, in the absence of a viewfinder, I would have loved for Panasonic to install a tilt mechanism for the 3-inch rear display for easier viewing from awkward angles, but we again have a fixed screen.

Nor do we get Panasonic's latest features seen in other recent cameras, such as its improved autofocus and Real Time LUTs color profiles.

So what are we to make of the Lumix ZS300? There is seemingly enough of a compact camera resurgence to merit Panasonic bringing the range back to life, but not enough competition or consumer desire (or both) for Panasonic to feel it was worth producing a truly new and improved model — the quality was already there eight years ago to satisfy today’s demands.

The bottom line is that I’m happy to see the popular Lumix travel zoom return — I just wish for a little more camera.

Panasonic Lumix ZS300 / TZ300 specs

Panasonic Lumix ZS300 / TZ300: Price and availability

• Announced in March 2026 and available from the start of May
• Costs $899 / £869 / AU$1,599
• Available in black or gray

The Lumix ZS300 / TZ300 is expected to hit stores in May 2026 and cost $899 / £869 / AU$1,599. It comes in two varieties — the gray version that Panasonic sent to me for this review, and an all-black version.

That price pits the Lumix TZ300 against the likes of the Canon PowerShot V1, which is a vlogging camera with a bigger sensor, superb autofocus and modern video skills, but a narrower standard zoom range. Given how much new tech is in Canon’s compact, it feels like better value (and there's rumored to be a travel-zoom version on the way which could rain on the Lumix parade).

The same money could also get you a small beginner mirrorless camera with kit lens, such as the excellent Fujifilm X-M5. Overall, the Lumix TZ300 feels like okay value at best.

• Price score: 3/5

Panasonic Lumix ZS300 / TZ300: Design

• Small and compact, with a foldaway / extending lens
• Finally, USB-C charging
• No viewfinder, detail-rich fixed 3-inch touchscreen

I’ll cover the core specs of the Lumix TZ300 in this review, but most of what you need to know about the camera’s design and performance has already been covered in our Lumix TZ200 review.

The Lumix TZ300 is still a tidily packaged camera that slips easily into a pocket, with a reassuring weightiness — it feels like a quality piece of kit.

There are rubberized front and thumb grips for a firm hold, and every control is nicely dampened but also responsive, as is the 3-inch touchscreen.

The lens folds neatly away when the camera is powered off, and extends smoothly as you move through the zoom range, either using the ring around the lens or the touchscreen — it’ll depend on which shooting mode you’re using.

It’s easy enough to set the camera to auto and let it take care of the settings based on the scene you're photographing, but there are also enough manual controls to satisfy discerning photographers, including manual exposure and auto ISO with the ability to set a minimum shutter speed (my go-to setup with my professional camera).

A pop-up flash is squeezed into the body, and is a handy feature for party portraits and creative low-light photography, especially since it’s possible to manually adjust its strength and swap between first and second curtain flash sync (the point at which the flash fires during exposure).

I really appreciated how slick the touchscreen function felt, and the detailed 1.84m-dot display itself, but a pronounced bump serves to highlight how its fixed design could have easily been upgraded to tilt without increasing the camera’s footprint.

Although the original viewfinder wasn’t the best in terms of the viewing experience, it was positioned smartly at the top-left, and felt easy to bring to the eye. I did miss having the option in the new version of the camera.

As mentioned, with the viewfinder having been removed I would have liked to see a tilt-screen upgrade to further assist viewing in bright light and at awkward angles; as it is, there's just plastic where the viewfinder was on the previous model.

• Design score: 3.5/5

Panasonic Lumix ZS300 / TZ300: Performance

• Versatile 15x optical zoom and decent stabilization performance
• Decent photo quality, dated video specs
• On-the-go charging is handy for traveling

For such a versatile and small camera, the image quality from the Lumix ZS300 / TZ300 is surprisingly good. Naturally, you lose a little sharpness at the telephoto end of the zoom, but it’s still decent enough.

What you also lose as you zoom in is light sensitivity. That’s because the maximum aperture is reduced from f/3.3 at the 24mm wide-angle end to f/6.4 at the 360mm telephoto setting.

Long-exposure photography isn't well served — the minimum possible lens aperture is f/8, and there's no practical way to utilize an ND filter besides physically holding one in place in front of the lens.

Still, the 1-inch sensor knocks the socks off the much smaller one in Panasonic's other recent travel zoom compact, the Lumix ZS99 / TZ99, a camera that majors on versatility and value, less so on quality. For me, this new Lumix, like its predecessor, strikes the right balance between quality and versatility.

In addition to Panasonic’s usual color profiles, there are filter effects including cross process and toy camera. These effects have been around for years, and in an age of Real Time LUTS profile and flat LOG profiles for video recording, they feel a little dated.

And, if it wasn’t already obvious, none of Panasonic’s current Real Time LUTs or LOG profiles are present, which also means no access to customizable LUTs as you get with the Lumix S9 mirrorless camera.

There’s nothing new under the hood, which means we’re getting an old processor, limited continuous shooting speeds, and dated autofocus performance compared to other cameras at this price point.

The autofocus system did feel dated to me. Yes, subject tracking and face / eye detection was a thing back in 2018 and we still have it here, but Panasonic’s recent mirrorless cameras have much more responsive autofocus performance.

Is having similarly good autofocus too much to ask for in a compact camera? Maybe, but look at Canon, which has bestowed excellent autofocus features on its PowerShot V1.

There is a particularly versatile macro focusing mode, mind you. Close focusing is so effective, in fact, that you can effectively be touching your subject with the end of the lens and it’ll still be in sharp focus.

Battery life is decent enough without standing out. The 1,025mAh unit can capture up to 360 shots on a full charge according to its CIPA rating, which felt about right based on my use.

And on-the-go USB-C charging, a boon for traveling, is a big upgrade in the new Lumix TZ300 over its predecessor, which doesn’t offer it.

• Performance score: 3.5/5

Panasonic Lumix ZS300 / TZ300: testing scorecard

Should I buy the Panasonic Lumix ZS300 / TZ300?

Buy it if...

Don't buy it if...

Also consider

How I tested the Panasonic Lumix ZS300 / TZ300

• I took the Lumix ZS300 / TZ300 traveling for a couple of weeks
• I tested all of its photo and video modes
• I checked battery life and USB-C charging

Panasonic loaned me a Lumix TZ300 for two weeks to complete my review. I was fortunate to be traveling in China during this period, and was therefore able to use it for the scenarios it’s designed for, taking video and photos of ancient towns, portraits, wide vistas and more.

I shot the same photo sequences spanning the zoom range of the lens, shoot photos in raw and JPEG format, and video in 4K and 1080p with the various frame rates.

For a lot of the test I was in changeable weather conditions at high altitudes. I kept track of battery life, counting how many photos I could take on a full charge, plus how long it took to recharge the camera.

• First reviewed April 2026

Lomography Lomo MC-A: two-minute review

New additions to the ranks of the best film cameras are a lot more common in 2026 than they were a few years ago, with offerings arriving from the likes of Kodak, Rollei and Pentax.

Into this increasingly competitive market steps the Lomography Lomo MC-A. With a sleek metal chassis, this compact film camera looks and feels like a premium product. It puts a reassuring amount of weight in your hands, and a welcome degree of control at your fingertips. This is no simple point-and-shoot — the Lomo MC-A is something much more sophisticated.

Let’s run through the basics. The Lomography Lomo MC-A is a compact analog camera that takes 35mm film. It sports a 32mm Minitar-II lens with a five-element construction and a maximum aperture of f/2.8, and offers control of key settings like aperture (running up to f/16) and shutter speed (1/500 sec to bulb). It can read DX coding, meaning it can automatically detect a loaded film’s ISO speed, and it also has a flash, an exposure compensation dial, and a multiple-exposure mode.

Also key to its appeal is the autofocus — something of a rarity on analog compacts. The Lomo MC-A uses a zone-based focusing system, with focal distance settings for 0.4m, 0.8m, 1.5m, 3m and infinity. You can select your zone manually, or make use of the LiDAR-based autofocus system, which will analyse the scene and judge the correct zone to use.

While it's not going to give you anywhere near the level of responsiveness and accuracy of the autofocus systems in new digital mirrorless cameras, this system still makes the MC-A a much more photographically versatile camera than a simple fixed-focus point-and-shoot, allowing you to home in on a specific subject in the frame for dynamic imagery.

In a world where cheap film cameras are not hard to come by, the $549 / £499 / AU$799 Lomo MC-A might sound like a bit of an ask. But it has the potential to give you much better images than a point-and-shoot like the $99 Kodak Snapic A1, or than the $60 point-and-shoot from the 1990s you found at a garage sale.

Of course, the flip-side of this is that it makes the camera a little trickier to get to grips with. With the ability to focus comes the ability to mis-focus; and with the ability to control exposure comes the potential for misjudging it.

However, I’ve spent a considerable amount of time with the Lomography MC-A, and in my opinion it’s the best new film camera you can buy. It’s more versatile than the cheap point-and-shoots, and provides better value for money than the overpriced half-frame Pentax 17.

It’s not without its quirks and issues, which we'll get into, but it consistently delivers great-looking imagery on beautiful 35mm film — and can you ask for much more than that? In my view, this is now the benchmark for new film cameras to meet.

Lomography Lomo MC-A: price and availability

As mentioned, the Lomography MC-A is priced at $549 / £499 / AU$799. That puts it about on a par with the Pentax 17, and given that it’s a better-made camera offering full-frame quality rather than half-frame, I think it offers better value for money.

You also get plenty in the box in addition to the camera itself: a glass UV filter, a lens cap, a protective fabric wrap, a leather hand strap, colored gel flash filters, a CR2 battery rechargeable via USB-C, a Splitzer lens attachment (for creating split-effect multiple exposures), a book of inspirational images, and a sticker sheet.

Lomography Lomo MC-A: design

• Sturdy metal build feels hefty and premium
• Viewfinder is a little cramped
• Top LCD is neat, but practically not that useful

Your first reaction to picking up the Lomo MC-A will likely be to marvel at its heft. It's not a heavy camera in the grand scheme of things — you can use it one-handed without issue — but at 332g its metal-based build is substantially weightier than most modern point-and-shoots (which tend to be nothing but plastic). While I wouldn't risk dropping it, the MC-A feels reasonably tough, and I don't worry about it when it's in my bag — the supplied fabric wrap is also a help here.

Film-loading is simple — once the roll is secured in place, you simply make sure the leader is sitting with the perforations aligned to the teeth, and then close the back and you’re ready to go. The first time you load it, you might be a little dubious as to whether the film has actually taken, but the camera will warn you if it hasn't — and you can triple-check by winding on one frame and checking whether the rewind crank on the camera's base rotates as you do so.

The top LCD screen provides a counter of how many shots you’ve spent, as well as flash setting, focus setting and battery level. When you half-depress the shutter button the screen switches to displaying exposure information, though you’ll likely rarely see this, since when you half-depress the shutter button you’re almost certainly looking through the viewfinder.

The optical viewfinder does the job, but personally I find it quite small and cramped. A bigger viewfinder — maybe even one big enough for a readout of exposure information — would go a long way towards making composition feel more comfortable. There are two in-viewfinder LEDs, a blue one to let you know focus is locked, and an orange one to warn you if you’re getting a slow shutter speed that will likely cause image blur.

I find these lights a bit distracting and oblique, especially when the real-estate of the viewfinder is so small to begin with. A bigger viewfinder with room to display the exposure information displayed on the top LCD screen would have made much more sense to me.

Winding on film is done manually, via the delightfully retro-felling mechanical lever that springs back with a satisfying snap. The lever itself has quite a lot of travel, and you want to make sure you pull it all the way to the end with every frame – some users have reported a little bleed between frames, likely caused by the lever not being quite cranked far enough and the camera allowing the exposure anyway. In all my time with the MC-A, this only happened to me once, but it's worth being aware of.

Control of exposure is achieved via the dials on the top plate and the tiny aperture ring around the lens, which pops out from the front very slightly when the camera is activated. Settings can be dialed in manually or set to automated program mode, and in most situations, the camera will judge well enough that you can use the latter.

The tiny lens comes with an absolutely darling little lens cap. This is, I am embarrassed to report, incredibly easy to accidentally leave on — and the Lomo MC-A lacks a handy feature like the Pentax 17's ability to detect when the cap is on and refuse to capture an image until it's removed. If you're going to be taking the camera in and out of your pocket all day to capture little moments, I'd consider using the supplied clear UV filter as a lens protector instead. Just... trust me.

Overall though, the Lomo MC-A is a nicely designed object. Its premium metal build puts a reassuring weight in your hands, and the satisfying snap of the wind-on lever never gets old.

Lomography Lomo MC-A: performance

• Autofocus works well once you're used to it
• Lens is nicely sharp, though has a vignette
• Exposure metering is solid

Ultimately, the image is the important thing, and I really liked a lot of the images I got back from the Lomo MC-A. The 5-zone autofocus system allows for the creation of much more dynamic and varied images than are possible with a fixed-focus compact.

You have to maintain some distance, as the camera isn’t one for close-focusing; the minimum claimed distance is 0.4m, but I would give it even more latitude than that. In general, it will probably take running a roll to get used to the ins and outs of the autofocus. Your first scans will likely have a fair few blurry misfires, until you get in the habit of slowing down, taking a breath, and waiting for that blue LED to turn solid before firing the shutter.

Once you get the hang of it though, you can capture images with a sharp main subject and a nicely defocused background, and even moving subjects as long as they're not too speedy. A striding pedestrian is perfectly possible to capture in a sharp image, but a speeding bike is a bit more of an ask.

Images offer a good level of detail. The 32mm lens allows you to fit plenty in the frame, without being so wide that the perspective becomes distorted and non-naturalistic, and its quality is sufficient to hold up to a bit of cropping if you want to hone in on your subject in editing.

There is a pronounced vignette to the lens, noticeable when you capture an image with a lot of empty space, like a big blue sky. It can also flare a little when shot into direct light, producing pronounced optical effects. I don’t mind these quirks, personally — I think they rather add to the low-fi feel. But if you’re looking for optical flawlessness, it ain’t here.

If I'm adding to my wishlist for the next MC-A, or future accessories for this one, a teleconverter for the lens could be an interesting way to expand its versatility.

