• DJI has launched the Mic Mini 2S, the latest addition to its wireless mic lineup
• It features internal recording, a first for the line, plus support for four simultaneous transmitters
• Prices start at £79 / AU$149 — but there's no confirmed US launch yet

DJI has unveiled the Mic Mini 2S, a new wireless microphone system that arrives just months after the launch of the Mic Mini 2 — and brings some significant upgrades to the table.

The Mic Mini 2S is the first mini wireless mic from DJI with internal recording capabilities, expanding on the recently launched Mic Mini 2 for creators who need to reliably capture every audio detail in a compact, flexible form. The company says it's designed to handle everything from solo shoots to on-the-street interviews, podcasts, and multi-person productions.

The DJI Mic Mini 2S is available to order today, priced from £79 / AU$149 for the single transmitter and receiver bundle, or from £79 / AU$149 for the equivalent mobile receiver kit (1 TX + 1 Mobile RX + Charging Case). The full two-transmitter bundle (2 TX + 1 RX + Charging Case) costs £169 / AU$279.

A range of accessories is also up for grabs, including the transmitter on its own (£59 / AU$99), the charging case (£29 / AU$79), and the magnetic front cover sets (£19 / AU$35 for the multi-color set, £35 / AU$69 for the Victo Ngai-designed Time Series set).

DJI says the Mic Mini 2S won't be launching in the US for now, with regulatory authorization still pending. That's become par for the course for the brand, which has essentially been banned from selling new products in the US since the end of last year.

Having reviewed the Mic Mini 2 back in April, I can say the jump to the 2S looks like a far bigger step-up than the minor bump from the original Mic Mini to the Mini 2 was. So without further ado, let's look at what's new.

DJI Mic Mini 2S: everything that's new

1. Internal recording
Upgrades-wise, this one's the headliner. The Mic Mini 2S transmitter packs 16GB of onboard storage, enabling it to record up to 28 hours of audio without the need for a receiver or connected camera. It supports both 24-bit and 32-bit float recording (the higher demands of the latter trimming storage to around 22 hours). It's a feature the Mic Mini 2 doesn't have at all, and one I mentioned as a notable gap when I reviewed it.

2. Four transmitters, not two
The Mic Mini 2's receiver tops out at two simultaneous transmitters. The 2S doubles that to four, opening it up to podcast interviews, small-panel discussions and multi-person shoots without the need for extra hardware. It also adds a new Quadraphonic recording mode alongside the existing Mono, Stereo and Safety Track options.

3. AI-powered noise canceling
DJI has swapped the Mic Mini 2's “active” noise cancellation for an NPU-driven AI system, still offered across two levels (Basic and Strong). DJI claims both levels now deliver clearer vocals with less distortion than their equivalents on the Mic Mini 2.

4. Fast file transfers
The 2S's charging case can pull recorded audio straight off the transmitters at up to 34MB/s, which DJI says is roughly twice the speed of the flagship Mic 3. A 30-minute 24-bit recording reportedly transfers in a zippy eight seconds.

5. A redesigned charging case
The Mic Mini 2S's case now has room for two transmitters, a receiver, the mobile receiver, and a 3.5mm audio cable all at once — a combination the Mic Mini 2's case couldn't accommodate. Invaluable if you like to keep as much kit in one place as possible.

It's not a total win across the board, though. Battery life dips slightly on paper, according to DJI's spec sheet: it's 11 hours for the 2S transmitter and 10 hours for the receiver, versus 11.5 and 10.5 hours respectively on the Mic Mini 2, with total charging-case runtime down from 48 hours to 40. That's presumably the trade-off for fitting in the internal recording hardware, and while it's a fairly minor one, it's worth noting if all-day battery life matters more to you than onboard storage.

Elsewhere, lots of other stuff carries over unchanged: it comes with the same three voice tone presets (Regular, Bright, Rich), the same 400m maximum transmission range with the standard receiver, and the same direct OsmoAudio connection — now extended to the new Osmo Pocket 4P as well, and working with the likes of the Osmo Pocket 4, Osmo 360, Osmo Nano and Osmo Action 6.

DJI had confirmed that the Mic Mini 2S was on the way when it unveiled the Mic Mini 2 back in April, so its arrival isn't a huge surprise — but the scale of the upgrade is more substantial than I was expecting for what is still positioned as an entry-level product. I've been sent a review sample by DJI, so look out for my full Mic Mini 2S review very soon.

GoBirding Vision Master: One-minute review

Bird-spotting scopes have remained stubbornly analog for a very long time: you point some glass at a distant feathered friend, squint, and hope you remembered your spotter's guide. The GoBirding Vision Master Smart AI Spotting Scope, or the APL-ETF-M1 to give it its slightly snappier model name, wants to drag that experience kicking and screaming into the smartphone era.

It does so by squeezing a 4K camera, on-device AI bird identification and smartphone-friendly connectivity into a 30x optical zoom scope. It's certainly an ambitious concept; and after spending a few weeks testing it, I came away impressed in some ways and frustrated in others.

The build quality is a positive: the scope feels solid rather than plasticky, and the design manages to be fairly discreet too. At 932g with the tripod mount attached, it's not a lightweight in absolute terms, but it's manageable enough for a session in the field. The front and eyepiece caps, though, have an annoying habit of working themselves loose when the scope is packed away in a bag — worth knowing if you're the sort who likes to keep your gear spotless.

The headline feature — AI bird identification — works, but with caveats. GoBirding claims the M1 can ID over 1,500 species offline, and over 10,000 when connected to the internet via your smartphone, and in practice it correctly called out everything from common cormorants and herring gulls to species I hadn't heard of, like the water pipit. It's less confident with distant or backlit subjects, though, and it drew a blank on a peregrine falcon I spotted, likely because the bird was too well camouflaged against its perch for the system to extract enough detail; you need a clean, in-focus shot for reliable results, and that's not always easy to get.

Which brings me to the scope's chief weakness: autofocus. It's sluggish, and for fast or skittish birds, I found myself reaching for manual focus. It's a similar story with the image stabilization; GoBirding recommends a tripod over handheld use, and having tried both, I heartily agree. Mounted up, footage steadies out nicely; handheld, especially at higher magnifications, it completely fails to remain level.

Image quality itself is a mixed bag. 4K/30fps video looks reasonably sharp at native zoom, but push into the digital range beyond 30x and detail falls off fast. Colors also tend toward the oversaturated — skies in particular can look implausibly turquoise — and the bokeh has an odd, angular quality unlike anything I've seen from a superzoom camera, more chain-link fence than creamy blur.

The companion app is spotty too. Second-screening — letting someone else see what you're viewing through the scope on their phone — works well, and is genuinely useful for shared birding trips. But other features feel unfinished: the app never once managed to log my location correctly, defaulting instead to a spot on the equator, and it doesn't automatically record the time or place of AI-identified sightings, which feels like a missed opportunity given how central data-logging is to the scope's appeal.

Pricing, like a skittish sparrow, remains something of a moving target. GoBirding has confirmed an official retail price of $999, with Kickstarter backers able to secure an Early Bird unit for significantly less depending on tier; there will also be an as-yet-unspecified Super Early Bird VIP discount available too. The Kickstarter campaign is expected to arrive around August 20, with shipping to follow in batches after that — but I should caution that all of this remains subject to change.

GoBirding Vision Master: Price and availability

• Official retail price set to be $999 (about £750 / AU$1,450)
• Kickstarter Early Bird pricing from $649 (about £490 / AU$940)
• Kickstarter campaign expected to launch around August 20, 2026

The M1 isn't on sale yet. GoBirding's Kickstarter campaign is expected to launch around August 20, 2026, offering backers an Early Bird price from $649 to $699 depending on tier. That's well below the $999 official retail price, which will apply once the M1 reaches general sale. A further Super Early Bird VIP discount has also been promised, though GoBirding hasn't yet specified the terms.

GoBirding hasn't published official GBP or AUD pricing, so the conversions above are calculated at current exchange rates rather than confirmed figures. Production is reportedly already underway, with shipping to begin shortly after the Kickstarter campaign wraps and orders are confirmed. There's no word yet on wider retail availability beyond that, however.

At $999, the M1 sits close in price to premium bridge cameras like the Nikon Coolpix P1100, but well below high-end AI optics like the Swarovski AX Visio. My gut feeling is that it's a rather steep price to pay for a scope that doesn't feel completely finished in terms of features and has some image-quality issues, but given that there's not really anything else like it on the market, it's hard to say what something like this should cost.

GoBirding Vision Master: Specs

GoBirding Vision Master: Design

• Solid, weatherproof IP65 build
• Tripod-ready straight out of the box
• Weighs around 32.8oz / 930g

Picking up the M1, the first thing I noticed was the heft-to-size ratio — it's a dense, reassuringly solid object, rather than something that feels hollow or plasticky. The forest-green and gunmetal-grey colorway feels like an appropriate choice for a birding tool, and should blend into foliage far better than a garish action-cam-orange scope would.

The controls are nicely tactile and have a rubbery finish, which suits outdoor use: there's a push-pull zoom joystick (which can be tilted left and right to manually focus), a dedicated AI recognition button, and separate stills/video capture controls, and they're all operable by feel alone, which is helpful when you're trying to keep your eyes on a parakeet rather than the top of the scope. The eyepiece itself houses a 1080p micro-OLED display, is angled nicely for extended viewing sessions, and can be twisted to adjust focus. As a glasses wearer, I found it comfortable and easy to get a nice sharp view.

A pull-out rubber flap protects the microSD slot and USB-C port. I found that I wasn't able to transfer videos and images over to my MacBook Air via USB (the scope didn't show up as an openable drive in Finder) so I had to pop out the card, put it in a card reader and do it that way. Also, my sample didn't come with a microSD card, so you may need to buy one if you don't already have one going spare.

A tripod mount is attached to the underside, and given how much GoBirding leans on tripod use for its stabilization claims (more on that in the Performance section below), it's good that they haven't made you buy one separately or hunt for a compatible adapter. The mount can be removed by loosening a nut if you want to slim things down a bit and shoot handheld, but I kept it attached the whole time I was testing.

In the box you get a drawstring storage bag, a microfiber cleaning cloth, and protective push-on rubber caps for both the front element and the eyepiece. The caps are a nice idea in theory, but in practice they had an irritating habit of working themselves loose while the scope was in my backpack.

GoBirding Vision Master: Performance

• AI recognition impresses more often than it disappoints
• Autofocus is the scope's biggest let-down
• Image quality is solid in good light, shakier elsewhere

The M1's AI bird identification is simple to use — you just tap the AI button to toggle on a red box indicator, then center the bird within the box until the name appears on-screen — and mostly delivers on its promise. GoBirding claims 1,500 species identifiable offline and over 10,000 via the companion app, and across my testing it correctly called out common species like cormorants, rock pigeons and herring gulls, alongside less familiar ones — the water pipit, Caspian gull and great black-backed gull all got flagged, the latter two of which I'd wrongly assumed were regular herring gulls. I also tested it on a batch of still photos, and it was accurate the vast majority of the time, with only the occasional misidentification.

It's not infallible, though. The system needs a clean, sharply-focused subject to work with, so extreme-range or backlit birds (reduced to little more than silhouettes) routinely trip it up. It also failed to recognize a peregrine falcon I spotted perched on a distant church tower, most likely due to both the range and because its plumage blended in too well with the stonework for the AI to extract meaningful detail.

Autofocus isn't a strong point. It's noticeably sluggish and inaccurate, and for anything fast-moving or skittish I found manual focus the faster and more reliable option. Combine that with image stabilization that GoBirding itself admits works best with a tripod, and handheld shooting at higher magnifications becomes frustrating. Mounted up, footage steadies out nicely, but when you're shooting freehand, especially at the long end of that zoom range, you'll struggle to keep it level. Even when using a tripod, I found it almost impossible to get steady footage at 120x zoom.

Image quality is a mixed bag, and here the small 1/2.7-inch CMOS sensor is a limiting factor throughout. In good light, 4K/30fps footage and 8MP stills at native zoom look reasonably crisp, but push into the digital zoom range beyond 30x and detail falls away quickly, as you'd expect from a sensor this size.

Colors also look oversaturated by default — skies in particular can be implausibly turquoise — and bokeh has an odd, angular character, more chain-link fence than the smooth, attractive background blur you'd get from a larger-sensor camera.

Should you buy the GoBirding Vision Master?

Buy it if...

Don't buy it if...

Also consider

How I tested the GoBirding Vision Master

• Tested over several weeks in several locations including a country park, the seafront, and a local churchyard
• Shot in a range of light conditions during the UK summer
• Tested handheld and tripod-mounted

I spent several weeks testing a review sample of the GoBirding Vision Master supplied to me by the manufacturers, across a range of locations near my home, aiming to put its birding-specific features through their paces in the kind of everyday settings a typical user would actually experience.

A local country park with a birding hide, and my town's seafront gave me a good mix of woodland, marshland and open-water species to test the AI recognition on. A nearby churchyard, home to a resident family of peregrine falcons, gave me the chance to test the M1 against a truly challenging subject: a stealthy bird of prey that spends much of its time perched high and partially obscured.

Across all locations, I tested both handheld and tripod-mounted use. I used the on-device AI identification extensively in the field, and separately tested it against a batch of still photos to assess accuracy outside of live conditions.

All shooting was carried out during a hot, dry summer spell, so while I can vouch for the M1's performance in strong sunlight, I wasn't able to test its weatherproofing in wet or cold weather.

First reviewed July 2026

• AirPods with cameras are apparently still coming...
• ... but the next model, due in 2026, won't have them
• In truth, little is known about these new buds (which is how Apple likes it)

For some reason, Apple fans are clamoring for new AirPods with cameras built in, and we've been hearing plenty of rumors that they're on the way. But a new report suggests they won't actually be the next Apple earbuds we see.

According to stalwart Apple correspondent Mark Gurman (via his Power On newsletter), Apple has two AirPods models on the go.

The flagship ice-white buds we've been reporting on are set to have tiny AI cameras — and Gurman has now backed up rumors of their being slated for a 2027 release.

But some models are expected in 2026: Gurman mentions another pair of buds (with a lot less known about them) that are likely to come along the 2026 iPhones at the end of the year.

The coverage doesn't specify whether these are AirPods, AirPods Pro or even over-ears, but the latter seem unlikely, because the AirPods Max 2 are only a few months old.

Could it be a possible Beats release? TechRadar's Jacob Krol recently spent a few days at Apple's Beats HQ and pressed the highly successful Apple subsidiary brand on some much teased Beats headphones, spotted on various occasions at the World Cup recently, but the company remained tight-lipped on those.

For now, we'll have to wait and see.

Are cameras worth the wait?

Questions concerning whether AirPods with cameras would even work aside, Apple faces the question — given the recent backlash over glasses that see — over whether most buyers would even want that.

The point of the tech is, apparently, to let an AI assistant see what's going on around you. The hardware is part of a big AI push Apple is undergoing.

That's despite consumers' appetite for AI dropping as fast as companies' desperation for AI increases. I don't see many AirPods buyers opting for a new pair of earbuds without a genuine reason they'd be useful (and no, smarter Siri doesn't count), especially if their whole schtick is that they're always spying on you.

Often when we see a tech product delayed, it's because it's just not ready yet. But with the camera-toting AirPods, it's more likely that we're not ready yet... or maybe we just don't need them.

• New accessory for Luna Ultra synchronizes the camera with the user's head movement
• POV Head Tracker simplifies shooting hands-free first-person footage
• It costs $69.99 / £67.99 / AU$115.99

Do you ever shoot first-person-view (FPV) video content? Well, Insta360 has a new accessory that's designed to simplify the whole experience: the POV Head Tracker. And it might just tempt you to switch to the Luna Ultra.

The coin-sized 0.2oz / 6.4g device connects to the Luna Ultra compact vlogging camera over Bluetooth and, once paired, it synchronizes the camera with your head movement in real time, for what Insta360 says is "immersive POV footage".

It's designed to completely free up your hands, but goes one step further than a simple chest mount by synchronizing head and camera movement, so you shouldn't have to worry at all about composing the shot.

To me, the POV Head Tracker sounded like a dream accessory for shooting video solo — so I had to try it out for myself.

A game-changing accessory?

The IPX4-certified device measures just 1.0 x 1.0 x 0.5 inches and comes in a hard0shell USB-C battery case along with an ear mount, strap, clip, adhesive mount and motion adapter. It has has a 7-hour battery life — enough for a full day of shooting.

Insta360 also sent me a neck mount that's designed to hold the Luna Ultra. With the camera slotted into the neck mount and the POV Head Tracker in the supplied ear mount — which is right ear-only — I gave the combo a spin to see if it delivers on its lofty promises.

Setup takes a few seconds, via a simple device calibrate process: you look straight ahead for three seconds, then look straight down for three seconds. Done.

Once the devices are paired and calibrated, you control which way the camera points simply by where you look. Doing a hands-on product review? Look down at the product. Doing a travel vlog and the point of interest is off to the left? Look left. It really is that simple.

It really was like the camera was my second pair of eyes — and it's the biggest nod so far to Insta360 founder and CEO Liu Jingkang's 'photography robot' vision, which I spoke to both him and Insta360 about.

Is the POV Head Tracker perfect? I'm not so sure. It appears as though you can't use Insta360's Mic Pro simultaneously via Bluetooth, plus I found the tracker strayed off sync a little, and that slight difference was highlighted when employing the Luna Ultra's tighter 3x telephoto camera rather than the ultra-wide.

I needed to recalibrate the device from time to time (which can also be done by looking straight ahead and then double-tapping the Luna Ultra's button that recenters the camera).

Still, that's where the camera's detachable LCD screen module came in handy — you can leave the camera on the neck strap over your chest, but view what the camera sees on the detached module, for example if you do need to recalibrate or zoom.

The Luna Ultra with POV Head Tracker felt like a camera setup from the future. A future where people walk around with discreet cameras strapped to their chests, recording what they're looking at. Whether you want that future or not is another matter; but for now Insta360's new accessory feels like a revolutionary device.

It's another form of camera intelligence akin to the Luna Ultra's subject-tracking skills which, when combined with the detachable module, is like having a cameraperson filming you. These smart features make life for solo creators so much simpler, and broaden the range of shots possible.

The POV Head Tracker costs $69.99 / £67.99 / AU$115.99 while the Luna Ultra Neck Mount costs $24.99 / £23.99 / AU$39.99.

DJI Osmo Pocket 4P: One-minute review

The Pocket 4P marks a big moment in DJI’s hugely popular series of compact vlogging cameras, being the first model with two lenses, even if Insta360 stole its thunder with the Luna Ultra, which it released in June.

I’ve already reviewed the single-lens Pocket 4, and it’s a brilliant handheld 4K camera. The ‘P’ version is largely identical but for its dual-lens array and a ‘refined’ 1-inch sensor that's equipped with LOFIC tech, plus a new D-Log 2 color profile.

For the most part, you can discover all you need to know about the Pocket 4P's design and performance in my Pocket 4 review. In this write-up, I'll focus on the new features of the bulkier model, and the real difference they make.

And I can say this right now: now that I’ve tried the Pocket 4P, it’ll be hard for me to return to single-lens models like the Pocket 4. That additional 3x telephoto lens unleashes a wide variety of shooting options to complement the highly capable ultra-wide main camera. On-the-go sequences with DJI's superb subject tracking in play, for example, can be particularly dynamic. It really is like having two cameras in one tiny device.

That being said, there is an inevitable design compromise: twin lenses make for a bulkier camera unit, with inexplicably no protective housing currently available, and a top-heavy design. If you already own a Pocket, and are wondering if the new Pocket 4P is worth it, or if it’s worth jumping ship from DJI to the Insta360 Luna Ultra, check out my Pocket 4 vs Luna Ultra article.

For me, the first-generation Luna Ultra is a compelling alternative with its 8K video and detachable module, but I can also tell that the Pocket 4P is a fourth-generation product — it feels more polished overall. It has neat accessories of its own, too, such as the magnetic fill light and remote module. As such, DJI's dual-lens Pocket 4P is now my top compact vlogging-camera pick.

DJI Osmo Pocket 4P: price and release date

• Announced on May 14 2026 at Cannes Film Festival, available from July 30
• Available in black or white versions, priced from £529 / AU$959. No US availability at launch
• Variety of bundles available, including a Vlog Combo kit for £605 / AU$1,099

Despite essentially having no competition in markets such as drones and, previously, gimbal vlogging cameras, DJI has always priced its products competitively. It usually undercuts rivals where actual alternatives exist, too, such as GoPro and Insta360 action cameras.

Insta360 outright said it wasn’t going to compete on price, but rather on features when speaking about its Luna Ultra, and that has turned out to be the case. Where the Luna Ultra starts at $770 / £650 / AU$1,230, the Pocket 4P comes in at £529 / AU$959 — though it's not available in the US at launch. Meanwhile, the single-lens Pocket 4 costs from £429 / AU$749.

Considering that the Pocket 4P has the extra camera with its own sensor, that price increase over the Pocket 4 feels completely justified, and in my book the Pocket 4P is excellent value, especially when you consider the quality of the 4K video footage it's able to produce.

The Pocket 4P is available in Black or White versions, and there are bundles available. The Vlog Combo, for example, includes the DJI Mic 2 Mini wireless mic, remote controller, fill light, tripod stand and tripod grip, and costs £605 / AU$1,099 — that's the bundle I'd go for.

