Polaroid Go Gen 3: Two-minute review

Cards on the table: I love Polaroids. I’m of the right generation to have grown up with these instant-film wonders on holidays and at parties, and I was thrilled when the brand was properly revitalised in 2017 under new ownership. From the early OneStep cameras to more recent efforts like the Polaroid Flip (which I currently own), I’ve used a lot of nu-Polaroid’s offerings, and I was thrilled to try out the Polaroid Go Gen 3.

The Go series are Polaroid’s range of super-small instant cameras. They use their own dedicated ‘Go’ film, producing prints measuring 66.6mm x 53.9mm with an image area of 47mm x 46mm (for context, a full-size I-Type print measures 107mm x 88mm with an image area of 79mm x 77mm). They still have that Polaroid look, that lo-fi charm, that iconic square format. They’re just smaller.

The Go Gen 3 is the smallest camera the series has yet produced. It is clearly pitched at a younger crowd — festival-goers, beach-enjoyers, selfie-takers, and it has a selfie mirror to facilitate this. Its controls are extremely simple; you can’t control settings, you just point and shoot.

Most of this was also true of previous Go cameras, such as the Go 2, so what exactly is new here? Well, as well as the reduced size, Polaroid has outfitted the Gen 3 with a boosted flash and a redesigned lens sporting a narrower focal length of 63.75mm, compared to 51.1mm on the Gen 2. This gives you a slightly tighter perspective, gets you closer to your subjects, and makes your selfies that little bit more flattering.

So, it's a much simpler offering than the Flip, which has a fancy four-zone focus system and offers full settings control via the Polaroid app. The Polaroid Go Gen 3 does have a shutter speed range of 1/500–1sec and aperture settings of f/14.4 and f/32, but it will be selecting those for you. However, that’s not to say you’re completely without agency. You can turn the flash on and off via the flash control button, which also activates a self-timer mode and a double exposure mode — meaning you can expose the same frame twice for surreal, creative effects.

I used the Polaroid Go Gen 3 for about a week, mostly capturing shots on photo walks outdoors, but also making use of the selfie mirror to shoot some self-portraits indoors. I’ve been very impressed with the level of quality those little prints are able to display — when the light’s been right, I’ve found myself absolutely poring over images, appreciating all the subtle details that are conveyed in these tiny prints. Even in the smaller size, you still get the feeling of Polaroid’s signature lo-fi tones.

It’s not perfect. I found ultra-bright sunlight to be a problem, with the prints easily becoming blown out and overexposed on sunny days — which also seem to me like the days you’re most likely to want to use the camera. However, the relative affordability of Go film compared to I-Type makes me much more willing to play, experiment and have fun with the Go Gen 3, and not sweat my mistakes too much. Which as far as I’m concerned, is what instant photography should be all about.

Polaroid Go Gen 3: price and availability

Polaroid has been cannily stalking the Instax market share with the Go series, and part of that has been keeping the cameras nice and cheap. The Go Gen 3 comes at a reasonable launch price of $89.99 / £79.99 / AU$150, which is about the same as the comparable Instax camera, the Instax Mini 13, and similar to cheap lo-fi digital cameras like the Camp Snap.

However, as it’s a film camera, you have ongoing costs to factor in. Polaroid Go cameras use dedicated Polaroid Go film, which costs around $21.99 / £18.99 / AU$39 for a pack of sixteen shots (two cartridges of eight). Again, this is similar to Instax mini, which is slightly cheaper at around $20.99 / £14.99 / AU$34.95 for a pack of twenty.

Happily, it’s much more reasonably priced per shot than full-size I-Type film. As much as I love proper Polaroids, $18.99 / £16.99 / AU$32 for just eight shots is really quite brutal, and makes the experience a bit less fun. You don’t kick yourself for a fluffed Go shot in quite the way you do for a fluffed I-Type shot, and it makes the Polaroid Go Gen 3 a more realistic option for kids and families.

Polaroid Go Gen 3: Design

• Super small, trop mignon, fits in the palm of your hand
• Very simple operation with just three buttons
• No tripod thread, but there are lugs for a strap (and one is supplied)

Polaroid Go cameras have always been cute — it’s practically their key USP — and the Go Gen 3 is the cutest yet. The makers call it the world’s smallest instant camera, and I certainly can’t think of a challenger. This thing is tiny, sitting comfortably in the palm of a hand. It measures 106.5 x 83.8 x 64.6 mm and weighs just 8.9oz / 251g.

As such, there isn’t a whole lot of room for bells and whistles, and operation of the Polaroid Go Gen 3 is no-frills. There are just three buttons — power, shutter, and flash control, the latter of which also activates self-timer and double-exposure modes. The entire bottom of the camera is taken up by the film door, meaning there’s no tripod screw thread — best find a flat wall if you actually want to use that self-timer. There also isn’t any of the app-based camera-trigger functionality that you get with the likes of the Polaroid Flip, which also means you won’t be capturing long exposures or anything like that.

The viewfinder is small but lovely. I really enjoy looking through it; I just love that square frame. It really fires my imagination compositionally, and if I hadn’t been limited by how much film I had on hand, I would have been firing off shots left and right. Flip the camera around, and you’ll see that the front of the viewfinder is reflective. This is the selfie mirror, and I have to say, it works exactly as intended.

On the side, there’s a USB-C port for charging, and at the back are two lugs on the right and left for attaching straps, and a rope-style wrist strap is included in the box. And, well, that’s pretty much it! This is a very simple offering, something that works in its favor as a lo-fi camera for fun, friends and family. It’s a camera so simple a child could use it, something I tested by giving it to a three-year-old, who — with a little coaching — did indeed manage to capture a photo. If you’re looking for a camera with kid-appeal, I can attest that the Go Gen 3 has it in abundance.

It’s available in five stylish colorways: white, black, teal blue, ice blue and purple. As you can see, I had the white version, and as I took it out and about, it did draw a few comments and compliments from passers-by. This is a nice-looking camera.

Polaroid Go Gen 3: Performance

• Lovely detail and tonality in prints, even with small size
• But ultra-bright sun can easily overwhelm images
• Flash is always on, so you need to remember to turn it off every time if you don’t want it

When a Polaroid works, there’s nothing like it. Even in the smaller Go size, I’m really impressed by the level of detail and tonality you can get out of this thing. For me, it beats Instax any day of the week. In good light, with a well-chosen subject, you can make images that absolutely sing, and I genuinely adore some of the shots I’ve captured with this camera.

One thing that really impressed me was the selfie-taking capability. The Polaroid Go Gen 3’s reworked lens and powerful flash are designed to facilitate just that, and using the mirror as a compositional aid, I was able to capture selfie images that were vivid, detailed and true-to-life, the flash comfortably illuminating the scene without blowing it out.

Out in the big wide world, of course, you can and will run into issues. While I was testing the Gen Go 3, we were blessed with several days of glorious sunshine, and in very bright conditions — you know, the exact kind of conditions where you might find yourself saying something like, ‘Darling, it’s lovely out, shall we bring the Polaroid?’ — it’s easy for those little frames to just be overwhelmed.

More than a few of my images were quite significantly bleached by very bright sunlight, even when I remembered to turn the flash off — and you have to do this manually every single time, because the camera will always turn it back on. Even, as I discovered, halfway through a double exposure.

I’m generally a bit wary of double-exposure modes on instant cameras; I feel like most of the time, I’m likely to end up wasting a frame on a blurry, muddled mess. However, the lower cost of the Go film made me much more willing to give it a try than I ever am with my Polaroid Flip, and I ended up with a decent image — though I think it would have been better without that unexpected blast of flash halfway through.

Ultimately, as with any Polaroid camera or indeed any instant camera, the Polaroid Go Gen 3 is solid knockabout fun. You’ll get some images you like, and some that feel like a bit of a waste of film. That’s just the game, and it’s a much easier game to enjoy when the film is more reasonably priced than full-size I-Type.

Polaroid Go Gen 3: Should you buy?

Buy it if...

Don't buy it if...

How I tested the Polaroid Go Gen 3

• I received a sample camera from the manufacturers, along with some Go film
• I took the camera on several photo excursions, mostly shooting outdoors
• I shot with and without flash, and tested the double-exposure mode

I’ve had the Polaroid Go Gen 3 with me for the past couple of weeks, and I’ve taken it on excursions around London, as well as on a trip to Bradford-upon-Avon. During that time I’ve gone through a double pack of Polaroid Go film, and have tested out the camera in different scenarios and lighting conditions, with a particular focus on seeing how it renders different colors.

I have shot outdoors and indoors, both with and without the flash. I also gave the double-exposure mode a whirl, using it to create a composite image of my own face from different angles. I shot selfies with flash using the selfie mirror as a compositional aid.

First reviewed June 2026

Camp Snap 2: two-minute review

From a simple idea, Camp Snap is building an empire. The concept of an ultra-cheap point-and-shoot digital camera with no screen — meaning you can’t see the photos you take until you download them after the fact — proved to be a massive hit, and the original Camp Snap camera has since been joined by the video-focused Camp Snap CS-8, and the upgraded CS-Pro, which doubles the resolution from 8MP to 16MP. And now, we have the Camp Snap 2.

The makers are clearly keen not to mess with success, because the Camp Snap 2 keeps the feel and concept of the original camera very much intact. This new model keeps an 8MP sensor, and it once again has no screen, just a small panel with a running shot counter, a fixed-focus lens, and an LED flash. So, you might ask, what actually is new?

A few things, but the most significant is the new ‘Filters’ button, which allows you to select from a series of vintage-style looks for your images. This was an idea already explored on the CS-Pro, but the Camp Snap 2 ups the ante with six filters rather than the Pro’s somewhat paltry four. While you have to invest some time into learning which filter is which and what they look like (since you can’t check your images mid-shoot), this makes the Camp Snap 2 a more varied and versatile camera to use than the original, adding greater scope for creativity.

This is an important addition, given that there's little room for creativity elsewhere — the lens is fixed-focus and there’s no settings control. Furthermore, the Camp Snap 2 adds a tripod mount, a 33.5mm filter thread on the lens and lugs to attach a strap (though one isn’t supplied). These additions combine to make the Snap 2 feel a bit more like a proper camera than the original ever did. Its image quality is still no great shakes, but the Camp Snap 2 offers more scope and variety without sacrificing its identity as a camera that basically anyone can use — like the original, it’s very kid-friendly.