Realistically, you probably won't want to manually dial in your aperture and shutter speed for every single shot — and the good news here is that the Lomo MC-A's auto exposure modes generally do a commendable job.

I shot the majority of my test images using Aperture Priority mode – setting the aperture myself, and letting the camera handle shutter speeds. Exposures came back mostly well-balanced; I did notice a mild bias towards overexposure, particularly when the sun was out in full force, so you may want to consider dialing back half a stop using the exposure compensation dial if you think an image might run the risk of heavy glare.

Naturally, the look of your images is going to be predominantly dictated by the film you load. On my recent outings with the Lomo MC-A, I ran through some Kodak Gold 200, Kodak ColorPlus 200 and Lomography's own Lomo 400, the results of which you can see on this page.

I had the shots professionally developed, with scans at a resolution of 3130 x 2075, producing file sizes of around 5-7MB. I think the MC-A's lens is sharp enough that you could scan at higher resolutions than this.

Should I buy the Lomography Lomo MC-A?

Buy it if...

Don't buy it if...

How I tested the Lomography Lomo MC-A

• I received a loan unit of the Lomography MC-A for testing, though I've since purchased one for myself.
• I’ve run a total of five rolls of 35mm color film through the camera over about three months.
• I’ve shot in variable light conditions and have taken the camera to a number of locations, mostly around London.

I’ve now rattled through five rolls of film with the Lomography MC-A, making for a total of around 180 frames. I’ve tried my hand at street photography with it to test the autofocus system, have shot landscape-style images from landmarks like London’s Primrose Hill, and have used both the auto and manual focusing and exposure modes. I’ve made it my main driver for several days out, as well as taking it on dedicated photo walks.

First reviewed March 2026

DJI Avata 360: one-minute review

Antigravity launched the world's first 360 camera drone in 2025, but now drone market-leader DJI has arrived with its own spin on the concept – and it's a quite different beast from the somewhat pedestrian Antigravity A1.

The clue's in the name: the DJI Avata 360 is not only a 360 drone but also an Avata drone — the latest model in DJI's line of sporty FPV flyers. If the A1 is a Fiat 500 (tiny, eye-catching, innovative, but not especially nippy), the Avata 360 is a VW Golf GTI – unassuming at first glance and much heavier, but faster, more responsive and more practical, yet (and here's where my automobile analogy breaks down) somehow cheaper too.

The Avata 360 looks a lot like the DJI Avata 2, or perhaps a larger DJI Neo 2, albeit with one obvious difference: its front-mounted camera has two lenses rather than one. Arranged on opposite faces of the gimbal, these record everything surrounding the drone (while using software to seamlessly unify the footage and remove any trace of the drone itself), allowing the user to re-frame footage in post-production using DJI's mobile or desktop apps.

I'll get more into how the 360 editing works in the full review below, but for now I'll just say that anyone who's used 360 cameras in the past will have little trouble creating some very impressive clips with this aerial version.

Where the Avata 360 differs from (and beats, in my view) the A1 is that, firstly, it offers a choice to fly it using a traditional twin-stick controller or the goggles-and-motion-controller FPV method. The A1 only supports the latter, and that means I need to bring a buddy along to act as spotter every time I fly it. If I'm on my own, I can't use the A1 at all (not legally, anyway), whereas I have the option to fly the Avata 360 using a RC 2 controller — no spotter required.

And in FPV mode I simply found the Avata 360 more enjoyable to fly than the A1: the design means it's faster, more agile and more responsive, even in high coastal winds, and switching it to single-camera mode (which uses one front-facing camera instead of the 360 setup, and records 4K 60fps footage) almost transforms it into an Avata 2.

Overall, the DJI Avata 360 feels like a more well-rounded (no pun intended) and flexible 360 drone than the A1, and at a more affordable price to boot.

DJI Avata 360: price and release date

• Launched on March 26 2026
• Significantly cheaper than the Antigravity A1 360 drone
• Available in four kits, including two Fly More Combos

DJI launched the Avata 360 on March 26 2026, with four different packages available. If you already own some form of compatible controller, you can buy the drone and a single battery for just £409 / AU$799. Packaged with DJI's excellent RC 2 touchscreen and twin-stick controller, it's £639 / AU$1,159.

Note: I haven't included US dollar pricing here, and you may have guessed the reason; DJI's troubles in the US are well documented elsewhere on TechRadar. Suffice to say this drone will not be officially launching in the States, which is a great shame.

There are also two Fly More Combo bundles, both priced at £829 / AU$1,619, each of which includes a nice bunch of extras. Both include the drone, three batteries, a charging cradle (able to recharge all three batteries simultaneously, with support for 100W and 65W fast charging), a set of spare propellers, a folding take-off and landing pad (very useful when launching from tricky terrain or long grass, and something I've not seen included in a Fly More Combo before), and a sturdy, sectioned sling bag to keep everything in. But one of the Fly More Combos includes the RC 2 controller, and the other the DJI Goggles N3 and RC Motion 3. So you're immediately set up for either standard or FPV flight.

This is a really affordable drone, especially when compared to the competition. Even with recent discounts, the Antigravity A1 Standard Combo (which includes the drone plus Vision goggles, a Grip controller, drone carry case and an extra set of propellers) costs over £1,000.

• Price score: 5/5

DJI Avata 360: specs

DJI Avata 360: Design and build quality

• Flat, non-folding design
• Labelled UK1 / C1 class, weighing around 455g
• Choice between RC 2 or Goggles/RC Motion 3 control

Rather than a folding design, DJI has opted for the same flat quadcopter shape it's recently used for the Avata 2, Neo and Neo 2. This means it's ready to go in moments (just pull off the included camera cover, if you're using it, and double tap the power button) and also that there are built-in prop guards to help protect the propellers from damage during collisions.

The Avata 360 isn't a super-lightweight drone; DJI claims it's around 455g, but my digital scales showed it to weigh 469g – well over the old sub-250g legal sweet spot. However, thanks to recent changes to UK law, this is no longer the issue it once was. This is the first drone I've seen that's labelled 'UK1' class, meaning that under new CAA guidelines it can be flown over uninvolved people (but not crowds) and closer than 50m to people horizontally. It can also be flown in residential, recreational, commercial and industrial areas. So, that's a good thing – it means I didn't have to venture to the middle of nowhere to test it properly.

It also means DJI hasn't had to make build-quality compromises to hit that magical sub-250g weight. The Avata 360 feels solid, sturdy, and likely to survive minor collisions without catastrophic damage, which isn't something I would say about the dainty, sub-250g Antigravity A1.

With no extended landing gear or feet, the drone doesn't have much clearance from the ground when landing or taking off, so it's important to launch and land on a flat, even surface in order to avoid potential damage. I found the folding orange landing pad including with the Fly More Combos very useful during testing, as landing even on short grass could cause issues.

The Avata 360 has a USB-C port on its side for file transfer and direct recharging, alongside a microSD slot for adding extra storage. That's optional, though, because there's a reasonable 42GB of internal storage built-in. Batteries slot straight into the back and come with the customary four-LED indicator to provide at-a-glance info on remaining power.

Control-wise, you have the choice between using a standard stick controller or a set of FPV goggles and a motion controller. In testing, I used the DJI RC 2 (it's also compatible with the RC-N2 and RC-N3, according to DJI) as my standard controller, and the DJI Goggles N3 paired with a DJI RC Motion 3 (you could also use the Goggles 3 or FPV Remote Controller 3) as my FPV setup, and found both to be excellent – they're sturdily built and comfortable to use. The Goggles N3 don't have a fancy exterior display like Antigravity's do, but on the plus side I can wear them with my glasses on, which I couldn't do on the Antigravity Goggles.

Finally, DJI has designed the Avata 360's camera lenses to be user-replaceable, should they get scratched, during flight or otherwise. The lenses do protrude a little, which does make them more susceptible to contact than most drone cameras, so this feels like a good move from the company.

• Design score: 5/5

DJI Avata 360: Features and flight performance

• Omnidirectional vision system with front-facing LiDAR and down-facing infrared sensors
• 18m/s maximum speed and Level 5 wind resistance
• Up to 22 minutes of flight time per battery

Like most DJI drones, the Avata 360 is an assured and safety-conscious flyer. It comes with full omnidirectional obstacle avoidance, using a combination of vision, LiDAR and infrared sensors to spot hazards in all directions, plus a reliable return-to-home mode and respectable battery life of up to 22 minutes' flight time (I would put the real-world use closer to 15 minutes, based on my testing, but much will depend on environmental factors – your mileage may vary, as they say).

In the air, it's a nimbler and nippier drone than the Antigravity A1. I found it performed very responsively even in windy conditions, and in Sport Mode (which disables the safety sensors), it's capable of hitting speeds of up to 18m/s (around 40mph). The low-latency O4+ video transmission system is remarkably stable, which helps keep the drone under control at all times. While testing, I never experienced a single loss of signal or even a noticeable reduction in the live-view quality.

As mentioned, at launch there are two ways to fly the Avata 360: using a standard twin-stick controller or with an FPV headset and motion controller. I love the fact that DJI has given buyers a choice — which for me is one of the main advantages this drone has over its competitor the Antigravity A1, which only offers goggles- and motion controller-based flight. With the Avata 360, a twin-stick controller is perfect for solo trips, as it doesn't require a spotter and the controls are identical to those of standard camera drones like the DJI Mini 5 Pro or Air 3S. It's easy to pick up and fly immediately, with no need to master the intricacies of motion controllers or strap on a set of goggles.

• Flight performance score: 5/5

DJI Avata 360: Image and video quality

• Paired 1/1.1-inch sensors offer up to 8K 60fps videos and 120MP photos
• Single-camera mode also available for traditional FPV video capture
• 10-bit video and flat D-log M color profile supported

The Avata 360 is equipped with two 1/1.1-inch sensors paired with ultra-wide lenses, which work in tandem to capture everything around it in up to 8K resolution at 60fps. That beats the Antigravity on specs alone (it captures 8K, but only up to 30fps), but the larger sensor size and higher bitrate also make the general image quality higher.

With support for 10-bit video and the flat D-log M color profile, this means the Avata 360 offers excellent video for a 360 drone. It won't trouble the DJI Air 3S or DJI Mavic 4 Pro when it comes to real pro-quality aerial footage, but the Avata 360 can really hold its own in terms of detail and dynamic range.

Once you've captured your 360 footage, it can be reframed using one of DJI's apps. I edited videos on both the DJI Fly mobile app and the DJI Studio desktop app, and both work well and in much the same way. You can choose your desired viewpoint, then save it as a keyframe, and the app will automatically, and smoothly, transition from one keyframe to the next. You can then export the video, with 8K 360 recording resulting in final videos of up to 4K resolution.

For those who don't want to reframe, there's single-lens mode. This records 4K 60fps footage using only a single forward-facing lens, which is delivered as a standard 'flat' video that can't be reframed after the fact. It's akin to recording a video on any of DJI's other camera drones, really — what you see is what you get.

It's also possible to snap 120MP panoramic 360 photos, which can then be edited into short videos or cropped and reframed much like a 360 video. I personally rarely felt the need to take a still shot while reviewing, as video is where the Avata 360 really shines in my opinion, but the feature is there should you need it.

Overall, I'm highly impressed by the Avata 360's camera performance. The base quality is higher than that of its only true rival, the Antigravity A1, and its 360 editing is just as good.

• Image and video quality score: 5/5

DJI Avata 360: testing scorecard

Should I buy the DJI Avata 360?

Buy it if...

Don't buy it if...

DJI Avata 360: also consider

How I tested the DJI Avata 360

• All flight modes and control methods tested
• Photos and videos captured
• Tracking and safety features tested

DJI sent me an Avata 360 a couple of weeks before its official launch, along with an RC 2 controller, an RC Motion 3 grip controller and a Goggles N3 headset. That meant I had the time to fly it in a range of locations and using both a traditional controller and an FPV setup. I did test the drone in some windy conditions at times, but in general flew it in fine weather and good light — aside from the very foggy day you see in one of the sample videos above.

I flew in every available flight mode for both twin-stick and FPV motion flying, tested the drone's subject-tracking capabilities and how capable it was of detecting and avoiding obstacles.

Once I had recorded footage and captured still photos, I later transferred it from the drone's internal storage to my iPhone and computer for editing and reframing, for which I used the DJI Mimo and DJI Studio apps. I also exported reframed footage from DJI Studio to further tweak in DaVinci Resolve Studio, resulting in the sample videos and photos you see above.

• First reviewed: March 2026
• Read more about how we test

Birdfy Bird Bath Pro: one-minute review

I've tried out multiple bird feeder cameras, and let me tell you, the charm is yet to wear off. They are a top gadget for nature lovers, getting a close up view of your neighborhood birdlife.

Birdfy is one of the top names in this space — in fact, its 5-star Feeder 2 Duo sits in the top spot of my best bird feeder cameras guide. It went one step further from alternatives, adding a second motion-sensitive camera for two angles, to its bird identification skills and continuous year-round power (pricier models tend to feature a solar panel).

Then at CES 2026, Birdfy and Birdbuddy showcased new products and exciting new features to further enhance the garden birdlife experience. Chief among them was Birdbuddy's sound identification and Birdfy's 360-degree bird feeder camera, plus a new type of bird camera — the Bird Bath Pro.

If it wasn't already obvious from the name and my product-in-situ pictures, the Bird Bath Pro is not a bird feeder camera, but a bird bath camera.

It's an excellent foil to a bird feeder camera, providing an entertaining close-up look at other bird behavior such as preening and splashing, but in reality, I found its most exciting features lacked polish, while the design could do with looking a little more natural. I'd still recommend the product, mind you, and I hope that some issues, such as bird tracking and identification performance, can be improved with updates.

Birdfy Bird Bath Pro: price and availability

• Available with or without the stand, from $269.99 / £319.99 / AU$392
• It comes in blue or off-white
• There's free lifetime AI detection and unlimited cloud storage

The Birdfy Bird Bath Pro is available in blue or off-white versions, and can be purchased with or without the stand. As you can see, I had the off-white version; neither looks particularly natural and requires dressing up to better attract birdlife.