• Price score: 5/5

DJI Osmo Pocket 4P: specs

DJI Osmo Pocket 4P: Design

• Dual 20mm f/2.0 and 60mm f/1.8 lenses
• Otherwise the same design as the Pocket 4, with rotating screen and gimbal-mounted camera
• USB-C charging and 107GB of internal storage in addition to micro SD

Save for the bulkier dual-camera system and a total weight of 8.1oz / 230g, the Pocket 4P’s design is identical to the Pocket 4; it’s extremely compact, features a 2-inch touchscreen which rotates 90 degrees between vertical and horizontal formats, and a customizable five-button array, with a joystick that controls gimbal movement or zoom.

The extra two buttons, revealed when the screen is rotated to horizontal, help speed up access to various settings. For example, the C button can be assigned for direct access to two custom profiles — handy if you regularly switch between, say, color settings such as D-Log and shooting modes such as slow motion.

It certainly pays dividends to spend time customizing the camera to suit how you use it, so that you’re not fussing with settings when you're out and about.

For me, the single-lens Pocket 4 feels perfectly balanced, and it’s notably smaller than Insta360’s Luna cameras. The 4P, however, somewhat sacrifices that advantage on the alter of dual-camera versatility — it’s a little top-heavy, and I found it more comfortable to use with a tripod grip and mini tripod attached. The Luna Ultra feels more balanced because its handle is bulkier (see the Pocket 4 / 4P / Luna Ultra comparison photos, below).

Gimbal movement still feels smooth, and the shots steady and smooth, despite the extra weight of the cameras.

At launch there's no hard-shell protective case for the Pocket 4P, as there is for the Pocket 3, nor a slimline gimbal protector, like you get with the Pocket 4. This means the bulkier camera module remains somewhat unprotected, which is something DJI needs to be rectify ASAP.

There are also no dedicated ND filter kits from DJI at launch, though I fully expect that situation to change very soon through third parties (it might even have done so by the time you read this).

As with the Pocket 4, there’s the fill-light accessory, which attaches magnetically to the gimbal’s arm and is powered by the camera, and which lets you choose between three brightness levels and three color temperatures.

The light won’t make much of a difference to your images in bright daylight, but in low light and for indoors, it’s game changing for vlogging. I found the warm setting at the medium brightness level was a sweet spot for the times I wanted to use the light.

Then there’s the tiny remote control, borrowed from the Osmo Mobile 8P. This easily connects to the Pocket 4P over Bluetooth, and can be used to remotely view and control the camera. It’s a neat answer to Insta360’s modular controller in its Luna cameras, though the DJI module doesn’t feature a built-in mic, as Insta360’s does.

For occasions when you're taking hands-free shots with the Pocket 4P rested on a surface or support, the remote controller is super-handy. The controls are slightly stripped back versus the camera’s control layout, but the key controls, such as touch subject-tracking, record, and gimbal movement / zoom are there.

• 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

A major feature in Pocket cameras is subject-tracking autofocus. You really don’t want to be messing around moving the gimbal manually with the joystick, which can be fiddly and jerky. Thankfully, subject tracking, the latest version of which DJI calls ‘ActiveTrack 7.0’, is super-reliable — you double-tap on the subject, and the camera does the rest. For me, it performs slightly better than Insta360 Luna’s tracking, even if it does at times feel like its ‘keeping up’ with fast-moving subjects rather than keeping them central.

Battery life is solid, though you will notice it drop quicker with certain modes, such as 4K 60fps video recording, hyperlapse, and slow-motion 240fps. The camera also gets pretty warm pretty quickly when using these modes, though I’ve not had it overheat and shut down during my testing.

With compact vlogging cameras such as the Pocket series, the battery is non-removable, so you are relying on that USB-C rechargeable internal unit. I found myself conscious of having to charge the camera on heavy use days — that’s life with a Pocket. There is, however, an optional battery grip available to extend shot life.

In addition to a microSD card slot, DJI includes a generous 107GB of built-in storage. That’s enough for a lot of 4K clips, even when utilizing the maximum 200Mbps bit rate.

Recording internally, you'll need to transfer files either over Wi-Fi or wired USB-C. Thankfully, there’s next-gen Wi-Fi 6 and USB 3.1 support on board, delivering fast transfer speeds and making for an efficient workflow on the move.

As with other Pockets, the 4P can get a little warm when you're using its more power-hungry features, such as 4K 60fps and hyperlapse. I've not had any overheating issues to the point where the camera shuts down, but I was aware of the camera warming up while holding it.

• Performance score: 5/5

DJI Osmo Pocket 4: Image and video quality

• 1-inch sensor ultra-wide camera, and a new 3x telephoto, up to 12x zoom
• D-Log2 profile with up 17EV dynamic range
• Low-light further boosts the improved 14 stops dynamic range

There is one minor difference between the Pocket 4P and Pocket 4’s ultra-wide 20mm f/2.0 camera: the ‘refined’ 1-inch sensor, which unleashes a new log color profile, D-Log 2.

DJI says the refined sensor features LOFIC tech — which in simple terms is like super HDR, only it works in real time, which differs to HDR. I first came across the term LOFIC when reviewing the Oppo Find X9 Ultra phone.

The fruit of LOFIC and D-Log 2 is an expanded 17 stops of dynamic range, while the regular Log profile has around 14 stops. D-Log 2 is only available with the ultra-wide camera because it’s linked to the sensor tech, whereas the new 3x telephoto camera uses a separate 1/1.28-inch sensor.

D-Log 2 also isn’t available in every shooting mode, such as Slow Motion 240fps, although like the Pocket 4, that 10x slo-mo is available in 4K, or up to 200fps when using the 3x telephoto camera.

I’ve shot the same clips in D-Log 2, D-Log and ‘Normal’ color profiles (all 10-bit) to make quality comparisons, especially regarding dynamic range, and to see how easy it is to grade the footage for a consistent look. I’ve also shot using some of the built-in color profiles, such as ‘NC film’ and ‘Movie’.

The level of detail that the Pocket 4P is able to hold, especially in D-Log 2, is majorly impressive, especially for such a small and affordable camera. For me, outright 4K image quality is where DJI has the edge over Insta360, and most leading smartphones.

Is D-Log2 enough reason to upgrade from the Pocket 4? Not for me, but there is a more compelling reason: the second camera. The 60mm f/1.8 telephoto optic is essentially a 3x portrait lens, with a pleasant shallow depth of field for upper-body vlogging and shooting closeup details. It’s limited to D-Log or Normal color profiles, but the overall quality is really, really nice, and the footage gives a totally different perspective to the ultra-wide camera's.

Where that 3x lens really shines is when it’s coupled with some of the Pocket 4P’s major features, such as active tracking. With the tighter perspective, creative camera movements tracking a subject on the move can look particularly dynamic, especially where there are other objects in the foreground.

The zoom capabilities are further extended — where the Pocket 4 was limited to a 2x lossless zoom and 4x digital zoom, the Pocket 4P again has the 2x lossless zoom with the ultra-wide lens, plus 6x lossless with the telephoto lens and up to a 12x digital zoom.

The quality of that 12x zoom is okay at a pinch, but if quality is your main concern, I wouldn’t go beyond the 6x setting.

I don’t like the way the heavier dual-camera setup impacts how the camera feels in the hand, but it’s a game-changing feature for this type of camera, and for me it now feels impossible to return to the single-lens format.

The Luna Ultra goes one step further for resolution, with 8K video recording. Personally, I’m happy with a camera that is limited to 4K recording, but whose quality at this resolution, especially regarding dynamic range and color, is more pleasing on the eye. That's the Pocket 4P.

• Image and video quality score: 5/5

DJI Osmo Pocket 4P: testing scorecard

Should I buy the DJI Osmo Pocket 4P?

Buy it if...

Don't buy it if...

DJI Osmo Pocket 4P: also consider

How I tested the DJI Osmo Pocket 4P

• DJI loaned me the Pocket 4P Vlog Combo kit for a couple of months ahead of the July 30 release
• I shot plenty of 4K footage with the various color profiles, and used the various accessories
• I compared it to the single-lens Pocket 4 and dual-lens Insta360 Luna Ultra

I used the DJI Pocket 4P for almost two months ahead of my review embargo, during which time I regularly shot 4K video using the 20mm and 60mm lenses, the various frame rates up to 240fps, and the range of color profiles, including the new D-Log2. I tried the various shooting modes too, such as hyperlapse, and took photos in the regular and SuperPhoto modes.

In the Vlog Combo kit was a DJI Mini 2 Mini, remote module and fill light, and I tested both those accessories. I generally recorded onto the camera's internal memory, transferred files through USB-C and checked transfer times, ran the camera battery down, and checked recharge times using the supplied USB-C cable.

During my review period I also had the Pocket 4, enabling me to assess the key differences between the single- and dual-lens models. I also had the rival Insta360 Luna Ultra, again allowing me to make direct comparisons.

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

Insta360 founder and CEO Liu Jingkang, aka 'JK', recently shared a potentially controversial post on Chinese social media platform Weibo, which translated reads:

“Our product vision is to build a ‘Cameraman’ — an intelligent photography robot capable of automatically composing shots and capturing moments like a professional photographer, allowing users to remain fully immersed in the present.

"Today, AI is rapidly evolving, we believe the Cameraman’s 'brain' is becoming increasingly capable, unlocking new possibilities for creative imaging.

"In the long term, the ideal end state for cameras is to progressively become imperceptible, even to ‘disappear,’ until recording no longer consumes effort and becomes a natural part of life.”

As a concerned photographer (and as a concerned human being) I wrote a response to that post, and asked Insta360 for comment.

JK provided me with a statement addressing my concerns and elaborating on his vision, and he and Insta360 also answered a number of specific questions I put to them about the company's potentially game-changing plans for its future cameras.

Below you'll find JK's response, followed by my interview with JK and an Insta360 spokesperson.

JK's response: I’ve always believed imaging serves three fundamental human needs: to record, to share, and to create.

AI will undoubtedly reshape parts of this industry, especially in sharing and commercial creation. But when it comes to recording our lives, I believe there is a line AI cannot cross. Technology can make tools easier to use, but it cannot replace the human qualities behind truly meaningful work — judgment, emotion, taste, and the creative energy that come from lived experience.

For me, a photo I take of my daughter’s smile is priceless not because of technical perfection, but because I was there. I felt that moment. AI can generate, enhance, and imitate, but it cannot experience life on our behalf.

Human beings are the measure of all things. You should not hand over experiences that ought to belong to you to algorithms and machines.

So when we talk about the future of the camera, we are not talking about replacing people. We are talking about building tools that help people capture life more freely, more naturally, and with less friction. The future is not about making machines more human — it is about helping humans be more present, more creative, and more themselves.

The interview

TC: What does this 'cameraman' look like? Is it one entity or multiple products?

JK: For us, the future cameraman is a product vision rather than a single device.

Insta360: The core idea is to create a camera that can automatically compose shots, capture key moments, and produce finished content for the user, so people can stay fully immersed in the moment without missing what matters.

When you’re traveling or watching a live event, you often end up holding up a phone the entire time and looking at the screen instead of the experience itself. Our long-term vision is for the camera to work more like a professional photographer: you stay present, and it helps take care of the filming for you.

We’re still exploring what the ideal form factor looks like, so in the near term there won’t be one final ultimate product. But we’re already bringing elements of that vision into existing products. For example, Luna Ultra's POV head tracker enables a more seamless, almost invisible shooting experience, and we see that as an important early form of the future cameraman.

TC: Are we to take it that the 'intelligent photography robot' will be fully automated and independent?

Insta360: First, it’s important to clarify that the future cameraman doesn’t mean a humanoid robot. It’s a product concept and a long-term vision for how cameras should evolve.

The idea is to free users from complicated operation so they can be truly present in the moment while still getting professional-looking results. In that sense, the camera starts to play more of the role of a photographer. Imagine a family outing where the system can automatically frame, capture, edit, and output content end-to-end, without someone constantly needing to manage the device.

That said, this isn’t about a camera acting independently without the user. It’s about highly intelligent operation under user direction, intent, and control. The camera should be able to automate far more of the process, including recording comprehensively when the user wants it to, but always within boundaries set by the user. Our goal is for the experience to feel effortless and natural — even to the point where the camera becomes almost imperceptible in everyday life.

TC: Can you describe the composing, shooting and editing functionalities?

Insta360: To build the future cameraman, a camera needs to do three things well: see, understand, and act.

First, it needs to see more of the world. That’s one reason 360 imaging matters so much to us. A traditional camera captures only a narrow frame, while a 360 camera captures the full scene. That gives both the user and the AI much more context, reduces the risk of missing important moments, and creates a stronger foundation for tracking, reframing, and scene understanding.

Second, it needs spatial intelligence. The camera has to understand depth, motion, orientation, and what’s happening in the environment — not just record pixels, but actually interpret the scene.

Third, it needs to act in real time. That means tracking subjects, stabilizing footage, composing shots, predicting movement, and eventually making smarter filming decisions automatically based on the user’s intent. If it can’t respond instantly, it doesn’t really behave like a cameraman.

JK: The cameraman sits at the intersection of sensing, on-device AI, and computational imaging. The goal is for the camera to stop being just a recording tool and start becoming an active creative partner.

TC: Could you unpack a specific future feature being explored that leads Insta360's camera to being an 'active creative partner'?

Insta360: When we talk about an ‘active creative partner,’ we mean an intelligent imaging solution that better understands the scene and helps users capture it more intelligently. In dynamic environments, it can keep up with subjects with less user intervention, so people can stay focused on the moment while the camera handles more of the technical work.

To support that vision, we’ve already built a strong technical foundation, including panoramic generation and a panoramic metric depth model. We’ve already open-sourced these technologies for the industry, and they have potential applications not only in 360 cameras, but in other products and fields as well.

TC: How is the 'cameraman' different from existing cameras and Insta360 models?

Insta360: Insta360 already has some of the foundational capabilities needed for the future cameraman. Features like AI stitching, FlowState stabilization, subject tracking, reframing, auto-editing, and on-device image processing are all part of the camera’s evolution toward more intelligent and autonomous capture. That said, today’s products are still early versions of what that fully realized experience could become.

We’ve spent years building deep expertise in 360 imaging, and that gives us a strong foundation in spatial intelligence. Compared with a traditional camera that records only a single frame, 360 imaging data provides a complete field of view and continuous spatial context. Combined with our work in spatial modeling and generative intelligence, that helps AI move from simply “seeing” the world toward actually understanding it.

That’s a key difference in how we think about the future of imaging. And going forward, we’ll continue investing in areas like panoramic depth estimation, world models, and autonomous follow systems.

TC: What's the timescale for this 'cameraman'?

Insta360: This is a long-term vision, and we expect to realize it through continuous product iteration over time. Rather than arriving all at once in a single product, we see it developing step by step as the underlying technologies mature and become ready for real-world use.

TC: Does this 'cameraman' record autonomously? If so, couldn't that be a privacy concern?

Insta360: This is one of the most important questions in the age of AI hardware. Our view is that future intelligent imaging devices should be able to automate recording much more deeply — even to the point of capturing everything the user wants preserved — but always under the user’s authorization and control.

The core idea behind cameraman is not uncontrolled, limitless recording. It’s about turning the camera from a manually operated tool into an intelligent companion that understands what the user wants to capture and helps do that more effectively. That may require environmental awareness and autonomous recording when the user explicitly enables them, but those capabilities should always be bounded by clear user intent, permissions, and controls.

In other words, autonomy is important, but user agency is essential. We believe that’s the right balance for the future of intelligent imaging.

TC: Does Insta360 envision the system ultimately replacing professional content creators, or is the vision aimed at consumers?

Insta360: No — this is not about replacing photographers, videographers, or creators. It is mainly about helping consumers capture moments more easily, with less friction and less fear of missing the shot.

For professionals, we see these capabilities as assistive tools, not substitutes for human creativity. Great photography and filmmaking still depend on judgment, storytelling, taste, and human connection. Our goal is to reduce technical friction in capture, not replace the creator behind the camera.

The right side of the line?

It remains to be seen just how autonomous Insta360 cameras could become, but Insta360's response somewhat allays my fears about where its camera tech could be heading. And I get the logic — the ease of use and streamlined workflow of Insta360's consumer cameras in particular, which include leading 360-degree and vlogging cameras, are integral to their success.

Cameras such as the Insta360 X5, and Insta360's companion app are already packed with smart tools that make 360-degree video content easier to capture and edit. So, thinking ahead, why make the process unnecessarily difficult for the sake of user agency, when an intelligent camera knows which direction to point in?

Why pour over lengthy 360-degree video clips to manually piece together an edit, when AI knows where the best action is happening and can suggest / make the edit for you?

It's this intersection of human creativity and automated AI tools where we might start to see more intelligent functions assisting users in shooting, editing and sharing, freeing them up to "be more present" as JK puts it, rather than being bogged down with camera operation. And if any company is in the position to advance this kind of intelligent camera tech, it's Insta360.

The analog resurgence has been one of the biggest tech trends of 2026 after making a slow comeback last year.

Whether you’ve made the switch from a smartwatch to a Casio or you’re taking a trip down memory lane with your old iPod, more users are reverting to analog devices to escape brain-rotting algorithms and indulge in nostalgia. The same goes for the best compact cameras — and Lola is one of the next emerging brands to embrace this simplicity.

In October 2024, Lola launched its flagship $109/ £79/ AU$159 camera, a compact device that leans into early Y2K digital photography but with smartphone connectivity features. The camera was a response to the rising lo-fi tech craze, gaining exponential traction among Gen-Z users, and I grew increasingly curious.

Retro tech has become quite a prominent theme in my life at the moment. Recently I ditched Spotify and spent some time with the Miko cassette player by Gadhouse, but coming across the Lola camera online unlocked memories of my childhood I’d completely forgotten about.

I haven’t used a digital camera for the best part of 15 years, so it was time for a reunion.

A tiny camera, but a big first impression

For the past few weeks, the Lola camera has lived inside my everyday bag, and I used it at every opportunity I could — but I will never forget how I felt when I first took it out of the box.

First of all, the camera is absolutely tiny with dimensions of 3.75" x 0.75" x 2.25" and a weight of 0.5lbs (approximately 225 grams). I can’t remember if that’s always been the standard size for a digital camera, but I felt like a giant holding it in my hands. That said, it’s a handy pocket-sized device with a simple design to go with it.

Just like your average point-and-shoot camera, Lola has a built-in flash, supports SD cards, and packs an array of 19 fun effects, as well as 9 scene modes including Party, Beach, Night, & Portrait. One of the biggest differences is its USB-C charging port, which also comes in handy for transferring images to your smartphone.

Lola has numerous editions of its digital camera, including a cute Betty Boop-themed version and one in a clear shell finish that lets you see the inner workings of the camera. I quite like the stripped-back standard silver version because it’s minimal, but can still turn heads.

Then it was time to put the pedal to the metal.

Classic, but with a twist

Overall, Lola is a camera that’s bound to satisfy casual users who want to revert to a compact smartphone alternative for snapping images and creating memories. It’s great for taking photos to fill up a scrapbook or for your next Instagram photo dump, but it’s not one for established photographers who want crisp results. If anything, it’s for those who want to embrace imperfection.

Going into it, I knew that it wasn’t going to give picture-perfect results like professional cameras, but I developed a quick admiration for it as a beginner-friendly device. While its 8MP resolution is low by modern standards, it’s more than enough in this case, producing clear-looking images with a soft lo-fi finish that looks more authentic than a retro smartphone app filter — particularly for outdoor shots.

I found taking photos outside much easier than taking photos indoors, and for the most part, the camera adapts very well to natural environments. In some cases, however, it can be quite sensitive to sunlight, resulting in harsh, overexposed spills in the images.

This can be fixed with a few minor tweaks in the settings, and they don’t require a lot of photography knowledge. All I did was bring the exposure down to -1, increase the ISO to 100, and enable the Daylight preset in the White Balance setting. You can see the difference it made in the images below.

While these amendments made a big difference, it does mean that some parts of your image will appear darker than others in order to balance out the harshness of the light. In the second image, you can see the footpath and trees are slightly darker, but the grass patch in the background isn’t as overexposed, so for me it’s not too much of a setback.

But another feature that caught my eye was Lola’s surprising x20 digital zoom, which goes further than you think. Of course, the further you zoom in, the more crunchy your image will turn out, but zooming roughly halfway to two-thirds in is great for spotlighting the finer details of architecture and infrastructure, or for framing subjects in an entirely different way.

Lola takes everything you loved about your 2006 digital camera and puts it back into a refreshed device, but this is the 2020s, and the company is fully aware of your social media-posting intentions. This is where the SD card adapter comes in handy.

One of the biggest pain points I found with digital cameras 15 years ago was the importing process, which usually required a laptop or computer to transfer your images, since smartphones weren't as advanced as they are now. Admittedly, I was probably just too lazy to do this.

With the Lola camera, all you have to do is insert the SD card into the adapter, which goes into your phone’s charging port. You can then select the images you want to import right from your camera roll, and they’re imported in seconds, making it a lot easier to share them with your friends. For me, this was the icing on the cake.

Digital photography is timeless

There’s a handful of elements with the Lola camera that could do with some improvement (mainly its sensitivity), but for a $100 digital camera I think it has solid value for casual users. But beyond that, reverting to a digital camera removed the obsession with the finer details, evoking a deeper appreciation for being in the moment.