I’ve taken the Camp Snap 2 everywhere with me for a couple of weeks, and I can say that I thoroughly enjoyed it. The newly slimmed-down body makes it easy to slip into a pocket and pull out for quick grab shots here and there, and with no screen, you can’t spend time fussing over them after the fact.

Normally, when a successor camera is this iterative and minor an upgrade, we reviewers tend to say things like 'If you already own the original, save your money.’ But this is a bit of a different situation. Because the Camp Snap 2 is so cheap, I’d say that if you already own, like and use the original Camp Snap — hell yeah, you might as well upgrade. The filter button adds depth and variety, and one of the most irritating features of the previous model — the shutter lag — has mostly been dealt with.

I’d also go so far as to say that for many users, this is probably a better buy than the more expensive CS-Pro. You get a more pocketable camera for a lower price, and for the types of people who are shooting with Camp Snaps, I don’t think an extra 8MP of resolution is all that useful, particularly when the sensor is not especially larger. The main reason you might prefer the Pro is that its filters are more dramatic and distinctive, though there are fewer of them.

So, if you like the original Camp Snap, and like the sound of the Camp Snap 2 — yes, I feel comfortable recommending you buy it too. At this price, why not?

Camp Snap 2: price and availability

Camp Snap hasn't got carried away with its success, and the Camp Snap 2 is still very attractively priced indeed, launching at $69.95 / £53 (around AU$130). This is at about the same level as the original Camp Snap, and comes in way less the CS-Pro, which goes for $99 / £90 (around AU$180).

Snap 2 is currently available from the Camp Snap website, and I expect before long it’ll also make its way to major retailers, the way the original Camp Snap has.

Frankly, this pricing is perfect. For a fun, knockabout digital camera that doesn’t offer much in the way of image quality and is all about the ultra-simple point-and-shoot vibes, nobody should be paying more than this. It’s a camera that pretty much anyone can instantly pick up and use, at a price that lots of people can afford.

Camp Snap 2: design

• Even slimmer and lighter than the original, just 3.8z / 108g
• All-plastic build with LED flash and fixed-focus lens
• Point-and-shoot operation, but adds button to switch filters

The original Camp Snap was already slim, but the Camp Snap 2 is even slimmer — around 15% slimmer according to the manufacturers. It is genuinely pocketable in a way that not all cameras that make ‘pocketable’ claims actually are, and at 3.8oz / 108g it’s a true featherweight. The body is all-plastic, of course, but the front has a nice textured surface for a bit of extra grip, and there’s an indentation on the rear panel for your right thumb to rest. On the sides there are lugs for attaching a strap, though no strap is supplied with the camera.

On the top you have just a single button: the shutter. This is of course a point-and-shoot, so you won’t be fiddling with settings dials. On the front you have the LED flash and the fixed wide-angle lens — and, a new addition, a 30.5mm filter thread on the lens. Though this was on the CS-Pro, it wasn’t on the original Camp Snap, and it allows you to attach screw-on filters to imbue your images with specific effects — as one reader suggested, a good fit for the Camp Snap would be a mist filter to enhance the lo-fi, retro feel of images. Camp Snap has also not-so-subtly hinted that Camp Snap-branded filters will be coming in the future.

At the rear you have the simple screen, which displays a shot-counter and lets you know which filter you currently have selected. As well as the aforementioned thumb groove, you also have the power switch, which doubles as a flash toggle, and the tinny speaker that plays the stock ‘shutter release’ sound effect. The viewfinder is a perfectly serviceable optical type — if you’ve ever used an old-school disposable, it’ll be familiar. It’s nothing special but it does the job.

To the right of the screen, there’s the new filter select button. Pressing this button allows you to cycle through the filter selection. It can also be held down for ten seconds to activate ‘Camp Lock’ — which locks the button to make the camera more useable for children (negating a scenario in which they accidentally take all their pictures in black and white). Hold down for ten more seconds to unlock. Also, while testing this, I inadvertently discovered that tapping the filter button twice in quick succession will cause the camera to take two photos. Not sure why, but there you go.

At first it seems like the Camp Snap 2 doesn’t have a battery indicator like the four LEDs on the CS-Pro. In fact, it does, but you could be forgiven for not noticing it. When you boot up the camera, the screen will briefly display a number between 0 and 100, before reverting to your current shot counter. This is, I believe, a percentage-based battery indicator. It’s not exactly advertised, and easy to miss given that your shot counter will likely be a quite similar number, but it is there.

Color-wise, the Camp Snap 2 is available in a selection of standard shades — green, black, white, yellow and brown. However, it can also be bought in a selection of rather stylish translucent ‘jelly’ colorways, evoking the early-millennium trend for translucent tech. I’ll admit that I think these versions are pretty cool, and my partner (who isn’t into cameras) independently showed me them on Instagram because she liked the look of them. I suspect they’ll be very popular.

Camp Snap 2: performance

• Image quality is a bit scuzzy, but it's part of the lo-fi charm
• Operation is very easy, and the shutter lag from the original has been dealt with
• New filters add creative options, but aren't as striking or distinctive as those on the CS-Pro

As mentioned, the Camp Snap 2 uses the same sensor as the original, so raw image quality is identical. You still get 8MP images with limited dynamic range. Blown-out highlights are a fairly common sight, as are muddy and indistinct shadows. In the latter situation, the LED flash can be helpful, though it’s nowhere near as powerful as a proper Xenon flash (which the CS-Pro has).

The new filter dial really does add some welcome creative depth. You have six options — first there’s the Standard (S) look, which produces naturalistic but warm colors. Then you have Vintage 1 to 3 (V1, V2, V3). V1 ups the saturation and has a slight purple tint; V2 is almost identical to Standard, but slightly cooler; V3 has a distinctly sunny yellow cast.

Next, there’s the black & white mode (BW), which delivers decent contrast for striking monochrome. And lastly there’s the interestingly named Analog (A). I was expecting this to be covered in artificial film grain, something that Camp Snap experimented with on the CS8. But in fact, it’s the warmest look of the bunch, with muted colors and a slight magenta cast, and it proved to be my favorite.

I was surprised by how subtle the filters were, especially coming off the back of the CS-Pro, in which they are very striking. Someone looking for a dramatic image effect might come away a little disappointed; V2 in particular is so similar to Standard that I questioned the point of having it. I think in practicality, most users will probably just figure out which is their favorite and stick with it, occasionally switching to BW when the moment calls. I can't exactly picture myself agonizing over whether this pub garden sunset deserves V2 or V3.

One oft-criticized aspect of the original Camp Snap was its shutter lag — the appreciable delay between the user pressing the shutter button and the photo actually being taken. This was significantly improved in the CS-Pro, with a more powerful processor, and in the Camp Snap 2 it seems to have been somewhat improved.

However, I would note that the lag seems to be mostly confined to the cosmetics — the shot counter and the shutter release sound effect. On a few occasions, I pressed the shutter and then heard the MIDI ‘clunk’ half a second after moving the camera away, and chastised myself for missing a shot through impatience. But later, when I reviewed the image, I seemed to have gotten away with it. And I can live with the sound effect being slow if I still have the shot in the bag.

It’s also worth noting that the Camp Snap 2 has a new feature called QuickDraw. After a period of inactivity, the camera sleeps to save power, but you can press the shutter button while it’s in this state, and it will wake and quickly take a picture. Note that I said ‘quickly’, not ‘instantly’ — it does take a moment to bestir itself. I’ve seen a few comments online complaining about shutter lag, and I actually think this is probably what they’re referring to. When the camera was awake, I experienced no real shutter lag issues.

Should I buy the Camp Snap 2?

Buy it if...

Don't buy it if...

How I tested the Camp Snap 2

• I received a loan unit of the Camp Snap 2 for testing
• I have taken it out on a number of photo excursions, as well as to a sporting event and to a concert
• I’ve shot in variable light conditions throughout June, though with mostly very bright and sunny weather

I received a review sample of the Camp Snap 2 from the manufacturers, and had it in my pocket and about my person for a couple of weeks. I took it on excursions around London, as well as on trips south to Bradford-on-Avon, Frome and Bath, during which time I used it to capture more than 100 photos using all of the filters, in a range of weather and lighting conditions.

First reviewed June 2026

Kodak PixPro WPZ2: One-minute review

The Kodak PixPro WPZ2 is a budget waterproof camera aimed squarely at adventurers who want to take their photography somewhere a smartphone or regular point-and-shoot can’t follow.

It costs a fraction of what you’d pay for a premium rugged compact like the OM System Tough TG-7, and the trade-offs are exactly what you’d expect at this price: a fairly basic feature set, modest image quality and 1080p/30fps video recording that feels pretty old-school in 2026. But after spending some time with it at my local beach, I found plenty to like.

For one, it certainly looks the part. The WPZ2’s yellow-and-black color scheme, chunky G-Shock-esque lens barrel and prominent rivet-like screws on the front give it an appropriately ruggedized aesthetic. It’s also smaller than it looks, and I managed to squeeze it into my jeans pocket, protruding lens barrel and all.

Build quality feels solid, and the double-locking battery and card compartment is a reassuring design choice that should prevent any accidental pop-opens while you’re underwater. I tested it in saltwater rock pools and have no reason to doubt Kodak’s 15m waterproofing claim. There was no lens fogging when transitioning between underwater and above-water shooting, either. One note of caution: the front element doesn’t appear to be noticeably hydrophobic, so water droplets will cling on after submersion. My advice? Pack a microfiber cloth or two.

There are some usability niggles, though. The rear screen is small and dim – even at maximum brightness I found it difficult to gauge exposure or compose shots with any confidence. The zoom rocker requires a very firm press to register, which is understandable given the waterproofing demands, but isn’t much fun with wet hands. And getting a microSD card in and out of its deeply-recessed slot in the battery chamber is really fiddly, to the extent anyone with larger fingers is going to struggle.

Image quality is in line with what the specs would lead you to expect: JPEGs that lack saturation, contrast and dynamic range, with some over-sharpening and noticeable corner softness. That said, the macro mode produced some impressively sharp results in my testing, with good central detail and pleasing colors.

The 4x optical zoom is a useful range to have, but engage the digital zoom beyond the optical and quality falls straight off a cliff. Low-light shooting is another weak point, though the built-in flash does keep the camera functional after dark.

Video maxes out at 1080p/30fps, which feels like a big limitation in this day and age. My underwater rock pool footage looked fine for casual use, but above-water clips suffered from the same flatness and over-processing that characterizes the still shots.