The 'Non-stand' version costs $269.99 / £319.99, while the 'Stand' version is $349.99 / £349.99. At the time of writing, there are big savings on those prices: the 'Non-stand' for $179.99 / £209.99 and the Stand version for $299.99 / £229.99.

In Australia, the Birdfy lists the RRP of the 'Non-stand' and 'Stand' models as AU$392 and AU$465, respectively. However, Birdfy doesn't ship the bird bath to Australia. You can find it at some Australian retailers, but often with a higher mark up due to import taxes.

On the Birdfy US and Birdfy UK sites, there's a lifetime AI service for free (bird detection). However, if you opt for an AI subscription in the US, it brings down the price of the Bird Bath Pro by $30, though you'll need to pay up should you want the AI service subscription at any point, which is $4.99p/m.

Birdfy Bird Bath Pro: specs

Birdfy Bird Bath Pro: design

• Setup takes mere minutes
• I'd prefer a more natural-looking design
• Rugged build quality, decent solar power performance

OK, so it resembles a child's high chair, but the Bird Bath Pro is actually kind of neat. It's a cinch to set up — you'll be up and running in minutes once you've completed an initial charge of the camera unit by USB.

Once in place, the camera's power stays topped up thanks to a beefy 1.9W solar panel. The water fountain is solely solar powered (1.65W), and I found it requires direct sunlight to work fully. It'll power out completely without bright daylight.

Of course, the Bird Bath Pro needs topping up with fresh water, and Birdfy recommends adding natural features to it in order to readily attract birdlife — I put good use to a growing collection of beach stones my children like to collect during holidays on the coast.

I set up the device where I live in the UK in March (which is early Spring), initially with the weather still pretty cold, and found it took several days for birds to get curious, despite seeing them active in the garden at a nearby feeder and collecting for nests and so on. A feeder camera has a more obvious, immediate lure.

The app offers additional tools such as an audible alarm on the camera to scare off unwanted visitors, while Birdfy also promotes the device's rugged credentials — the camera protector is supposedly scratch-proof and UV resistant, so it shouldn't yellow over time.

Having used the Birdfy Bird Bath Pro for a month or more, it's clearly a durable product.

The main downside, based on my own experience, is that the Bird Bath Pro hasn't attracted nearly the same number or variety of birds as my bird feeder camera close by, over the same period. (In the summer heat, it might be a different story.) That said, it's a nice foil to a bird feeder camera, should you already own one and love it.

Birdfy Bird Bath Pro: performance

• Dual cameras; a 2MP / 1080p wide, and a tighter 3MP / 2K portrait
• The portrait camera can move side to side, tracking visitors
• Visitors are identified, with recording pop-up notifications, but accuracy could be better

There are twin cameras set within the Bird Bath Pro's removable and USB rechargeable unit: one for a wide-angle view of the entire bath, and another at a slightly higher vantage point, which can track subjects from side to side and with a tighter portrait-format field of view for more detailed shots.

Image quality is typically lo-fi compared to a smartphone; the tight portrait lens shoots 2K video and 3MP stills, while the wide camera is just 1080p video and 2MP stills. However, as far as bird feeder cameras go, the portrait lens especially is decent quality.

Once movement is detected, the Bird Bath Pro kicks into action, recording photo and video clips for both cameras and sending a 'Motion alert' notification through the free companion app. My unit came with the free lifetime AI service, and automatically detected a European Robin as a first sighting.

I received infrequent bursts of 'motion alert' notifications in the app on my Android phone throughout my test, as well as 'bird' and 'animal' sightings, only to find recorded clips of motion in the surroundings (even plants moving in the wind), or a fly on one of the rocks, rather than detected birdlife. It pays to be smart about where you position the camera for maximum effect and minimal false alerts.

The first location I tried was a spot typically in the shade for most of the morning, but with good exposure to daylight in the afternoon until partway into the evening. Here I found the camera unit maintained its charge day-by-day over the course of my month-long review period, and I have no doubt it would maintain this performance year-round.

Photos and video clips are displayed chronologically in the app's gallery, and Birdfy provides unlimited cloud storage for those files for up to 30 days. You can manually add favorite clips and new sightings to a Collections folder for easy access, and you're free to download the files at any point. Many rival bird camera brands pin you down to monthly subscriptions for such features.

It's also possible to view the camera's live feed on your mobile device from anywhere with an internet connection, and manually record should you wish.

The portrait camera levels up image quality, though I found subject tracking hit and miss; the camera's side-to-side movement seemed totally random at times. On the occasions it worked, the erratic movement of birds proved hard to keep up with (check out my sample videos below).

The portrait camera has plenty of potential and could set this Birdfy product apart, but in my experience, it needs more work to fulfill its promise.

I contacted Birdfy about the performance of the portrait camera and supplied footage. I got this reply:

"The camera's tracking algorithm is based on optical flow. The tracking will be affected by the changing patterns of light and shadow on the surface of rippling water (movements of/contrast between the reflections of trees' branches and the sky).

"The team will put in every effort to optimize and update the algorithm so as to tweak this feature. We'll continuously keep you posted on the progress of this."

While that's no guarantee of future performance improvements, it's reassuring to know that Birdfy is looking into it, and I know that its customer service is very good.

Lens flare in bright light is also an issue — I experienced a pronounced red halo in sunny conditions. Also, being a bird bath, the cameras are prone to being splashed on when birds visit. That's not an issue in terms of durability, but droplets on the camera do spoil photo and video recordings.

Should you buy the Birdfy Bird Bath Pro?

Buy it if...

Don't buy it if...

How I tested the Birdfy Bird Bath Pro

• I set up the product in my garden within close proximity to my home router
• I tested it for over a month during the springtime in the UK
• It saw out mixed weather: sun, cloud, rain, wind, cold

Birdfy sent me the Bird Bath Pro following CES 2026 in January, when it was winter (in the UK), but I began my review period once spring was setting in, two months later. I placed the product in various spots in my garden, generally with mixed sunlight and shade, and close to the natural cover of bushes. I decked the bath with stones to make it appear more natural.

I paired the Bird Bath Pro with Birdfy's companion app on my Android phone and used the app daily, receiving regular motion alerts (of which there were more than of actual visiting birds), and saved my favorite photos and video files to my 'Collections' in the app.

• First reviewed March 2026

Aura Ink: review

Aura makes stunning digital photo frames. The Aura Walden, for example, currently sits atop a sideboard in my home with its sleek frame, slick mount and punchy 15-inch display — and it also sits atop our list of the best digital photo frames.

So when Aura unveils an entirely new frame with a display that's unlike any other I’ve tested, naturally it has my attention. Said frame is the Aura Ink.

The Ink features an energy-efficient 13.3-inch color E Ink display, for a print-like rendering of your images. Unlike other LCD digital frames, the Ink is Calm Tech Certified — consider it a digital detox thanks to its natural, muted display.

Its E Ink Spectra™ 6 display can render millions of colors, but look closely and detail is dotty, despite its 1600 x 1200 resolution and 150ppi density. The Ink lacks the vibrancy and clarity of Aura’s other LCD digital frames, such as the Walden and Aura Aspen, or Lexar’s Pexar and Starlight, but it does work well in bright interiors, especially for artworks and minimalist photography rather than detail-rich photos. Ultimately, it's much closer to the look of printed photos.

What’s disappointing, however, is that Aura has kitted the Ink out with a somewhat glossy-finish panel, which can suffer from glare. I suspect it's no worse than the Walden and Aspen frames, but those LCD displays are illuminated, and as such they're significantly punchier.

Given that the Ink reflects light rather than emits it (like LCD does), it is, in reality, a niche frame. It needs the right conditions — well-lit rooms, but not too sunny — to shine, where it's probably my new favorite digital frame. If I had to choose between the Ink and Walden frames, though — and I've observed both side by side — it’s the latter that gets my vote for display versatility, even if it's yet another digital display to look at.

That said, the Aura Ink has super-low power consumption and a run time of around three months without a continuous power supply. No cables are needed, just a quarterly charge (assuming you only change the displayed image once per day).

Eliminating the reliance on ugly trailing cables is a design win. With regular LCD digital frames, cables are a necessary evil, and tricky to hide when mounting the frame on a wall, though they are less of an issue if you’re resting the frame on a surface.

I’ve come across one or two frames which are supplied with a white cable instead of a black one, including the Walden, which goes some way in disguising the cable (assuming your walls are licked with a light shade of paint). But there’s no doubt that a no-cable-at-all setup is the dream option.

Like the Walden, the Ink's display is housed in an attractive frame with a sleek bezel and a 1.5-inch mount (the off-white border between the bezel and the image). It also features a variety of mounting options, being positionable to display images in landscape and portrait format whether the frame sits on a table, bookshelf or other surfaces, or is fixed to a wall.

Aura has made the Ink impressively slimline — it measures just 0.6 inches deep, compared to the around one-inch depth of most other frames I've tested.

It charges via USB-C, and the port is easily accessible, which is not something I can say for the Walden's fiddly power input. The USB-C port is for charging only, however — you can't connect devices to add images.

Nor does the Ink have a memory card slot — all image uploads are via the companion app. And it displays photos only; there's no sound. All told, the Ink is as stripped-back as digital frames come.

The Ink shares the same companion app as all Aura frames, which delivers one of the best user experiences in the market and works seamlessly for wireless uploads and display updates, from anywhere with an internet connection.

Updating the displayed image on the Ink is an odd experience if you happen to be looking at the frame at the time. The frame flashes rapidly for the best part of a minute while the pixels of the existing image clear and are refreshed with the new one.

The Ink is limited to a maximum of 12 image changes per day. This is not Google Photos in a frame, where you might gather around with family, enjoying a rolling image gallery of holiday snaps, but one where you choose your image and live with it for the day or longer.

The real sting in the tail is how much the Aura Ink costs: $499 (pricing and availability for other regions is yet to be confirmed). You really are paying a premium for the E Ink display; even Aura's larger 15-inch LCD digital photo frames cost much less.

I've had the Ink frame in my home for several months, and I'm still somewhat undecided. I think it's the better frame to place on a wall than an LCD type, especially in a bright interior, where it's unbeatable. It's undeniably a premium product, and probably worth paying extra for, especially if you're weary of excessive screen time. However, LCD frames are more versatile.

Aura Ink: price & release date

Aura unveiled the Ink frame in October 2025, and it's available in one display size — 13.3-inch — for $499 in the US. At the time of writing it's not directly available outside the US; previous Aura frames have typically gone on sale globally approximately six months after their US launch, and hopefully the same will be true for the Ink.

I've mentioned the Walden frame a few times, which is a larger 15-inch LCD frame but with a much lower price tag, costing around 40% less. Put simply, you're paying a big premium for the Ink's E Ink display.

Aura Ink: specs

Should I buy the Aura Ink?

Buy it if…

Don’t buy it if…

Aura Ink: also consider

How I tested the Aura Ink

• I tested the Aura Ink over several months
• I uploaded a selection of photos from my Android phone
• I placed the frame on various surfaces around my home, in vertical and horizontal formats

Aura sent me its Ink frame and I set it up in my home months before writing this review. Unlike other reviews published soon after the Ink's release, I've actually tested its long battery life – and yes, the three-month battery life based on no more than a single image change per day is accurate.

I've placed the Ink on a sideboard close to a window, in a dim corner of my front room, and various other spaces around the house.

I've uploaded a variety of photos to the frame through Aura's companion app for Android — both minimalist and detail-rich images, in vertical and horizontal formats.

I already have the Aura Walden in my home, so I've been able to make direct comparisons between the two frames.

• First reviewed: March 2026
• Read more about how we test

GoPro Lit Hero: two-minute review

GoPro is a name that's synonymous with the action cam market, with the brand having largely been responsible for the explosion in popularity of such cameras over the past two decades. The brand has come a long way since its first Hero camera, a 35mm film-compatible wearable model released in 2004.

Now the likes of the GoPro Hero 13 Black and GoPro MAX 2, are considered amongst the best action cameras available, and largely dominate the market. And despite rumors that the company intends to kill off the Hero Black range, GoPro has dismissed the speculation. In other words, the GoPro family seemingly has a bright future ahead. In fact, as I completed this review, GoPro announced the next generation GP3 processor which will power a new wave of GoPros for 2026 and beyond.

That being said, the direction of the range can sometimes take an odd turn, and one such example is 2025’s GoPro Lit Hero, a sort of replacement for the GoPro Hero (2024), which was itself a weird compromise of price over specification.

You certainly can’t criticize the camera’s portability — it’s one of the smallest and lightest action cameras you can find anywhere, and there’s no danger of it weighing you down whilst out on a cycle ride or when travelling. Before hopping on a plane, there was none of the usual "Should I, shouldn’t I?" dilemma I often experience when choosing what to take on a trip, and it was a simple case of "Why not?" and throwing it into my camera bag.

There haven’t been many compromises in terms of build quality, and the Lit Hero feels rugged despite its diminutive size.

However, the tiny screen makes changing settings a challenge, while there isn’t a lot of room for camera controls on the body, making the handling experience frustrating at times. The screen itself isn’t always easy to use for image previews and is quite fiddly. It’s not a camera you can use in a hurry, which is a problem given the type of content you’d probably shoot with it.

There's very little in the way of manual controls: if you just want a point-and-shoot camera, you'll be fine, but if you hope to take control over the image-making process, there isn’t much here to satisfy a creative appetite.

Image quality is passable, but not mind-blowing. The camera struggles in low light thanks to its tiny imaging sensor, and despite offering 4K shooting, footage is anything but pro-level. Stills and video are sharp enough, but quickly lose detail as the sensitivity is increased. Meanwhile, colors are quite natural.

Overall, the GoPro Lit Hero is an affordable entry to the action cam market, and is a good take-anywhere choice. It won’t draw too much unwanted attention, or take up room in a bag. The problem is that too much has been stripped away to facilitate the small size. If you were expecting a simplified Hero Black, with similar properties, just smaller, you would probably be disappointed.

I'm not sure who the Lit Hero was designed for, specifically. Yes, it's an entry-level camera, so beginners might benefit. However, the naming convention is confusing, and I'm uncertain as to why such a powerful LED was incorporated. It's also still not that cheap, which I fear is more because of the brand name than any real premium advantages it offers.