Sure, you can add effects and filters on the camera, but you can’t fine-tune individual settings such as saturation, contrast, shadows, and highlights on the device itself. That way, you have no choice but to embrace the realness and humanity of capturing what's before you.

I recently attended a bridal fitting for one of my closest friends, and instead of using my phone, I captured everything with Lola (I haven’t shared the images for obvious reasons). Though these photos have since been imported to my iPhone gallery, they stand out differently because I know how they were taken, and I look back at them filled with the same feelings of excitement from that day.

Simple, effective, and raw at its core, I’m going forward with a new attitude to memory-making. For some reason, somehow you remember the joy of each moment more vividly.

Earlier this year, I had the pleasure of attending the Sony World Photography Awards (SWPA) 2026. During the evening ceremony where this year's victors were announced, I met Will Burrard-Lucas, an award-winning wildlife photographer whose work I was already familiar with.

Burrard-Lucas took home another award that night, the SWPA 2026 wildlife and nature category, with a series of photos of a rhino, giraffe, elephants and more in Kenya's Maasai Mara National Reserve, captured with remotely-triggered Canon DSLRs. He filled in the blanks for me on how he created these photos — and you can read that interview in full.

He used his self-developed infrared camera 'traps', which can wirelessly connect to a pro-grade camera — Burrard Lucas actually recommends old DSLRs — and trigger the shutter when motion is detected, and which are available on his own website.

These sophisticated devices are called Camtraptions, and their automated function sounded much more appealing than my prior rudimentary setups for garden wildlife photography, which required a lot of involvement on my part that I didn't necessarily have the time or patience for.

And so, I cheekily requested to try out these Camtraptions devices for myself, and Burrard-Lucas happily obliged, sending me a full kit that I planned to test in my garden at home. Could I photograph next-level garden wildlife photos with this newfound setup? I'm here to share my experience.

What is a 'Camtraptions' camera trap sensor and how does it work?

Cameras that use infrared to detect motion and in turn take photos or videos, remotely capturing the action, are nothing new. Two popular examples are budget trail cams and bird feeder cams, and you're not short of choices for either type.

The problem with these convenient devices is the quality they produce; they tend to take JPEG photos just 2-3MB in size and HD video, using a tiny imaging sensor through a sub par lens. In short, they are highly convenient, but image quality is poor. These rugged devices are designed to be left on location for long periods for monitoring purposes — but no serious photographer would prize the quality of the photos they take.

For high-quality and intimate images of wildlife fit for photo contests, that you simply couldn't capture in person, a Camtraptions Passive Infrared (PIR) device with reliable remote capture, paired with a pro camera, could be the ticket.

Burrard-Lucas actually recommends old DSLRs when photographing wildlife remotely using his Camtraptions PIR devices, because he tends to leave the camera on location for months at a time, and these cameras represent a sensible cost to quality ratio. They also work reliably with flash.

There are plenty of great value secondhand options at leading retailers such as MPB (UK) and Adorama (US), but I already had my own Nikon D800 in mind — a 36MP full-frame model from 2012 that I hadn't used for over two years.

The Camtraptions device loaned to me uses infrared to detect motion and wirelessly trigger the camera using its built in transmitter. You simply connect a separate Camtraptions receiver unit to the camera and sync the pair on the same channel. There are detailed manuals on the Camtraptions site — the one I needed being a full 85 pages!

Camtraptions have been developed over years and the most recent is the V4, which is packed with handy features; near and far infrared range options, doors that can narrow the otherwise wide scan area to a focused spot, multiple frames per second triggering and so on.

Ultimately, I breathed new life into my otherwise out of action Nikon D800 and F-mount lenses, setting it up on location in my garden over warm, rainless summer months, in the hope of capturing garden wildlife photos otherwise not easily possible.

My first test — daytime bird photography

I started out with the simplest setup of all; my tripod-mounted Nikon DSLR with 70-200mm f/2.8 lens and the Camtraption device on another tripod. They were a few feet apart, both pointing at an old branch I had collected, which was baited with bird seed.

Because birds are fast moving creatures, I selected a 1/500sec shutter speed, f/9 aperture for sufficient depth of field with the full-frame sensor and 200mm focal length, and auto ISO with a maximum ISO 3200 sensitivity to cover daylight and dawn / dusk. I dialled in -0.7EV exposure compensation, and otherwise left the camera to calculate exposure with that -0.7EV latitude for keeping highlight detail on a bird's bright plumage in sunkissed scenes — better to brighten an image later than suffer highlight clipping.

I placed the setup in a spot of my wild garden that I know is already popular with birds, and I kid you not, a few hours later, having carried on with my day job writing camera articles like this, I returned to the camera to find dozens and dozens of perfectly composed shots of the common birds that frequent my garden — I've added some of my favorites, below, including some moodier shots at dusk.

Besides setting up the scene and the gear, I had no involvement, and came away with multiple keepers. This was too easy, so I gave myself a trickier challenge; nighttime garden wildlife.

My second experiment — nighttime with flash

Deer, foxes and badgers visit my rural garden from time to time, especially in the quiet and nighttime hours. My Birdfy Bird Bath Pro inadvertently recorded a deer munching on a bush in the background at first light one morning, while I recently saw a badger scuttle across my driveway as I pulled in late at night. However, I've never got even close to photographing these creatures.

The first challenge was one pretty much out of my control; knowing where to place the camera and Camtraptions gear. That's because there were no signs of regularly trodden trails, gaps in foliage or dug up routes underneath fencing where I could be confident of capturing the action. No, I had to hedge my bets, and our garden is wild and fairly open.

I opted for visualizing and composing the shot I wanted — a narrow opening between bamboo, where I hoped that wildlife would walk through — and added a little incentive of the culinary persuasion (badgers love peanut butter).

Next challenge was a technical one; lighting. Setting up the gear for the twilight and evening hours outside of bright daylight meant I needed to rely on flash. Flashguns can be purchased at the Camtraptions site, along with the compatible wireless receivers. (Camtraptions wireless receivers and transmitters effectively work in the same way as regular flash triggers from other brands, and are competitively priced.)

So, this nighttime version was more complex than my previous setup, adding two tripod-mounted flashguns each fitted with remote receivers, plus a remote transmitter to the camera which is already fitted with a receiver to accept the signal from the Camptraptions device. It's a chain of command: Camptraptions camera trap sensor transmits to camera which transmits to flash guns.

That's a lot of batteries, by the way, and I needed to splash out for additional ones before I could get started. Each wireless receiver / transmitter required 2x AAA batteries, the flashguns 4x AA batteries each, while the Camtraptions camera trap sensor took 6x AA batteries in a custom FZ casing (but which is compatible with various Sony FZ batteries). In total, I had 22 rechargeable batteries on the go.

Exposure is slightly more complicated, too. I set the camera to 1/200sec — the top speed I could use for synchronizing flash and camera, and the minimum I would want to freeze the action fully — the aperture to f/10, and ISO to Auto with a maximum ISO 3200 given the age of my camera and it's relative poor low light performance. If trying this type of setup out for yourself, do check your own camera's max flash sync speed.

Then in situ in the garden, I took the time to photograph a test subject (me) to ensure the flash power and camera exposure settings were nicely matched for punchy results with a little bit of background detail, as opposed to a fully black background. In this case, the ideal setting was a manual 1/32 strength for the front flash, and 1/64 strength for the rear flash.

I used a wider angle lens than my prior test — a 35mm f/1.4 optic — given I was hoping to photograph larger creatures, and I wanted a closeup wide-angle look that I've rarely achieved, rather than a distant telephoto position. I tweaked composition and so on and lined up the Camtraptions device with its doors narrowed in order to trigger the camera once a creature had walked into a specific part of the frame.

That's the beauty with remote trigger photography — you spend your efforts composing a beautiful shot by visualizing it ahead of time, helped by the Camtraptions camera trap sensor's fine-tuned range. The hard work is put in before, rather than reacting to a moment. Sure, I'd rather the rush of seeing an animal first hand and that feeling of pressing the shutter, but this new technique didn't feel so different — the rush comes later when you revisit the camera to see what you've photographed.

I eagerly returned to the camera after night one, hit the playback button and...a handful of wild rabbit photos appeared. Although I didn't manage to photograph any of the larger mammals that I had hoped for, the technical quality was there — good lighting and rich detail (see below).

That's not bad for my first night with an automated camera setup, and of course I tried again, especially since I could leave the camera gear in situ — it was no extra effort on my part.

I rechecked the battery life of the camera, flashguns and Camptraptions device (which were still full), walked into the Camtraption's infrared scan area to check all the devices were still communicating, and sure enough the camera fired off some shots with both flash guns, so all good on that front, and then left the devices for another night.

More rabbits. Not that I'm complaining. I was going to need patience, but when you have an automated setup like this, time is on your side. And at that rate, I estimated that battery life on the devices would be good for around a month.

I fiddled about with some bamboo cuttings to disguise the camera gear a little better, and with no rain forecast for the following couple of weeks I left the devices be. Of course, for wet weather I would need to protect the gear from the elements, even with rudimentary solutions such as clear plastic bags and cable ties (through which the flashguns would still work fine).

I haven't got the photo I hoped for yet, but I'm confident that I will. And if anything else, I've breathed new life into my old Nikon DSLR gear. The quality of the photos I already have is streets above a regular trail cam, and the basic costs of the setup is pretty reasonable. I might have just found my next photography obsession.

We'd love to hear from you

Burrard-Lucas' Camptraptions gear combined with DSLR camera gear and all the necessary supports and power sources is pretty pricey compared to a regular cheap trail cam, but you're getting reliable gear and professional results fit for a portfolio and, with the right environment and subject, potentially even contest worthy. In that respect, I think it's excellent value.

On that note, I'd love to hear from you — have you had any joy photographing garden wildlife photography? How did you get the pictures that you're happy with? You can share your experiences in the comments section.

• Canon registered three cameras with the wireless certification agency, indicating three more cameras will come soon
• Rumors suggest we’ll see an EOS R7 Mark II, an EOS R10 Mark II and an EOS R8 Mark II
• The EOS R8 Mark II may well be a retro-styled tribute to the analog AE-1, which turns 50 this year

The first half of 2026 was pretty dry for camera releases, but as we enter the second half of the year, manufacturers have been making up for lost time. Canon in particular looks like it’s going to have a busy back half of the year, with not one, not two, but three new EOS R mirrorless cameras setting the rumor mill alight.

It should be stressed that currently this is all unconfirmed — we don’t know that Canon is going to release anything. But Canon has registered three new cameras with the wireless certification agency, which is generally the point that you know that something is coming very soon. And reporting by the oft reliable Canon Rumors indicates that Canon is updating three of its most popular EOS R cameras, and one in particular looks like a very exciting prospect indeed.

And if that weren’t enough, we’re also potentially due a new PowerShot compact, with Canon looking to capitalize on the success of its phenomenally popular PowerShot G7 X Mark III compact. But we’ve more details on the mirrorless side of things, so let’s take a closer look at what could be coming…

Canon EOS R8 II — could it be the digital AE-1 we’re all hoping for?

Rumors indicate that Canon’s lightweight full-frame EOS R8 is likely to get a successor in mid-September. As that camera is now more than three years old, this is about the time we might expect an update to come along. However, the really exciting news is that the new version may be an entirely new prospect — a retro-styled Canon AE-1 throwback that fans have been begging the company to make for years.

There have been rumors for quite some time that Canon is working on a retro-styled digital camera, just like Nikon did with its Zf, and given that this year marks the 50th anniversary of the AE-1, a legendary film SLR beloved by amateur photographers for its streamlined controls and ease of use, it makes sense that this could be the year.

The rumored specs for the EOS R8 II are that it’ll use a 32.5MP full-frame sensor, 40fps burst shooting via the electronic shutter, in-body image stabilization, oversampled 4K video and two UHS-II SD card slots. Pretty much what you’d expect for a mid-range full-frame camera.

I’ll be interested to see if the retro styling is purely cosmetic — it might even be the case that Canon releases a ‘standard’ EOS R8 Mark II version as well as the retro-tinged variant — or if it has any bearing on how the camera operates. There’s nothing in the rumor mill to suggest this, but personally, I think it would be smart for Canon to dip its toe into film-style looks for images, similar to Fujifilm’s Film Simulations or Panasonic’s in-camera Real Time LUTs.

Yes, Canon has its ‘Picture Styles’, but let’s be honest: nobody uses them, and they don’t have the cool factor of Fujifilm’s Film Simulations. I’d love to see Canon throw its weight into some really crisp, dynamic, analog-style looks for shooters who want great-looking JPEGs straight out of camera. And come on — there will never be a better opportunity to debut them than in a digital AE-1!

Canon EOS R7 II — let’s see a stacked APS-C sensor!

Also on the rumored docket is an update to the Canon EOS R7, a mid-range APS-C mirrorless camera that arrived in 2022. The original EOS R7 was something of a speedster, with burst speeds of 15fps with the mechanical shutter and up to 30fps with the electronic. And if rumors are correct, Canon might be doubling down on this by giving the EOS R7 II a stacked sensor design.

This would be the first stacked APS-C sensor for Canon’s lineup — indeed, currently the only APS-C camera with a stacked sensor is the Fujifilm X-H2S. A stacked sensor design moves the circuitry to the rear for faster readout, enabling higher burst speeds, superior autofocus tracking and blackout-free viewfinder shooting.

Considering that the EOS R7 was already an impressively speedy shooter, a stacked sensor design would push a mark II to pretty impressive heights — we could see autofocus and speed-shooting performance on par with professional or serious enthusiast cameras. Rumors also indicate that the sensor resolution might be upped to 39MP, from 32.5MP on the original EOS R7.

Canon EOS R10 II — the new beginner mirrorless to beat?

Rumors also indicate that we’ll see an update to Canon’s popular beginner model, the EOS R10, in the form of the EOS R10 Mark II. Details are very thin on the ground for this one, beyond the fact that it is on its way and due in the latter half of 2026. This is also likely to be the first of the new models we see.

The Canon EOS R10 has been a huge seller for Canon since its release in 2022 alongside the EOS R7. It’s not the cheapest in the EOS R lineup, with both the EOS R50 and the EOS R100 coming in under its price, but it’s a pretty affordable camera, with a lightweight build, intelligent autofocus and reliably solid image quality.

Personally, I doubt the boat will be rocked much here. Were I a betting person, I’d say that we’d expect to see improvements in the subject-recognition autofocus, more sustained burst speeds with a deeper buffer (the original EOS R10 could shoot at 15fps, but not for very long), and perhaps a nudge-up of resolution from 24.2MP to 32.5MP, so as to better distinguish the EOS R10 from its cheaper siblings.

What do you make of Canon's rumored upcoming models? Have your say in the comments below.

Fancy taking to the skies? DJI is the brand you're probably looking at — it's the name behind almost all the best drones around right now. If you're new to the world of drones, figuring out your options is tricky. This article is here to guide you through your options. I'll run through the main DJI ranges and who they're aimed at, and then once you've narrowed things down you can hop to the relevant section to read our reviews for each model. Let's get started...

Note: You'll only be able to see product cards for the models currently available to buy in your region. Due to FCC issues, not all DJI drones are available in the US. Hit the More details button to read our main takeaways for each model, and for a link to the full review.

DJI range guide

DJI Mini
DJI's flagship compact drones, and the best-selling range for beginner pilots. These are all sub-250g models, which means they come with little-to-no flight restrictions, depending on where you fly.
• Check out the Mini lineup

DJI Air
A step up from the Mini series, aimed at enthusiasts. These drones fall into the next weight category up, which means they're sturdier and you'll be able to fly for longer, but you'll need your region's equivalent of a certificate of competency before you fly.
• Check out the DJI Air lineup

DJI Mavic
Top-tier consumer drones with industry-leading camera performance. These are another step up from the DJI Air range, and again you'll need a certificate of competency before you fly.
• Check out the DJI Mavic lineup

DJI Neo
The cheapest, smallest, lightest and simplest DJI drone. It comes with single-push take-off from your hand, designed for aerial selfies (this kind of drone is sometimes referred to as a selfie drone).
• Check out the DJI Neo lineup

DJI Avata
FPV (first person view) drones, designed to be used with goggles for immersive high-speed and responsive flight — legally you need a 'spotter' with you when flying drones through goggles.
• Check out the DJI Avata lineup

There are a few standalone options to be aware of. The Lito is a straightforward beginner drone at an extremely wallet-friendly price — it's a step down from the Mini range in both price and capabilities. The DJI Flip is another beginner drone with vlogger-friendly features. At the other end of the scale is the DJI Inspire range, aimed at professionals — the kind of thing that might be hired for productions.

DJI Mini drones

DJI Mavic drones

DJI Air drones

DJI Neo drones

DJI Avata drones

Outliers

In my work, my absolute favorite days are the ones where I just get to take pictures. I’m testing a new camera or a new film stock, and so I’ve got nothing on the agenda other than heading to some locations that are beautiful or interesting (or, ideally, both) and capturing images of them. At the end of the day I’m normally tired, sweaty, have new blisters on my feet — and feel fantastic.

But those days are quite rare. Often I’m consumed with other things, the nitty-gritty of writing, work, life-admin and everything else. Trying to be more efficient, for money and time reasons, means that I tend to do my photography in big infrequent chunks — and some research I’ve seen is making me reconsider that approach.

The benefits of a regular photography habit for mental health are well-documented. British photo retailer MPB, in announcing its partnership with mental-health charity Mind, points to a study in the peer-reviewed journal Health which finds that taking a photo every day provides tangible benefits in terms of mental well-being.

British photographer, broadcaster and passionate nature advocate Chris Packham is a huge believer in the power of photography to effect a positive mental change. ‘Photography has always been a conscious way of addressing chronic or specific mental health issues in my life,’ he says.

‘When I'm peering down the lens, I'm so engrossed in the objective, so intensely involved with the technical and creative process, that the rest of the world vanishes. It's just me and the photo. The exterior anxieties are relegated to oblivion, and I get maximal relief.’

‘For me, photography is a key part of a portfolio of tried and tested therapies which consistently enhance positive mental health outcomes.’

And it’s not just taking photos! Even the simple act of viewing them can have a positive effect. MPB also cites a 2024 survey undertaken by Fujifilm, in which 80% of respondents reported that viewing old photos brought them feelings of happiness and calm, and helped to reduce anxiety.

Building a daily habit

I'm grateful to MPB and Mind for making me think more mindfully about how I engage with photography. It's also worth noting that the retailer is putting its money where its mouth is, and donating £1 to Mind for every item bought or sold on its marketplace this August, working towards its goal of £50,000 a year for the charity.

The campaign has got me thinking that I’m missing out on the mindful benefits of a daily (or near-daily) picture-taking habit. When I’m using my camera, I’m not looking at my phone. I’m not even thinking about the cursed thing; it’s normally in my backpack. I think this could be of much greater mental benefit if I were doing it regularly for shorter sessions.

Our cameras editor Tim Coleman tried screen-free photography for a week and found it made him feel more immersed and connected with his shooting. Even when using a digital camera, it felt like a digital detox — something that people frequently say they want more of!

So if you, like me, tend to plan your photo-taking around long days that you only get to enjoy every so often — it might be worth thinking about ways you can incorporate a more frequent habit, too.

Bringing the camera on a walk to the station to capture details of your local community. Building a twenty-minute walk into your lunch break to see what sights unfold around you. It won’t just benefit your photography, but could also have a real, positive, tangible impact on your mental well-being.

• New Sony FX5 is the successor to the FX3 compact cinema camera
• A raft of upgrades include a new sensor, processor, battery and open gate recording
• Pricing starts at £4,700 / AU$7,849 and availability is from August

The industry's most popular compact cinema camera, the Sony FX3 from 2021, just got a huge upgrade. And having shot multiple productions with this very camera, I can tell you now that its successor, the new FX5, is going to be a big hit.

Last year I drafted in a pro filmmaker who I've worked with on many shoots to share the 5 upgrades he most wanted to see in a FX3 mark II, a camera that we now know is actually called the FX5, and almost every one of his wishes has been granted — and there are other improvements too.

Sony has finally included open gate video recording for the first time, meaning users can take advantage of the full height and width of the all-new 16.6MP stacked full-frame sensor's 3:2 aspect ratio, rather than being restricted to 16:9 or narrower like before.

That new sensor brings a welcome resolution increase from the FX3's 12MP, and open gate bumps up video resolution from 4K to 5K. Frame rates have been upped to 120fps in 5K and up to 240fps in 4K, too, so slow-motion recording is well catered for.

There's now internal 16-bit RAW recording, meaning no external monitor is needed for this high-quality format, plus a triple-base ISO, and A7R VI-grade in-body image stabilization.

In fact, every major feature has been upgraded from the FX3. We also get the same Bionz XR2 twin processor and AI chip as the new Sony A7R VI, which delivers enhanced subject-tracking autofocus, and what Sony says is better low-light performance.

The FX5's form factor is largely similar to the FX3, and at 750g it's only 35g heavier. There are still multiple on-body mounting points and custom buttons, but there's now a chunkier handgrip which houses Sony's latest and higher-capacity NP-SA100 battery, which was introduced in the A7R VI and increases battery life by approximately 30% for approximately 170 minutes of 5K recording.

The FX5 also inherits the same video-only UI as Sony's high-end cinema cameras, the Venice, Burano and FX6, and gets several design tweaks, including a multi-function dial as on the Venice, as well as a multi selector (joystick) and a tally lamp.