Battery life is one of the more pleasant surprises. The CIPA-rated 200 shots held up well in real-world use, and USB-C recharging felt reassuringly quick. For a day’s casual shooting, you’re unlikely to run dry.

Oh, and a small bonus if you’re a music fan: the five-note power-on chime is an uncanny dead ringer for the opening of Prince’s “Diamonds and Pearls.” Not a reason to buy, obviously, but I enjoyed it every single time.

The WPZ2 certainly won’t trouble the OM System TG-7 or Ricoh WG-8 in a straight image quality fight. But as an affordable way to get a camera into the water without worrying too much about the consequences, it fits the brief well.

Kodak PixPro WPZ2: Price and availability

• Priced at around $189 / £149 / AU$279
• Available in three color finishes

The Kodak PixPro WPZ2 is available now, priced at $189 / £149 / AU$279, though you may find it slightly cheaper (or pricier) depending on where and when you look. It comes in three colorways (yellow, red and blue) and is widely available through major retailers including Amazon, Best Buy and B&H Photo in the US, and their international equivalents.

As well as the camera and a single battery, the box includes a wrist strap and USB-A to USB-C charging cable. Note that a microSD card is not included, and with only 8MB of space on the camera's internal memory, you'll need one.

At this price it sits well below the premium rugged compact options on the market. The OM System Tough TG-7 commands around $400, so the WPZ2 undercuts it by a significant margin. The more relevant question is whether you’d be better served by choosing a similarly-priced action camera instead — and that probably depends on whether you're primarily shooting photos or video.

Kodak PixPro WPZ2: specs

Kodak PixPro WPZ2: design

• IP67-rated rugged build
• 176g weight and pocketable size

Pick up the WPZ2 and the first thing that strikes you is how proudly it wears its ruggedness on its sleeve. Where most compact cameras at least try to look sleek, this one leans into the industrial; the visible screws on the faceplate, the thick black grip and the chunky lens housing all read less “camera” and more “piece of heavy equipment.”

The Caterpillar digger-style yellow-and-black colorway I tested reinforces that impression, but red and blue options are available if you’d prefer something that looks a little less like it came straight off the construction site.

Despite its bulk-suggesting aesthetics, the WPZ2 is actually very small and manageable in the hand. It slipped into my jeans pocket without much protest, which is more than you’d expect from something that looks so burly. At 176g / 6.2oz it’s light enough that you’ll almost forget it’s there between shots, too.

The double-locking mechanism on the battery and card compartment is one of the smarter design decisions here. It takes a deliberate two-step action to open, which inspires confidence that it’s not going anywhere mid-dunk. Less impressive is the microSD slot itself, which sits so deep within that compartment that swapping cards becomes a two-handed exercise in patience. Larger fingers will find it particularly trying.

On the back, the controls are straightforward enough. This is very much a point-and-shoot in its operational philosophy, with no pretensions toward manual control complexity.

The main frustration is the rear LCD, which is both small and insufficiently bright; even cranked to maximum, it struggles in daylight conditions, making exposure assessment and framing more of an educated guess than a precise exercise. The zoom rocker, necessarily stiff to maintain its watertight seal, demands a firmer press than feels natural, which is something I noticed most acutely when my hands were wet.

Kodak PixPro WPZ2: Performance

• Camera performs best in good lighting
• No raw shooting option and video limited to 1080p
• 4x optical zoom

The WPZ2’s natural habitat is somewhere sunny, shallow and wet, and that’s precisely where it performs best. My rock pool testing on a bright day returned some pleasing results, particularly in macro mode, where the camera locked on with decent accuracy (if not much speed) and rendered the finer details of shells, barnacles and seaweed with more sharpness and color fidelity than I was expecting at this price point. Keep the light on your side and you’ll come away with shots you’re happy to share.

Step outside those ideal conditions, though, and the limitations become harder to overlook. The JPEGs have a processed, over-sharpened quality to them, and what the camera gains in apparent edge definition it loses in natural color rendition; images tend toward the flat and undersaturated rather than the vivid. Dynamic range is modest, so high-contrast scenes (bright sky against dark water, for instance) will test it. Corner sharpness drops off noticeably, too, which is worth bearing in mind if you’re framing wide shots.

The 4x optical zoom covers a useful range for a camera of this type, but treat the digital zoom as decorative – image quality deteriorates the moment you engage it, and by the time you reach the maximum combined 24x, you’re looking at something closer to an impressionist painting than a photograph.

Low-light shooting is perhaps the WPZ2’s most significant imaging weakness. Without a flash, the results are soft and noisy, and the camera gives you no shutter speed readout when shooting manually, which makes managing camera shake largely a matter of luck. The flash rescues things for indoor and after-dark shots, but don’t expect miracles.

Video maxes out at 1080p/30fps, a spec that would have felt reasonable a few years ago but stands out as a limitation today, when even mid-range smartphones routinely shoot 4K at 60fps. My underwater footage of the rock pools was perfectly watchable for casual use, but the above-water clips exhibited the same flatness and over-processing that characterises the stills. There’s no optical stabilization either, only digital, so handheld video isn't particularly smooth.

Battery life is one of the more pleasant surprises. The CIPA-rated 200 shots held up well in real-world use, and USB-C charging felt reassuringly quick. For a day’s casual shooting, you’re unlikely to run dry.

Should you buy the Kodak PixPro WPZ2?

Buy it if...

Don't buy it if...

Also consider

How I tested the Kodak PixPro WPZ2

• Test sample purchased from Amazon UK
• Tested in and outdoors on English coast
• All images and videos shot at highest quality settings

TechRadar purchased the Kodak PixPro WPZ2 from Amazon UK for my testing purposes.

I tested the camera over several days, using it primarily at a local beach where I shot stills and video in and around saltwater rock pools. This gave me a real-world sense of its waterproofing credentials, image quality in both macro and wider shooting scenarios, and general handling in wet conditions. I also tested it indoors and in lower-light situations to assess flash performance and the limits of its low-light capability.

All sample images and video were shot using the camera’s highest quality settings.

First reviewed June 2026

Panasonic Lumix L10: Two-minute review

Panasonic marked the 25th anniversary of Lumix cameras by announcing the attractive Lumix L10 premium compact camera. If it looks familiar, that's because its retro design cues are taken directly from the popular LX100 series — the most recent being the Lumix LX100 II from 2018 — while its form factor brings to mind the popular Fujifilm X100VI.

Unlike other recent Lumix compact cameras, such as the ZS300 / TZ300, there are genuine upgrades in the Lumix L10 — it's fitted with Panasonic's latest 26.5MP Micro Four Thirds sensor, processor, and autofocus system, a higher-capacity battery, and it even has a viewfinder!

The 24-75mm f/1.7 to f/2.8 Leica Summilux lens with 3cm macro focusing is based on the lens in the LX100 II, with Panasonic saying it's been refined for the L10's higher-specced sensor. How exactly, is unclear, but the user experience is essentially the same, for better or worse; the sharp detail and bright aperture are a major boon, but it's not weather-sealed, and it slows the camera's startup and shut-down time.

In the hand, the Lumix L10 is a joy to use, and it's quickly become one of my favorite compact cameras. Beyond its charming retro design there's a decent 2.36m-dot OLED viewfinder, a bright 1.84m-dot vari-angle touchscreen, and a proper hotshoe for accessories such as a flash.

The lens is beautifully crafted, and offers direct aperture control, a zoom ring and a customizable switch, with a choice of functions including a stepped zoom, Real Time LUTs, and aspect ratio selection.

Speaking of aspect ratios, it's a cinch to switch between 4:3, 16:9, 1:1 and 3:2, which aids composition for various outputs including social, but the drawback is that not all of the sensor's pixels are usable because of the imaging circle of the lens. 4:3 stills get you the highest-resolution stills at 20.4MP, while 1:1 is an oddity in that it technically doesn't use all of the pixels that it could (based on the imaging circle of the lens).

If you compare the L10 to the older Lumix LX100 II, the latest model is feature-packed and snappier in operation, while video performance is in another league, with 5.7K recording, Log color profile, and Real Time LUTs downloadable through the Lumix Lab companion app. Lumix Lab, by the way, is one of the best apps around, with new features regularly being added, the latest being raw editing. (You can shoot raw with the L10 without needing editing software such as Lightroom.)

Battery life is better too, with a larger and higher-capacity battery slotted inside the grip. The downside is that the L10 is notably bigger than the LX100 II, which is a real shame if you like your cameras extra-small. That being said, the size and form factor are a good fit in the hand, and already-available extras further improve the camera's handling — I had the excellent the SmallRig thumb grip and hand grip for my review.

Overall, the Lumix L10 is exactly the kind of camera Panasonic fans — and, indeed, any compact camera fan — needed. There's no other model like it with such a heady mix of powerful features, large sensor, versatile 3.1x optical zoom, in an attractive retro body.

I'm not convinced the L10 is totally for me — I like my sensors big and bokeh extra creamy, meaning I'm in the "please Panasonic announce a full-frame Lumix S9 with a viewfinder" camp — but the L10 should be the one for many photographers hoping for a powerful everyday and travel camera that's simply enjoyable to use. The zoom-lens versatility is the real winner.

Panasonic Lumix L10: price and release date

• Announced on May 12 2026 to mark the 25th anniversary of Lumix
• Available in black or silver versions for $1,499 / £1,299 / A$2,599 from June 2026 
• The Titanium Gold Special Edition (pictured) costs $100 / £100 more and comes with extras, with limited availability from July 2026

The Lumix L10 costs $1,499 / £1,299 / A$2,599, which feels about right for this type of camera, and one with such powerful features, and the current market conditions. That's a full $400 / £300 less than the Fujifilm X100VI, which has a fixed lens, but which overall feels a little more premium.

If it's a purely compact package you're looking for, then another option is picking up a full-frame Lumix S9, which body-only costs hundreds less. Add the tiny new 40mm F2 or the collapsible kit zoom lens, and the package is around the same price as the Lumix L10. You'll miss out on a viewfinder, but you will have an L-mount camera with a powerful full-frame sensor, and a wider choice of colors.

The Lumix L10 pictured throughout this review is the Titanium Gold Special Edition, which costs an additional $100 / £100, and is available through select outlets, namely Panasonic's store (and it's not available in every region). You're not paying a premium just for the color — the kit also includes a titanium-colored auto lens cap, a Lumix-branded leather strap, and a dedicated L10 lens cloth. The menus of the camera are suitably monotone to match the warm tones of the camera, and the camera model name is etched onto the camera's lower right-hand side on the back.