As a result, the camera doesn't really hit any target market well. It sounds mean, but it might be best suited for filmmakers who want a camera that they're happy to risk destroying in the pursuit of extreme shooting angles. Otherwise, I can't think of anyone in particular to whom I'd recommend the Lit Hero.

GoPro Lit Hero specs

GoPro Lit Hero: Price and availability

• Released October 21 2025 worldwide
• The GoPro Lit Hero retails for $269.99 / £239.99 / AU$419.95
• The Starter Bundle includes a Shorty mini tripod, bike mount and case for $344.99 / £304.99/ AU$539.95

The GoPro Lit Hero went on sale from October 21 2025 for a price of $269.99 / £239.99 / AU$419.95, but months later and with the next generation of GoPros set for 2026 it can be purchased for less. The camera is available in kits too, including the Starter Bundle, which includes a bike mount and camera case and retails for $344.99 / £304.99 / AU$539.95.

Other activity-specific bundles are available, such as the Water Activities Bundle ($332.99 / £296.99 / AU$519.95), Bike and Camp Bundle ($349.99 / £399.99 / AU$ 546.95) and a Kid’s Bundle for $359.99 / £322.99 / AU$ 572.95, which supplies a Shorty mini tripod, case and Flexible Grip Mount.

• Price score: 3.5/5

GoPro Lit Hero: Design

• Small 1.76-inch LCD touchscreen
• Waterproof to depths of 16ft / 5m
• Super-lightweight at 3.3oz / 93g

The Lit Hero certainly looks the part, and has many of the traditional design markers of a GoPro product. The rear of the camera is dominated by the 1.76-inch LCD screen, with no physical buttons or controls whatsoever. This isn’t unusual for an action camera, and the same is true of a higher-end model like the DJI Osmo Action 6. The difference there is the screen size, which at 2.5 inches is much easier to interact with and operate.

The monitor on the Lit Hero is so small that my fingertips dwarfed some of the icons, making the precise selection of settings tricky when on the move and when outside in winter, digits numb from the cold. The active area of the screen is much smaller than the back of the camera, too, so there really isn’t much control real estate to be working with. If, like me, your hands are on the large side, it’s something to be aware of if the Lit Hero is on your shopping list.

It’s also not the most detailed LCD I’ve ever used, and it’s not ideal for judging the sharpness of captured images and footage. A few times, I thought I’d got the subject in focus, only to find the camera had back-focused upon opening the images and footage on the large screen of my laptop.

The touch function is useful (well, actually essential as it happens), but it isn’t hugely responsive, and it can take a few taps to get the desired menu to open, or multiple swipes with wet or muddy fingers to scroll through previews. Overall, it’s definitely a good idea to download the dedicated GoPro Quik app onto your phone, via which you can more accurately quality-control your footage.

The rest of the body is incredibly simple, which is both a negative and a positive. On one hand, this means you have to rely on the tiny screen to operate most of the camera’s functions, frozen fingers or not, but it also gives the Lit Hero a reassuringly unintimidating layout for beginners. There aren’t so many buttons that you might be worried about accidentally changing a setting you subsequently can’t figure out how to reset.

The Polycarbonate and TPE (thermoplastic elastomer) construction material is easy to grip, with a good amount of texture to provide friction even when the camera is wet. At no point did I worry about it slipping from my hands while using it handheld.

The other inescapable side-effect of such a small body is that when handling it, even just to remove it from a bag, it’s easy to touch the lens and leave behind fingerprints. It’s easily wiped clean, but this can be irritating.

• Design score: 4.5/5

GoPro Lit Hero: Performance

• Quick startup for rapid shooting
• Lack of built-in digital or optical stabilization is frustrating
• Super-powerful LED lamp is too intense for most uses

The camera itself is quick to start up, which was something I was concerned about, given the expected shrinking of the processor assembly to allow for the Lit Hero’s tiny dimensions. There’s very little delay between pressing the power button on the top of the camera and it being capture-ready.

Focus is also quick, at least as far as I could tell from my ‘hit rate’, looking back through captured images – looking at the screen, it’s very difficult to see the focusing in action, especially given the wide focal length. This was impressively maintained in low light and I didn’t notice a significant increase in out-of-focus shots in poor ambient lighting.

A big downside for me is the lack of integrated image stabilization. Rather than using an optical or sensor-shift IBIS system, you must first transfer footage to your smartphone using the GoPro Quik app, then apply algorithmic stabilization there. I’m not a fan of digital stabilization anyway, but not having it applied in-camera means you can’t preview how the final footage will actually look at the point of shooting. It’s a laborious extra step that slows things down.

An added frustration is that the connection between my phone and the Lit Hero was fairly unstable. It kept dropping out, meaning that live previews of what the camera could see using my phone screen were so pixelated as to be largely useless. The transfer speeds were also predictably sluggish. Yes, it’s possible this is due to the age of my handset, or even a model-specific compatibility issue, but I’d experienced no such issue when pairing it to the Insta360 X4 Air and Insta360 X5 the day before.

The ‘Lit’ element of the camera’s name stems from the powerful LED torch on the front of the body. It’s really the only instantly noticeable change from the GoPro Hero (2024). I wasn’t sure a camera could ever be defined by its built in flash or continuous light, but oh wow, did this thing get my attention.

It’s inexplicably bright. For the size of the camera, the light output is impressive if not completely overkill. It’s so bright at the maximum setting that I found it impossible to perform a piece to the camera with it shining in my eyes. Of course, it might come in useful in dark conditions, but I found it just looked ugly in most cases. I found it helped when shooting underwater clips in a sediment-filled stream, but the exposure fall-off is very obvious and unsightly.

On a positive note, the battery life is decent, and I could easily get around an hour and a half of continuous use out of it, in chilly outdoor temperatures, before it ran out of juice. Since the battery is integrated and can't be swapped, this is good news.

I found the body warmed up pretty rapidly when shooting longer video clips; not problematic, but a little uncomfortable when using it handheld. I found the more powerful DJI Osmo Action 6 heated up less quickly after prolonged use.

• Performance score: 3.5/5

GoPro Lit Hero: Image quality

• 4K video looks good in brighter light, with natural color rendition
• Photo and video quality drop significantly at higher sensitivities
• No log mode for later color grading

With such a small (1/2.8-inch) imaging sensor at its heart, the Lit Hero is limited in its light-gathering capacity. As such, noise levels are quite high at every sensitivity. There are very few manual controls, with no true PASM modes that allow the user to manipulate exposure settings, meaning you’re at the mercy of the camera’s own decisions, often resulting in grainy footage.

While it’s easier to hide in fast-moving video, the mushiness of detail is clearly visible in stills. In daylight conditions, results are actually quite sharp, but this isn’t maintained for long as ambient light falls.

The autoexposure system is fairly dependable, and it was able to quickly assess each scene during my testing and correctly adjust the parameters to prevent obvious overexposure. Similarly, the auto white balance does a good job of keeping colors natural, even under mixed lighting. This is all good news since there’s little opportunity to amend these settings yourself.

I’d equate the experience and resulting images to those from a basic smartphone or compact camera – I wouldn’t recommend the Lit Hero for ‘serious’ still photography work, but it’s good enough for off-the-cuff content creation and vacation shots.

There isn’t much latitude for post-processing work either. Shadows can be blocked quickly, probably because the camera seems to be biased towards underexposure to keep the highlights in check, but it’s not a good idea to lift these too far. There is no Log mode so color grading must be applied to the pre-processed video, which can break down the tones if pushed too far.

• Image quality score: 3.5/5

GoPro Lit Hero: testing scorecard

Should I buy the GoPro Lit Hero?

Buy it if...

Don't buy it if...

Also consider

How I tested the GoPro Lit Hero

• I used the GoPro Lit Hero over one week, both indoors and out
• I worked in a range of lighting conditions and weather to test the durability of the body and functionality
• The camera was submerged to analyze the waterproofing capability

While I always like to subject action cameras to some degree of punishing conditions, I like to use them as I might as part of an average shoot for which it was designed. As such, I don't make a habit of dropping them out of windows or running them over with a Jeep.

Instead, I took the GoPro Lit Hero with me on several outdoor shoots, in a range of weather, from rainy to full sun. I used the camera to capture behind-the-scenes content of my shoots and environmental imagery. This included submerging it in a stream and getting it down and dirty in muddy undergrowth.

I left the camera recording for extended durations to test battery life and heat management. I shot both still photos and video, then processed these in Adobe Lightroom and DaVinci Resolve to see how much detail I could recover from the extreme ends of the tonal range. Images shown here are the unprocessed out-of-camera Jpgs and video (cut together in the case of the latter).

• First reviewed February 2026

One minute review

The Canon RF 45mm F1.2 STM is a beautiful mess of a lens. It's impossibly light, cheap, and wide, but nonetheless comes with a few optical niggles that will likely make the more discerning pixel peepers baulk.

At $599 / £479 / AU$699.95, the RF 45mm f/1.2 has the potential to be an essential component of any Canon shooter's kit bag. And, it has to be said, it's a lens that doesn't really have any rivals or alternatives at this price point. No other brand, third-party or otherwise, offers an autofocus full-frame lens with f/1.2 for $600. Canon is definitely worthy of praise for this - it's an innovative, forward-thinking lens from a brand that's often criticized for its closed mount.

As mentioned, however, optically, the RF 45mm f/1.2 leans more towards 'character' than perfection. The bokeh is busy and swirly, while the chromatic aberration is off the charts at the widest aperture. Even with in-camera corrections, this lens imparts its character on every image if you're shooting wide.

You also don't get weather sealing or a lens hood. While this lens is well built and a great pairing with any of the brand's high-end mirrorless bodies, it's very much a lens that's been shoehorned into a specific price point. I can forgive the lack of weather sealing, but paying extra for the hood feels slightly miserly to me.

If you can look past its flaws, however, the 45mm f/1.2 does offer a lot for the price. No other Canon lens right now offers as many creative options as this 45mm in the standard focal length. Emphasis on the 'creative' here, mind you, because the wide aperture opens possibilities for shots simply not possible on the usual kit lens.

Aside from serious low-light chops, this lens is also fantastic for environmental portraits, where you can blow out the background on a relatively wide scene.

In summary, the 45mm is an often frustrating lens, but one I can't help but like. I don't think it's a 'killer' lens that will cause Nikon and Sony users to switch, but it certainly is unique and praiseworthy. Is it one of the best Canon lenses? Technically, absolutely not. But is it worth it? Absolutely... if you're looking for 'character' rather than 'perfection', that is!

Price and availability

• It costs $599 / £479 / AU$699.95
• Lens hood is a separate purchase

At $599 / £479 / AU$699.95, the RF 45mm f/1.2 is cheap for a Canon full-frame RF lens, let alone one with such a wide aperture. It's much closer in price to the entry-level Canon RF 50mm F1.8 STM (£239 / $219 / AU$299) than premium L-series glass - and offers a similar level of optical quality for the budget-conscious.

It's a good thing Canon has made this lens, too, as the brand currently doesn't support third-party glass on its full-frame mount. Unlike rival mounts from Nikon and Sony, Canon users have fewer low-cost alternatives outside of the usual starter primes and kit lenses.

Luckily, this lens is a great example of Canon doing something a little different. It's not quite a budget lens, but it's certainly unique, and definitely a sign that the brand is willing to try new things for its RF mount.

Canon RF 45mm F1.2 STM: specs

Canon RF 45mm F1.2 STM: design

• Extremely lightweight for such a prime
• AF/MF switch, but otherwise very basic
• Customizable control ring

As you'd imagine from a relatively affordable lens, the RF 45mm f/1.2 has quite a minimalist design. You do get a few handy controls, however, such as the MF/AF switch and a fully customizable control ring right next to the lip of the lens' barrel.

The action on the focus ring is smooth and well-damped, but the control ring has a nice solid click to it that pairs nicely with its burled metal finish. Otherwise, the lens features a wholly plastic build apart from the mount — you can expect a metal mount in all modern Canon lenses, including the higher-end L series models.

Speaking of which, build quality for the RF 45mm f/1.2 doesn't feel that far off from the premium lenses. There's nothing here to suggest that this is a cheaper lens in the RF line-up, aside from the lack of the distinctive red barrel ring. In the hand, the RF 45mm f/1.2 feels solid and sturdy enough for a lens of this type.

With that said, Canon has cut a few corners to build this lens at a price. For one, you don't get a lens hood included - nor does the lens feature any weather sealing. Perhaps the lens will hold up to some light rain, but I certainly didn't want to risk it with my review unit.

These points aside, the most impressive thing about the RF 45mm's design is that it weighs just 12.2oz / 346 grams - something that feels almost impossible for a lens with this kind of aperture. It really is the main selling point for this lens, in my opinion. The 45mm is so compact that you'd be mistaken into thinking this lens is an f/1.8 prime, given its size.

As you can see from the product pictures on this page, the 45mm pairs nicely with the EOS R6 Mark II, which is a full-frame body with a substantial hand grip. The lens is actually twice the weight of Canon's RF 50mm F1.8 STM prime (160g), but it's still light enough to hit that sweet spot where you don't feel like you're lugging around a huge piece of glass everywhere.

As stated, I tested this lens on the R6 Mark II. I think you'll also be fine if you pair this 45mm up with the Canon EOS R8, but the R8's comparatively small grip may result in a slight amount of front-heaviness. This is a light prime considering the aperture, but it's certainly no pancake lens.

Canon RF 45mm F1.2 STM: Performance

• Significant chromatic aberration at f/1.2
• STM autofocus is reliable
• Good center sharpness at all apertures

You may be wondering - if the RF 45mm is cheap, small, and extremely wide, what's the catch? Well, unfortunately, there are a few quirks when it comes to outright image quality for the 45mm F1.2 STM. This is definitely a 'character lens', for better or worse.

Firstly, the good stuff. If you're looking for those dreamy, blown-out backgrounds, then this lens definitely delivers. The aperture is so massive that you can get a good level of background separation here, even with relatively wide scenes. I could see this being a good option for environmental or full-body portraits on a budget.

The 45mm also offers a good level of sharpness. This is particularly the case in the centre of the frame, but stopping down the lens offers a great level of edge-to-edge sharpness. But of course, who's buying this lens to stop it down?