False color, waveform, vector and focus map video monitoring tools have all been added — which is a first for a Sony camera at this level — in addition to the existing histogram, zebra, and peaking tools.

Sounds amazing, so what's the catch?

It's not all good news, mind you. The FX5's dual card slots are still designed to take SD and Sony's exclusive CFexpress Type A cards, rather than Type B. A word of warning here: if you don't already own some Type A cards, they cost a bomb.

And on the note of cost, prices for the video-only FX5 start at £4,700 / AU$7,849. That's the body-only price, while the bundle with the new top handle costs £5,200 / AU$8,849 (available separately for £780 / AU$1,099). I'll update this page with US pricing once I have it.

I expect most folks ready to splash the cash on the FX5 will opt for the handle bundle, withwhich they will gain 32-bit float audio recording.

There's also a new 7.07m-dot tilt OLED viewfinder, which looks particularly neat, even if it costs £650 / AU$999 and can't be used at the same time as the top handle, despite having its own port alongside the hotshoe.

The camera and accessories will be available from August, with the option to (irreversibly) disable in-body image stabilization ahead of purchase.

Not all of the aforementioned FX5 features will be ready to go, either. Sony says the following will only be available after a V2 firmware update: 4K240p, 5K120p, vertical UI, screen-grab function and Open Gate in XAVC codec. The timing of this firmware update is TBC.

Still, I expect the Sony FX5 to become a mainstay across low-budget productions. It delivers all of the upgrades that FX3 users wanted and more, and I can't wait to test it out on set.

Insta360 is the major player in all-seeing 360-degree cameras and is no stranger to innovation, also incubating the first 360-degree drone in 2025, the Antigravity A1.

In another first, Insta360 recently released a dual-lens compact vlogging camera, the Luna Ultra, which is a Wall-E robot lookalike that shoots 8K video, with neat detachable remote screen and mic.

And if a recent post on Weibo by its founder and CEO Liu Jingkang, aka 'JK', is to be taken at face value, the company wants to lead us into a new era of camera altogether.

The Weibo post by JK was picked up by The New Camera and after translation reads:

“Our product vision is to build a ‘Cameraman’ — an intelligent photography robot capable of automatically composing shots and capturing moments like a professional photographer, allowing users to remain fully immersed in the present.

"Today, AI is rapidly evolving, we believe the Cameraman’s 'brain' is becoming increasingly capable, unlocking new possibilities for creative imaging.

"In the long term, the ideal end state for cameras is to progressively become imperceptible, even to ‘disappear,’ until recording no longer consumes effort and becomes a natural part of life.”

The Luna Ultra already resembles a robot and there's a POV head tracker accessory available that synchronizes the camera with your head movement to film where you are looking, somewhat automating its function.

Insta360 hopes fans further caricaturize the Luna Ultra's robot-like features through a design challenge contest with Bambu Lab, too. But as a photographer and, frankly, a human being, JK's post raises some serious questions for me.

Isn't photography a creative, human pursuit?

JK's post implies that his company's future camera gear could be autonomous photography 'robots' that can compose, shoot and edit photos and videos on the fly, with little to no human involvement.

It sounds like having your own intelligent cameraperson and editor — a portable 'photography robot' much more sophisticated than the recent Beni camera robot — that follows you and is able to capture the moment as you enjoy it and piece together the best parts into a reel, with the entire workflow reliant on AI.

This imagined future might actually sound better than the current reality, to be honest: one where people walk around camera in hand, filming themselves front and center, rather than being in the moment.

And certainly when you're dealing with 360-degree clips, an intelligent editor which can suggest where the action is at any moment and piece together the edit appropriately for you is a huge time saver.

For Insta360 gear specifically, JK's vision for autonomous, intelligent cameras kind of makes sense. But as a photographer and creative, I find the idea of a 'robot' doing the job for me somewhat life sucking. It's the latter part of JK's post, however, that concerns me more.

Is it really OK to record everything?

JK's post describes an 'end state for cameras' being progressively 'imperceptible' and 'a natural part of life'. In other words, roaming cameras that the public eventually gets used to, recording anything and everything. So what about consent?

Discreet camera tech is already causing privacy concerns, with a growing backlash to wearable cameras especially Meta's Ray-Ban smart glasses, after it was discovered that modders could disable the light which indicates that the glasses are recording, and a fix had to be put in place.

Cameras are already commonplace in public, especially tourist hotspots. But for the most they are controlled by people with a general sense of what is and what isn't ok to photograph or record. And when someone crosses the line, it's at least possible to request they stop filming. But in Insta360's imagined future? Autonomous robots filming everything sounds like a privacy nightmare.

I've asked Insta360 for comment and clarification on the post, specifically what exactly an intelligent photography robot looks like, and how the company will address any related privacy issues, and will report back if I get further information.

• Prototype drone spins its entire body up to 25 times per second to blur itself into near-invisibility
• Phantom Twist's single motor spins the whole airframe in one direction and its propeller in the other
• AI design pipeline tested 20,000 possible layouts to find the optimal configuration

Drones have a visibility problem. Whether they're filming guests at a wedding or hunting for candid shots of nesting birds, the moment a drone is noticed, it can change the behavior of whatever it's observing — wildlife scatters, people act differently, and you end up with iffy results.

A team of engineers at Illinois' Northwestern University may have found a way around that, and it has nothing to do with camouflage. Their prototype drone, dubbed "Phantom Twist," doesn't try to look like its surroundings. Instead, it spins itself into a blur so fast that the human eye simply can't keep up.

The drone rotates up to 25 times per second — well beyond what the eye can resolve into a distinct shape. The drone doesn't disappear outright, but becomes what the researchers describe as a faint, semi-transparent smudge that blends into the sky or landscape behind it. It's not invisibility in the sci-fi sense, but according to the team it's about ten times harder to spot than a conventional quadcopter.

You spin me right round

The trick lies in the design itself. A typical quadcopter has four rotors spinning while its main body stays completely still, which is exactly why you can still pick it out against the sky — the frame doesn't move, so your eye locks onto it. Phantom Twist ditches that setup entirely. It runs on a single motor and single propeller, with the propeller spinning one way and the rest of the drone's body spinning the opposite way. There's no stationary part left for your eye to latch onto.

Building something that flies stably while spinning that fast isn't a simple engineering job, though, so the team leaned on AI to do the heavy lifting. The process started with around 20,000 computer-generated drone layouts, each one checked for steady flight. From there, optimization algorithms repeatedly shuffled the position of the drone's key components — motor, propeller, circuit board, battery and counterweights — so they'd never overlap visually as the whole thing spun.

Every candidate design was then simulated spinning against 100 real-world photo backgrounds and scored using a model built to approximate human vision, with the 500 lowest-scoring designs pushed through further rounds of optimization before the final version was built.

The result spreads its components out at different heights and angles, so when it's in motion, everything blurs into a soft haze. It's clever stuff, and a reminder of how much of what we "see" comes down to how our eyes process motion over time rather than snapping a perfect still image.

It's worth being clear about what Phantom Twist is and isn't, though. This is a university research prototype, not a product with a release date or price tag, and it's still some way from ready for real-world deployment.

The propeller is audible even if the body isn't very visible. There's also no camera or imaging payload on the current build, which raises an obvious question for its stated wildlife-monitoring and infrastructure-inspection ambitions. It feels like a drone spinning 25 times a second would need some serious image stabilization or de-rotation trickery before it could shoot anything usable. The team hasn't detailed how (or whether) they plan to solve that yet.

There's an inevitable privacy angle to any drone that's harder to see, too, and it's not hard to imagine less charitable uses for the same principle down the line. For now, though, this remains a lab experiment funded by the National Science Foundation, aimed squarely at reducing wildlife disturbance rather than sneaking up on anyone — and there's no indication the spinning-body approach is heading toward consumer hardware anytime soon.

• The Valoi easy35 V2 is an at-home film scanner for digitizing 35mm film negatives
• It requires a digital camera, a 1:1 macro lens, and negative conversion software
• It's a compact, portable unit with a built-in light source

Shooting film is an expensive business, and I’m always on the lookout for ways to make it cheaper. As such, the Valoi easy35 v2 immediately caught my attention, with its promises to make the process of scanning film negatives at home into something, well, easy. Okay, I’m interested.

Paying to get negatives scanned and digitized is an ongoing cost that adds up over time — and since I live in a fairly small apartment in a city, a large flatbed film scanner isn’t a practical option for me. The Valoi easy35 V2, however, is a compact cube with about the same desk footprint as a large coffee mug. Even with its raft of accessories, it’s easy to store, easy to transport — and at $272 / £199 / AU$337, it’s cheaper than high-end scanners, too. Color me even more intrigued.

But before you get too excited, be aware that this is not a standalone film scanner. Portable self-contained film scanners do exist, like Kodak’s ultra-cheap Slide N Scan, but their quality is pretty poor. Instead, the Valoi Easy 35 V2 works by connecting to your high-resolution camera and your 1:1 macro lens. You do have a high-resolution camera and a 1:1 macro lens, right?

Indeed, this isn’t necessarily the super-simple, anyone-can-do-it film scanner that the word ‘easy’ in the name perhaps implies. But if you’ve got the kit and you scan a lot of film, it could save you money in the long run — and as I found when I tried it out, the process can get pretty addictive.

Valoi easy35 V2: In use

The Valoi easy35 V2 comes as a kit — as well as the cube-shaped scanning module itself, with its built-in light source, you also get a couple of extension tubes for ensuring your lens can operate at the correct focal distance, and some step-up adapters that allow you to connect lenses of various filter thread sizes to the 62mm-thread tubes. While the unit itself is smooth plastic, these accessories are all metal, and feel suitably premium as a result.

In terms of compatible lenses, the distance between your negative and the front of your lens needs to be less than 230mm. Valoi recommends that if you’re using a full-frame system, you’re best off with a lens with a focal range between 55mm and 105mm; for APS-C, it’s 40mm to 70mm; and for Micro Four Thirds, the makers recommend between 35mm and 60mm.

I was using a Fujifilm X-T5, since with its generous resolution of 40.2MP, it would easily offer enough pixels to make the scanning process worth the effort. I paired it with the TTArtisan 40mm F2.8 — an affordable manual focus macro lens that is Valoi’s budget recommendation for use with the scanner.

Fitting the parts together is simple enough — I only needed to use one adapter and extension tube, but depending on your lens, you may need to stack multiple. The unit itself has one-button operation; you simply turn it on to activate the light (it's battery-powered and recharges via USB-C). Negatives are loaded carefully into the holder at one side, fed through the scanner for your camera to snap, before emerging out of the other side. You'll need to ensure that the negative is correctly focused — it helps to use a nice clear shot with a well-captured subject, ideally a person. And then, you’re away.

That’s when I started to get addicted. See, I have a lot of negatives. Like, a lot, a lot. And once the Easy 35 V2 is in position and your lens and camera are set up correctly, the process of scanning is incredibly quick — feed, snap, feed, snap. You can scan entire rolls in minutes. I will say that on my first few attempts, a lot of my scans came in a little crooked and I couldn’t quite figure out what I was doing wrong — but fortunately I had enough latitude to crop and straighten without impacting the image too much.

Of course, once you’ve got those digitized negatives, you still need to convert them. You have a number of options — it brings me no pleasure to say this as I am on the record as an Adobe critic, but by far the quickest and best is pairing Lightroom Classic with the plugin Negative Lab Pro, the latter of which offers a free trial of 24 conversions and then costs a one-time price of $99. There are other options, but they tend to be either excessively complicated (Darktable) or a bit too rudimentary (Lomography’s free online tool).

Negative Lab Pro takes the RAWs of your digitized negs (oh, yes, you really should shoot in RAW) and automates the conversion process into a single click. Once this is done, it provides an editing panel, and you shouldn’t be afraid to get stuck in and make the final image look the way you want it, editing attributes like color temperature and tint to taste. If you don’t have the time or patience to tweak sliders, NLP offers a few presets for a quick spruce-up — I found that the ‘Kodak’ profile generally delivered pleasing results from Kodak negatives, naturally. You can see a few of my resulting scans below.

Valoi easy35 V2: Is it worth it?

I love this thing. I really love it. Setting it up was a pain — I had to get hold of some pretty specific gear, and lay it all out on my floor for want of a better working surface. It all feels a bit rustic and inelegant — for me, the camera and the box didn’t sit level when connected. I ended up wedging the spare film holder underneath to balance it, and was later amused when I watched a video on Valoi’s YouTube channel and they recommended doing exactly that.

However, the scanning process itself was unbelievably fluid, easy and even fun. I could have fed my negatives through this thing for hours. I still might! And having this setup on standby at home would mean I’d never have to pay to have negs scanned again, which is a mightily tempting thought.

I don’t think it's true to say that the Valoi Easy35 V2 makes scanning accessible to the masses. The masses don’t all own sharp macro lenses with the correct filter thread size (you should have heard the noise I made when I realised that the Fujifilm XF 30mm f2.8 R LM WR Macro wasn’t going to fit, even with all those step-up adapters). But for those who have the capacity, it makes negative scanning at home joyous and fun, and on that note I’m going to step away from my keyboard so that I can go scan some more.

With thanks to Wex Photo Video (UK) and Fujifilm who loaned some of the equipment used for this article.

Historically, the DJI brand has been all about drones. It remains an undisputed leader in that category, but in recent years its also solidified a name in compact cameras for content capture.

The two key ranges are the Osmo Action and the Osmo Pocket. The Action is DJI's classic action camera, with a rugged build designed to happily capture high-quality content no matter how much you bump, drop, submerge, freeze, or generally throw it about. The Pocket is a compact, image-stabilizing gimbal camera designed for vloggers. It can easily switch between vertical and horizontal shooting, and is set up to make selfie capture easy. There are also a couple of outliers: the Osmo 360 360-degree camera and the tiny, wearable Osmo Nano.

Most of these cams are leaders in their respective categories — this brand crops up in numerous best-of lists, including the best action camera, best 360 camera and best vlogging camera. If you're thinking of buying one but aren't quite sure of your options, or which to pick, you've come to the right place.

Our camera review team has tested every single one of the DJI cameras currently available to buy, and below you'll find a quick guide to the different models, plus summaries of our main testing takeaways, and links to read the full review for each (hit the More details button).

Note: You will only see cards for the products available to buy in your region. Due to FCC fun and games, not all new models are available in the US.

DJI Osmo Action

Osmo Actions are traditional action cameras — DJI's answer to a GoPro. They sport an all-in-one design, with all the hallmarks you'd expect from a good action cam: a robust, waterproof, compact design, front and back screens, mics, and features like time-lapse, slow-mo and (on newer models) subject tracking.

The current generation is the Osmo Action 6, but the Osmo Action 5 Pro (there's no not-Pro version, so treat this like a naming quirk) and the Osmo Action 4 are widely available too, including direct from DJI. It's also quite easy to get hold of an Osmo Action 3.

The specs and features differ slightly from model to model — you can see our review of each one by hitting the 'More details' button, and this DJI Osmo Action comparison page is useful for highlighting the differences.

You'll struggle to find either now, but the two previous models are the Action 2 and the original Osmo Action. The Action 2 was a particularly interesting swerve from DJI — it looked completely different from the rest of the range, with a modular build. For the third gen, DJI pivoted straight back to a more traditional all-in-one design, and that's what it's stuck with ever since.

DJI Osmo Pocket

Osmo pockets are compact, gimbal-stabilized 4K cameras designed specifically for vlogging. The current model is the DJI Osmo Pocket 4 — although it's not yet sold in the US. The Osmo Pocket 3 is still widely available to buy, as (to a certain extent) is the DJI Pocket 2.

Both the 3 and 4 boast a compact design, excellent video stabilization, crisp 4K video, the ability to swap easily between vertical and horizontal shooting. The 4th gen version polishes things up a bit, improving the slow-mo mode, bumping up the video specs, tightening up the subject tracking and making it available in more modes, boosting battery life and increasing the internal memory. It also adds a magnetic gimbal arm, onto which accessories such as fill lights can be snapped.

If you're not quite sure about the Pocket range, another option for content creators is to stick with your phone for recording, but add in a DJI Osmo Mobile — a smartphone gimbal with advanced tracking capabilities.

Outliers

Finally, there are a couple of (as-yet) standalone DJI cameras. The DJI Osmo Nano is a shrunk-down and stripped back version of its Action series. Small enough to be mounted on a pendant or hat, it's designed for on-the-go content capture. The magnetic, modular design makes it nice and versatile.

The Osmo 360 is a DJI's first 360-degree camera, and we thought it was "undeniably extremely compelling" first effort. We were impressed with the pricing too, which is very competitive within that particular market.

• Tornyol's drone tracks mosquitoes by their wingbeat and takes them down mid-flight
• Can autonomously patrol areas of up to 5 acres
• Preorders are open with a refundable $100 deposit, ahead of a targeted 2027 US launch

Tornyol, a San Francisco-based startup backed by Y Combinator, has built an autonomous micro-drone whose sole purpose is finding mosquitoes and flying straight into them. Forget spray, swatters and stinky citronella candles that go out halfway through your al fresco dinner — this propellered assassin can keep your yard bug-free all on its own.

Or at least, that's what its makers claim. Tornyol's drones use ultrasonic phased-array sonar — the same basic principle behind a car's parking sensors — paired with smartphone-grade microphones and custom signal-processing software. The system listens for the specific wingbeat frequency of a mosquito, distinguishes it from harmless insects like bees, and then closes in for a mid-air kill, using its whirring propellers as the business end. In other words, the mosquito is chopped to bits.

The company says its base station carries a 380-microphone array capable of tracking targets in real time to a distance of around 8m, with future planned drone versions likely to bring that sensing ability onto the aircraft itself.

Each drone flies for around five minutes at a time before heading back to its base station to recharge, a process Tornyol says takes about 30 minutes. The idea is a relay of short, targeted flights rather than a drone loitering in the air all evening. A single unit is pitched as capable of covering up to five acres (over 20,000 square meters).

As for safety, Tornyol cites the drone's tiny size and shrouded propellers as proof that it's safe to have buzzing around family and pets.

You can reserve one right now for a refundable $100 deposit. Once the drone is ready to ship, you'll be given a choice between an ongoing $50-a-month subscription or a one-off payment of $1,100 to own the hardware outright. A US launch is pegged for 2027, but availability everywhere else is TBC, pending local drone and pest-control regulatory approval — which, given what this thing actually does, may take a while.

It's pitched as being about more than backyard convenience, too. Tornyol frames its tech as a public health boon: mosquitoes are linked to roughly 700,000 deaths a year worldwide through diseases like malaria and dengue, and the company claims its approach could eventually slash the cost of mosquito control.

Right now, though, the achievements are more modest: on July 14, Tornyol co-founder Alex Toussaint posted a video of the drone's first confirmed "air-to-air kill": a moth, in a curtained-off test area, rather than a mosquito in the wild.

Here's the buzzkill

So: a small, autonomous, AI-guided drone that identifies living targets and kills them on sight, patrolling your garden 24/7. What could possibly go wrong?

I'll admit that my sympathy for the mosquito is limited. Few people are going to find issue with a device that quietly thins out a blood-sucking insect responsible for ruining many a summer evening. If Tornyol's drones work as advertised and stay in their lane, this is about as palatable a "killer robot" as killer robots get.

But that's the thing about a system built to autonomously identify a target by sound and eliminate it: the target list is a software decision rather than a hardware one. Tornyol's own marketing boasts of distinguishing mosquitoes from "beneficial" insects like bees — which suggests the drone's kill criteria are, by design, adjustable. Currently it's tuned to a mosquito's wingbeat, but what's stopping a future firmware update — or a different customer altogether — from retuning it for something else?

And once you're comfortable with an autonomous hunter-killer aircraft policing the back garden, the scope creep writes itself. Mosquitoes today. Flies tomorrow, probably without much complaint either. But mice? Rats? Pigeons? Those are bigger, warmer-blooded and considerably more sympathetic targets, and if we're talking about robots that hunt and kill creatures on your property, where does the line get drawn — and by whom?

Tornyol's engineers appear to be solving a real problem, and it's a no-brainer to root for a tool that could put a dent in a global killer like malaria. But there's something dystopian about killer domestic robots too, and this is a solid first step to putting them in our homes.

• Reto Project has released a new Kodak-branded film camera, the Kodak EC35
• It’s a total point-and-shoot, with focus and all settings fixed
• However, it features a stylish sliding lens cover, in the style of the Olympus Mju from the early 1990s

A new Kodak film point-and-shoot camera has just been announced. And the reason for the tortured use of the passive voice in the previous sentence is that it isn’t actually made by Kodak.

The Kodak EC35 is a 35mm film camera made by Reto Project, a company that licenses the Kodak name to produce a range of both analog and digital cameras. While my personal favorite is the Kodak Snapic A1, a sleek little 35mm film, its most popular release by a considerable margin has been the little digital keychain camera, the Kodak Charmera.

Reto generally produces simple point-and-shoots, and the Kodak EC35 is exactly that. It takes 35mm film, and all its settings are fixed, with a 1/100sec shutter speed and f/10 aperture. The lens is fixed-focus — there isn’t even the option to switch from near to far focus like there was on the Snapic A1 — and is a 25mm optic. The camera also has a built-in flash.

What really caught my attention about this camera, however, is its design. Specifically, the fact that it has a gorgeously curved sliding lens cover that protects the optic when it’s not in use. It’s a chip off the Olympus film camera block — the iconic Olympus Mju immediately comes to mind.