• Price score: 4/5

Panasonic Lumix L10 specs

Panasonic Lumix L10: design

• The prettiest Lumix in years, available in silver, black or a limited-edition Titanium Gold
• Roughly the same design as the Lumix L100 II, which also has a 24-75mm f/1.7-f/2.8 lens, but overall it's bigger
• There's a flip-out touchscreen and a handy EVF

Design-wise, the Lumix L10 is very much the spiritual successor to the Lumix L100 II, which remains a popular and versatile everyday camera for keen photographers.

And if it ain't broke, don't fix it; there's essentially the same control layout, 24-75mm f/1.7-f/2.8 lens, vari-angle 1.84m-dot touchscreen and 2.36m-dot EVF, and every part works perfectly well for casual photo and video use.

One key difference is the size and weight of the 2026 model — the L10 is noticably bigger and a little heavier than the L100 II, with a strikingly similar profile to the Fujifilm X100 VI.

A chief reason for the larger body is that the L10 is fitted with a larger battery — the same kind used in Panasonic's mirrorless bodies such as the Lumix GH7. Of course, a bigger battery means better battery life, and it's also better able to support more powerful features.

The actual difference in battery life isn't so much as you might imagine, though; the L10 runs for up to 420 shots compared to the L100 II's 350 shots. However, the L10 also packs better-quality video, and video capture is more demanding of power.

The lens is a defining feature of the camera — it's a versatile 24-75mm optic which is improved from the Lumix 100 II's, although Panasonic hasn't made clear how, besides describing it as being fine-tuned for the L10. It's impressively sharp, and the maximum aperture is bright throughout the zoom range, and able to produce reasonable subject and background separation, especially using the telephoto setting.

Macro focusing is down to 3cm, but that's at the wide-angle end of the lens. Zoom in to 75mm and the minimum focus distance is more like 30cm, which is hardly 'macro' — see my comparison photos below to get an idea of how close the camera is able to focus at either end of the zoom range.

The lens still isn't weather-sealed — and users of the LX100 series have reported dust ingress in the lens, so that's very much a possibility with the Lumix L10. And with a slightly plasticky feel in parts, it's a camera that probably needs to be looked after, rather than tossed into a bag or used in extreme conditions.

Besides the lack of an AF joystick, there are plenty of external controls at your fingertips, most of which can be customized to taste, and it certainly pays dividends to take the time assigning the L10's custom controls to your regularly used settings.

Take the switch on the lens, which can be used to control anything from aspect ratio to stepped zoom or Real Time LUTs color profiles — that's a handy range of controls.

Despite its decent video credentials, the L10 is very much the stills-oriented camera by design. Yes, there's a mic jack, but no headphone or HDMI. The camera can be charged via USB-C.

The rangefinder-style 2.36m-dot OLED viewfinder and 3-inch 1.84m-dot vari-angle screen make viewing and composing images a cinch in just about any scenario — even if both units are a little dated now.

Overall, I have no major complaints about the L10's design. It's highly enjoyable to use, and it's a very attractive camera too, which made me want to use it all the more.

• Design score: 4.5/5

Panasonic Lumix L10: Performance

• Panasonic's latest 26.5MP MFT sensor and processor, but the sensor is not stabilized
• Snappy and reliable hybrid phase-detection autofocus with subject detection
• Startup / power down time is slowed by the lens extension / retraction

The L10 is an altogether different kettle of fish compared to recent Lumix compacts (which were basically re-releases with USB-C added, but, annoyingly, with the viewfinder removed). It's a genuine upgrade from the eight-year-old LX100 II, equipped with Panasonic's latest sensor, processor and autofocus system.

Throughout my three weeks and counting of testing, the camera has never missed a beat; it happily rattles through 11fps burst shooting sequences, and records high-resolution 5.6K video with no lag and minimal rolling-shutter distortion.

Autofocus is snappy and reliable, and includes subject detection for humans and animals (including pose recognition), plus vehicles and more. At times, however, I missed having a joystick for quick and easy manual selection of autofocus points. The camera offers this control through two steps: pressing the autofocus mode option on the D-pad, then pressing down on the D-pad, at which point the pad can be used to shift the autofocus points in play.

If there's one drawback in using the Lumix L10 for everyday and street photography, it's the retractable lens design. From powering up, there's around a two-second wait for the lens to extend before the camera is ready to shoot, and around the same time for it to retract when turning the camera off.

We get the same 26.5MP MFT sensor as used in recent mirrorless cameras such as the Lumix GH7, but with one major difference: the sensor isn't stabilized (the lens is), which can limit the camera's handheld use, especially in low light or for creative long-exposure photography, for which you'll want a support for the camera.

Rival cameras including the Ricoh GR IV and Fujifilm X100VI have in-body image stabilization (IBIS), as do most MFT mirrorless cameras at this sort of price point, including the OM System OM-5 II and Lumix GH series.

Overall, however, there are few cameras that are able to perform as smoothly as the L10 while offering such processor-intensive features — inside that retro body is some serious grunt.

• Performance score: 4.5/5

Panasonic Lumix L10: Image and video quality

• Multi-aspect stills up to 20.4MP, from the 26.5MP sensor
• The lens is sharp and bright
• A wide range of color profiles, including Real Time LUTs

I've had more than enough time with the Lumix L10 to get a feel for its capabilities and image quality, and it's really grown on me.

When I started writing this review, I was ready to table my request for a fixed-lens Lumix with full-frame sensor instead, or a Lumix S9 Mark II with a viewfinder; but I've come to appreciate the versatility of the L10's 24-75mm lens, which I value more than prime-lens image quality for everyday photography (see the range above).

The lens is impressively sharp, and crucially its maximum f/1.7-2.8 aperture is plenty bright. This is a camera that's as comfortable with street photography scenarios as it is for macro photography or portraiture.

Lens distortions are kept to a minimum — there's only an occasional touch of chromatic aberration in out-of-focus areas, and rainbow flare when shooting towards bright sunlight, while sunstars are crisp (check out the gallery below).

The unfortunate drawback to the camera's design is that the imaging circle of the lens cuts into the sensor area, meaning that not all of the sensor's 26.5 megapixels are usable — the maximum photo resolution is 20.4MP.

That's still a big resolution bump from the LX100 II, which had an effective 12MP resolution, but some way behind high-resolution alternatives such as the 40MP Fujifilm X100VI.

The low-light quality of a Micro Four Thirds sensor is also limited compared to larger-sensor alternatives, especially since there's no IBIS which would otherwise enable users to use longer shutter speeds when shooting handheld.

Detail across the aperture range is surprisingly sharp for a zoom lens, and you'll struggle to find a better-equipped compact camera for video at this price point — just what I would expect from a modern-day Lumix.

And then there's the unsung highlight of a photographer's life with a Lumix camera: attractive color profiles and free Real Time LUTs uploads from the always-improving Lumix Lab app.

I've easily paired the L10 with the Lumix Lab app to remotely control the camera and view scenes, and upload Real Time LUTs profiles directly onto the camera (remember there's a switch on the lens which can be assigned as direct access to these profiles). These profiles can be used for photo and video.

Put simply, it's straightforward to get the look you want for photo and video in-camera, minimizing time needed with editing software. I've never been more tempted to save space on my memory cards and shoot JPEG-only.

Panasonic Lumix L10 sample gallery

• Image and video quality score: 4/5

Panasonic Lumix L10: testing scorecard

Should I buy the Panasonic Lumix L10?

Buy it if...

Don't buy it if...

Panasonic Lumix L10: also consider

How I tested the Panasonic Lumix L10

• I've had the Lumix L10 since its global announcement, meaning 3 weeks and counting at the time of writing
• It's been by my side daily, capturing every day moments and travel scenes
• I've compared image quality at various aperture settings and focal lengths, and experimented with various color profiles

Panasonic handed me the Titanium Gold Special Edition of the Lumix L10 one day ahead of the camera's global announcement, together with the limited edition accessories plus a thumb grip and hand grip made by SmallRig. I've used all of these accessories for my review.

The camera has been slung over my shoulder a lot of the time throughout the three weeks and counting that I've had it, during which time I've been on two trips and also used the camera to capture every day moments, day and night.

I've tried the various aspect ratios, color profiles, video settings and fully tested the lens's capabilities across its various aperture settings and focal lengths, plus its macro focusing skills. I continue to fine tune the camera settings to my own preferences. I've made sure to assess battery life and autofocus performance too.

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

HoverAir Aqua: One-minute review

The HoverAir Aqua is a drone unlike anything else on the market right now, and for once that's not marketing hyperbole. Manufacturer Zero Zero Robotics has built the world's first truly waterproof self-flying camera — one that can take off from and land on the surface of the water, and follow you through waves and spray that would destroy most consumer drones. If you're a solo watersports enthusiast who's ever wished you could capture good-quality aerial footage of yourself without hiring a drone operator, the Aqua is literally the only game in town.

That monopoly on novelty is both the Aqua's greatest strength, but also the lens through which you need to evaluate it. Because while the concept itself is undeniably thrilling, my real-world testing revealed a product that feels very much like a v1.0: innovative and impressive in the right conditions, but rough around the edges in ways that its steep asking price make harder to forgive.

Perhaps the most important thing to understand before buying is how the Aqua's tracking works. Unlike DJI drones that use computer vision to lock onto and frame a subject, the Aqua tracks the Lighthouse, a wearable device you strap to your arm. While this is an eminently sensible solution for an environment where reflections, spray and constantly moving surfaces would confound visual tracking, it has real consequences for your footage: in Orbit mode, for instance, I found my head was consistently cropped out of frame, because the drone is circling the Lighthouse, not me.

There are other niggles too. My review sample suffered from persistent Lighthouse connection drops — reconnecting almost immediately each time, but loudly announcing every single event via an intrusive, irritating voice alert. And one of my best video clips was ruined by a water droplet on the supposedly hydrophobic lens, which feels like a major concern for a drone built around water compatibility.

It's also worth noting that the Aqua's maintenance demands are higher than any non-aquatic drone I've tested: after saltwater sessions, you'll be rinsing, patting dry and checking battery compartments as soon as you get home.

That being said, take it out on a calm sea on a bright morning with your paddleboard, and it does something no other drone can do. For the right user — the solo surfer, kayaker or SUP rider who wants hands-free aerial footage without risking a wrecked drone — the Aqua is really the only viable option on the market.