No, people are going to buy this lens because they want to make full use of that f/1.2 aperture at this exceptional price. Annoyingly, there are a few caveats when shooting wide open with this lens, however.

The first is the busy bokeh - something which I think will likely be the most contentious attribute for prospective buyers. There's no escaping that, at f/1.2, you get a significant cat's-eye effect on the bokeh with the 45mm. Once you see it, you can't really un-see it, and the swirling effect gets more extreme towards the edge of the frame. I think some people will love the distracting swirly effect of this lens, whereas others will find it too busy.

After using the lens in a range of scenarios, I'm somewhere in the middle of the two camps. As you can see from the samples, the bokeh balls not only have quite strong cat's-eye shapes, but also hard to remove fringing. They're technically very imperfect, but there's obviously something to be said for a lens with this much character if you're going for a certain 'vintage' look. It's definitely subjective.

One thing I'm less on the fence about, however, is the extreme level of chromatic aberration this lens exhibits at its widest aperture. I don't think I've used a modern lens with this much CA in recent years.

The image above is a good example. You can see a significant amount of purple fringing around the backlit pattern on the wall. Towards the center of the frame, CA is relatively well controlled, but the fringing gets progressively worse toward the edges. It's notable because this particular shot is a JPEG straight from the Canon EOS R6 Mark II, with all in-camera lens correction applied.

If you do buy this lens, you're going to have to get well acquainted with the de-fringing tool in your photo editing app of choice. Luckily, this is one of the quickest and easiest fixes that anyone can make these days, so it's not a complete deal breaker for a relatively affordable lens like this.

In terms of focusing, the RF 45mm F1.2's proprietary STM stepping motor isn't as quick or silent as the ones featured in Canon's higher-end models, but it is more than sufficient, and able enough to provide quick and reliable autofocus at f/1.2 when paired with the brand's latest full-frame bodies.

One thing I did notice is a very small amount of focus breathing when close focusing at f/1.2. There is also a very slight whining noise when acquiring focus, which again, could be something worth considering if you're thinking about using this lens for video. With the example I've included above, you can see the lens slightly hunting for focus when it attempts to re-lock on the closer object.

Canon RF 45mm F1.2 STM sample images

Should you buy the Canon RF 45mm F1.2 STM?

Buy it if...

Don't buy it if...

How I tested the Canon RF 45mm F1.2 STM

• Canon provided me a sample unit for one week
• I paired the lens with the Canon EOS R6 Mark II
• I compared optical performance at various apertures

Canon provided TechRadar with the Canon RF 45mm F1.2 STM for one week only, which is a relatively short window for a lens review. With that said, I was able to fully test the lens in both studio and real-world scenarios.

During my week with the Canon RF 45mm F1.2 STM, I tested the lens across a wide range of apertures for both video and photography. In that time, I made sure to try to get examples at f/1.2 to show prospective buyers what to expect with such a wide aperture - including the various flaws that this lens sometimes showcases.

First reviewed March 2026

Fujifilm X-T30 III: two-minute review

Fujifilm has updated its beginner mirrorless camera for photographers with the new X-T30 III, which comes four years after the Fujifilm X-T30 II.

It launches alongside a tiny new XF 13-33mm f/3.5-6.3 OIS kit lens (that's a 20-50mm effective focal length) that's smaller and lighter than the 15-45mm, the previous kit lens packaged with Fujifilm’s low-cost cameras. The portable pair weigh just 17.7oz / 503g combined.

Going on appearances alone, very little has changed. There's now a film simulation dial in place of a shooting mode dial, much like on other recent Fujifilm cameras including the X-T50, with all 20 simulations available, and the ability to add film recipe shortcuts.

Otherwise, the size, weight, profile and control layout are pretty much identical to the X-T30 II – this is a really small camera and lens combo that easily slips into a jacket pocket.

Headline features include the same 26MP sensor and current fifth-generation processor combo as used in the X-M5 and X-S20. This means the X-30 III sits below the pricer X-T50, which uses the latest 40MP stabilized sensor.

It has more in common with the slightly pricier X-S20, which with its in-body image stabilization, feels like a better pick. Otherwise, the specs are almost identical to those of the X-M5, which, with its viewfinder-less video-first design, costs less.

Despite its photography-friendly design, which also factors a built-in flash, the X-T30 III does in fact have the same video features as the compact X-M5, including 6K video with 10-bit color depth, 4K 60fps video and a vertical 9:16 short movie mode for social.

Personally, I think Fujifilm’s X-series range is getting a little crowded now, and would have liked to have seen the X-T30 III priced around 10% lower to help it to truly stand out for beginners.

However, it's still a compelling retro package – $1,150 / £1,000 / AU$1,950 for an attractive portable camera and lens with sharp 26MP stills and impressive 6K video is pretty respectable.

Fujifilm X-T30 III: price and release date

• Costs $999 / £829 / AU$1,679 body-only, or $1,149 / £999 / $1,949 with the 13-33mm lens
• Available in silver, black and charcoal
• Sales started on November 20, 2025

Designed for beginners, the X-T30 III was available from November 20 in silver, black and charcoal options, for a body-only price of $999 / £829 / AU$1,679, or with the new 13-33mm lens it costs $1,149 / £999 / $1,949.

The X-M5 remains the lowest-priced model in Fujifilm's range of X-mount cameras; the X-S20 is a fraction more, while the X-T50 is more again. Considering its features, I would prefer that the X-T30 III was around 10% cheaper in order for it to be more competitive.

Fujifilm X-T30 III: specs

Fujifilm X-T30 III: Design

• Weights just 378g, same dimensions as the X-T30 II
• Film simulation dial in place of a shooting mode dial
• Built-in EVF, flash and tilt touchscreen

The X-T30 III is a tidy, compact retro package, especially with the new 13-33mm lens – the pair weigh less than most rival cameras without lens attached, and I easily slipped the combo into my jacket pocket when I wasn't using it. The camera is available in three colors and it certainly looks the part, especially in silver.

Just like the X-T30 II before it, the new model makes a great travel camera. The retractable design of the 13-33mm lens gives it almost pancake optic proportions, and shooting around the busy city streets of Rome, the setup drew very little attention. Conversely, when I switched to its X-series sibling, the Fujifilm X-H2S, while not exactly a massive camera, got glances from passersby, especially at the major landmarks, where candid street photography can seem almost impossible. Even the X-T5 seems heavyweight by comparison.

Happily, this doesn’t have a negative impact on the handling experience, and I was still able to reach all of the buttons and controls with my thumbs, while my index finger remained on the shutter release. If you’ve used previous iterations of the camera, or indeed other enthusiast-level Fujifilm X-Series cameras, you should fall right into step with the layout.

The pronounced thumb rest gives a decent grip, and I happily (and securely) held the camera with one hand in both horizontal and vertical formats. I was concerned about the balance I might find when using the wide-aperture primes I’d packed to accompany me on my shoot, namely the Fujinon XF 56mm F1.2 R WR, which is on the bulky side. I needn’t have worried though, as even after several long days of shooting, the setup didn’t seem unduly imbalanced.

There's a quick menu button conveniently placed on that thumb grip, but all too often I found myself pressing it unintentionally. It's not a big drama as you just have to exit the menu, but it's something to be aware of.

One element I’m happy Fujifilm retained from previous models is the pressable control wheels. It’s a smart and sensible application of dual control – you can scroll through a menu and then select the desired item by pressing the wheel. It’s actually something I’ve wished more manufacturers would introduce as I’ve always enjoyed this underrated character of the X-series.

The rear touchscreen is tilt only and not fully vari-angle, which means you won't be able to easily shoot selfies.

I'm personally fine with the tilt design, which is handy for waist-level viewing. Also, the positioning of the USB-C, micro HDMI and mic ports on the side would obstruct a flip around screen, when those ports are in use.

The 2.36m-dot EVF is clear enough for such a small camera – I regularly used it rather than the screen, and it is particularly helpful on bright sunny days for photography.

Now, let’s talk about that new Film Simulation dial, which brings the camera in line with Fujifilm’s latest generation of cameras, including the X-T50. It replaces the mode dial which occupied the same space at the left side of the top plate, and now offers direct access to Fuji’s range of film simulations. While I can see the appeal if you regularly like to experiment with color profiles, and bearing in mind that film styles are something of a speciality of Fujfilm cameras, it’s more of a downgrade for advanced photographers.

Personally, I switch exposure mode more often than color profiles, so I'm a bigger fan of the shooting mode dial which is sacrificed. Since I also shoot RAW all of the time, anything I might select using this dial is rendered pointless in the captured image unless I reapply the style in Lightroom – an extra step reintroduced, only later in the production process.

The styles are lovely, and I wonder if Fujifilm created a physical control for them in an effort to make them feel like more of a genuine photographic tool than a gimmick, but I fear it may have had the inverse effect. The dial now becomes the defining feature of the X-T30 III.

There is also a secondary impact on the practical use of the camera body. Inexplicably, once I got started using the X-T30 III, I couldn’t seem to work out how to place it in aperture priority mode, which is my default exposure setting. I test a lot of cameras, so this was an unsettling predicament.

I always like to think I’ve done some reasonable homework on a camera before setting off on a trip with it, but here I was in the darkened streets of the Italian capital at midnight, in the shadow of St Peter’s Basilica, unable to find Av mode. I can’t say that’s ever happened before, at least not since my first week of taking photos. Notably, this was never a problem with the X-T30, X-T30 II, nor any other Fujifilm camera. The addition of the film sim dial is my only culprit.

Until I got my bearings, I resorted to the new auto mode instead which selects shutter speed and aperture based on the scene. The X-T30 III certainly feels designed for beginners.

There's a built-in flash, one of only three current beginner models with such a feature. The GN7-rated (ISO 200) flash is handy to have for sure, especially at parties. You only tend to get a built-in flash in beginner cameras which aren't weather sealed, like the X-T30 III, because they usually compromise weather sealing.

Speaking of which, the lightweight design does come with a few compromises. The build quality is a little plasticky, especially coming from a higher-end body like the X-T5. It didn’t especially bother me, considering how much I appreciated the camera’s low weight, but it isn’t a model with which I’d like to find myself stranded outside in a rainstorm.

Fujifilm X-T30 III: Performance

• New processor delivers 10% better battery life
• New Instax mode for instant photography fans
• Digital stabilization only

Packing Fujifilm's latest processor, the X-T30 III is a snappier camera than the X-T30 II. For example, 8fps (mechanical) and 20fps (electronic) burst shooting are sustained for 2x longer, for up to 173 JPEGs. That max speed can be upped to 30fps (electronic) with a 1.25x crop.

I didn’t count the individual frames, but even in RAW mode, the camera felt snappy and punched above its weight with regard to speed. I was able to shoot extended bursts of images, or several sequences in close succession, without the X Processor 5 notably struggling to clear the buffer before I triggered the shutter again.

Fujifilm also says battery life is improved by 10% thanks to the new processor, for up to 425 shots, and across a four-day trip, the two NP-W126S battery packs I had with me were more than enough. Of course, in more extreme temperature conditions, or if I had been exclusively shooting video, it might be a different story. It’s certainly a respectable battery life for a camera at this level, though.

Autofocus receives a boost, too, with Fujifilm's latest subject detection on board, which in addition to people can track animals, birds, cars, insects and more. I was very impressed by the speed with which the camera could snap between close and distant subjects. It also wasn’t easily fooled by tourists and traffic moving between the lens and my intended focal point.

It clearly isn’t a match for the advanced Dual Pixel CMOS AF system found in Canon cameras like the EOS R5 Mark II or EOS R6 Mark III, or even the comparably priced EOS R10, but it’s perfect for everyday photographic needs.

For me, the biggest sacrifice here versus a pricier model such as the X-T50, is in-body image stabilization (IBIS). There's digital image stabilization only, which is certainly better than nothing, but does somewhat limit the possibilities for smooth handheld video footage. The same goes for creative slow-shutter-speed photography.

Given the ultra-lightweight nature of the body, I did find getting sharp images at even moderate shutter speeds a challenge, and I always consider myself to have a steady hand. Perhaps I have been spoiled by seven and eight-stop IBIS systems, but I definitely missed it here. Given the limited aperture range of the kit lens, the optical IS within it struggled to have a meaningful effect once the sun dipped below the horizon.

Fujifilm X-T30 III: image quality

• 26MP stills and film simulations
• 6k 30fps, 4k up to 60p, and 9:16 short video mode
• 10-bit color depth for video

Ok, so pricier Fujifilm cameras such as the X-T50 and X-T5 boast Fujifilm's latest 40MP sensor for highly detailed photos, but the X-T30 III is no slouch, and still outshines other crop-sensor rivals for detail with its 26MP stills (and 14-bit 'RAF' format RAWs) – these rivals include the 20.9MP Nikon Z50 II, the 24MP Canon EOS R10 and the (older) 24MP Sony A6400.

It’s important not to get too caught up in pixel-counting and the X-T30 III is able to deliver exceptional levels of detail. Shooting in RAW, at base ISO and with a high-quality professional prime lens, the results are exemplary.

This is maintained up to around ISO800, where resolution starts to drop off. By around ISO6400, files have taken on a mushier appearance, and noise is most definitely present. It’s not as good a low-light performance as I’ve seen in some other high-end APS-C cameras, like the Nikon Z fc or Canon EOS R7, but given the target audience and price point, it’s not awful. In fact, up to around ISO4000 the fine grain is actually quite attractive, especially in black and white shots where it lends an almost filmic look.

Having Fujifilm’s film simulations at your fingertips is handy and furthermore includes customizable film recipes, even if that makes shooting-mode changes much more of a hassle. I've shot using various profiles in the galleries above and below, including Velvia (vivid), Reala Ace, Acros (monochrome) and others.

An area where the camera really excels is in its auto white balance system, which is superbly accurate. Combined with Fuji’s renowned color science, the X-T30 III is able to render beautifully naturalistic tones. This was one of my favorite aspects of the original X-T30 (also reviewed in Rome, coincidentally) and revisiting the same locations, I was happy to see the trend had been maintained in its younger sibling.

Video quality is excellent, too – 6.2K video and 4:2:2 10-bit color depth is excellent at this price point, even if in-body image stabilization is missing. The footage looks great straight out of camera, ready to share on socials. It’s a shame the LCD doesn't flip or rotate through 180 degrees, as overall the X-T30 III would make an ideal vlogging camera, but it’s still versatile enough for casual videography or B-roll capture.