All style, some substance

While I tend to associate sliding lens covers with the Olympus XA2 that’s sitting on my desk as I write this, with the curved design of its plastic body, the Kodak EC35 is pretty clearly meant to evoke the look and feel of the Mju.

And I also like the idea of having a lens cover in a practical sense — not just aesthetic! A lot of these cheap film compacts, like the Snapic A1, the Ektar H35N, etc, don’t have a lens cap or lens protection of any kind, meaning it’s easy for the lens to get dirty, dusty or bashed around. The cover also doubles as a shutter lock, meaning that the camera won't end up accidentally firing off shots while it's in your bag.

The EC35 is being released in an attractive range of colorways: Midnight Black, Vanilla White, Butter Yellow, Lavender, Powder Blue, Blush Pink and Avocado Green. I’m normally ‘give me black or give me death’ when it comes to cameras, but I’ll admit, that yellow version is pretty striking.

The EC35 is powered by a single AA battery (which is only needed for the flash), and weighs a pleasingly slender 102g. It’s available on its own for $34.99 / £35.99 (about AU$50) or in a bundle with a 24-shot roll of bright and colorful Kodak Ultramax 400 for $44.99 / £45.99 (about AU$65).

GoPro Mission 1 Pro: One-Minute Review

The Mission 1 Pro is as rugged as you’d expect any GoPro action camera to be, with a highly water-resistant design — even without an additional casing — and a shock-resistant body that can survive tumble after tumble, but with 8K recording quality it enables you to capture footage with a real cinematic feel.

Thanks to impressive subject tracking and GoPro’s HyperSmooth stabilization tech, the Mission 1 Pro can capture the action smoothly whether you’re wearing it yourself, or following your subject along a trail or down a piste.

Plus, thanks to the new larger 1-inch sensor, low-light video quality is better than ever for a GoPro — letting you take advantage of the roughly two hours of 4K 60p recording time available to you on a single charge even as the sun starts to set.

Meanwhile, HLG HDR format and GP-Log2 support, control over ISO, EV, white balance and shutter speed, and the freedom to record in 8K/30p open gate — the full height and width of the versatile 4:3 aspect ratio sensor — will give you more artistic and post-processing options that make this action camera feel more like a professional piece of kit.

The downside of all this is that the Mission 1 Pro doesn’t come cheap. It’ll set you back $699 / £599.99 / AU$1,099.95 if you aren’t already a GoPro member, while members can take advantage of a healthy discount, with prices starting at $599 / £509.99 / AU$949.95. This sure is pricey even for one of the best action cameras when DJI rivals cost substantially less, but if you’re going to take full advantage of its cinematic capabilities, it’s certainly one to consider.

The only real disappointment is that its photography capabilities left me wanting. With its optional point-and-shoot camera-style grip I had hoped that the GoPro Mission 1 Pro might perform well as a stills snapper, but it did struggle at times. Hopefully, the ILS model with its Micro Four Thirds lens mount will deliver a more all-round performance when it debuts later this year.

The grip does at least help make the Mission 1 Pro much easier to handle when shooting video, and it feels like a useful upgrade for anyone who plans to use this GoPro as their new vacation camera, and take advantage of its improved video and audio quality, and durable design.

GoPro Mission 1 Pro: Price and release date

• $699 / £599.99 / AU$1,099.95 (non-member price)
• $599 / £509.99 / AU$949.95 (member price)
• Other models in the series are the Mission 1 and Mission 1 Pro ILS

The GoPro Mission 1 Pro is available to buy now for $699 / £599.99 / AU$1,099.95 (non-member price, or $599 / £509.99 / AU$949.95 for members), while the more basic Mission 1 will cost you $599 / £529 /AU$949.95 (non-member price, or $499 / £439.99 / AU$799.95). The Mission 1 Pro ILS costs the same as the Pro, but it won’t launch until later in 2026.

Other bundles include one with a point-and-shoot camera-style grip, which I had for my review. This bundle feels quite pricey at $779.99 / £679.99 / AU$1,229.95, seemingly with no member discount at the time of writing.

The Mission 1 Pro and Mission 1 share a lot of the same features and hardware, but the Pro version unlocks 8K 60fps footage and 8K Open Gate 4:3 filming for greater editing flexibility. You’ll also unlock slow-mo 4K video at 240fps, and 1080p up to 960fps for more extreme slow-mo shots.

Meanwhile the ILS model is interesting as it takes away some features — such as built-in autofocus and the ultra-wide lens of the regular Pro — to give you more control, with manual focus control and a Micro Four Thirds (MFT) mount, enabling you to attach a wide variety of lenses for different cinematic effects. If you’re more of a cinematographer than a casual user, the ILS model could be what you’re after.

That said, even the base-model Mission 1 is a fair bit pricier than the GoPro Hero 13 Black — our current pick for the best overall action camera. If you care about low-light shots the Mission 1 could be worth the price premium, but for a lot of people who are just looking to capture fun clips of their action sports escapades even the basic model may be overkill.

• Value score: 3/5

GoPro Mission 1 Pro: Specs

GoPro Mission 1 Pro: Design

The ideal action camera is one that can handle just about anything you throw at it, and the GoPro Mission 1 Pro GoPro is a camera that’s designed to be pushed to its limits.

If you’re a fan of underwater video, the Mission 1 Pro boasts a design that’s waterproof to 66ft / 20m without the need for a housing — plus the hydrophobic lens cover should help keep water splashes and droplets from obstructing your view massively when you’re using the camera above the waves.

It’s also rated to work in temperatures between -20C and 45C, with its power and shoot buttons designed to make them easier to press while wearing the kind of thick gloves that are necessary in frigid climates.

The Mission 1 Pro’s shock-resistant body can also survive tumbles and drops, giving it an almost indestructible feel. While I never pushed the Mission 1 Pro too far, I never felt like I needed to be careful with it.

Moving on from the action-focused aspects, the 2.59-inch OLED rear touchscreen display offers enough real estate for you to easily manage and track your settings while also leaving plenty of room to clearly see your compositions.

Meanwhile, the 1.4-inch front LCD is a good size for vloggers to track what is/isn’t in frame as they talk to camera, with a convenient and concise readout of your shot settings letting you know that you haven’t, for example, accidentally swiped to a different mode while turning the camera 180 degrees.

Included in the box are a lens hood to help reduce glare — just note that it can fall off easily, so keep an eye on it, or be prepared to pick up replacements — a 2150mAh Enduro 2 battery, an adhesive mount, mounting buckle and a thumb screw.

You’ll need to provide your own microSD card, as there’s no internal storage. The Mission 1 Pro relies on V30 and Class A2-rated microSDs for the best performance; A1 cards will work, but will encode more slowly.

You can pick up a series of attachments for this camera, including ND filters; however, the bigger sensor size of this camera means the Hero 13 Black’s suite of lens attachments can’t be used here, and sadly there aren’t, as yet, equivalent accessories for the Mission Pro 1.

Other GoPro attachments, such as harnesses or helmet/bike mounts, should be compatible, as the Mission 1 Pro relies on the same bracket as models that came before.

Lastly I’ll mention the point-and-shoot camera-style grip attachment, which was supplied to me for testing alongside the Mission 1 Pro and can be purchased separately ($99.99 / £89.99 / AU$154.95) or as part of a bundle. The grip is incredibly simple, yet effective at transforming the Mission 1 into something that feels more like a regular point-and-shoot compact.

When it comes to capturing quick videos, such as clips at the beach or at a festival, the grip makes it easy to hold the camera without the risk that your hand will get in the way of the lens, although as mentioned, the Mission 1 Pro doesn’t perform as well as a stills camera — more on that below.

• Design score: 5/5

GoPro Mission 1 Pro: Performance

To make video capture easier than ever the Mission 1 Pro features a slew of preset capture modes that adjust settings based on your needs, with modes for Vlogging, SportPOV, TimeLapse, Open Gate, SlowMo, Low Light, Dive and plenty more.

You can tweak the settings for each mode to fine-tune your image quality needs, and also manage modes by hiding ones you never use, or adding custom settings that are your go-tos.

For most scenarios, I found the 4K open gate option to be the most versatile. The image quality is solid, and you have the option to reframe the footage to 16:9 or 9:16 later based on your needs — plus it’s less of a drain on the battery than shooting in 8K.

Vlog-style recording is made easy thanks to the front screen, and automatic subject tracking that centers you in the frame — ideal for casual vloggers who constantly find they steadily drift out of shot unless they pay close attention to the camera they’re holding.

The audio quality is decent too, picking up voices and essential sounds, but cutting out wind noise.

Slow mo is also a lot of fun, though as you’ll see in my example video above, raw untuned footage at resolutions lower than 4K can start to look grainier than is ideal — upscaling and/or sharpening the image with editing software is essential to get things to look better.

The larger sensor also helps in low-light conditions, especially with the new Low Light shooting mode. Unsurprisingly, in proper darkness the camera still struggles, but with some illumination remaining the camera performs well in this mode.

Where I’m less convinced of the Mission 1 Pro’s abilities is when it comes to stills photography, which is a massive shame considering you have the option to add the point-and-shoot grip.

Whenever I tried to take photos I found myself fighting against its lack of autofocus — or even manual focus — and the less-than-ideal zoom quality. The camera has a fixed focus with a minimum focus distance around 60cm — which counts out close-up photography — and an optimal focal distance of about 1.5m. This also means it isn’t focused to infinity, so landscapes will appear a little soft in your shots, especially since the larger sensor has a shallower depth of field than previous GoPros.

In addition, as soon as you zoom in you’ll find the image quality drops a fair amount, although this is to be expected from the digital zoom this camera uses.

The overall quality isn’t terrible, though, and the point-and-shoot grip does offer some useful versatility for video recording beyond the more traditional action camera use-cases.

• Performance score: 4.5/5

Testing Scorecard

Should I buy the GoPro Mission 1 Pro?

Buy it if…

Don’t buy it if…

Also consider

How I tested the GoPro Mission 1 Pro

I spent just over a month with the Mission 1 Pro, taking it out on excursions to snap photos and videos to test its capabilities not just as an action camera, but as a point-and-shoot video capture tool — with that latter case aided by the point-and-shoot grip.

If you’re planning to use the GoPro Mission 1 Pro as your vacation camera — aided by its durable design and waterproofness — the grip is super helpful at helping to keep you hands out of frame, and as a pure action camera the GoPro fits the same mounts and accessories as previous models like the Hero 13 Black (save for the lens attachments).

Inspired by shows like Hunted and Jet Lag The Game, a lot of my testing focused on running and vlogging with the action camera to capture my fitness progress and to record personal cuts of games of hide-and-seek across London — passing the camera between my friends so they could record their stints too. They found the GoPro super easy to use, with the smoothing tech and subject tracking ensuring thaty vlogs and action shots look great without requiring constant focus on what the camera is doing — you just press go and it’ll come with you.

First reviewed: July 2026

Panasonic made quite a splash when it announced the Lumix L10 at its Lumix 25th anniversary event in May this year. I called it 'Panasonic's prettiest Lumix in years', and many tech journalists, myself included, have compared it to the viral Fujifilm X100VI.

These are two premium compact cameras with retro design and high-end features, but both take a different swing at the format. For example, the Lumix L10 packs a 20MP Micro Four Thirds sensor and 24-75mm f/1.7-2.8 lens, while the X100VI shoots 40MP stills with an APS-C sensor and fixed 35mm f/2 lens.

I've already compared the two based on specs and my extensive experience with each camera separately in my Lumix L10 vs X100 VI article. But I was keen to see which one I personally prefer based on using the cameras side by side — it had been a while since I last used the X100 VI.

So, with my loan samples in hand, I headed out, taking the same photos with each camera in a variety of scenarios, including travelling, commuting and weekends exploring. Objectively, each camera has its practical advantages over the other, but there was one camera that truly gave me the feels...

The head

If I'm to make a list of pros and cons based on features and specifications, then each model has distinct advantages over the other.

In favor of the X100VI: its 35mm f/2 prime lens quality, 40MP resolution (which is twice that of the Lumix L10), in-body image stabilization, quicker start-up time, fancier viewfinder, and its next-level retro aesthetics.

There's plenty going for the Lumix L10, mind you: its versatile 3.1x optical zoom lens, superior battery life, Real Time LUTs profiles (which for me outdo Fujifilm's film simulations), superior burst shooting speeds, snappier autofocus, vari-angle screen, plus its video performance has the edge. Oh, and it costs less — depending on which region you live in, the price difference can be pretty sizable.

Speaking objectively, I believe I'd get more use from the Lumix L10, especially the telephoto end of its 24-75mm f1.7 to f/2.8 lens. It is overall a more versatile camera. However, objectivity goes out the window when considering creative tools such as cameras for personal use.

We can talk features all day, but you really need to get a feel for a camera, and the only way to do that is to get properly hands-on, which is exactly what I did with the L10 and X100VI side by side. And in doing this direct comparison, a favorite quickly emerged.

The heart

Rather than getting bogged down in features and specifications, I'm going to articulate what it felt like to use each camera, because honestly that's more important in the long run, especially for this kind of premium compact camera designed for personal, daily use. (My workhorse mirrorless camera is another matter — it's there to do a job efficiently and reliably.)

I'm going to come right out and say it — I enjoyed the X100 VI more. Aesthetically, it has the edge: both cameras are retro, but the X100 VI is next-level with its manual exposure dials and hybrid viewfinder. With the two slung over my shoulder, it was the X100VI that I wanted to reach for first.

When I did, the X100 VI required more effort to master; there's more involvement in operating the exposure controls and such, which I actually preferred as a serious photographer. I liked how much more premium it felt in the hand too: the weightiness, the dampened shutter button...the X100VI just felt... better.

I also appreciated its quicker start-up time, and liked how much more compact its prime lens is. The hybrid viewfinder was more enjoyable too, especially since I'm in the small camp of photographers who genuinely enjoy the optical viewfinder.

Sure, I'd rather that autofocus was as good as the Lumix L10's. And for a variety of scenarios, wished that I could zoom the lens. And it's not like I didn't get any feeling with the Lumix L10 — how its lens handles in particular is a delight. But for feeling alone, and that sense of pursuing a craft, the X100VI captured my heart all over again.

Lumix L10 vs Fujfilm X100VI: the images

A collection of Panasonic Lumix L10 pictures. I have matched the Fujifilm X100VI's 35mm focal length in most of these samples, but I have also included some at different focal lengths to show how versatile it can be.

And the comparisons with the Fujifilm X100VI. For both cameras, I set the color profile to the standard setting, but in reality I would be playing around with various looks and making selective exposure adjustments.

How a camera handles is a major part of the equation — but the resulting images need to be easy on the eye too.

With wildly different sensor sizes, number of pixels, and types of lens, it's tough to pick one camera over the other, plus some assumptions about image quality need to go out the window.

For one, despite having the smaller sensor, the Lumix L10 actually has bigger pixels and light-gathering potential, so don't assume that the X100VI is better in low light. Also, beyond sensor size and pixels, the Lumix L10's autofocus is overall more reliable, so you're more likely to get a sharp image in the first place, depending on the scenario and camera settings.

But for direct comparisons, as in matching the X100VI's 35mm f/2 lens with the Lumix L10 as close as possible (35mm f/2.3), I think what pleased me the most overall is the X100VI's superior control over depth of field.

When I took street portraits at 35mm, the X100VI's images were easier on the eye. I also liked having 40MP to play with and the greater level of detail in the pictures. The X100VI was also less susceptible to lens flare.

That said, the Lumix L10 has that zoom lens versatility, and when set to 75mm and f/2.8, it is very capable of shallow depth of field portraiture too, with a greater compression effect that I prefer.

As for color, I didn't have a strong enough feeling scouring my images to recommend one camera over the other, though the Lumix L10 Real Time LUTs profiles are more versatile.

Conclusion

If you're considering the Lumix L10 or the Fujifilm X100VI, then the choice is tough, and, in truth, you'll be happy with either model! They are two of the best premium compact cameras, with a string of unique advantages over the other.

For me, however, the decision goes beyond specifications and features, and to an underlying feeling that I would get more joy in using the X100VI regularly than I would with the Lumix L10, even though the L10 is more practical. My head says Panasonic Lumix L10, my heart says Fujifilm X100VI.

• Viltrox has announced its new AF 26mm F2.8 EVO lens
• It's available in Sony E and Nikon Z-mount versions, and costs $299 / £279
• It measures 23.8mm thick and weighs 4.6oz / 130g

Chinese lens manufacturer Viltrox is having a prolific year, and it's now followed up a recent pair of medium-telephoto primes for APS-C cameras with a completely new 26mm f/2.8 pancake lens.

The AF 26mm F2.8 EVO is part of the same mid-range series as my recently tested AF 90mm F2.2 EVO, and is available for Sony E and Nikon Z-mount cameras at launch. It costs $299 / £279 (Australia price TBC).

Compact size and light weight are the aim here — the 26mm F2.8 is just 23.8mm thick and tips the scales at 4.6oz / 130g. I can see it pairing nicely with a Sony A7C / A7C II or Nikon Zf as a casual, everyday lens offering surprisingly sharp image quality.

It's not the smallest autofocus full-frame lens in Viltrox's range, mind you — that accolade goes to the AF 28mm F4.5. However, given the bright f/2.8 aperture and the features on board, the new 26mm lens seems impossibly small.

Those features include a dust- and splash-resistant machined metal construction, dedicated aperture and focus rings, a metal rear mount with a USB-C port for firmware updates, and a STM focus motor for snappy autofocus.

And there's more: the AF 26mm F2.8 EVO ships with a magnetic lens cap that snaps into place, eliminating the fiddling that comes with traditional pinch-release lens caps.

It's part of a lens cap system which includes a magnetic lens hood, which also works with magnetic lens filters. Alternatively, traditional screw-on filters work too, via the 43mm thread.

I hope other lens manufacturers follow Viltrox's lead — lens caps can be a real pain to remove and re-attach, but a magnetic type simplifies the process.

Optically, we have a simple construction of eight elements in six groups, with a minimum focus distance of 0.2m which results in a 0.2x maximum magnification, for reasonable close-up photography.

The Viltrox AF 26mm F2.8 EVO is available immediately in Sony E and Nikon Z versions from Amazon US and Viltrox's official store. There's no word yet on whether L-mount or Fujifilm X-mount versions are on the way.

Yes, Fujifilm X is APS-C format, but I can see the full-frame Viltrox lens working well with these crop-sensor cameras, even for Sony and Nikon, on which it would offer an equivalent 39mm focal length.

It's yet another new Viltrox lens available for Nikon Z cameras, which suggests that the Nikon vs Viltrox lawsuit from earlier this year has quietly been resolved. I hope that's the case, because Viltrox has consistently produced excellent optics, and the AF 26mm F2.8 EVO looks like an impressive addition. Look out for my in-depth review, coming soon.

• Lomography has released a new version of its ‘Simple Use’ disposable-style film camera
• It’s half-frame, meaning it exposes half a frame of 35mm film at a time to effectively double the shot count
• It comes pre-loaded with a roll of film, in a choice of color or black & white

Many people are put off trying out film photography because they perceive it to be too complicated. Lomography tries to take some of that mystique out with its disposable-style ‘Simple Use’ cameras — and today, the analog specialists have announced the new Half-frame Simple Use Reloadable Film Camera, which doubles your shot count from a standard roll of 35mm film.

The name ‘half-frame’ refers to the fact that the camera only exposes half a frame of 35mm film at a time, cutting the standard horizontal 36mm x 24mm frame into two shots with rough dimensions of 18 x 24mm. This means that while your shots are smaller, you get a heck of lot more of them — a standard 36-shot roll of film could produce around 72 discrete images when run through the Half-frame Simple Use Reloadable Film Camera.

Half-frame cameras aren’t new. In fact, they’ve been around since the 1960s, with Japanese manufacturers first offering them as a cost-saving alternative to standard 35mm film cameras. We’ve also seen more recent entries in the genre, such as the Kodak Ektar H35N. They tend to be small, cheap and straightforward.

However, the Lomography Half-frame Simple Use Reloadable Film Camera sets itself apart by taking all steps possible to be incredibly, mind-bogglingly easy to use. This is the definition of an idiot-proof camera, one that basically anyone could pick up and use, and for this reason it might just be the ideal gateway drug for anyone who’s been tempted to try film photography.

Couldn’t be simpler

The Simple Use cameras are often described as ‘disposable-style’. This means they operate just like the kinds of disposable cameras that everybody used to bring on trips and then drop off to get developed. There’s no means of setting shutter speed or aperture — both are fixed — and the lens is completely fixed focus. The only control other than the shutter release is the flash, which is activated via the unmistakable lightning-bolt button on the front.

The Half-frame Simple Use camera also comes pre-loaded, meaning it’s completely ready to go out of the box. You have a choice of two options — getting one pre-loaded with LomoChrome Classicolor, or with Lomography Lady Grey monochrome film. Both of these stocks have an ISO rating of 400, meaning they’re good all-rounders for most lighting situations. They do only come in rolls of 20 however, which is quite small for a roll of 35mm. But remember, on half-frame, that works out to about 40 shots.

Once you’ve rattled through your shots, you can rewind using the dial on top to extract your film. In another quite sweet bit of idiot-proofing, the camera body is covered in stickers and labels to remind you to rewind before opening the rear door — indeed, you have to physically remove two of these stickers before opening the door is even possible.