HoverAir Aqua: Price and release date

• Launched globally on May 28 2026 — except in US
• Priced from $1,299 / £1,129 / AU$1,999
• Fly More Combo available online only

The HoverAir Aqua has had a long road to market, being initially teased in August 2025 ahead of a successful Indiegogo crowdfunding campaign. Nearly a year on, it's now available globally — except in the United States, where it's apparently falling foul of the same regulatory issues that have kept DJI's recent launches off the shelves. So while I've been given US pricing, it's not yet available in buy in the States.

Three bundles are available at launch. The Standard Combo ($1,299 / £1,129 / AU$1,999) covers the basics: the Aqua itself with one battery, a USB-C cable, the Lighthouse wearable with armband, a repair kit, and a single waterproof battery bag. The Basic Combo ($1,399 / £1,219 / AU$2,199) adds a second waterproof bag, an extra smart battery, and a charging hub. Step up to the Fly More Combo ($1,499 / £1,299 / AU$2,986, online only) and you get two additional smart batteries, three waterproof battery bags, a maintenance kit, and the charging hub — the most complete package for anyone planning longer sessions on the water.

Given that the Aqua's 23-minute battery life is on the shorter side for a drone at this price point, those extra batteries in the higher-tier bundles are well worth considering. A single charge isn't going to last a through even a modest paddle session, so building a battery collection from day one makes sense.

At $1,299 / £1,129 / AU$1,999 for the entry-level bundle, the Aqua is a significant investment. It's substantially more expensive than the HoverAir X1 Pro and well above most entry-level drones from DJI. Zero Zero Robotics is clearly pitching this as a premium, specialized product for water sports enthusiasts rather than a mass-market flyer, and the pricing reflects that.

• Price score: 3.5/5

HoverAir Aqua: Specs

HoverAir Aqua: Design and build quality

• Non-foldable quadcopter body weighing 249g
• Striking hot orange finish
• No carrying case included in any bundle

The Aqua cuts a distinctive figure on the beach. Where most consumer drones play it safe with black, grey or white, HoverAir has gone for a vivid hot orange color finish. The color makes the drone easy to spot both in the air and on the water, as well as conjuring up images of life jackets and buoys. It feels entirely appropriate for a water-focused drone.

While folding drones dominate the market, the Aqua is a rigid, non-foldable quadcopter — a deliberate decision by HoverAir to preserve structural integrity and waterproofing. At 202 x 206 x 64mm and 249g, it's lightweight and compact but certainly not pocketable; the non-folding body means it takes up noticeably more bag space than a DJI Lito or Mini would.

Which brings me to the Aqua's most glaring accessory omission: there's no carrying case or pouch included with any of the three bundles. The higher-tier combos include waterproof bags for the batteries, but nothing to protect the drone itself. That leaves the lens and propellers exposed to whatever else is rattling around in your backpack. For a drone pitched at outdoor adventurers, I felt this was a pretty major oversight.

With minimal clearance between the propellers and the underside of the body, the Aqua needs either a flat, hard surface or a dedicated landing pad for land-based launches — I'd strongly recommend picking one up if you ever plan to use it away from the water. You can hand-launch and catch it in the air instead, which is what I did throughout testing, but that's not something I would necessarily recommend to anyone new to drones.

On the front of the drone sits a 1.6-inch AMOLED screen, which lets you switch flight modes and review settings without reaching for your phone. In bright sunlight it's big and bright enough to be legible, and when you're balanced on a paddleboard in the middle of the sea, not having to fumble with a smartphone is a welcome convenience. The Lighthouse wearable is similarly straightforward: a chunky, rubberized device designed to be worn and forgotten while you focus on whatever you're riding.

As mentioned above, the Aqua's maintenance demands are quite extensive. After flying in salt water, the drone needs a thorough rinse in fresh water and a careful pat-down with a clean cloth before its next flight. The battery compartment features a color-coded indicator strip that flags the presence of any moisture before you insert a battery, which is a clever touch, but you'll also need to remember to fully dry your hands before swapping cells on the water. So, owning the Aqua comes with an ongoing upkeep commitment that goes well beyond what you'd expect from a conventional drone.

• Design score: 4/5

HoverAir Aqua: Features and flight performance

• Up to 23 minutes of battery life
• Tracks using Lighthouse unit rather than camera
• No object avoidance tech

The most important thing to understand about how the Aqua flies is also the thing that most sets it apart from conventional follow-me drones. Rather than using computer vision to identify and frame a human subject — the approach DJI takes with its excellent ActiveTrack tech — the Aqua locks onto the Lighthouse wearable.

In a watery environment, where reflective surfaces, spray and constant movement would make visual tracking unreliable, this makes sound engineering sense. In practice, however, it produces some frustrating results. During an Orbit flight — where the drone circles you at a set distance — my head was consistently cropped out of frame, because the drone is orbiting the Lighthouse on my arm rather than centering me as a subject. Anyone who cares about precise, well-composed shots should know that the Aqua will keep you in the frame most of the time, but it won't always frame you the way a human operator would.

So planning your shots is key – and because you can adjust tracking distance and height, you should be able to get the angles and framing you're looking for. It might just take a couple of attempts.

That said, the SUP mode I tested (designed specifically for stand-up paddleboarding) performed very well. With a calm sea, minimal wind and good visibility during a rare UK May heatwave, the Aqua tracked my position reliably and kept pace with me comfortably. The drone can theoretically fly as close as 50cm above the waves, and in calm water it did so confidently.

I'd be keen to test it in choppier conditions, where the claimed Level 7 wind resistance and wave-skimming abilities might face a stiffer challenge, but those aren't the conditions I had available. For now, consider the flight performance assessment here a fair-weather one.

One highlight that absolutely does deliver as promised is the turtle flip: should the Aqua end up upside down on the water, it can right itself and take off again without any intervention. I tested this, and it works exactly as advertised. A small thing perhaps, but a reassuring one.

Less reassuring was the persistent connection instability between the drone and the Lighthouse. On every single flight I conducted, the two devices repeatedly lost and immediately re-established their link. Each dropout triggers an audible robotic voice announcement — both for the disconnect and the reconnect — which quickly becomes maddening. Whether this is a hardware defect specific to my review sample or a wider software issue remains to be seen, but it's something HoverAir will need to address urgently. A drone that narrates its own technical difficulties every few minutes is not a relaxing filming companion.

The Aqua offers three control methods beyond the automated flight modes. The Lighthouse itself handles single-button launches and returns; the HoverAir app provides touchscreen manual control, though with a short effective range and imprecise joystick inputs that make smooth maneuvers difficult; and HOVERAir's Beacon twin-stick controller offers what could well be the most satisfying manual flying experience of the three — but without one, I wasn't able to test it during this review.

Battery life came in slightly under the claimed 23 minutes during real-world use, which is par for the course with drone manufacturers' quoted figures. The more meaningful battery consideration is simply having enough of them: 23 minutes goes quickly when you're mid-session, and the Fly More Combo's three-battery setup feels sensible.

It's also worth noting that, like all HoverAir drones, the Aqua uses ShadowTrack positioning rather than active obstacle avoidance — meaning it won't autonomously fly around objects in its path. On open water that's rarely going to be an issue, but it's worth bearing in mind if you plan to fly it on narrower waterways or on land. Thankfully, the sturdiness of the design and the protected propellers means that minor, lowish speed collisions with trees or fences shouldn't result in a wrecked drone.

• Flight performance score: 4/5

HoverAir Aqua: Image and video quality

• 1/1.28-inch CMOS sensor offering 4K up to 100fps
• H-Log (10-bit) support for post-production grading
• Hydrophobic lens

Let's start with the elephant (or should that be whale?) in the room. The Aqua's lens is treated with a hydrophobic coating designed to repel water droplets, which seems to me a vital feature for a drone that launches directly off the surface of the sea. During my testing, a single water droplet on said lens ruined several minutes of otherwise usable footage. For a drone whose entire identity is built around being in and around water, a wet lens is inevitable. This issue alone has the potential to leave users seriously frustrated — even if, as with me, it only happens the one time.

When the lens is clear, the results are encouraging. With a maximum bitrate of 160Mbps (double that of the DJI Neo 2) the Aqua produces clean, detailed 4K footage in good lighting conditions. There are two main shooting options to choose between: the default color profile delivers vibrant, punchy footage at up to 60fps, and is perfectly usable straight out of the drone; the flat H-Log profile, which tops out at 30fps, gives you more latitude in post-production. I graded some H-Log footage and was able to dial back the slightly over-saturated tendencies of the default color science to arrive at something more true-to-life and cinematic. For anyone planning to edit their water sports footage seriously, shooting H-Log is probably the way to go.

The hardware has its limits, though. The 1/1.28-inch sensor, f/2.55 aperture and single-axis mechanical gimbal mean the Aqua can't compete with the best camera drones on pure image quality — the DJI Air 3S, for instance, produces far superior footage, and costs less.

But that comparison only tells part of the story: the Air 3S would not survive the conditions the Aqua was built for. Judged purely as a water-capable camera, the Aqua has no rivals. Judged as a camera drone in general, it sits firmly in the average tier for its price bracket. The 2x digital zoom is soft, as it tends to be on small sensors, and low-light performance isn't a strong suit given the narrow aperture.

Stills come in at 12MPwith HDR support, plus the ability to shoot in RAW DNG, and are competent if unspectacular — serviceable for social media use, but not the Aqua's primary selling point.

• Image and video quality score: 4/5

HoverAir Aqua: Testing scorecard

Should I buy the HoverAir Aqua?

Buy it if...

Don't buy it if...

HoverAir Aqua: also consider

How I tested the HoverAir Aqua

• Tested during SUP session and from dry land
• I tested various control methods and flight modes
• I captured both videos and photos

I was provided with a review sample of the Aqua well ahead of its global launch, which gave me time to test it over several sessions on the UK coast, mainly in hot, sunny conditions that were ideal for getting out on the water, if not entirely representative of the rougher seas and stronger winds that the Aqua may face in the hands of real-world buyers.

My primary test was a SUP session at the beach, during which I flew the Aqua using the SUP automated flight mode and assessed its tracking performance, framing and reliability in a real watersports context. I also flew it over dry land to evaluate its capabilities as a general-purpose drone. I tested the app-based manual controls, though I wasn't able to assess the Beacon twin-stick controller during the review period.