I was especially keen to examine the performance of the new 13-33mm lens. This detail matters because most people will buy the camera with the new kit lens, which will spend most of the time on the camera.

As far as kit lenses go, it’s not bad at all and is capable of resolving a reasonable amount of overall detail. Impressively, sharpness is quite consistent across the frame, right out to the edges, even at 13mm. I’ll admit that I wasn’t expecting this and goes to show how far kit optics have come over the past couple of decades. This one is clearly designed to match the quality of the 26MP sensor, which it does admirably.

Don’t expect prime-level quality, but contrast and resolution are good enough for most shooting circumstances.

Fujifilm X-T30 III: testing scorecard

Should I buy the Fujifilm X-T30 III?

Buy it if...

Don't buy it if...

Fujifilm X-T30 III: also consider

How I tested the Fujifilm X-T30 III

• I spent time in both London and Rome, testing the camera in a range of lighting conditions
• I used the camera for several days, shooting multiple subjects from street photography to interiors and cityscapes
• I paired the camera with both the 13-33mm kit lens and a professional 56mm prime lens

I took the X-T30 III with me on a multi-day trip to Italy, where I knew I’d be shooting a range of subjects across a spectrum of challenging lighting conditions, inside and out. I made a point of shooting the camera as it would normally be used in practise, but also performed a standard regimen of technical tests.

To assess noise performance, I mounted the camera on a stable support, set Av mode (when I figured out how) and then shot a frame at each ISO setting, from the lowest to the highest. I also kept the camera in automatic white balance mode for the duration of the shoot, but also shot reference images with a custom WB or another preset where I felt it appropriate, so I could compare the camera's color decisions to my own preferences.

I took an X-H2S body along for the ride too, which made a good control camera for quality reference.

I used both the viewfinder and main LCD for composition throughout, and worked with the camera in both auto and manual focus modes at various points. Due to the nature of many of the locations in which I was shooting, I didn’t have much opportunity to thoroughly use the built-in flash – flash photography wasn’t permitted in most of the interior spots.

I used the 13-33mm kit lens extensively, but also switched to the XF56mm F1.2 R WR to see how much the cheaper optic may be limiting the maximum possible performance from the sensor and processor. All images were shot in RAW format and converted in the latest version of Adobe Lightroom, where no noise reduction or sharpening has been applied to the sample shots seen here.

• First reviewed: October 2025
• Read more about how we test

Kodak Snapic A1: one-minute review

The Kodak Snapic A1 is a 35mm analog film camera designed and manufactured by Hong Kong-based Reto Production – the same company behind other licensed Kodak analog models like the Ektar H35N and Charmera. Priced from just $99, it's one of the more affordable ways to dip your toes into the world of film photography, and it comes loaded with enough retro charm to justify that novelty appeal.

The design is immediately striking. Available in off-white or dark gray, the clean-lined plastic body has just enough Kodak orange on the shutter button and logo to feel authentically branded without going overboard. It's a look that calls to mind the retro-futuristic aesthetic of classic science fiction movies rather than a straightforward throwback, and in my book that's a good thing. It slipped into my jacket pockets with ease, and the included neck strap and protective pouch are welcome additions that more budget-focussed cameras often skip.

Feature-wise, you get a three-element glass lens at 25mm with a fixed f/9.5 aperture and 1/100s shutter speed. There are two manual focus settings, plus an auto flash with red-eye reduction, automatic film advance and rewind, and a double-exposure shooting mode. A small but practical OLED panel on top displays battery life, remaining exposures, and current settings. It's basic by design, but thoughtfully put together.

In good outdoor light, I found that the Snapic A1 delivers characterful, grainy 35mm shots with that all-important analog look. Vignetting and some chromatic aberration are present, but these feel like features rather than flaws. Indoors, however, the flash struggles; it lacks the reach and power to properly illuminate subjects beyond a few feet, making indoor shots a more hit-or-miss experience, particularly with slower film.

The main practical gripes are minor but worth flagging. The Mode button sits awkwardly on the left edge of the top plate, and it's easy to accidentally trigger it depending on how you hold the camera. There's also no lens cap, which makes the pouch essential rather than optional. And while the price is genuinely affordable for the hardware, film and processing costs ramp up fast. A single 36-exposure roll and a set of digital prints can run close to $40 / £30, meaning the ongoing cost of ownership is considerably higher than buying the camera itself.

Taken as a whole, I think the Kodak Snapic A1 is a fun, well-designed entry point into analog photography – and one of the best new film cameras for the money. It won't satisfy anyone looking for creative control or technical precision, but for casual shooters who want a stylish, pocketable film camera that just works, it hits the mark at a price that's hard to argue with.

Kodak Snapic A1: price and availability

• $99 / £99 / AU$179
• Ongoing costs of 35mm film and processing

The Kodak Snapic A1 is available to buy now, and refreshingly cheap at just $99 / £99 / AU$179.

Also supplied in the box are two handy accessories: a soft microfiber drawstring pouch for keeping the camera protected when not in use, and a corded strap that's long enough to fit around the user's neck or shoulder. Kodak could have shipped this with just a tiny wrist strap, so I was impressed with the extras.

You will, however, need to supply your own batteries (2 x AAA), and there are the added costs of 35mm film, its development and potential printing to consider as well. This can quickly add up: buying a roll of 36-exposure Kodak ColorPlus film and getting some medium-quality digital prints costs me almost £30 in the UK (around $40 / AU$ 57). So, despite the affordability of the hardware, the Snapic A1 isn't a particularly cheap camera to own.

Kodak Snapic A1: specs

Kodak Snapic A1: design

• Small, stylish and built from sturdy plastic
• Just 120g in weight and 118 x 62 x 35mm in size
• Film is easy to load thanks to large rear door and auto wind

Kodak (or Reto, to be precise) has kept things pleasingly nostalgic with the styling. The camera body is ABS plastic but built to nice sturdy standards, and its clean lines and ivory white front (it's also available in a dark gray color finish), with a couple of flashes of classic Kodak orange on the shutter button and logo, bring to mind the retro-futuristic production design of something like 2001: A Space Odyssey. It's not just another 1950s or 60s-esque camera, and I really like that.

At under 120g and just 118 x 62 x 35mm in size, the camera is genuinely pocket-sized and I found it very easy to bring along to social events and out on hikes. There's no lens cap to protect the glass front element, which makes the included protective pouch all the more valuable.

While the Snapic A1 is fairly bare-bones in terms of features and functions, it does have some interesting design touches. By flicking a switch underneath the lens, for instance, I could toggle between close-up (0.5 to 1.5m) and far-off (1.5m to infinity) focus. And, up on top, there's an OLED panel that provides at-a-glance info on remaining exposures, battery life and the current flash and focus settings. It's monochrome and tiny, but easy to read and perfectly equipped for its job.

My main gripe with the design is the placement of the Mode / M.E. button, which sits right on the left edge of the top plate, curving around to the left side of the camera. Often, when I was gripping the camera and about to take a shot, my left forefinger would hit this button and change the shooting mode. Depending on how you hold the camera, this may never become an issue for you, but it forced me to adjust the way I took photos, which I found a little annoying.

Getting film in and out of the camera is easy thanks to a large, easy to open rear door that provides plenty of room to work. There's a tiny plastic window on the door so that you can instantly see whether or not any film is inside. And, in a nice user-friendly touch, film winds on automatically between shots and will fully rewind once a roll is complete.

Kodak Snapic A1: performance

• Strong, characterful 35mm photos
• Flash isn't particularly powerful
• Solid battery life

Most cheap 35mm cameras use plastic lens elements, but the Kodak Snapic A1 has a three-element glass lens. It has a wide-angle 25mm focal length and a rather narrow fixed aperture of f/9.5, along with a fixed shutter speed of 1/100s.

There's the two-stage manual focus I mentioned above, as well as a flash (which can be set to automatic, on or off, and has a red-eye reduction mode), but other than that there's no way to control your exposures. This is very much a point-and-shoot camera, and while that's not necessarily a bad thing – simplicity is welcome – it does mean you need to know its limits if you want to get the best out of it.

I shot using Kodak ColorPlus 200 speed film, with which the camera performs well outdoors in the daytime. I managed to capture some striking snaps that I'm very happy with, and I love the grainy look of those images. Indoors, however, I found that the flash doesn't have the reach or power to illuminate subjects more than a few feet away. It may fare better with 800 or 1600 speed film, of course, but in my experience my most successful indoor shots were all close-up portraits, where the flash could do its job properly.

Are the Snapic A1's photos "high quality" by today's standards? Not really – if you pull out a 10-year-old smartphone it'll take sharper, cleaner images than these; there's noticeable vignetting around the edges, particularly in the corners, and some chromatic aberration too.

But I don't think quality is ever really the point with a cheap 35mm camera – the look and feel of analog photos can't easily be replicated by digital filters and algorithmic tweaking, and you buy an old-fashioned camera like this for, ironically, the novelty of shooting on film. Yes, its photos aren't noise-free or razor-sharp edge-to-edge, but they have real texture and character.

If you do want to get a little more creative, the Snapic A1 can capture double exposures – just hold down the Mode button to select it, and the OLED panel will make it clear whether you're shooting the first or second exposure.

Battery life feels pretty solid to me. After shooting a 36-exposure roll of film on the camera, the battery indicator still showed as full, and according to Kodak users should be able to shoot around 10 rolls of 24-exposure film on a single pair of AAA alkaline batteries. Your mileage, of course, may vary depending on which batteries you're using and how frugal you are with the flash.

Should you buy the Kodak Snapic A1?

Buy it if…

Don’t buy it if…

Also consider

How I tested the Kodak Snapic A1

• Used over a few weeks in different lighting conditions, indoors and outside
• Tested with Kodak ColorPlus 200 film
• Film sent to Analogue Wonderland for processing and development

Testing a film camera is a much slower process than reviewing a digital camera, because you can't look at the photos right away. In fact, I reviewed the Kodak Snapic A1 (a sample of which was sent to me by a PR rep) over a period of well over a month, taking it with me to various parties, hikes and events and snapping a photo or two until my 36-exposure roll of Kodak ColorPlus 200 film was spent.

I made sure to use the camera in all kinds of conditions – indoors and outdoors, day and night, bright and overcast – testing out the flash and focus controls.

I then sent the film to UK-based online film retailer and developer Analogue Wonderland for processing. They created digital scans for me to download – I opted not to pay extra for physical prints.

SJCAM C400: one-minute review

The SJCAM C400 is an ultra-compact action camera that comes with an optional handle accessory, transforming it from a tiny wearable cam into a handheld vlogging setup. Starting at around $160 / £155 (without the handle), it undercuts the latest offerings from DJI and Insta360 by a significant margin — but unfortunately, you get what you pay for.

The camera itself is charmingly small and lightweight, making it easy to wear on a pendant or fix to a hat for POV filming. It includes a built-in touchscreen, which is a huge boon compared to similarly sized rivals like the DJI Osmo Nano or Insta360 Go cameras, which lack this feature.

When slotted into the handle, the C400 takes on a whole new character, becoming a comfortable handheld vlogging camera with a rotatable screen that works for both horizontal and vertical content, with the added benefit of an extra battery.

However, image quality is where the C400 seriously stumbles. Despite supporting 4K at 30fps and various video modes, the footage is poor, with an odd combination of over-sharpening and under-detail, plus prominent muddy digital artifacts. Still photos don't fare much better, with detail falling off drastically towards the frame edges. When compared directly to footage from an Insta360 GO Ultra or DJI Osmo Nano, the difference is stark — and it becomes immediately clear why those cameras cost a little more.

Audio quality doesn't help matters. While the built-in microphone copes indoors or in calm conditions, it struggles with wind noise, and there's no option to connect an external mic.

The digital stabilization works, but in an artificial way that draws attention to itself, while enabling horizon leveling drastically reduces resolution. There's also no built-in waterproofing or magnetic mounting — both missed opportunities on a camera this size.

On the plus side, battery life is impressive, with the camera managing around 190 minutes of 4K recording on its own, and much, much longer when docked in the handle. I managed to get 495 minutes of recordings with the handle, in fact.

In short, the C400 offers an appealingly compact form factor and decent battery life at a bargain price, but its poor image and audio quality make it hard to recommend unless budget is your absolute priority. I'd recommend checking out one of my recommended alternatives in my best action cameras and best vlogging camera guides.

SJCAM C400: price and availability

• Priced from $159 / £153
• Sold with and without handle
• A range of accessories is available

The SJCAM C400 is available in three bundles: the C400 Pocket (just the camera with no handle or accessories); the C400 (which includes the handle); and the C400 Vlogging Bundle (which includes the handle, a mini tripod, a pendant mount, a 64GB microSD card and a carry case). Prices vary wildly depending on the bundle and the country you're shopping in, and seem to be fluctuating too, so I would suggest shopping around to ensure you get the best price for whatever package you're after.

In terms of value the camera seems like a bargain in comparison to the latest models from rival companies like DJI and Insta360. But considering its level of performance, I think you should seriously consider spending a little more elsewhere, particularly if you value image quality.

SJCAM C400: specs

SJCAM C400: design

The C400 package I was sent for review has two main components: the C400 camera itself and a handle accessory that incorporates controls, an extra touchscreen, a tripod mounting thread and an additional battery.

The main C400 camera is charmingly tiny and lightweight, if not quite as small as the DJI Osmo Nano or some of the Insta360 Go editions; if you really must have the tiniest, lightest 4K action cam, the C400 isn't it. Still, for POV filming purposes I found it compact enough to wear on a pendant around my neck, or fixed to my hat, without causing any bother whatsoever.

The camera unit has a small touchscreen (which is a huge boon – you don't get one on the DJI Osmo Nano or Insta360 Go), built-in microphone, microSD card slot for storage, and a tiny button that handles power and shutter duties. Sadly, unlike some rivals, it doesn't include a magnet for fixing it easily to metal surfaces, which is a missed opportunity.

Another missed opportunity is waterproofing, which I'd expect on a small action camera. Sadly, it's not mentioned anywhere on the spec or features sheet, although an optional waterproof case (with a 30m depth rating) is available.