With a plastic lens and fixed settings, this isn’t a camera that’s going to create images of stunning quality — even before you factor in that your shots will be half the size of normal 35mm frames. However, I think its simplicity means it could be a fantastic choice for anyone who has always wanted to shoot film but has found the process intimidating. And with a low asking price of $29.90 / £21.90 / AU$37.90 for the B&W version, or $34.90 / £24.90 / AU$44.90 for the color, you don’t have a lot to lose by giving it a try.

You might also like

• Why is a Kodak point-and-shoot with worse picture quality than your phone the best-selling camera year after year?
• Godox's $29 camera also works as a light meter — as a film photographer, I'm buying
• Polaroid vs Instax: I’m an instant camera addict and I’m team Polaroid all the way — here’s why

• Kodak PixPro FZ45 and FZ55 top best-selling lists in multiple regions
• They are currently the most popular models at Amazon US and elsewhere
• Prices start from as little as $100 / £90 / AU$145

Camera fans might expect Sony or Canon to top the best-selling charts, but for outright popularity beyond various high-end categories, you'll have to set your sights a little lower, to humble point-and-shoots.

Over recent years, two particularly cheap digital compact cameras have been flying off Amazon US shelves, and from other retailers across the world such as Yodobashi Camera in Japan. They are the Kodak PixPro FZ55 (pictured above) and PixPro FZ45. Other models such as the waterproof PixPro WPZ2 are also in the picture.

The major reason why these PixPro models are so popular is pretty obvious — you'll struggle to find another digital camera with genuine 4x optical zoom for less than the PixPro FZ45's approximate price of $100 / £90 / AU$145. Or one with a 5x optical zoom and built-in rechargeable lithium-ion battery that costs less than the PixPro FZ55.

Both pocketable models shoot 16MP stills and HD video onto SD card, and come in a range of colorways, including black, white, blue and pink.

These cameras are no mere trend — they have dominated best-selling lists month after month, year after year, just when we thought that such cheap cameras had had been replaced by camera phones. So what's really going on here?

A surprising truth behind the name, and shopping habits

In addition to the low price point and immediate availability of these PixPro models, the trust in the Kodak name has to be a factor for casual buyers. After all, Kodak is one of the most recognizable names in photography, from its roots in making popular camera film through to pioneering digital camera tech.

However, there's something that you might not know about Kodak today. The original Kodak — Eastman Kodak, which dates back 138 years — stopped its production lines of consumer digital cameras long ago, and due to crippling debts it may not survive at all.

Today, Kodak is instead one of a string of legendary photography brands (alongside Yashica, Rollei, Agfa, Minolta and more), who have licensed their names to third-parties, who are largely manufacturing low-cost digital cameras. The outfit manufacturing the PixPro FZ45 and FZ55 is in fact JK Imaging Ltd, which has less of a ring to it.

There's something further going on here, too: a general rise in camera sales spearheaded by compact cameras, a pushback against always-connected tech, and burgeoning privacy concerns.

A camera such as the PixPro FZ55 shoots directly onto local storage, an SD card. It's not connected to the cloud. It's simple, it's lo-fi, and the kind of tech being embraced by Gen Z.

Will you get better quality photos using these Kodak point-and-shoot compact cameras over your phone? Absolutely not. Even a basic mid range phone will take better snaps.

What you will get, however, is the nostalgic simple pleasure in the simple act of taking everyday snaps, the data of which you are in complete control of.

• The FCC is chasing suspected DJI front companies
• Multiple rebranded DJI-like devices are on sale in the US
• New DJI products were banned in the US last year

Since last December, new DJI devices have been banned in the US, because the drone and camera maker is on the Covered List — a list of foreign manufacturers deemed to fall short of the security and safety standards put in place by the Federal Communications Commission (FCC).

However, the FCC thinks that DJI is sneaking products into the United States through front companies with different branding, and it's now taking action: as The Verge reports, eight of these companies have now been hit by $25,000 fines, with further investigations from the authorities pending.

The companies in question are Cogito Tech, Fikaxo Technology, Lyno Dynamics, Skyhigh, Spatial Hover, SZ Knowact Robot, WaveGo Tech, and Xtra Technology. You can check out the range of Cogito Tech drones on its website here, and decide for yourself how much they do or don't resemble DJI's offerings.

Xtra Technology also has a website showing off its vlogging cameras: as noted by The Verge, the company is promoting an Xtra Muse 2 Pro camera with the tagline "from Pocket to Pro", which bears more than a passing resemblance to the DJI Osmo Pocket 4P.

Cracking down

These companies have so far failed to respond to questions from the FCC, and it seems the regulatory body is now ramping up its efforts to get some answers. Some of the test labs that these devices are passing through are being targeted as well.

The Verge also reports that gadgets previously approved for sale before the ban took effect have now disappeared from the FCC website — gadgets including the DJI Osmo Pocket 4 Pro. However, there's no indication that DJI products that have already been sold in the US are going to stop working or be recalled.

In order for any electronic device using radio frequencies to be sold in the US, from phones to drones, it has to be approved by the FCC — which is why we get so many detailed hardware leaks from FCC filings. Any company on the Covered List isn't going to get that approval, essentially meaning their products are banned.

While DJI has been vocal in calling its ban unfair, it hasn't commented on the claims around these alleged front companies so far — and it appears that the companies themselves aren't being at all communicative either. We've reached out to DJI for comment on the report, and will update this story if we hear back.

Viltrox AF 90mm f/2.2 EVO: One-minute review

If you follow my camera coverage at TechRadar, you'll need no introduction to Viltrox, a Chinese lens manufacturer who's rapidly becoming a major player by delivering high-quality and particularly affordable optics.

Viltrox's most recent efforts are the 75mm f/1.8 and 90mm f/2.2: a twin-like pair of lightweight primes for APS-C cameras from its mid-range 'EVO' series, available in Sony E, Nikon Z and Fujifilm X-mount versions.

Viltrox offered to send me a lens to test, and I strategically asked for the Fujifilm X-mount version of the 90mm f/2.2, because it was the only option with a proprietary alternative for me to pit it against: Fujifilm's XF 90mm f/2 R LM WR. A 'character rich' XF 90mm f/2 APD was also listed in a public poll earlier this year among lenses that Fujifilm would love to make — but we don't know if it will be made.

Could the Viltrox 90mm do the unthinkable — beat Fujifilm's legendary portraiture lens? I called in the Fujifilm lens, and tested the pair using a Fujifilm X-T5, and much of my test focuses on how viable an alternative the Viltrox lens is.

For context, a fast aperture 90mm lens for APS-C has a 135mm equivalent focal length in full-frame terms, meaning it's a mid-telephoto focal length, delivering a highly compressed background and dreamy bokeh — the hallmarks of high-end portraits. At this focal length, you'll need the freedom of moving a decent distance away from your subject, so it's not necessarily one for tight studio spaces.

I shot self portraits controlling the camera remotely from my phone using the Fujifilm X app, and various closeups with low-lying sunlight involved, plus a range of other shots just with the Viltrox lens. Overall, I've come away majorly impressed, especially when you consider just how small, lightweight and affordable the Viltrox 90mm f/2.2 is.

The bulkier Fujifilm lens wins for the dreamiest bokeh and will be worth the extra outlay for portrait specialists. If I had the choice, I'd probably still go for this lens. However, for most people, the Viltrox is a stellar alternative, and furthermore the only one of its kind for Sony and Nikon crop-sensor mirrorless cameras, and I highly recommend it for both — after all, Nikon especially has so few options for its crop-sensor cameras such as the Z50 II.

Once again, Viltrox has delivered an excellent value autofocus prime lens.

Viltrox AF 90mm f/2.2 EVO: Price and availability

• Costs $369 / £359 / Australia price TBC
• Available in Sony E, Fujifilm X and Nikon Z-mount versions

The Viltrox AF 90mm f/2.2 EVO is available in Sony E, Fujifilm X and Nikon Z-mount versions, and I tested the Fujifilm version, not least of which because Fujifilm has its own legendary 90mm lens and I was keen to see how the two compared. Sony and Nikon have no such lens for APS-C — and the closest alternative would be a full-frame optic.

Viltrox's EVO lenses are almost always way more affordable when compared to the closest proprietary alternatives. Costing $369 / £359, that's certainly the case with the Viltrox AF 90mm f/2.2 EVO, when you consider how the Fujifilm 90mm lens costs between 2-3x the price. It's the small, light, and affordable choice.

Viltrox AF 90mm f/2.2 EVO: specs

Viltrox AF 90mm f/2.2 EVO: Design

• Just 11.3oz / 320g — lightweight and compact for a lens of this type
• Modest 0.74m minimum focus distance — not one for closeup photography
• Very well-made, with rubber sealed mount

As an APS-C lens, the 90mm focal length is equivalent to 135mm in full-frame terms, which is a classic portraiture lens. I've tested my fair share of full-frame 135mm lenses, including Viltrox's own 135mm F1.8 LAB and indeed Fujifilm's own 90mm f/2 for APS-C, and the Viltrox AF 90mm f/2.2 EVO is the smallest and lightest of the lot by some margin.

I've shared some comparison photos below alongside the Fujifilm 90mm f/2 to illustrate the difference — at 11.3oz / 320g, the Viltrox lens is not far off being half the weight. When paired with an X-T5, I thought both lenses balanced well, but with a rangefinder-style camera such as the X-E5, the Viltrox would win for balance.

Don't let its size and price fool you, though — the Viltrox 90mm is very well made, with an all metal body, rubber-sealed lens mount, while both control rings handle beautifully: the focus ring is smooth and light, the knurled aperture ring precise. No doubt it would be a bigger and heavier lens if it had a larger maximum f/2 aperture like the Fujifilm.

The metal barrel of some of the previous Viltrox lenses that I've tested has scratched easily. I didn't thrash the 90mm lens around particularly, so it remains mint. I'll update this review if I discover it also scratches easily.

Curiously, the X-mount version of the Viltrox 90mm f/2.2 EVO has no buttons or switches, whereas the Nikon Z and Sony E-mount versions (which I didn't ask to test) have three; an AF/MF switch, customizable function button and a click switch for the aperture ring.

Omitting the click switch especially is an oddity given that Fujifilm cameras also shoot video — Fujifilm X users here are stuck with a clicked aperture ring. As a result, despite being excellent value, it feels like Fujifilm users are shortchanged. That being said, however, the Fujifilm 90mm f/2 lens also has zero buttons or switches.

The STM stepping motor makes light work of the 10 lens elements in 8 groups, for snappy and quiet autofocus. Of course autofocus performance accuracy and speed are affected by which camera system and autofocus mode is in use, but I never felt like the lens was slowing down the X-T5 camera's autofocus.

Minimum focus is 0.74m, which delivers a maximum 0.14x magnification. Put simply, this is not a lens for closeup photography, though neither is the 75mm f/1.8 EVO which has a 0.12x magnification, nor most 135mm lenses I've used.

Viltrox AF 90mm f/2.2 EVO: Performance

• Optically very sharp
• Smooth bokeh, but with cats-eye shaping. Minor chromatic aberration and vignetting
• Snappy and quiet autofocus

I've included a range of photos taken with the Viltrox and Fujifilm 90mm lenses below, matching the lens settings where possible (though the Fujifilm lens has an extra photo at f/2), and you can read on for my analysis of the images.

Viltrox

Fujifilm

Viltrox's lens portfolio is split into various series, being topped by the LAB series of full-frame lenses, which is followed by its Pro series, and then below that the Evo series. Evo lenses are mid-range; small, lightweight, excellent value, with one or two concessions.

For me, all of the Evo lenses I've tested are an easy recommendation for enthusiast photographers, including the AF 90mm F2.2. Optically its sharp. Not the sharpest lens I've ever seen, but in a similar league as the pricier Fujifilm 90mm nonetheless.

Where sharp detail is top concern, stopping the aperture down to f/4 yields better results than wide open at f/2.2. You'll see a reduction in vignetting and chromatic aberration by doing so, too. Those lens distortions are only minor at f/2.2, but they are present.

The main topic for a wide aperture 135mm equivalent lens is bokeh — the quality of out of focus areas — and I have good news, with two caveats.

Viltrox

Fujifilm

Bokeh is deliciously smooth. You can see the smooth edges in the dappled light in my self portraits and the series of photos of a fern (above). This is the most important attribute of bokeh, and the Viltrox 90mm nails it.

Bokeh is clearly cats-eye shaped, mind you, not fully round like you might find in the very best portrait lenses, such as the Nikon Plena. Personally, I don't mind cats-eye shaping in bokeh at all, while you might think it's ugly — it's subjective. What's not subjective, is bokeh smoothness, and like I say, the Viltrox lens scores highly.

The other caveat is the maximum f/2.2 aperture, which is slightly smaller than the f/2 of the Fujifilm lens I was comparing the Viltrox lens with. While this minor difference doesn't particularly affect depth of field, I did find the Fujifilm lens' bokeh to be even bigger and rounder at f/2 compared to the Viltrox lens at f/2.2.

If bokeh is a top concern, money is no object and you don't mind a larger lens, then the Fujifilm XF 90mm f/2 is the better pick (see comparisons, above).

I've included a general sample gallery and included notes with further comments on the lens quality.

Viltrox AF 90mm f/2.2 EVO sample images

Should you buy the Viltrox AF 90mm f/2.2 EVO?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 90mm f/2.2 EVO

• Viltrox sent me the X-mount version of the AF 90mm f/2.2 EVO lens
• I paired it with a Fujifilm X-T5 camera
• Fujifilm loaned me the XF 90mm f/2 R LM WR lens at my request, to make comparisons

Viltrox sent me the X-mount version of the AF 90mm f/2.2 EVO lens and I paired it with a Fujifilm X-T5 camera. It's also available for Sony E and Nikon Z-mount cameras.

I tested the lens over the course of two weeks, alongside the Fujifilm XF 90mm f/2 R LM WR lens, which Fujifilm loaned to me at my request, and I have shot like-for-like images with both lenses to make comparisons.

As with all of my lens reviews, I have put the Viltrox 90mm through a number of real world tests, including a series of the same image at the various aperture settings, and situations where strong light could induce lens distortions such as flare and chromatic aberration.

I always shoot in both RAW & JPEG format, and turn off in-camera lens corrections, checking the unprocessed RAW files. I also use each lens for the situations that it is designed for, in this case portraiture and for isolating subjects.

First reviewed: July 2026

Multiple exposure photography is nothing new; it has been a staple of creative imagery since the earliest days of analog photography. However, in the digital age, it has never been easier to blend images together for creative, abstract effects. This can be done in a range of ways, from in-camera techniques using dedicated multiple exposure modes to post-processing methods using layer blend modes and complex masking.

Possibly due to the convenience of in-camera approaches, both on high-end mirrorless cameras and using smartphone apps, there has been a spike in interest in this area of photography over the past five or six years.

When leading photography workshops in urban areas, for example, I have noticed far more students of all ages who are keen to explore textures and color through the medium of stacked exposures rather than capturing literal records of famous landmarks.

Admittedly, I never used to be a huge fan of this type of imaging. It’s not that I disliked double- or multi-exposure images; I simply never found much motivation to try all of the in-camera features on offer. However, I’m also an enthusiastic painter, and quickly discovered that creatively pairing different scenes could give beautifully painterly impressions of subjects that could never be featured together in any single frame.

When shooting a city or any famous location, blending shots in-camera or at the computer can capture a collage-style image that pulls together the most interesting elements of the place in unique ways. This impressionistic approach is ideal when you find yourself unable to pick out one or two elements that truly encapsulate how a location makes you feel.

The danger in these cases is that you attempt to cram in too many details by using a wide lens, which simply turns out as a busy-looking shot without any proper focus.

A double- or multi-exposure shot is intentionally abstract and minimizes negative space, allowing the viewer to focus on several areas of the scene at the same time. It also has the power to make a subject out in what might otherwise be an unassuming element. Let’s take a closer look at how to use the technique to create shots that pop in your portfolio.

Multi-exposure modes explained

Using layer blend modes has become a staple tool in the photo-editing process, and many photographers have become accustomed to how each one functions with the layers below the working layer in the layers panel, in Photoshop, Affinity, or similar. Learning to create blended images in-camera can therefore take a bit of acclimatization.

Many cameras today have a range of modes listed in their respective Multiple Exposure menu. Older models, especially older DSLR cameras, might only have a single Off/On option, but the latest mirrorless models, such as the Fujifilm X-T5, Canon EOS R6 Mark III, or Nikon Z5 II, all have sophisticated systems.

The common modes across all of these brands are Additive, Average, Lighten, and Darken, although the exact terminology does vary. Additive pretty much does what it sounds like – the pixels from one frame are added to the subsequent ones.

This has the effect of summing together the exposure of each frame, which can lead to overexposure if you’re not careful. Where two already bright areas of each frame overlap, for example, the resulting blended image can suffer from highlight clipping where there was none in the individual files.

To combat this, it’s often necessary to underexpose each frame by around a stop in Additive mode, thereby producing a final image with a neutral (centered) exposure. Many people choose this mode if they prefer a similar experience to traditional film-era multiple exposure photography.

Next up is Average mode. With this selected, the camera will automatically adjust the exposure of each frame to compensate for exposure variations. This will give you a shot with the same brightness as a correctly exposed single frame.

Meanwhile, Bright or Lighten mode will only allow the brightest pixels from the underlying image to show through the second. This is ideal if you want a bright neon sign to show through a darker brick texture, for example.

Conversely, Darken mode has the opposite effect and prioritises the darker pixels. If you want texture from the second image to only be visible in the sky of the first, or through the breaks in the tree line of a forest, this is the mode to choose.

In many cases, trial and error play a part in successfully crafting in-camera multiple exposures, although experience definitely helps with identifying the perfect pairings of subject matter and overlays. On some cameras, there will be a mode where you can see a live preview of the blended image, which can be a big help when finalizing the composition of your shot.

A pro tip to consider here is to ensure the continuous multiple exposure option is selected in the camera menu. This gives you the option to have double- or multi-exposure mode cancelled after a preselected number of shots have been taken, or to keep it active after each frame blend is complete.

When you’re not sure when the next opportunity will come along, it’s best to use the auto-cancel option, so you don’t get caught out and produce a blended frame when you actually wanted a single frame.

However, where crafting abstract images is the whole purpose of your shoot, keeping the mode active at all times speeds up the process and allows you to shoot many variations of a composition until you have found the perfect alignment of objects.

Some cameras will also give you the option to keep the individual frames which is useful if you want to try blending manually in software.

Mulitple-exposure in-camera steps

Step 1: choose your blend mode

If you have a darker subject that you’d like to combine with a brighter overlay, select the Darken mode. For the forest shot (above), I wanted the darker flowers to fill the bright spaces between the trees, where the sky was visible.

Step 2: work out your exposure

Don’t forget your basic exposure calculations, but tailor them to enhance the blended image. I exposed the first base image for the shadows which quickly clipped the highlights. Since I wanted a clear separation of tones for the blend, this was perfectly acceptable. For Additive mode, underexpose each frame by around one stop.

Step 3: take your first frame

Compose your base image carefully since this will determine the overall framing of the final shot. Trigger the shutter and preview it if your camera allows live previews of the blend in progress.

Step 4: shoot your overlay

Using the preview image if available, align the live view image with the ghost-like base frame until you are happy with the composition. Take the shot and preview the blended frame, checking for unintentionally excluded details. This can occur where pixels are brighter or darker than expected and are therefore missing (or over-exaggerated) in the final blend.

Fujifilm workflow

With a heavy focus on creative photography, the best Fujifilm cameras really lean into the Multi-exposure technique. While they feature similar blend modes to other brands, the terminology varies slightly. It’s therefore a good idea to compare modes to ensure you select the right one in any given subject-specific condition. Both Additive and Average modes are the same, but the following need a little decoding:

COMPARATIVE LIGHT - this is largely the same as Lighten or Bright mode on Nikon and Canon cameras, making bright pixels stand out against darker backgrounds.

COMPARATIVE DARK - the equivalent mode to Darken or Dark modes from other camera manufacturers. This will essentially fill bright areas with the underlying darker textures.

If you are using a Fujifilm model that has tactile controls, such as the X-T5 or X-T30 III, make sure you control your exposure by using the manual shutter speed dial, rather than by altering the f-stop from a lens-based aperture ring. This will essentially apply exposure compensation, which is critical when using Additive mode. However, this method will also ensure your depth-of-field doesn’t change between frames.

I also recommend checking out @bewaremyfuji on Instagram, who is a master of this technique — some of his multi-exposure nightscapes are particularly dynamic.

What should you shoot?

Put simply, anything with a clear outline can make a great multi-exposure shot. That’s because there is a sharp outline between the light and dark areas, which makes it easier to see where the pixels from one frame have blended with those from the next. It’s for this reason that skylines and profile portraits are popular subjects for this type of imagery. Creating a silhouette of buildings or the outline of a person makes a defined shape within which you can overlay the detail from another scene.

Equally, base layers with lots of texture or brightly colored patterns are ideal for creating those painterly style impressionistic images mentioned earlier. I like to bring together elements that look like they belong together, where natural subjects appear in the frame, but for urban images, I enjoy playing with heavy contrasts. Think natural structures like leaves, combined with industrial ironwork or brick walls.

If the baseline detail is already quite chaotic, such as in an image of a forest, I’ll often select Additive or Average mode to create more of an overlap, leaning into the ‘messy’ state of the natural environment. For shots of cities though, I try to create sharp silhouettes where the shapes have minimal overlap, thereby crafting clearly defined zones within the composition.