On the camera side, I captured footage using both the default color profile and the flat H-Log setting, grading the latter in post-production using DaVinci Resolve. I also ran through the Aqua's post-flight maintenance routine — including a fresh water rinse and dry-down after saltwater use — to evaluate the ownership demands of an aquatic drone.

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

Camp Snap CS-Pro: two-minute review

Forget your high-resolution mirrorless camera, your beautiful full-frame sensors — 2026 is the year of the cheap compact camera! Retro-styled, ultra-affordable cameras are back in a big way, following greatly exaggerated rumors of their death at the hands of the smartphone.

The original Camp Snap, released in 2023, was one of the big beneficiaries of this trend. A digital compact costing around $59 / £65, its USP was a feature that it didn't have – a screen. By removing the LCD, the camera evoked the feeling of shooting with an old film disposable — you literally could not see the images you'd taken until you downloaded them onto your computer, just as you couldn't see your images from a disposable until they came back from the development lab.

The Camp Snap CS-Pro, or Camp Snap Pro, is an upgrade of the original, adding a few improvements and gaining a refreshing visual makeover that calls to mind premium compacts like the Fujifilm X100VI. The core concept hasn't changed, though; it's still a screen-free digital compact camera, with a small sensor that's going to produce images that are almost certainly less detailed and high-quality than the ones produced by your phone. But if you're looking for top-notch quality, you are very much missing the point.

The guts of the camera are built around a 1/3.06-inch sensor with 16MP of resolution — double the pixel count of the 8MP original Camp Snap. This sensor is paired with a fixed-focus lens with an equivalent focal length of 22.5mm — nice and wide to fit plenty in the scene — and a fixed aperture of f/2.2. Just as with the original Camp Snap, there's nothing in the way of settings controls; you point, you shoot.

Well, not quite nothing. The CS-Pro adds a dial to its top plate, which provides access to a number of filmic looks. As well as the Standard (STD) look, you also have VTG-1 and VTG-2 ('VTG' meaning 'vintage'), which are stylized color filters that give your image a distinct and decidedly retro-style look. VTG-1 provides an overall warm tone, while VTG-2 pumps up blues and yellows for a hyper-saturated look (think Kodak Ultramax film). Finally, you have the monochrome 'B&W' dial.

So, it's not a reinvention of the Camp Snap wheel. Far from it. Having used the CS-Pro on a few photographic excursions over the past few weeks, I can safely say that if the original Camp Snap wasn't your cup of tea, the CS-Pro won't be either. The resolution upgrade adds a bit of detail and definition, but the small 1/3.06-inch sensor still limits its dynamic range and ability to handle contrasting light situations. It's going to get blown out of the water by even your smartphone, never mind a compact with a proper-sized sensor like the 1-inch chip in the new Panasonic Lumix TZ300 / ZS300.

But again, quality isn't the point. The Camp Snap was a knockabout hit of nostalgic fun for a generation raised on disposable film cameras and cheap digital compacts, and the CS-Pro is all those things too. Once again, the screen-free design serves to create a relaxed shooting experience, and adds a sense of anticipation that recalls the good old days of waiting for your film to come back from the chemist. And if some of your shots turn out to be a bit crap (and they will) — who cares? It's all part of the fun.

I'm glad that Camp Snap didn't let success go to its head and come out with too expensive a camera. By keeping its price to two figures, the CS-Pro sits firmly in the realm of fun, a camera so simple that a child can use it, but with enough retro charm and style to appeal to adults.

Camp Snap CS-Pro: price and availability

The CS-Pro is available from Camp Snap's website. Its initial launch price is $99 / £90 (around AU$180), but discounts are frequent — in the UK, at time of writing, it's currently sitting at £68. This is a little more expensive than the original Camp Snap, but not by much – Camp Snap are clearly aware that affordability is a big part of their camera's USP and aren't messing with it. This was the main mistake I felt the firm made with its Super 8-aping CS-8 video camera — at a starting price of $199 / £152, it was just a bit too expensive for a low-quality camera whose main attraction was its novelty factor.

Even with the slight uptick in price, the CS-Pro is one of the most affordable options in the retro-styled digital compact arena. It's cheaper than the more complex and sophisticated RewindPix, which offers a huge range of film-style filters via its app-based digital darkroom.

Camp Snap CS-Pro: design

• Styled after popular premium compacts like the Fujifilm X100
• All-plastic build, lightweight and doesn't feel too robust
• Point-and-shoot operation, with dial for selectable retro filters

As mentioned, the Camp Snap CS-Pro looks at first glance a lot like a premium retro compact in the Fujifilm X100 series, with its black body and silver trim. However, if you were to actually hold both cameras side by side, this illusion would fall apart very quickly. Fujifilm's cameras are gorgeous, all-metal things, their build reflecting their four-figure price tags. The CS-Pro, meanwhile, consists of nothing but plastic and more plastic. It feels cheap, because it is cheap, and doesn't even pull the RewindPix's trick of adding internal metal weights for a bit of extra heft.

Interface-wise, on the top plate you have just the shutter button and the dial with the selectable film filters, the latter of which also functions as the on/off switch. On the rear you have a simple LCD panel that provides a running shot counter — useful if you're a forgetful sort and aren't sure when you last offloaded your pictures.

Beside the screen, you may notice two rows of small holes — amusingly, these are actually for a speaker, which plays recorded stock sounds when the camera is turned off and on and when the shutter is fired. These tinny, generic 'clunks' sound like they were downloaded from a website with a name like 'freemidisoundfx.com', and for all I know they probably were. Unnecessary, but harmless — and you can turn them off.

In the bottom corner is a row of four LEDs which serve as battery indicators — and I must say, I've been shooting with the Camp Snap for weeks without charging it once, and my battery level is still very healthy. Camp Snap rates the battery to 500 shots, and I believe it.

In the top-left corner is the optical viewfinder. It's a tiny thing — a far cry from the big, lovely viewfinder on the RewindPix — and the fact that it's both above and to the left of the lens means what you see through it bears only a passing resemblance to what your captured image is going to look like.

On the front, beside the viewfinder, there's a flash. One of the common complaints about the original Camp Snap was the rather weak-beer effort of its piddly LED flash, and the manufacturer has compensated in spades by throwing in a powerful Xenon flash. I'll talk more about this in the next section, but for now it's worth noting that a switch on the front allows you to toggle it between 'Off', 'Auto' and 'Forced'.

Also, surprisingly, the lens on the front has a 37mm filter thread, meaning you can attach protective UV filters, NDs, polarisers or special-effects filters if you have them in the corresponding size. I'm going to be honest — I think the crossover between 'Camp Snap buyers' and 'lens-based filter enjoyers' is vanishingly small, and I find it hard to imagine many people using this feature. But I'm not complaining.

There are lugs for a strap, but no strap is included in the package — no pouch or case either, though Camp Snap did at least find room to pack in a USB-C cable for charging. The port is located on the bottom of the camera, along with a screw thread for mounting on a tripod, and a screwed-on panel that houses the built-in 4GB micro SD card, which you can unscrew to access directly if needed.

Camp Snap CS-Pro: performance

• Images are bright and punchy, but fine detail is lacking, and it can't handle high lighting contrast
• While fixed-focus lens makes operation easy, it can be creatively limiting, and there's no close-up ability
• Xenon flash is ludicrously overpowered — you can thankfully stick with the sensible 'Auto' setting

I'll say it straight out — I find my images from the CS-Pro to be very likeable. Are they high-quality? Absolutely not. They do not stand up to close scrutiny on a pixel level, and I would not make prints from them. But in good light, the CS-Pro produces images with bright, punchy colors — vivid blue skies, pleasant greens, and rich, golden sun.

The wide lens allows you to reliably fit plenty into the frame. Running a few shots helps you get used to finding the sweet spot of distance from your subject — being too close gets you a blurry mess. As a rule, if you're trying to capture an image of a specific object, animal or person, you want at least a meter's distance. Close-ups are a no-no, and you're not going to get creative effects like shallow depth of field.

The extra megapixels on the sensor has definitely improved matters compared to the original Camp Snap, with landscape-style images in particular looking much better thanks to greater detail for delineating distant subjects. However, the small size of the sensor means that dynamic range is still an Achilles' heel. Contrasty light situations are pretty much a no-go – you're all but guaranteed to get blown-out white highlights, or murky impenetrable shadows, or if you're really up against it, both. There's just a physical limit to the kinds of shooting situations the CS-Pro can handle.

However, one thing that can help matters here is the filter dial. Giving your images a retro glow with VTG-1 or VTG-2 can be a handy way to make a blown-out highlight look like an artistic choice, rather than a technological limitation. Indeed, I am generally a fan of the filter dial, even if I do think offering just three options other than the Standard look is rather tight-fisted.

VTG-1 is lovely and warm — great for sunny evenings. I can see it getting a lot of use in pub gardens and the like. VTG-2 is bright and saturated, giving your images just a bit more zing; like Kodak Ultramax, I'd take it to a day at the beach. And the B&W filter delivers a nice level of tonal contrast for moody monochrome, ideal for days when the weather is overcast and uninspiring. Dull light makes Camp Snap images very dull indeed, and the B&W filter is an excellent way to get around this.

As mentioned, a few more filters would have been nice by default — though there is a library of community-made filters to explore, as well as the option to create your own, so that does have the potential to extend the camera's lease on life. Camp Snap also sells its own downloadable add-on packs of filters, which goes some way to explain why there are so few to begin with.

I was excited by the idea of the Xenon flash, but having tested it out, I feel that a hammer is being used to crack a nut here. It is an incredibly powerful unit, much more powerful than the CS-Pro needs, frankly, and every time I have set it to the full-power 'Forced' mode, I have ended up with a blown-out, overexposed mess of an image. Thankfully, the 'Auto' mode does much better, providing balanced exposures that illuminate the subject well.

It also merits mentioning that the shooting experience of the CS-Pro is nice and brisk. One of the common complaints about the original Camp Snap was that it had some truly deleterious shutter lag. This has been corrected for the CS-Pro thanks to an upgraded processor. While there's no burst mode per se, I was able to fire off successive shots at a rate of about 1 per second — the only feature that fell behind, amusingly, was the artificial free-midi-download shutter-release noise. And I can live with that.

Should I buy the Camp Snap CS-Pro?

Buy it if...

Don't buy it if...