When the C400 is slotted into the handle it takes on a whole new character, transforming from mini cam into a handheld vlogging camera somewhat reminiscent of the DJI Osmo Pocket series. The handle has a pleasingly comfortable design, and its good-sized rotatable screen caters to both horizontal and vertical content, and it also gives recording time a boost with its own supplementary battery.

I preferred using the camera in this arrangement than on its own, due to it being easy to hold and control – even if it clearly lacks the physical gimbal-based stabilization of DJI's Pocket range.

Additionally, it works as a wireless remote control for the camera, with a range of around 30 feet.

A quick word on the companion app: it's pretty good! Once it was installed and I'd established a Wi-Fi link between the C400 and my iPhone, I was able to remotely control the camera and download photos and videos wirelessly. Getting the phone and camera linked up the first time was a bit of a struggle, but once the connection was set up I was able to simply re-connect by scanning a QR code on the camera's screen.

SJCAM C400: Performance

The camera supports 4K video capture at up to 30fps, 2K at up to 60fps, and 1080p at up to 120fps (for slow-motion playback), plus H.264 and H.265 compression, a 'wide dynamic range' mode and a high-bitrate recording option.

Despite selecting all of these in an attempt to see the C400 performing at its best, I found image quality to be disappointingly poor even in good outdoor lighting, and even worse indoors.

You can view my sample video below to get a clearer picture (no pun intended), but the image seems to me to be a curious mix of being simultaneously over-sharpened and under-detailed, with distracting, muddy digital artifacts very prominent.

Still photos didn't impress either, with detail falling off massively towards the edges of the frame – and there's a huge amount of wide-angle distortion that doesn't appear to be correctable outside of post-production manual tweaking.

The two forms of digital image stabilization on offer — general and horizon leveling — do work, but they do so in an artificial way that really draws attention to the fact that they're working. Using horizon leveling also reduces the resolution quite drastically.

When compared to the videos straight out of an Insta360 GO Ultra or DJI Osmo Nano, the difference is stark – and it's immediately clear where that extra money goes.

Audio quality is passable in calm conditions, but as my video illustrates, the built-in microphone doesn't cope well with wind noise at all — and there's no way to connect an external microphone to better capture sound. So vloggers may have to record their audio separately, then sync it in post-production, which is hardly the sort of simplicity you'd hope for.

There's better news on the battery life front, at least, and I was impressed by the C400's stamina. To test it, I set video quality to 4K at 30fps and left the C400 (without its handle) recording. It managed to capture around 190 minutes of footage before the battery died. When docked inside the handle, it of course lasts even longer, and in my test it lasted 495 minutes (over eight hours!) in total.

Should I buy the SJCAM C400?

Buy it if...

Don't buy it if...

SJCAM C400: also consider

How I tested the SJCAM C400

• I tested the camera for a week
• I used it for vlogging and capturing photos, assessing image quality on my phone and laptop
• I tested all its features and various accessories

I tested the SJCAM C400 for around a week, using it to record videos and photos both handheld and using some of the accessories included with my review sample. The sample was supplied by SJCAM, and included not only the camera and handle, but a waterproof case and range of mounting options such as a magnetic pendant. I tested all its main functions including electronic image stabilization and battery life, before transferring all photos and videos to my iPhone and subsequently MacBook Air for close inspection.

First reviewed February 2026

Fujifilm Instax Mini Evo Cinema: Two-minute review

The Fujifilm Instax Mini Evo Cinema takes instant cameras in a new direction, and let me tell you, it’s heaps of fun. It’s a 3-in-1 digital ‘hybrid’ instant camera; being a stills camera, an instant printer and the very first Instax that shoots video.

We know the instant photography part already: the Mini Evo Cinema packs much of the same lo-fi tech as the Mini Evo – 5MP digital photos through a 28mm f/2 lens, which are saved onto micro SD, that you can select in the camera’s gallery or through a companion app to print instantly onto Instax Mini paper. In this case, the printing process uses an analog-style lift and twist lever.

But it’s the camera's design where things get really interesting. This is a nostalgic, slimline Super 8 camera-style body – which is supposedly inspired by Fujifilm’s ‘Fujica Single-8‘ from 1965 – that easily sits in the hand with the shutter button at your trigger finger.

And for me, it’s the video features that drew me in rather than the traditional Instax photography experience, even if each of the three functions seamlessly blend together.

Then there's the main event – the Eras Dial, with a look for every decade spanning the last 100 years. Fujifilm says these looks ‘pay homage to the characteristics, media and playback devices that defined that time’.

Starting with 1930 and running up to 2020, there's a distinct look for each decade, each with a scale of 1-10 for various 'expressions' of each decade, adjusting either the strength or the look of each style. So yes, that makes 100 styles, all of which work for photos and videos.

Fujifilm is no stranger to introducing never-before seen controls in its recent cameras, from the Film Mode in the fun X half to the aspect ratio dial in the serious GFX100RF, it keeps delivering surprising new features, and the Eras Dial, being at one's fingertips, is more than just a novelty.

Even videos can be shared through an Instax Mini print – the Mini Evo Cinema selects a frame from the video (or the user can manually select a frame) and prints it with a QR code for access to that clip through Fujifilm’s servers.

You can also check out and share photos and videos using the free Instax Mini Evo app, including making short video edits from your video clips (which are limited in length to 15 seconds each).

I've made my own video compilations using the Instax Mini Evo app, combining multiple clips into a 30 second montage (which is the maximum length), printed it with a QR code attached, which then seamlessly took me online to that reel. The editor is a little clunky, and the video length limitations are frustrating at times, but it's an OK experience overall.

Inside the box, you get the camera, viewfinder eye cup for the 1.5-inch 170k-dot LCD screen (see it in action, below), a grip extension and a strap.

The Mini Evo might look toy-like, but it is in fact a premium-feel product, everything from the grip to the dials, switches and buttons feel solid.

Performance, on the other hand, during my review was pretty sluggish. I've used the camera at a launch event and again during a two week review period, and with both units the Evo Cinema's wheel of death appeared almost every time I recorded a video or switched eras, taking a few seconds to be ready to use again. A little annoying, but arguably in the spirit of retro tech.

I actually think the Mini Evo Cinema is the most intriguing Instax camera to date – it feels like the Instax camera that the digital generation has been waiting for.

Its Super 8-style body is a perfect form to host Instax Mini printing, and the multi-media output makes this feel like a camera that'll keep my interest for much longer than a simple instant photography Instax. This is a proper good times camera.

Technically speaking, this is a poor camera. However, it already feels like the one Instax that appeals to me the most in the many years that I've been testing Fujifilm products.

If I was to sum the Mini Evo up in a single word, it would be fun. Fujifilm is having a real go at making cameras fun again with a string of quirky products, and the Evo Cinema could just top the lot.

Fujifilm Instax Mini Evo Cinema: price and release date

• Costs $419 / £329 / AU$599
• There's viewfinder, grip extension and strap accessories included
• Sales began on January 28, 2026

The Fujifilm Instax Mini Evo Cinema went on sale globally from January 28 2026, with a price of $419 / £329 / AU$599.

In the box you'll also find the viewfinder attachment, grip extender, strap and USB-C cable. A purpose-made leather case will be available too, for $40 / £35 (about AU$65).

Fujifilm Instax Mini Evo Cinema: specs

Fujifilm Instax Mini Evo Cinema: design

• Fabulous Super 8-style body
• A pack of Instax Mini film slots inside
• Retro controls and a charming Eras Dial

Design is easily the strong side of the Evo Cinema – it's a charming, Super 8-style camera with versatile 3-in-1 skills; digital photos, video, and instant printing.

The body is particularly slimline and designed to be held vertically. With a pistol-like grip, your index finger naturally rests on the shutter button, like a trigger. You press it to take photos, or press and hold to shoot video, with a maximum clip length of 15 seconds. You can customize to a single press to record video too, but I preferred the authentic press and hold for video recording, not least of which to avoid accidental recordings.

Fujifilm provides a grip extension with the camera, but honestly I could take or leave it – because it hardly impacts the camera’s handling. What is a useful accessory, however, is the viewfinder eyecup, which comes included. It attaches magnetically and clicks into place over the tiny 1.5-inch LCD screen, which isn’t touch sensitive by the way, enabling a clear view in bright light, but again more for an authentic Super 8-like shooting experience.

There are several buttons and controls around the camera worth mentioning, one of which is a lift and twist lever used for instant printing – it’s easy to forget that this slim camera can hold a pack of Instax Mini film inside for instant photo prints. A single pack of 10 prints will set you back around $9 dollars or £8 pounds.

Another control is the digital zoom lever – I rarely used this because the Mini Evo Cinema’s image quality is sketchy at best already, but more on this later.

The 28mm f/2 lens is a moderate wide angle optic, with a similar perspective to the main camera on your smartphone, and it has a ring around it which can scroll through color profiles. Above the lens is a selfie mirror which is barely helpful, plus a tiny LED flash light which is useful for indoor party portraits, even if it’s not very powerful.

The Eras Dial starts in the 1930s with a grainy monochrome, the 1990s is the old school handicam look, while 2020 is a crisp quality like today’s smartphones. Gimmicky? Maybe for some, but not for me – this is such a fun feature that I kept coming back to.

It might appear toy-like, but once you get to grips with the Mini Evo, you realise that it's a well-made, well-thought out camera. I really believe Fujifilm has faithfully brought a fabulous concept into life.

Fujifilm Instax Mini Evo Cinema: performance

• 100 color profiles inspired by decades past and present
• Poor image quality and limited video clip length
• Sluggish operation

On the flipside to design, performance is surely the Mini Evo Cinema's weakness – and in that sense it is fully committed to its retro roots!

Having used the Mini Evo previously, I expected poor image quality, especially since the basic sensor hardware is essentially the same as the original Mini Evo. Put simply, don’t expect excellent photo quality – the camera shoots lo-fi five megapixel JPEG photos through that 28mm lens, which are then saved onto micro SD.

From the camera’s gallery, you can then select which images you’d like to print instantly onto Instax Mini paper, using that analog-style lift and twist lever.

Video quality is equally lo-fi at just HD 720p, unless you have the high-resolution option active specifically for the 2020 Eras Dial setting alone, where video resolution can be doubled to 1440p. A frustrating, needless limitation on quality? Not so – it’s authentic.

I prefer the digital hybrid setup to a fully analog instant camera – where the camera prints immediately on capture, whether it’s a ‘good’ photo or not. With a Mini Evo you pick the shot you like for printing, meaning less wasted prints. Sure, it’s not one for analog purists, but I’d rather not waste my money on throwaway prints.

One frustrating experience using the Mini Evo Cinema is its slow operation. Every time you change a setting, or take a photo or video, a spinny wheel of doom pops up on screen as the camera makes those changes or processes images before it’s ready to operate again. The wait is even longer after recording video clips.

I’ve had two samples of the camera, and had the same issue with both. One time, the camera completely froze up, and the only solution was to leave it be until the battery fully drained. Once I charged it up and turned it back on, all seemed well again.

These issues could be bugs with the current firmware, that could be addressed in the future, but I’d be remiss not to mention them.

In one sense, using the Evo Cinema with all its performance-related issues is frustrating, but then I stop and think about the kind of camera that it is, and I can't help but embrace those flaws.

Sample photos – 1930 through to 2020

The 10 photos above cover each of the 10 settings in the Eras Dial, from 1930 to 2020. I kept the 'expressions' control to its auto setting rather than experiment with the 10 different looks available for each of the decades on the dial. Stills are recorded as JPEGs onto microSD, at 1920 x 2560 pixels.

Sample video – 100 years in a minute

I repeated the process for video, capturing each of the 10 Eras Dial looks. The lo-fi video quality is captured at 600 x 800 pixels for every setting except 2020, which is a higher quality 1080 x 1440 pixels.

Should I buy the Fujifilm Instax Mini Evo Cinema?

Buy it if...

Don't buy it if...

Fujifilm Instax Mini Evo Cinema: also consider

How I tested the Fujifilm Instax Mini Evo Cinema

• I attend a pre-launch Evo Cinema event for an two hour session. Fujifilm consequently sent me the camera for a two week loan period
• I used it with the viewfinder and grip accessories, and I tried all the Eras Dial settings for photo and video
• I've printed Instax Mini prints and edited content through the app

I've spent two weeks with the Evo Cinema, which has given me plenty of time to get a feel for how it handles and performs.

At a two hour launch event, I recorded the same video in a studio of a model, using every one of the 10 Eras Dial settings, and repeated that process for photos, printing out each one.

I've since experimented with the various expressions of each decade, taken more photos and videos both indoors and outdoors, in good light and bad.

I've tried the Evo Cinema with and without its viewfinder and grip accessories. The optional case was not supplied to me for the review.

I also made video montages using the basic video editor in the free Mini Evo Cinema app, and printed the QR code for access to those clips.

• First reviewed: January 2026
• Read more about how we test

Miofive Mirror 1: two-minute review

While I’ve tried plenty of the best dash cams on the market, I’ve spent less time using one of the alternatives – a mirror dash cam, such as the Miofive Mirror 1 Dash Cam. It's a chunky hunk of kit, being designed to fit over a standard issue rear view mirror, using one of three different mounting options. It can be strapped, stuck or screwed on, but no matter which option is employed, the result is the same – this is a large gadget.

The Miofive Mirror 1 Dash Cam differs from traditional offerings in the design department, but it’s actually a refreshing variation on the theme. This gadget delivers the same functionality found on a traditional dash cam but everything is presented slightly differently.

Adding to the appeal is the way it can be an electronic rear-view mirror as well as offering a view out of the front too, or indeed, a split combination of the two. Both views also get recorded in a continuous loop process, much like a typical dash cam.

The Miofive Mirror 1 comes with an impressive specification, and sizable price tag. There are twin Sony sensors for the cameras; a 4K (3840 × 2160 30fps) IMX415 Starvis 2 for the front and a 2K (2560 × 1440 30fps) IMX675 for the rear unit, capable of capturing crips footage for regular day time driving as well as after dark scenarios – these sensors have proven performance characteristics. What they see is also presented on the mirror screen, which is an expansive 11.26-inch modestly curved display that features anti-glare capabilities.