Combining multiple exposures with other creative techniques, like intentional camera movement ('ICM'), can also introduce some excellent effects.

Double or multi-exposure?

Once you’ve decided to experiment with these techniques, it raises further questions: what is the difference between multiple- and double-exposures, and when should each one be used?

Double-exposure mode is the classic choice and will simplify your workflow. It’s the mode to choose while you are learning how each blend option works and are just starting out with this technique. For standard urban photography or abstract landscapes, capturing just two frames is often enough, and I’d advise you to only consider shooting more frames once you fully understand how each frame is going to impact the others.

Multiple-exposure sequences, in other words combining three or more frames, can be great for complex textures or when you want to convey the movement of a subject in motion. Capturing the subject in multiple positions in the same frame – an athlete or dancer in several positions, for example – can produce a stroboscopic look that follows a perfectly timed sequence of planned movements. This is best done from a tripod to keep the camera stationary.

Sony surprised the camera community this week with the launch of the new RX10 V, reviving its best-in-class series of bridge cameras.

The mark V comes nine years after the now-discontinued Cyber-shot RX10 IV. It has the same versatile 24-600mm F2.4-4 lens and 20-megapixel 1-inch stacked sensor, but with a refreshed design and Sony’s latest processor and autofocus. It takes the best bridge camera available today crown.

The RX10 V gained a recommended award in my in-depth review. I was able to bag some impressive sample photos, including macro closeups of insects and distant birdlife, thanks to the camera’s 0.49x maximum magnification and 600mm f/4 lens.

I also compared the RX10 V to the older Cyber-shot RX10 IV. It’s a solid upgrade where it matters most, but with a predictable price increase – $2,400 / £2,200 / AU$3,500 – making it a premium pick.

In the process, I got thinking about the RX10 V's performance, especially when using its telephoto settings, and what alternatives there are for the same money — after all, some of Sony's older full-frame mirrorless cameras cost less. Can the RX10 rival a Sony full-frame mirrorless camera with telephoto lens?

One similarly priced alternative is Sony’s longest lens, the FE 400-800mm F6.3-8 OSS — at least if you already own a Sony Alpha camera to pair it with. Can the RX10 V compete?

I took the Sony RX10 V and the Sony 400-800mm lens attached to a pro A7R V mirrorless camera to my local nature reserve for a bird-photography shoot, and the following is my honest reflection on the experience.

Size and weight

Let's begin with how each setup is in use. As you can see in the images above, there is a big difference in size and, therefore, weight.

The RX10 V is hardly compact, but when you compare it to a Sony full-frame mirrorless camera with telephoto lens like the 400-800mm, or alternatives that reach the same 600mm focal length as the RX10 V, such as the Sigma 150-600mm F5-6.3, it is positively tiny. It very much feels like an Alpha camera, with excellent ergonomics and a decent control layout.

It's also a much lighter all-in-one camera, weighing 1,111g. Compare that with the combined weight of the A7R V (723g) and the 400-800mm lens (2,475g)at 3,198g – approximately three times the weight. And the Sigma lens is just a fraction lighter than Sony's lens.

For casual travel photography, the RX10 V is an excellent pick, with its ability to capture everything from landscapes to macro and distant wildlife subjects. You'll need to be much more serious and focused about wildlife photography to lug around the mirrorless body and 400-800mm lens.

Viewfinder and LCD

For telephoto wildlife photography, I find a viewfinder invaluable for composing shots and ensuring autofocus is on the money, so how do the displays compare?

The RX10 V's viewfinder is bigger and more detailed than the Cyber-shot RX10 IV's — it's a 0.5-inch 3.68m-dot display. However, the A7R V's viewfinder is in another league altogether, measuring 0.64 inches and being a brighter 9.44m-dot unit with 0.9x magnification. Put simply, it's way more immersive. However, there's less of a difference in viewfinder quality with an older, similarly priced Sony mirrorless camera, such as the A7 IV.

I was less concerned about the LCD displays for this comparison, but in case you'd like to know, the RX10 V has a 3-inch tilt touchscreen, while cameras at the RX10 V price point and above typically have a multi-angle display.

Autofocus

I was majorly impressed with the RX10 V's autofocus skills. After all, it inherits the Bionz XR processor and AI chip with real-time subject detection autofocus from the recent Sony A7 V.

Bird detection autofocus was on the money, even when the isolated subjects were only taking up a small portion of the frame. It takes a little experimentation to figure out which autofocus area option yields the best results in any given situation, but with the right subject detection tracking and the best AF area option selected, you'll struggle to find more reliable autofocus performance in another camera.

I can safely say that autofocus performance is an attribute where the RX10 V matches mirrorless camera capabilities.

Burst shooting

The numbers for the RX10 V are impressive: up to 30fps using the electronic shutter, or 10fps with the mechanical shutter. It also has the option for an instant speed boost from a slower rate to the max 30fps when the action strikes — a feature that can be assigned to one of the custom buttons.

I played around customizing various buttons for this feature, but annoyingly couldn't find one that felt like it was logically placed, whereas Sony's recent mirrorless bodies have a custom button on the front, to the side of the lens mount, which works best. I found the RX10 V button placement awkward for this memory-saving feature.

Neither camera had the pre-capture feature, which is super handy in wildlife photography for when your reactions aren't up to speed. Sony's pre-capture can buffer for up to a second before you fully press the shutter, say in the case of a bird taking flight. For the A7R V, the lack of pre-capture is understandable — the A9 III, which came later, was the first Sony camera to have this feature. However, for the RX10 V, it's unfortunate, since other recent Sony cameras, including the A1 II, A7V and A7R VI, have it, so it feels like an oversight.

Image quality

Image quality is where you might expect a real gulf to start opening up. The RX10 V shoots 20MP stills with a telephoto reach up to 600mm and a maximum f/4 aperture at this setting. Meanwhile, the mirrorless setup delivered 61MP stills (a more affordable mid-range model like the A7 IV is 33MP), and that extra 800mm reach.

Of any bridge camera, the RX10 V yields the sharpest results at 600mm and a pleasant subject separation thanks to that f/4 aperture. Compare the like-for-like mirrorless camera shots, and the RX10 V's look soft by comparison, but only when you look closely. The mirrorless camera has way more pixels to play with, meaning you can crop more severely into photos and still have high-quality output.

The 400-800mm lens is indeed sharper, and even though its maximum aperture is f/6.3 (400mm) to f/8 (800mm), which minimizes its light-gathering advantage, there's greater subject separation and dreamier results. Bokeh in foreground objects has a softer fall-off.

Another major difference is low light quality. In comparison shots taken at dawn (and nighttime photos I took later of the moon), the RX10 V images look muddier; less punchy, less sharp, just overall lesser quality. They still pass, but I would go for the mirrorless camera setup every time when the available light is minimal.

Conclusion

The Sony RX10 V is a truly excellent casual wildlife photography camera, with reliable subject detection autofocus and a decent telephoto reach combined with a bright f/4 maximum aperture. You can get pleasant subject separation and punchy images, when the light is good, though less impressive results when the light is dim. Overall, I'm really pleased with the quality of several photos I was able to take.

For wildlife photography, however, it was the mirrorless camera system that I enjoyed the most in the hand, and the one I wanted to use more of the two, helped by the superior end results (even with the smaller f/8 maximum aperture at 600mm). The brighter viewfinder and better button placement enhanced the experience, even if it was a weightier setup.

Yes, the RX10V is an excellent all-in-one camera — the best of its kind — but if you already own a mirrorless body and are serious about wildlife photography, picking up a supertelephoto lens like Sony's 400-800mm instead will yield better results and likely be a more enjoyable user experience — if you're willing to carry the extra weight.

• DJI announces completion of three drone missions on Everest
• FlyCart 100 transports supplies one way and garbage the other
• DJI Matrice 4E and DJI EV50 involved in other tasks on the mountain

Mount Everest has a trash problem. Decades of expeditions have left the world's highest mountain strewn with discarded oxygen canisters, abandoned tents, food packaging and worse — so much of it that the peak has earned the unflattering nickname of the "world's highest garbage dump." But DJI thinks its drones can help clean up the mess.

The drone giant has announced the successful completion of three missions on Everest, the headline act being the DJI FlyCart 100. DJI's heavy-lift delivery drone has spent the 2026 spring climbing season shuttling supplies and garbage between Base Camp and Camp 1 on the mountain's Nepalese south side.

Working with local drone company Airlift, DJI says the FlyCart 100 has hauled a total of 10,073kg between the two camps: 7,215kg of climbing supplies (think oxygen tanks, ropes and ladders) on the way up; 2,858kg of waste on the way back down. Going forward, the drone will assist in removing approximately 10,000kg of waste per season from higher camps that previously couldn't be cleaned up at all.

That's a serious amount of junk being shifted, but it's sorely needed. According to National Geographic, the average Everest climber generates around 8kg of trash during their expedition, most of which is left behind on the mountain. And with over 600 people attempting the summit every season — each supported by at least one local guide or porter — the rubbish is piling up quickly.

Eight minutes vs eight hours

The FlyCart 100's advantages aren't limited to its payload — the time (and risk) it saves is also a major boon. Traditionally, ferrying supplies from Base Camp to Camp 1 means Sherpas trekking for six to eight hours on foot through the Khumbu Icefall, a treacherous maze of shifting ice towers and crevasses that ranks among the most dangerous sections of the entire climb. The FlyCart 100 can cover the same route in just eight minutes.

That's not to say the drone has an easy ride. The FlyCart 100 can carry up to 100kg at sea level, but Everest is as far from sea level as our planet's surface gets. In DJI's tests, the drone lifted up to 47kg while operating at altitudes of over 6,300m, in temperatures ranging from -15°C to 5°C — conditions that would ground most consumer drones (and most helicopters, for that matter).

"Our team remains dedicated to making the world's highest mountain safer and cleaner for Sherpas and mountaineers worldwide," said DJI spokesperson Christina Zhang. "The success of our latest operations marks a proud milestone, and we hope our ongoing collaboration with the scientific community will further advance drone technology — saving lives and supporting conservation efforts across the globe."

The cleanup effort closely aligns with Nepal's wider push to restore the mountain, including the Nepal Mountain Association's "Zero Waste Initiative 2027." The FlyCart 100 will also support the Nepalese climbing community's goal of transporting around 5,000 oxygen cylinders between Base Camp and Camp 1 each season.

Mavic 3 vs the mountain

DJI has some history on Everest. In 2022, a DJI Mavic 3 became the first drone to capture footage from the mountain's 8,848.86m summit, while in 2024 the FlyCart 30 completed the world's first drone delivery tests on the mountain.

This year's missions went further still: alongside the FlyCart 100's headline-grabbing delivery runs, a DJI Matrice 4E mapped over 3km² of the Khumbu Icefall in centimeter-level detail in just 3.5 hours, giving climbing teams real-time hazard data for planning safer routes. Meanwhile, on the mountain's north side, DJI's first eVTOL delivery drone, the EV50, carried ozone-measuring equipment for atmospheric research, reaching a maximum altitude of 8,861m — higher than the summit itself.

None of this will solve Everest's overcrowding problem, and there are still literal tons of historic garbage buried in its glaciers, with climate change exposing more of it every year. But if a drone can achieve in eight minutes what once took a Sherpa a full day of life-threatening work, it does seem like progress is truly being made.

Sony RX10 V: two-minute review

Just when you thought bridge cameras had been sunsetted, Sony returns after a nine-year gap with the new RX10 V — and it’s a genuine upgrade of the Cyber-shot RX10 IV, which was already the best camera of its kind.

We get the same winning combination of a 1-inch stacked 20MP sensor and 24-600mm F2.4-4 lens, but the mark V model has been enhanced with Sony's latest Bionz XR processor and AI chip, enabling improved burst shooting speed, 4K video features, and, most importantly, better autofocus performance.

Sony has also implemented multiple design tweaks to the control layout and ergonomics, and as a result the RX10 V looks much more like an Alpha camera than the RX10 IV, which feels more Cyber-shot compact, did. For a more detailed breakdown of the differences, check out my RX10 V vs Cyber-shot RX10 IV article.

There are additional exposure dials, an AF joystick has been added (thank you, Sony!), as has a USB-C terminal, and the higher-resolution viewfinder is larger, more pronounced, and easier to see.

Throw in a bigger and comfier grip, which hosts the larger NP-FZ100 battery for a 50% boost in shot life, and the RX10 V is all round a slicker camera than the discontinued RX10 IV.

It's not all good news, mind you, depending on which way you look at it — the weather-resistant body misses out on a built-in flash and top LCD, both of which were present in the older model.

And some of the old drawbacks remain, such as the relatively sluggish zoom of the lens, which is 'just' a 25x optical zoom. I like that range, but other lesser-quality bridge cameras zoom further, such as the Nikon Coolpix P1100.

A significant sticking point is price — the RX10 V had to cost more than its nine-year-old predecessor, which was already pricier than any other bridge camera available. It's a big price to pay for this type of camera, even if you are getting a lot of camera for your money.

All that said, I've thoroughly enjoyed my lengthy review period with the Sony RX10 V, during which I've shot everything from travel to bird and macro photography, with the camera handling those and other subjects with aplomb.

It's a neatly packaged camera, especially when you consider you're getting a 600m f/4 lens when fully zoomed in. The RX10 V is a dream all-in-one camera, especially for enthusiast wildlife photographers with deep pockets.

Sony RX10 V: price and release date

• Announced on July 9 2026
• It costs $2,300 / £2,200 / AU$3,499

Sony's premium RX10 bridge camera series was always pricey compared to lesser-quality alternatives, and the latest version, the RX10 V, is even pricier. I'm not surprised: the RX10 IV launched for $1,800 / £1,500 / AU$2,000 almost nine years ago, and we should expect an inflation-based price bump at least. Still, $2,300 / £2,200 / AU$3,499 for a camera of this kind is a fair whack of anyone's money, let alone the enthusiast wildlife photographers that this camera is practically perfect for.

So what else could you get for similar money? If you already own a Sony mirrorless camera, the 400-800mm super-telephoto zoom lens is worth a look, especially if wildlife and bird photography are key reasons why you're considering the RX10 V. Or, if its zoom range alone that you want, and you're less concerned about outright image quality, the Nikon CoolPix with its monster 125x zoom is another option, and it costs almost half the price.

All things considered, though, I think the RX10 V is reasonable value for money, considering what you get.

• Price score: 4/5

Sony RX10 V specs

Sony RX10 V: Design

• Same 24-600mm F2.4-4 optically stabilized zoom lens as the RX10 IV
• Larger and more pronounced EVF with higher resolution and refresh rate
• Improved ergonomics and joystick added, but flash and top LCD removed

People buy a bridge camera primarily to get a superzoom lens, and the RX10 V has the exact same 24-600mm F2.4-4 lens as the RX10 IV — that’s a 25x optical zoom, with macro focusing up to a 0.49x magnification. Put simply, you’re covered for everything from landscapes and bird photography to close-ups of insects.

While the RX10 V is the same form factor as the RX10 IV, it has had a fairly major brush-up, and it feels a much better camera for it.

For one, the grip is comfier. It's a new shape with better ergonomics, and that's able to fit a physically larger battery than the previous model could, with a 50% boost in shot life.

If you're familiar with the RX10 IV, the top plate of this camera will take some getting used to; there are additional exposure control dials (one of which can be locked off) making quick changes to settings easier, while the shooting mode dial has been shifted to the right-hand side where a top LCD used to be. Personally I preferred the old setup.

Another major change is that the built-in flash has been removed, though a hotshoe remains for use with accessories such as an external flash.

Also, the viewfinder is more pronounced, which makes it easier to look into, helped by the fact that it's a larger 0.5-inch unit with more-detailed 3.68m-dot display, whereas the RX10 IV has a 2.36m-dot 0.39-inch unit. Put simply, the viewfinder is a major upgrade.

On the camera's back side, an AF joystick has been added (Sony calls it a 'Multi selector'), which is a control I love to have for the likes of manual AF-point selection. For wildlife photography, I used it a lot, and can't imagine how I would have coped so easily in such a scenario with the older camera.

Spin to the side, and the camera's ports are now neatly tucked away under rigid protective doors, with headphone and mic ports, plus a USB-C terminal has been added. The fact that the RX10 IV doesn't have a USB-C terminal is likely a reason it was discontinued, as per the EU's common charger regulations.

The tilt touchscreen is again a 3-inch type. It gets a small boost in resolution, and while that in itself isn't much of upgrade, its improved touch functions, and the fact that you can switch to a vertical format, are.

It’s possible to customize some of the buttons, including a speed-boost function during burst shooting — you can temporarily increase a medium speed, say of 10fps, to the maximum 30fps when the action begins. It’s a neat feature inherited from Sony's pro cameras, which minimizes how many photos you shoot, but the button placement is awkward for this feature — I would have liked a custom button on the front of the camera instead. A tally lamp has been added for video recording.

• Design score: 4.5/5

Sony RX10 V: Performance

• Sony's latest Bionz XR processor with AI chipset
• Burst shooting upped to 30fps, with Sony's most up to date autofocus system that includes a wide range of subject detection modes
• Now uses Sony's NP-FZ100 battery, delivering a 50% boost in shot life

Power and speed are where the major improvements are at. The RX10 V uses the same Bionz XR processor as the Sony A7 V mirrorless camera, with a combined AI chipset. The result is improved burst-shooting speeds and autofocus performance, and what Sony says is better color accuracy.

Burst-shooting speeds are boosted from the RX10 IV's 24fps to 30fps, when using the electronic shutter — which, in a camera like this with a stacked sensor, I have no problem doing. I'd hardly call this improvement in speed a reason to upgrade, though, especially since the mechanical shutter's maximum 10fps speed is enough for most scenarios.

When I was photographing action, such as for my child's sports day, or at my local nature reserve doing bird photography, I generally kept the camera to its 10fps setting, with one of the custom buttons set to a 30fps speed boost for when the action got really interesting.

This has allowed me to minimize the number of photos I've taken, while the way the camera groups burst sequences in playback makes files easier to navigate.

Something that makes the RX10 V feel like a snappier camera than the RX10 IV is that there is no viewfinder blackout, even for the 30fps setting, which is supported by continuous autofocus with Sony’s latest subject-detection autofocus.

Compared to the RX10 IV, the RX10 V is able to detect a wider range of specific subjects with real-time recognition, including dedicated modes for birds, cats, and more.

I generally made sure I selected the specific subject when I knew that was my focus, such as with bird photography, and have been seriously impressed by how sticky autofocus is. Even when birds were small in the frame, the RX10 V was regularly able to pick them up with the camera's autofocus area set to wide.

I had more issues when photographing my child's sports day, given that there were so many faces in a lot of the photos. For such scenarios, a quick jig of the autofocus area to a small area can help to avoid the camera focusing on people in the background instead of the subject.

I've mentioned it already, but like most of its recent mirrorless cameras the RX10 V also uses Sony’s popular NP-FZ100 battery, which is a longer-lasting unit than the NP-FZ50 in the RX10 IV.

Sony quotes shot life as up to 630 shots compared to 400 for the RX10 IV, which is a huge performance boost. Add on-the-go UBS-C charging, and the RX10 V is a better camera for heavy photography days.

For me, all the above performance improvements are key for a camera that people typically buy as an entry point for wildlife photography.

• Performance score: 5/5

Sony RX10 V: Image and video quality

• Same 20.1MP 1-inch sensor and 24-600mm lens as used by the RX10 IV
• New processor boosts color and autofocus accuracy
• 4K video frame rates upped to 60fps (no crop) / 120fps (with crop)

Considering the versatility of the 25x optical zoom lens, image quality is impressively sharp, while the bright aperture helps with low-light quality, and is easily able to blur backgrounds when using the telephoto settings.

That being said, there are no major image-quality improvements over the nine-year-old RX10 IV; we're still getting 20.1MP photos in RAW & JPEG, and 4K video recording.

It's largely the indirect factors that positively improve image quality: better autofocus performance and subject recognition, enabling an increased hit ratio of sharp photos, and images with greater color accuracy based on detected subjects.

Other more direct improvements include a boost in 4K video frame rates: the RX10 IV was limited to 30fps, whereas the RX10 V goes up to 60fps with no crop, or 120fps with a crop. Like before, we still get a 240fps, but only in Full HD format.

And then there are the new color profiles to choose from, including Sony's popular S-Cinetone and S-Log3 for video, and the ability to import up to 16 custom LUTs profiles.

There are a bunch of extra features that make the RX10 V a better camera for video than the RX10 IV; a tally lamp, enhanced audio workflows, and it's also now possible to record an in-camera time-lapse sequence.

If you already own a mirrorless camera, you're probably wondering if the RX10 V's quality is sufficient to replace a supertelephoto lens for photographing distant subjects. I was curious to find out, so I took the same photos of birds with the Sony A7R V professional mirrorless camera and Sony's longest telephoto lens, the 400-800mm, which is a similar price to the RX10 V.

You can see the direct comparisons between the RX10 V and Sony A7R camera with 400-800mm lens in my separate write-up. But to summarize here — yes, the RX10 V's detail is impressively sharp for a camera of this kind, but there is a reasonably obvious gulf in outright clarity from the larger and pricier Sony mirrorless setup.

• Image and video quality score: 4.5/5

Sony RX10 V: testing scorecard

Should I buy the Sony RX10 V?

Buy it if...

Don't buy it if...