How I tested the Camp Snap CS-Pro

• I received a loan unit of the Camp Snap CS-Pro for testing
• I have taken it out on a number of photo excursions in London and on a short rural mini-break
• I’ve shot in variable light conditions throughout April and May, with a mixture of bright and overcast weather

So far, I've used the Camp Snap CS-Pro to capture more than 100 images, over a period of several weeks, during which time I took it on several days out in London as well as on a countryside mini-break in Gloucestershire, UK. The weather was quite variable during my time with the camera, though predominantly bright and sunny. I used the CS-Pro indoors and outdoors, and aimed to capture a broad range of subjects and situations.

First reviewed May 2026

Insta360 Mic Pro: one-minute review

The Insta360 Mic Pro is Insta360's flagship wireless microphone system, and it enters the crowded small wireless mic sector with two features that its rivals (most notably DJI) simply can't match: a customisable E-ink display on each transmitter, and a three-microphone array that uses digital signal processing (DSP) to simulate different polar pickup patterns.

The E-ink screen is the more immediately striking of the two. Via the Insta360 app, you can push any image you like to the circular 1.22-inch, 6-colour display and it'll stay there persistently, even when the transmitter is powered off. And unlike an OLED display, E-ink consumes power only when refreshing the image, not while showing it, which means it adds almost nothing to battery drain. It's a clever and well-executed idea.

The selectable polar patterns are perhaps more interesting in theory than they proved in practice during my testing. The Mic Pro's three-microphone array uses DSP to synthesise four distinct modes: omnidirectional, super-directional, cardioid and figure-8. These are not true multi-capsule configurations (they're digitally constructed from omnidirectional inputs) but the differences are real. In everyday use, though, I found myself leaving the mic in omnidirectional mode most of the time. Where the polar patterns become more useful is when you mount the Mic Pro on a camera's cold shoe and switch to cardioid or super-directional mode, turning it into a passable on-camera directional mic — something DJI's Mic series doesn't allow for.

Elsewhere, the Mic Pro's spec sheet impresses: there's 32-bit float internal recording, 32GB of onboard storage, NPU-powered AI noise cancellation, timecode sync, up to 400m wireless range, and impressive multi-channel flexibility with 4-to-1 and 2-to-4 configurations. That last one — distributing two transmitters to four receivers simultaneously — may be particularly valuable for multi-camera productions.

In my testing, the feature that impressed most was the noise cancellation. Tested against a running fan in my office, the Mic Pro's Strong noise cancelling setting completely eliminated the background drone, easily outperforming the DJI Mic 3 in the same conditions. There are some minor design caveats worth noting, but the Mic Pro's core audio credentials are excellent.

Insta360 Mic Pro: price and release date

• Launched May 19 2026
• Priced from $99.99 / £89 / AU$159.99 for single transmitter
• Available in three options

The Insta360 Mic Pro is available now in three configurations. The entry-level option (£89 / $99.99 / AU$159.99) gives you a single transmitter only, which makes sense if you're buying into the Insta360 camera ecosystem and/or connecting directly via Bluetooth, or recording on the transmitter's own internal storage. The middle-tier 1 TX + 1 RX bundle (£179 / $199.99 / AU$319.99) is the obvious choice for solo creators, while the full 2 TX + 1 RX kit (£279 / $329.99 / AU$529.99) adds a second transmitter and charging case for two-person setups.

For context, the DJI Mic 3, the Mic Pro's closest competitor, currently retails at £269 for the 2 TX + 1 RX bundle, making the Insta360 £10 more for broadly comparable headline specs, though with genuinely different feature sets.

Insta360 Mic Pro: specs

Insta360 Mic Pro: Design

• Transmitter's E-ink display can be customized
• Clip or magnetic attachment
• Receiver features small OLED screen

The Mic Pro transmitter is a small cylindrical puck 38mm in diameter and just 12.2mm tall with the E-ink display taking up one face entirely. It weighs 19.7g without its clip or button magnet attached, making it light enough to clip to a lapel without dragging on clothing.

That E-ink display is the first thing anyone will notice about the Mic Pro, and rightly so. At 1.22 inches with a 197 PPI resolution, it's sharp enough to render logos and text cleanly, and its six-color capability means branded graphics translate well. The persistent display could be a practical boon for multi-mic setups where visual identification of TX units matters – and because E-ink draws power only during refresh, it barely contributes to battery use. It's a well-thought-through implementation of a novel idea.

For mounting, the Mic Pro follows the now-familiar dual-approach used by DJI and others: a small clip for collars, caps and lapels, and a button magnet for direct attachment to thinner fabrics. The Mic Pro clip doubles as a cold shoe adapter that lets you mount the transmitter directly onto your mirrorless camera — effectively transforming it into an on-camera directional microphone when paired with the cardioid or super-directional pickup mode. As far as I'm aware, this isn't something DJI's Mic series supports, and it expands the Mic Pro's versatility for run-and-gun filmmakers.

The receiver is a conventional rectangular unit with a cold shoe clip, USB-C and 3.5mm outputs, and a small display for monitoring levels and settings. It's not especially compact by current standards (it will feel a little awkward when plugged into your smartphone, for instance), but it does the job.

The charging case is where things get a little more mixed. It looks smart, with a transparent front panel that shows you what's inside — two TX units, one RX, plus dedicated spaces for clips and magnets, and two smartphone adapters. My concern is a practical one: that transparent panel will attract fingerprints and may scuff with regular use. The hinged opening also took some getting used to; it's not quite as smooth or intuitive as DJI's case designs.

There are two other niggles worth mentioning. First, there's no dedicated space in the charging case for the 3.5mm audio cable — a small but irritating omission. Second, the Mic Pro's included windshields don't fit inside the charging case either, which means they (like the audio cable) will need to go in the carrying pouch instead. DJI's windshields fit neatly inside the Mic 3 and Mic Mini 2 cases, which is a design touch that makes a difference if you're packing light.

On the subject of what's in the box: as mentioned, a soft zip-up carry pouch is included, big enough to fit the charging case plus cables and windshields. It's a welcome inclusion. Less welcome, for those like myself using older iPhones, is the absence of a Lightning adapter as standard — though with Apple's transition to USB-C, it's hard to be too surprised that Insta360 has made the Lightning plug an optional extra.

Insta360 Mic Pro: Performance

• 10 hours battery life (transmitter), 11 hours battery life (receiver)
• Up to 400m range
• Superb two-level noise reduction

The Mic Pro's audio quality is superb. Recordings are clean and clear, with a 48kHz sampling frequency and 24-bit wireless transmission that's standard for the class. 32-bit float recording is also supported but as always with these kind of mics, it applies only to internal onboard recordings, not to the live wireless signal.

That said, those internal recordings — stored on the transmitter's 32GB onboard memory — could come in very useful for demanding content creators. 32-bit float means you can recover audio from unexpectedly loud events in post without clipping or distortion, and the available recording durations are generous: up to 44.8 hours of 32-bit mono, or 22.2 hours of 32-bit stereo. The stereo internal recording capability (available due to the transmitter's three-mic array) is also a nice touch for recording ambient soundscapes and ASMR-style captures, and unique to the Mic Pro in this category.

The four selectable polar patterns — omnidirectional, super-directional, cardioid and figure-8 — are generated by combining the inputs from three microphone capsules using DSP rather than using discrete capsules for each mode, and I found the results to be good but not transformative. The differences between modes are audible, but in most recording scenarios omnidirectional will serve you perfectly well. Where pattern selection becomes most valuable is in cold shoe mounting: in super-directional or cardioid mode, the Mic Pro functions as a credible on-camera directional mic, giving you a single piece of hardware that covers both lavalier and shotgun mic duties. It could be very handy for solo creators looking to reduce the amount of kit they have to carry around.

The noise cancellation is where the Mic Pro most clearly distinguishes itself from the competition on audio quality, however. The system offers two levels — Weak and Strong — driven by an onboard NPU. In my testing with a fan running continuously in my office, the Strong setting completely eliminated the noise, with no audible trace remaining in the recording. I tested the DJI Mic 3 in the same conditions and found it less effective; the Mic Pro's Strong mode outperformed it clearly. Weak mode also did a solid job, which is important because there are real-world situations in which Strong mode can't be activated (such as when you're recording without a receiver).

The Mic Pro can pair directly with Insta360 cameras including the X5, X4 Air, Ace Pro 2 and Go Ultra via Bluetooth, delivering 48kHz audio without a receiver. In theory, it's a good way to cut down on complexity for anyone who owns a recent Insta360 camera. In practice, however, I found that when testing with an Ace Pro 2, I couldn't access noise cancellation or adjust the Mic Pro's settings (apart from gain) through the camera menu. It's possible this will be addressed through firmware updates but at the time of writing, DJI's OsmoAudio ecosystem integration feels considerably more complete and polished.

The maximum range from transmitter to receiver is quoted at 400m in open conditions, matching the DJI Mic 3, and the battery life of 10 hours for the transmitter and 11 hours for the receiver should see through a full shooting day with ease. A five-minute fast charge delivers 1.5 hours of additional use, too.

Should I buy the Insta360 Mic Pro?

Buy it if…

Don’t buy it if…

Insta360 Mic Pro: also consider

How I tested the Insta360 Mic Pro

• One week of testing indoors and outdoors
• Connected to Panasonic Lumix GH6 and Insta360 Ace Pro 2
• Tested indoors and outdoors

I've had plenty of time to test the Mic Pro in a range of scenarios and configurations: indoors and outdoors, in noisy and quiet environments and paired with the Panasonic Lumix GH6 mirrorless camera and the Insta360 Ace Pro 2 action camera. I've been able to test it clipped it to my clothes as well as mounted on the GH6 like a shotgun mic, and I was also able to compare its performance and noise cancelling capabilities directly with those of the DJI Mic 3.

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

Sony A7R VI: Two-minute review

Highly-detailed images or blazing-fast performance — historically, you'd have to pick one or the other when choosing a camera. However, Sony has now given us both in one model — the A7R VI — and for me, it's the perfect mirrorless camera.

I've shot everything from detail-rich landscapes to fast-moving wildlife photography while testing the A7R VI, and it hasn't missed a beat. I've really appreciated the huge number of pixels I have to play with, which means that heavily cropping into images is entirely possible.

Its new 66.8MP stacked full-frame sensor resolves more detail than the sensor in the 50MP A1 II — Sony's previous flagship camera for quality and performance — and most of that camera's speed in terms of sensor readout.