As a premium device, the Miofive Mirror 1 also boasts excellent connectivity features, including 5GHz Wi-Fi and Bluetooth 4.2, which means moving those high-resolution files is quick and easy – Miofive says up to 7MB per second, while data itself can be managed by an accompanying no frills Miofive app.

The Miofive Mirror 1 dash cam also packs sophisticated and in vogue AI-driven driver assistance features and functions, which are all easily accessed via the touchscreen. These include warnings for abrupt acceleration or braking, lane departure and ‘Stop and Go’ traffic movement.

Along with those bang-up-to-date features, the Miofive Mirror 1 comes with everything needed to keep it running. There’s a super capacitor-based power supply plus the unit can be powered off a 12V socket or, if preferred, hardwired to exploit its functionality more comprehensively. Hardwire features include the 24-hour parking monitor aspect.

Miofive also packs a 128GB microSD card into the mirror’s media slot so, aside from some wiring chores initially, the unit is pretty much ready to go.

Miofive Mirror 1: price and availability

The Miofive Mirror 1 Dash Camera currently costs $299.99 on Amazon in the US. Meanwhile, the Miofive Mirror 1 Dash Camera is also available to buy from Amazon UK for £259.99, at the time of writing. Normally, the regular UK list price is £299.99, which is comparable to other likeminded mirror dash cam models with similar specs. Cheaper mirror dash cam alternatives can be found too, but I think the quality of construction makes the Miofive Mirror 1 Dash Cam seem like decent value.

Miofive Mirror 1: specs

Miofive Mirror 1: Design

While the ample screen real estate offered by the Miofive Mirror 1 Dash Cam, which has overall dimensions of 2.2 x 2.76 x 0.79 inches / 31 x 7 x 2 cm, is impressive, its size should be kept in mind by anyone with a smaller windscreen. In a compact or small sports car, the 11.26-inch IPS touchscreen might feel a little bit too obtrusive. Even in a larger vehicle, such as an SUV, the mirror construction is bulky. However, it looks and feels nicely designed and reasonably durable.

The same can be said for all of the various accessories and ancillary components needed to get the Miofive Mirror 1 Dash Cam installed and operating. Miofive offers three different ways to mount the mirror unit, which is essentially stuck in place over an existing rear-view mirror. I chose the rubberised strap method which worked well, didn’t vibrate or move on the go and was temporary enough to let the unit be removed from my test vehicle.

A more permanent option is using the supplied screws to fasten it in place, while bonding is another long-term method. I suggest using the rubberised strap method initially, just in case the Miofive Mirror 1 Dash Cam isn’t quite the right fit for your needs. The box contains all the other wiring and connectors needed to hook up to the power, including a 12V plug for that port and colour coded harnessing for connecting peripherals.

The peripherals include a small rear-view camera, which can be stuck in place using a sticky pad on the camera's base and subsequently angled for optimal capture. The other accessory that requires connection to the crop of wires is the GPS unit. Everything is basically finished in grey or black plastic, while most of the cabling is black too. This can be fed behind trim using the usual method just like any other dash cam. There’s just a little more to hide away.

Miofive Mirror 1: Performance

Once I had all of the wiring plumbed in, the Miofive Mirror 1 Dash Cam was actually very simple and straightforward to set up. The media card was already in the slot, and I followed best practice and formatted the card following initial power up. From there, the mirrored screen area displayed an array of small icons, plus a split view. To the left was a view of the read ahead and to the right, a view to the rear of the car. I left it in this default mode for testing purposes although views can be tweaked to suit individual preferences.

The picture quality looks less good in my photos but, in reality, the quality of the lenses was easy to see with clear and sharp images from each angle even in decidedly gloomy conditions. Miofive has done a decent job of including a solid level of control options, via screen icons when the cameras are on. This meant it was easy to tap and change anything, such as brightness, before setting off.

Dipping into the other features and functions – which include Connect Your Phone, Recording Settings, Parking Guard, AI, System Settings, About and Speed Cam Alert –required more thought, but the large color icons worked well. The AI menu option brings up five different functions that can be enabled and set for intensity, like Reverse Assist Line, for example, which is set as Medium by default. These are okay, although I didn’t feel a desperate urge to use them. In fact, Driver Assistance, as one option, is better off disabled as far as I’m concerned.

Overall, the footage recorded by the Miofive Mirror 1 Dash Cam is largely excellent. It's crisp and clear, capturing details nicely enough, and didn’t leave me wanting anything better. The detail presented along the bottom of the footage, including date, time and speed is also perfectly acceptable. Used as a pure front and rear dash cam setup, this is a very good product. And, should you require them, there are plenty of neat tools to enhance the functionality.

One important thing to note is anyone wanting to enjoy the parking monitoring will need to do so by enlisting the services of an optional hardwire kit. This does increase the potential of the bundle, especially for anyone wanting the extra parking features that get unlocked by going down the hardwire route.

Should you buy the Miofive Mirror 1?

Buy it if...

Don't buy it if...

How I tested the Miofive Mirror 1

• I installed the dash cam in a car for an initial period of three to four weeks
• I used it for various day and night journeys in all types of weather
• I connected it to my phone, downloading recordings to check on quality

I tested the Miofive Mirror 1 dash cam across a period of several weeks. This involved using it in a test vehicle and during a variety of weather conditions. This allowed me to try all of the features and functions, aside from the hardwire options due to it being powered via a 12V power port in a vehicle that was on temporary loan.

On top of that, I downloaded the latest Miofive app, which was installed on an iPhone 17 and used during the installation process and also for file management duties. I also tested the Wi-Fi connectivity between the main camera unit and the app, which based on the size of the 4K video files was a big part of the overall testing procedure and everything worked as anticipated.

• First reviewed February 2026

Viltrox AF 85mm F1.4 Pro: one-minute review

I've had a busy time reviewing Viltrox lenses this year – including a range of primes such as the cheap and characterful 'body cap' 28mm f/4.5 lens, my dream reportage photography 35mm f/1.2 lens, the buttery bokeh-delivering 135mm f/1.8 LAB and the lightweight 50mm f/2 Air. Now, it's the turn of the AF 85mm F1.4 Pro.

It's designed for full-frame and is currently available for Sony and Nikon cameras only, with no word yet on an L-mount version (Fujifilm's X-mount is APS-C, and there's already an equivalent 56mm F1.2 Pro lens available). It's the first 'Pro' autofocus lens I've tested in Viltrox's range, which also includes the AF 50mm F1.4 and various APS-C lenses, including the 27mm F1.2 and 75mm F1.2 (for Sony E, Fujifilm X and Nikon Z).

In short, it's the classic portrait lens for pro photographers, with upper-body portraits and dreamy animal portraits (think cats and dogs) being its speciality. I also like the focal length for street photography.

In the hand, the Viltrox 85mm F1.4 Pro's rugged build quality is immediately evident – this is a weather-sealed metal lens, with a range of external controls for photo and video work, even if it lacks the digital display found in Viltrox's flagship 'LAB' lenses.

Image quality is top drawer in every regard, too, demonstrating everything you'd hope for in a portrait lens; detail is sharp, bokeh is smooth, lens distortions are minimal. And then comes the mic drop: this lens costs just $589 / £569 / AU$919 – that's a third of the price of Sony's 85mm F1.4 GM II, and almost half the price of Sigma's 85mm f1.4 Art DG DN. It's regularly on sale for less, too.

Surely we can forget these rival lenses then, and save a packet with the Viltrox AF 85mm F1.4 Pro instead? Not quite. At 800g and measuring 108.5mm in length, this is a hefty lens that's a fair bit heavier than rivals. If an 85mm f/1.4 lens is your workhorse optic, it could be well worth forking out extra for a lighter alternative.

Viltrox AF 85mm F1.4 Pro: price and availability

• Available in Sony E and Nikon Z-mount versions
• It costs $598 / £569 / AU$919
• Viltrox regularly discounts its lenses – there's 15% off the AF 85mm F1.4 Pro at the time of writing

Viltrox's 'Pro' series, which includes the 85mm F1.4 lens, sits between its flagship 'LAB' series, and above its lightweight 'EVO' in terms of both price and quality. At $598 / £569 / AU$919, it's not a cheap lens by any means, and is the priciest of a trio of Viltrox 85mm lenses, with an f/1.8 and f/2 EVO also available. That said, the f/1.4 aperture is a better option, especially for pros who work in challenging situations, including indoors and low light.

The lens is currently available in Sony E and Nikon Z versions, but not L-mount or Canon RF (don't expect the latter – Canon has locked Viltrox out. But for reference, Canon's own 85mm F1.4L VCM costs 3x the price of Viltrox's, and for me is very similar).

A fairer comparison for value, then, is against Nikon and Sony's own 85mm lenses, plus lenses from other third parties such as Sigma. Nikon doesn't have a f/1.4 version in its range yet.

Here's how the Sony and Nikon-mount 85mm lenses stack up (spoiler alert – the Viltrox wins on value):

Viltrox AF 85mm F1.4 Pro: specs

Viltrox AF 85mm F1.4 Pro: design

• Durable, weather-sealed design, but prone to scratches
• Around 25% heavier than alternatives
• External controls suit photo and video work

The Viltrox AF 85mm F1.4 Pro's build quality and design are clearly excellent, and remind me of Sony's current standard-focal-length GM lenses – and even more so of Canon's new range of hybrid 'VCM' lenses, which includes a triple-the-price 85mm F1.4L VCM. As mentioned, Viltrox isn't permitted to make Canon RF lenses, but I've used both the Canon RF 85mm F1.4L VCM and Viltrox AF 85mm F1.4 Pro, and I'm having a hard time spotting any meaningful differences, besides the Canon lens being 25% lighter.

There's a ridged aperture ring that can be set to clicked or smooth adjustments between aperture values, and which could host a follow-focus mechanism for cinematic manual focusing, equipping the Viltrox 85mm lens well for photo and video work. Elsewhere, there's an AF/MF switch, a custom button, plus a large focus ring – every control is beautifully dampened / smooth in operation.

A rear rubber seal confirms the weather-sealing, and you'll find a USB-C port within the metal rear mount, through which future firmware upgrades can be installed.

Viltrox supplies a chunky lens hood which easily screws on and off, while the lens accepts the common 77mm size of threaded filters.

There's a reassuring weight to the metal lens, although it's perhaps a little too weighty for its own good; at 800g it's around 25% heavier than the aforementioned Sony, Sigma and Canon equivalents. Measuring 108mm in length, it's similar in size to the Sony lens but bigger than Sigma's.

Despite its weight, I thought the balance between the Viltrox lens and mid-range Nikon camera, with which I was testing the lens, felt pretty good. I wouldn't want it any heavier or longer, but it just about sits within comfortable limits – and it would be an even better match with chunkier a Nikon Z8.

Over the course of two months with the lens I've managed to look after it, and it still looks pristine. However, I've tested other Viltrox lenses in other scenarios with less care, including the AF 35mm F1.2 LAB which has a similar finish, and they've proved to be prone to scratches. I'm not going to test that theory for the sake of it, but that's my word of warning.

Viltrox AF 85mm F1.4 Pro: Performance

• 11-blade rounded aperture with f/1.4 to f/16 range, capable of smooth bokeh
• Speedy and reliable VCM autofocus
• Extremely sharp between f/2 and f/8

That big f/1.4 aperture is for sure a major selling point of the lens, especially when you consider that Viltrox already has two 85mm lenses for full-frame cameras in its range: the original 85mm f/1.8 and an 85mm f/2 EVO – the latter is the lightweight and affordable choice.

You can see how chunky the diameter of the lens is in the product gallery above, plus how big the lens aperture is through the range, with a generous 11-blades creating a circular aperture for attractive bokeh.

Like Canon's range of hybrid lenses, the Viltrox 85mm lens employs a Voice Coil Motor (VCM) which drives autofocus, and the result is snappy autofocus – it's quicker in my experience than Viltrox's pricier 135mm f/1.8 LAB.

Focusing is internal, meaning the lens size remains unchanged as it focuses, and that there are 'floating' lens elements inside. That means there's an unsettling rattling noise when moving the lens when it's not on the camera, or when the camera is not turned on. There's nothing to worry about here – that's totally normal, and it's the same with all such lenses. Those elements 'lock', and are ready to go for focusing when paired with a camera that's turned on.

Image quality impresses, truly. Detail is incredibly sharp, especially between f/2 and f/8, where lens distortion is also pretty much non-existent. Open the lens to f/1.4 and there's vignetting (darkening in the corners), but that's gone by somewhere between f/2 and f/2.8.

Only in the most extreme scenarios, and with all lens corrections turned off, have I seen chromatic aberrations in my photos. One example was an image that included dew drops on a backlit cobweb.

Bokeh is super-smooth. Provided you're relatively close to your subject and shooting between f/1.4 and f/2.8, you'll typically get smooth and big bokeh that's rounded in shape – no ugly onion-ring effect in sight.

Increase focus distance and, as bokeh consequently gets smaller, it can go a little cats-eye in shape. Overall, however, bokeh looks lovely, and is a real reason to opt for this 85mm lens over Viltrox's other offerings.

As is the case with other 85mm f/1.4 full-frame lenses, macro photography is not the Viltrox lens's forte. Minimum focus distance is 0.79m, making for a modest 0.13x maximum magnification. To be clear, the Sony and Sigma alternatives are no better.

Close focusing beyond the lens's capabilities is hardly the regular concern of a portrait photographer, but for me I like mixing up what I photograph, and would appreciate more versatile close focusing – it would make for a more complete lens.

Should you buy the Viltrox AF 85mm F1.4 Pro?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 85mm F1.4 Pro

• Viltrox loaned me a Z-mount version of the lens
• I paired it with my full-frame Nikon Z6 II
• My review period spanned two months, and I used the lens in a range of scenarios

Viltrox sent me a Z-mount version of the lens at the back end of 2025, which has given me plenty of opportunity to test it out in various scenarios with my Nikon Z6 II full-frame mirrorless camera (but not with an APS-C body).

I set up my Z6 II for the lens, including the various subject-detection autofocus modes (Auto area, with specific subject detection based on what I was shooting).

I used it indoors and outdoors, in good light and bad, and I shot sequences of the same photos through the aperture range in order to check for lens distortion, sharpness, bokeh and so on.

First reviewed February 2026