I say 'most', because its readout speed is half that of the A1 II, and able to support autofocus up to 60fps, but it has certainly been sufficiently speedy for just about every scenario I've used it in. And rolling shutter distortion is minimized compared to the A7R VI's predecessor, the A7R V — I shot with both cameras at the same time in order to make direct performance comparisons.

Even better, the A7R VI costs £4,500 / AU$6,999, which seriously undercuts the pricier A1 II. Considering what the A7R VI can do, the A1 II feels somewhat redundant, especially when the speed-specialist A9 III is also on the scene for the likes of pro sports photographers who demand the absolute fastest performance.

Of course, that's still a decent chunk of anyone's money, and the A7R VI costs a lot more than the still-incredible A7R V, which has fallen in price since its launch in 2022, and is probably the better value pick if detail is all that matters to you.

However, given the upgrades here, which also include a new and higher-capacity battery type, the A7R VI's starting price feels justified. I've been reviewing cameras for 15 years, and I think Sony just made the first one that's perfect. I could happily dine out on its skills for many years to come.

Sony A7R VI: price and release date

• Announced on May 13 2026
• The body-only price is £4,500 / AU$6,999

Yes, the A7R VI'S £4,500 / AU$6,999 launch price is higher than that of the A7R V, which cost £4,000 / AU$5,499 on its announcement late in 2022, and which can now be had for around £3,000 / AU$4,799. That said, the A7R VI is more camera — it's not just a resolution king, but a speed demon too.

When you consider what the A7R VI is capable of versus the Sony A1 II, which costs more than £6,000 / AU$9,999, it feels like excellent value.

• Price score: 4.5/5

Sony A7R VI specs

Sony A7R VI: Design

• Still lightweight and small versus rival high-resolution full-frame cameras
• Rugged design and excellent ergonomics
• Touchscreen features a 4-way axis, the detailed EVF detail packs 9.44m dots

For recent models, Sony has made great strides in improving how its cameras handle, and how easy the menus and controls are to navigate. It's no longer the case that rival Canon and Nikon cameras are simply easier and more intuitive to use.

For starters, Sony has improved the design of the grip — on the A7R VI it's even bigger and more pronounced than before, no doubt to house the upgraded and physically larger new battery type which debuts here (more on this in the performance section).

The new bulb button on the camera's top plate illuminates key buttons in low light, making them easier to find in the dark, and there's a tally lamp for video recording. Each port sits behind its own rigid door, which when in use sits neatly out of the way. These are all lovely additions to what is otherwise a very similar design to the A7R V.

Like before, we get three control wheels for exposure adjustments (one of which is lockable), four custom buttons (though not one on the front of the camera, sadly), a grippy AF joystick and a four-way control dial which also includes drive mode and ISO shortcuts.

There's a neat 3.2-inch touchscreen with 4-way articulation, meaning the screen can be flipped out to the side and viewed at awkward angles, whether you're shooting in vertical or horizontal format. There's a highly detailed 9.44m-dot EVF, too, but this time it's a HDR DCI PW display which Sony says is 3x brighter than the one in the A7R V.

We get twin card slots again, and each slot accepts either an SD card or one of Sony's CFexpress Type A cards. Per gigabyte, CFexpress Type A cards are among the most expensive, more so than CFexpress Type B used in rival cameras. Of course you can use cheaper SD cards, but you'll want a CFexpress card to get the A7R VI's speediest performance for burst shooting and so on.

Naturally, with this being a pro body, the A7R VI is weather-resistant. I'm not in the habit of wrecking cameras, and certainly not review samples that I have to send back, but you can feel that the A7R VI is rugged too. The back-right control dial has a tiny bit of give, and could be a weak point, but it performed fine during my review.

If I was to have one criticism, it's that the camera body still feels a little cramped — many of the controls are small and tightly packed together. You'll also want a vertical grip when pairing the A7R VI with big lenses for better balance, such is its compact design. But overall, the A7R VI is as good a camera body as Sony has ever made.

• Design score: 5/5

Sony A7R VI: Performance

• The sensor is stacked with rapid readout speed, minimizing rolling shutter distortion
• A new higher-capacity NP-SA100 battery makes its debut
• Subject tracking autofocus performance further boosted with new chip

While the A7R VI's design is a minor upgrade, its performance reaches new levels thanks to a new 66.8MP stacked sensor, new Bionz XR 2 processor, combined processing and AI chip (as in the Sony A7 V), and an entirely new battery. Let's look at each of these in more detail, starting with the sensor.

Not only is the sensor the highest-resolution for the full-frame format at 66.8MP, it's a stacked sensor, which means a faster readout speeds, and a half-stop boost in image stabilization performance, now up to 8.5 stops.

Stacked sensors power everything from rapid autofocus speed to minimizing rolling shutter distortion. The A7R VI's is faster than the A7R V's regular 61MP sensor, but not quite as quick as the A1 II's 50MP stacked sensor, nor the A9 III's 24MP global shutter.

We also get a next-gen processor, the Bionz XR 2. Top features include 10fps burst shooting (mechanical shutter) for up to 535 frames in compressed RAW, and up to 30fps blackout-free (electronic shutter) for up to 150 shots — the latter is a three-second burst.

One of the buttons can be assigned as a burst-shooting boost, meaning you can tick over at, say, 10fps in using the electronic shutter and up this to 30fps when a key moment occurs.

Burst shooting is also supported by the pre-capture feature, where up to one second of shots can be buffered with the shutter half-pressed, before you fully press the shutter to engage a sequence.

Like in the A7 V, the A7R V combines the processing chip with the dedicated AI chip — the setup found in previous-generation cameras like the A7R V — into a single chip, for greater efficiency and power conservation, and for smarter autofocus and accurate auto white balance and color rendition.

In addition to a boost in the maximum possible length of burst shooting sequences before the camera slows up, there's an auto subject-detection mode this time around, which is very handy if you regularly switch between subject types, plus dedicated subject-tracking modes for as humans, birds, animals and vehicles, with the camera able to recognize head, eyes and even body shape (human pose), to intelligently understand where exactly to focus on, with a super impressive hit ratio of sharp shots.

I photographed a lot of birdlife, and found the bird detection autofocus super reliable, and even able to pick out subjects when they only took up a small portion of the frame. Those who like to use spot focusing will enjoy seeing the size options expanded, with new XL and XS options for wider or even more precise focusing.

And then there's the new battery, a NP-SA100 unit with 2,670mAh capacity. For Sony photographers, this one is a big deal — the first new battery for Sony mirrorless cameras in nine years, since the legendary NP-FZ100.

The new battery is physically larger and has a 17% bigger capacity than the NP-FZ100's 2,280mAh, which already delivered rival-beating power, so that's the good news.

The bad news is that the batteries are not forwards / backwards compatible. You can't use your stock of NP-FZ100 batteries in the A7R VI, nor can you use the new NP-SA100 in an older Sony camera.

Batteries, along with the continued use of Sony's own CFexpress Type A cards, are another potential costly extra, which will no doubt irritate some Sony fans keen on the A7R VI. I certainly enjoyed having two NP-SA100 batteries and a charging dock for long weekends of heavy shooting, and would personally factor that into a purchase. The bottom line, though, is that the new battery's life is better — and who wouldn't want that?

• Performance score: 5/5

Sony A7R VI: Image and video quality

• The highest-resolution full-frame sensor in a mirrorless camera, and it's a stacked type
• 66.8MP equates to 28MP with a 1.5x (APS-C) crop
• Dynamic range boosted by one stop to a class-leading 16 stops

The 'R' series of A7 cameras have always been about detail — delivering the highest-resolution stills that Sony cameras are capable of. And the A7R VI boosts the series further, from 61MP to 66.8MP, and this is achieved with a substantial boost in performance thanks to the stacked sensor.

There are some who would have preferred an even bigger boost in resolution over a boost in speed — there was a time when the A7R VI was rumored to come with a (regular) 100MP sensor. For me, however, as someone who photographs everything from landscapes to portraits and wildlife, I prefer the versatility of the A7R VI's sensor. It's basically perfect for my needs.

With a stacked sensor, there's a risk of some compromises in image quality, especially in low light. Thankfully, in the case of the A7R VI, the opposite is true, and dynamic range is further boosted from 15 stops to 16 stops.

I don't usually need 66.8MP stills, but being able to crop into such large files can be super handy. For example, I took a lot of bird photos, and even with Sony's 400-800mm lens, which is its longest telephoto lens, the tiny, distant subjects at times appeared small in the frame.

No problem: I could crop right in and still enjoy super-sharp detail. To give you an idea, the 1.5x (APS-C) crop mode is still 28MP, which is a huge file size. Employing that crop with the 400-800mm lens is effectively like having a 1200mm lens! This is where high-resolution cameras can be particularly helpful.

Color is also improved, with the subject-detection AI chip analyzing the scene for better auto white balance (AWB). For example, where older AWB systems might look at a lush green woodland scene and compensate with the opposing tone, resulting in an overly magenta hue, the A7R VI knows it's a woodland, or a person in the shade, and will select the right tone for the scene.

Video recording looks similar to the A7R V's going by the numbers: 8K up to 30fps and 4K up to 120fps, and still no open-gate recording, but the new stacked sensor minimizes rolling shutter distortion, making the A7R VI a better option for video than its predecessor. It's also equipped with more filmic color profiles.

• Image and video quality score: 5/5

Sony A7R VI: testing scorecard

Should I buy the Sony A7R VI?

Buy it if...

Don't buy it if...

Sony A7R VI: also consider

How I tested the Sony A7R VI

• Sony loaned me the A7R VI four weeks before it was announced
• I had four lenses to use with it, plus twin batteries and a charging dock
• I've taken photos and videos of a wide range of subjects to test key feature

I had the chance to test the Sony A7R VI for four weeks ahead of its announcement, and used it with four lenses: a small 24mm f/2.8 prime, the 28-70mm F2 GM, 70-200mm F4 G OSS II Macro and 400-800mm F6.3-8 telephoto zoom. I was also supplied with two batteries and the twin charging dock.

Given the camera's high-resolution stacked sensor and latest processor, which incorporates the previously separate AI chip, I wanted to test the camera's image quality and performance in a wide range of scenarios, which included landscape photography, wildlife photography, portraiture and more.

I also tested its burst-shooting skills, shooting in both the mechanical and electronic shutter modes, and noting how many photos the camera could capture before slowing up.

Sony also loaned me the A7R VI's predecessor, the A7R V, so I was able to make various performance comparisons, especially around high-speed photography.

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

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