Sony RX10 V: also consider

How I tested the Sony RX10 V

• Sony loaned me the RX10 V for the three weeks prior to its announcement
• I took it travelling and on regular trips to my local nature reserve
• I've used all the major camera and lens settings, plus made direct comparisons with Sony mirrorless gear

I made the most of my lengthy review period to properly test the RX10 V. I took it travelling where it was used in bright sunlight and hot weather, to my child's sports day, to my garden for macro photography, plus I regularly visited a nearby nature reserve which is a very popular spot for birding.

Across the various scenarios, I tested the different lens settings — the entire zoom and aperture range. I shot 20MP stills and 4K video clips, pushed the 30fps Drive Mode to its limits, tested the camera's close focusing capabilities, and shot until the battery drained.

And because I feel most people are interested in the RX10 V for wildlife photography, especially bird photography, I tested the various subject detection autofocus modes and pitted the premium bridge camera against Sony's longest lens, the 400-800mm F6.3-8, to see how it fared.

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

Fans reacted with dismay when Sony seemingly phased out its range of bridge cameras, with the CyberShot RX10 IV being discontinued in 2024. After all, these relatively lightweight and highly versatile superzoom cameras can shoot anything from landscapes to distant wildlife and macro, and Sony's was the best of its kind.

It’s not just Sony, mind you — I’ve looked after TechRadar’s best bridge cameras guide since 2023, and this space has been pretty dormant for a while now, besides the occasional cheap Kodak model, and Panasonic refreshing an old model with USB-C charging, which left our reviewer unimpressed.

So there’s good news for those who miss the good old days of bridge cameras, with Sony springing a major surprise — a shiny new RX10 V.

The RX10 V comes nine years after the Cyber-shot RX10 IV from 2017, and I think it’s a big deal. Not just because the class-leading series is back, but because Sony has fitted the latest model with genuine upgrades that make it a better camera for its key use case: enthusiast wildlife photography. The best bridge camera just got better, and it’s in stores now.

I’ve already tested Sony’s latest superzoom, and you can read my in-depth RX10 V review for more details. It's a decent upgrade, and based on how many people I've seen clamoring for this exact camera, I think it will sell really well, even with its steep asking price.

But should you splash out? Is it the latest model worth upgrading for? Let’s take a look at how the RX10 V compares to the Cyber-shot RX10 IV — their similarities, and what upgrades you can expect.

1. The lens

• Same 24-600mm F2.4-4 lens (25x optical zoom)
• The cheaper Nikon CoolPix P1100 has a 125x optical zoom

Let's start with the lens — it's the feature that most people buy a bridge camera for. There’s no change whatsoever here; the RX10 V has the exact same 24-600mm F2.4-4 optic as the RX10 IV.

Versatility is the name of the game — the 25x optical zoom covers everything from wide-angle landscapes to closeups of insects and wildlife photography.

Both cameras zoom up to 600mm at the telephoto setting, with the maximum aperture still being a respectable f/4. For me, this is the minimum focal length I’d want available to me for bird photography. If image quality could be equally as good, I'd love to see the reach extend to more like a 35x zoom, should Sony make a mark VI, even if the camera was slightly bigger / the maximum aperture at the telephoto end slightly smaller.

Some other bridge cameras beat the RX10 series for zoom, such as the Nikon CoolPix P1100 with its 125x optical zoom which stretches up to 3000mm at its telephoto setting. However, that camera has a much smaller sensor, and it's physically a much bigger camera. I think the RX10 series has the better balance for size, quality and versatility.

2. Sensor and image quality

• Same 1-inch 20.1MP sensor
• Both shoot 4K 30p video, but RX10 V boosts frame rates up to 120fps

Another similarity — both cameras are fitted with a 20.1 megapixel 1-inch CMOS stacked sensor, and are capable of shooting RAW & JPEG photos as well as 4K video.

The stacked sensor positively impacts the quality of high-speed photography and video recording. Sony never confirms exact sensor readout speeds, and is vague about this kind of information, but you can expect minimal rolling shutter distortion for high-speed photography and fast-moving subjects when shooting with the electronic shutter, with which the camera’s fastest burst shooting speeds can be enjoyed, as well as 4K video recording.

I would expect to use the RX10 V primarily for wildlife photography, especially bird photography, and so the fast sensor type is highly welcome.

Both cameras shoot 4K 30p video, but the RX10 V can also shoot up 60fps or up to 120fps with a crop. We also get more color profiles to choose from with the RX10 V, including S-Log3 and S-Cinetone, and Sony says the latest Bionz XR chip improves color fidelity compared to the RX10 IV, thanks to real-time subject detection.

3. Processor and autofocus

• RX10 V features latest Bionz XR processor and AI chip
• Subject-detection autofocus expanded to more subjects, now includes auto
• Burst shooting speeds upped from 24fps to 30fps

Here’s where some of the biggest upgrades kick in — the RX10 V is equipped with Sony’s latest Bionz XR processor and AI chipset — a combined setup just like in the A7R VI and A7 V mirrorless cameras.

The quickest shooting speeds are upped from 24fps to 30fps when using the electronic shutter, or it’s up to 10fps, as before, when using the mechanical shutter. I don't see that minor improvement as enough reason to upgrade.

There’s a major boost for autofocus performance, however, with the RX10 V enjoying Sony's latest real-time subject detection autofocus, which covers subjects as diverse as birds, animals and vehicles, with the option for ‘Auto’ subject detection added. For the best outright performance, I’d still recommend selecting the specific subject if you know that’s all you’ll be photographing, say on a bird photography excursion.

It’s now also possible to customize a button to ‘boost’ burst shooting speeds when the action strikes. For example, you can tick over at 10fps in continuous medium, but get an immediate temporary boost to 30fps by pressing a boost button. I found the placement of the available customizable buttons super awkward for this feature (C1 and C2, for example, require your index finger, leaving your middle finger to press the shutter button — not ideal), but it’s still a great option to have to avoid taking too many action shots.

4. Design

• New control layout, larger EVF and comfier grip feel more Alpha-like
• USB-C port added, larger NP-FZ100 battery boosts shot life by over 50%
• RX10 V misses out on built-in flash and top LCD

There have also been some fairly major design changes, including to the control layout, and the RX10 V looks much more like an Alpha than the RX10 IV did — that cameras feels more like a Cyber-shot compact.

I found the grip comfier, and I appreciated the extra exposure control dials, the addition of a joystick, the tally lamp for video recording, and the ports being neatly tucked away under rigid protective doors. The latest model also adds a USB-C port for charging, which is necessary under EU Common Charger regulations as of 2025, while the RX10 IV lacks this port, which is likely one of the reasons why it was removed from shelves last year.

We get a significant boost in power too, because the RX10 V uses the same NP-FZ100 battery as many recent Sony mirrorless cameras, which is a larger unit than the NP-FZ50 type used by the RX10 IV. Sony says battery life has increased by around 50% — from up to 400 shots to 630 shots. Add on-the-go USB-C charging, and the RX10 V is better equipped to last through a heavy day of photography.

The single SD memory slot is now compatible with faster UHS-II cards, while the older model only supports UHS-I. The viewfinder has a decent upgrade too — it’s a more immersive 0.5-inch 3.68m-dot unit, versus a 0.39-inch 2.36m-dot type. The viewfinder is also more pronounced, which makes it more accessible. It's still no match for the even-bigger and brighter unit in many of Sony's full-frame mirrorless cameras, as I discovered when directly comparing it to the A7R V's.

There are a couple of drawbacks to the newer model. It doesn’t have a built-in flash as the RX10 IV does, but there is a hotshoe, and the RX10 V, like its predecessor, is compatible with an external flash. We also lose the top LCD display, which was a useful reference for camera settings. I prefer the shooting-mode dial placement and top LCD on the RX10 IV, but overall the RX10 V easily handles better.

5. Price and availability

• Cyber-shot RX10 IV discontinued — it was $1,700 / £1,500 / AU$2,000
• RX10 V costs $2,300 / £2,200 / AU$3,499

Here comes the sting — the RX10 V is a lot pricier than the RX10 IV was when it was launched in 2017. That's to be expected given the nine years between the two cameras, but the RX10 IV was already the priciest bridge camera choice, and firmly out of reach for many of the exact kind of photographer who would want one: enthusiast wildlife photographers looking for a lightweight and versatile all-in-one kit.

The RX10 IV launched for $1,700 / £1,500 / AU$2,000 back in 2017, and it remained at that price point for many years after until it was discontinued. I've checked multiple leading camera gear stores, such as KEH (US) and MBP (UK), and secondhand RX10 IV's are a rarity.

Meanwhile the RX10 V costs $2,300 / £2,200 / AU$3,499. That’s a lot of money for such a camera, when it’s possible to pick up an older full-frame mirrorless body and secondhand telephoto zoom for little more. Or, if it's the telephoto reach you want and you already own a Sony mirrorless body, the 400-800mm F6.3-8 lens costs around the same as the RX10 V.

Conclusion

The Sony RX10 V is the exact upgrade that bridge-camera fans have been asking for. Its core lens and sensor specs are identical to the RX10 IV's, but the new processor, subject-detection autofocus and larger battery deliver a major boost in performance, in the key areas that I would hope for.

Throw in a design overhaul, especially the inclusion of a joystick and larger viewfinder, and the RX10 V feels very much the bridge camera for 2026, and one that I expect to be very popular among the photographers who can afford it.

Simply the fact that the RX10 series is back is no doubt going to please many photographers who love the format for its versatility and relatively light weight. That said, if you can find the older RX10 IV for much less (good luck to you), you also won’t be disappointed — it’s still an excellent camera all these years on, offering very similar quality when it nails the shot.

• Report claims Sony FX3 cinema camera replacement is launching later this month
• FX5 will come with an all-new sensor offering a much-needed upgrade
• Optional EVF add-on set to arrive alongside the camera

It's been over five years since Sony launched the FX3, and in that time it's become one of the most beloved small cinema cameras around. But it's always had one gap that pro filmmakers have grumbled about: no open gate recording.

According to a new report from SonyAlphaRumors, that's about to change. A story on the site says Sony will officially announce the FX5 on July 22 at 3pm BST, and among the leaked specs is Open Gate 5K recording in a 3:2 aspect ratio.

If you're not familiar with the term, open gate simply means the camera records using the entire surface of the sensor, rather than cropping it down to the standard 16:9. That extra height in particular gives editors far more room to reframe, punch in or repurpose the same shot for square, vertical, or widescreen content in post. That can be a huge deal for anyone making videos for multiple platforms from a single shoot.

It's exactly what TechRadar's Pete Sheath asked for back in 2025, alongside an increase in resolution, when he wrote up his wish list for a next-generation FX3.

That resolution bump is also rumored to be arriving in the FX5, in the form of a new 16.6MP fully stacked sensor. On the surface, 16MP might look modest for a 2026 cinema camera. But for a camera built around motion rather than stills, a lower pixel count may work in the FX5's favor: it can mean better dynamic range, cleaner low-light performance, and space for punchier frame rate options (don't be shocked if 4K at 240fps ends up on the spec sheet).

The trade-off is that 8K recording seems to be off the table, which will likely disappoint anyone hoping the FX5 would leapfrog into that territory.

Room for a view

There's also good news for anyone who's missed having a viewfinder on Sony's FX-series cameras. The report points to a new external tilting EVF, which should make a real difference for shooters working outdoors in bright sun or in dim, light-sensitive spaces like concerts and theaters, where a glowing rear screen isn't always welcome. It sounds optional rather than built-in, which may be the best of both worlds: skip it and keep the FX5 almost as compact as the FX3, or clip it on when you need it.

Other rumored additions include the BIONZ XR2 processor with AI autofocus (borrowed from the Sony A7R VI), a triple base ISO system, false color exposure tools, and a Venice-style menu overhaul.

Nothing is official yet, and Sony hasn't confirmed a single spec. But if the leak proves to be accurate, the Sony FX5 looks set to answer several of the loudest requests from the FX3 faithful in one go. We should know for certain in a couple of weeks.

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• International Aerial Photographer of the Year 2026 winners announced
• Azim Khan Ronnie and Vitaly Golovatyuk scoop the top 'Photographer' and 'Photograph' prizes
• Both winners shoot aerial images with a DJI Mavic 4 Pro

If you love jaw-dropping aerial images, the International Aerial Photographer of the Year contest is well worth checking out — and the contest's 2026 winners have just been announced.

A total of 101 images were shortlisted by the contest's three judges, and Azim Khan Ronnie scooped the top prize with his portfolio of scenes from around the world, including vibrant images of chili pepper harvesters in his home country of Bangladesh.

Ronnie said: “From above, everyday scenes reveal patterns, geometry, textures and relationships that are often invisible from the ground. Aerial photography allows me to tell stories about people, nature and the environment from a perspective that inspires curiosity and offers a deeper understanding of the world."

A minimum of four images are required to be considered for the top 'Photographer' prize won by Ronnie. Vitaly Golovatyuk of the Russian Federation took 1st place for the International Aerial Photograph of the Year, with their individual image of a bird standing in a perfectly still lake in Elk Park, outside Dongtai City in the Zhejiang Province of China.

You can take a look at Azim Khan Ronnie's portfolio below, with the variety of scenes including migratory seagulls in Yamuna Ghat, Delhi, India and a perfectly synchronized rowing team gliding over the mist-covered surface of Lake Zurich in Switzerland.

'Unique and extraordinary'

I reached out to Azim Khan Ronnie, who described his images as "unique and extraordinary", and the result of much hard work, repeat visits and early starts.

I was particularly drawn to his series of chili pepper harvesters in Bogura, Bangladesh, where more than 2,000 people work on approximately 100 chili farms — you can see more of his images from this particular series at his Instagram page, linked below.

The vibrant colors grabbed my attention first, then the abstract patterns and astute composition kept me engaged.

I also enjoyed his use of manual exposure and a slow shutter speed to blur the motion of the migratory seagulls, in contrast to the still (and sharp) boat they're surrounding, in his image from Yamuna Ghat, Delhi, India.

In the International Aerial Photographer of the Year press release, learn that Ronnie takes his aerial images with the DJI Mavic 4 Pro drone — a professional triple-camera drone which scored a maximum 5-star rating in our in-depth review.

Ronnie says, “For aerial photography, I use the DJI Mavic 4 Pro and DJI Mavic 3 Classic, allowing me to create images that reveal scale, patterns and perspectives impossible to capture from the ground. I always shoot exclusively in raw to capture the maximum amount of image data, giving me greater flexibility during post-processing while preserving image quality."

Vitaly Golovatyuk also used a Mavic 4 Pro for his winning individual image (above), taken in China, where the still lake appears like an eye, with the bird framed in the center among the reflected clouds and the surrounding rich red landscape.

The winners from the 101 shortlisted entries can be found at The International Aerial Photographer of the Year website, whose founders are on a mission 'to encourage and share the wonders of aerial photography'.

If you scroll to the bottom of the page linked above, there's a flip book containing all of the shortlisted entries — trust me, it's well worth a look.

• The FBI says it's now seized over 600 drones near World Cup venues
• Seizures have been recorded in every one of the tournament's US host cities
• This could have implications for all drone fans during national events

Back in mid-June the FBI made a big show of announcing that it had seized around 15 drones near World Cup venues, in what felt like a pointed and clear warning to would-be aerial photographers that the agency meant business.

Apparently, a lot of people weren't listening. Three weeks on, the FBI now claims it has seized over 600 drones across all 11 US host cities since the tournament began, with operators facing fines of up to $100,000 and potential federal criminal charges for violating temporary flight restrictions.

The enforcement operation dwarfs what we reported on just weeks ago. According to the FBI, seizures have been recorded in every one of the tournament's US host cities.

Miami leads the count at 99 confiscated drones, followed by Los Angeles at 91, Dallas at 78, and Atlanta at 77. Kansas City recorded 61 seizures, with Seattle (52), San Francisco (48), Boston (44), New York/New Jersey (38), Philadelphia (29), and Houston (24) rounding out the full picture. The flight violations have reached epic proportions.

The FBI's enforcement has relied on a combination of RF detection systems, radar monitoring and dedicated Counter Drone Enforcement Teams stationed around stadiums and fan festival sites on match days. Under authority granted by the Department of Justice, agents have been empowered not just to detect and track unauthorized drones, but to actively seize them and pursue charges against their operators.

The FAA's no-fly zones extend three nautical miles and up to 3,000 feet around host stadiums on match days — a restriction that has been widely publicized since before the tournament kicked off — with tighter one-nautical-mile, 1,000-foot zones around fan festival venues.

"The FBI and our partners will continue to identify drone operators who violate Temporary Flight Restrictions. Our collective goal remains that FIFA World Cup 2026 events are safe for all participants and attendees," one FBI agent stated, making clear that the seizures are set to continue all the way through to the final on Sunday June 19.

Analysis: What comes next could be worse than a $100,000 fine

600 seizures across 11 cities is a remarkable number — and not in a good way. These rules were well publicized by the FAA before the tournament, apps like B4UFLY (on iOS and Android) make checking airspace status a 30-second task, and multiple law enforcement agencies held press conferences specifically to warn operators about the consequences of non-compliance. And yet, in city after city, pilots still took to the skies.

The concern now isn't just for the individuals facing fines and confiscations, but for what this level of disregard signals to the regulators and lawmakers who will be deciding the future of civilian drone use in the US.

The FAA's existing framework for hobbyist and recreational drone operation is already more permissive than many countries — but that framework depends in part on the implicit argument that most operators are responsible and self-regulating.

600 violations in a single tournament, at one of the most high-profile enforcement operations in the FAA's history, makes that argument difficult to sustain.

The 2028 Los Angeles Olympics are less than two years away. If the World Cup enforcement figures are used as a benchmark, the case for tightening permanent restrictions around major events, expanding no-fly zones, or pushing for mandatory remote ID enforcement at a broader scale becomes significantly stronger.

Remote ID, which requires drones to broadcast identification and location data in real time, is already a legal requirement for most operators under FAA rules introduced in 2023, but enforcement has been patchy. The World Cup violations and seizures give regulators plenty of ammunition to push for something far more robust.

There's a wider reputational cost too. Drone manufacturers, industry advocates and responsible hobbyist pilots have spent years making the case that civilian drone use is a legitimate, low-risk activity that warrants a light-touch regulatory environment.

Every drone user who has ignored a well-publicized no-fly zone during this tournament has handed opponents of that argument exactly the evidence they needed, and if the regulatory response over the next few years turns out to be harsher than most drone enthusiasts would like, it will be difficult to claim that it wasn't, at least in part, earned.

As the World Cup moves into the quarter final stage, we'll be keeping an eye out to see if the flight restriction violations continue.

• Merlin Bird ID is a go-to app for bird identification, with more than 40 million downloads
• It can identify over 2,000 species of birds by sound recognition
• A future update will share sound recordings with eBird, a huge biodiversity database

If you're into birdwatching, you'll need no introduction to the popular Merlin Bird ID app, by Cornell Lab of Ornithology. With over 40 million downloads worldwide, and over two million monthly users in the UK alone, Merlin is the go-to app for bird identification for many.

I'm in my forties, and birding has become one of my recent new hobbies, after years of photographing birds while testing cameras and lenses. And while I'm learning, I simply can't identify all the birds I see or hear, especially in my local nature reserve, which is a migration route for varied and sometimes rare birdlife throughout the year, and a popular birding spot.

The app helps me to identify the birds I'm unfamiliar with by their call / song, using machine learning sound recognition, and gives me lightning-fast and almost always reliable results, with an image for each identified bird. It's super helpful.

I can also feed the app one of my photos for identification, such as those taken during a recent outing with the Sony 400-800mm lens, with the results based on location data and other information from a database of more than 2,000 bird species.

So I was delighted to hear that the app — which is free for iOS and Android, with downloadable offline bird packs by location including US, Canada and Europe — is getting an update which will help users like me give something back: integration with Cornell's own eBird database, as reported by the Guardian.

A new wave of citizen scientists

eBird is a huge citizen-science biodiversity database, with over two billion recordings logged worldwide since its 2002 launch. And it's set for an influx of new data — the Merlin Bird ID app update will in future allow bird identifications to automatically flow directly into the eBird database.

Jessie Barry, of the Merlin project, told the Guardian, "Upcoming feature developments will make an even better link to the eBird systems so that we can use the data from what users ‘hear’ with Merlin to monitor bird populations."

Bird conservation is a hot topic, what with bird numbers declining. The UK, for example, has 70 million fewer birds than it did 50 years ago. So here's the good part: these records could provide vital information to conversation efforts for at-risk birdlife around the world.

Barry added: “This data helps create tools that can be used to further conservation, inspire support and inform ecological management strategies.”

Notwithstanding the cautionary note of the app's outright accuracy, with concern from some about it occasionally misidentifying birds, the Merlin Bird ID app update could be a huge boost for bird conservation efforts.

Being directly connected to the go-to bird identification app, eBird stands to receive more data from millions of users, who don't need to make any special effort to take part; they just need to carry on using the app as before to record and identify birdsong.

I love the idea that I will be one of a new wave of citizen scientists across the world, with the recordings I make playing a small part in monitoring bird populations. And the surge in recording data will likely further improve the app's performance.

Right, I'm off out with my phone, I hear the birds calling...

I’m a child of the DSLR era. Back in 2009, when I truly decided to make photography my career, if you wanted to be taken seriously as a digital pro, you had to have your eyes set on a high-end DSLR camera. My first love (creatively speaking) was a Nikon D80, then a Canon EOS 40D, at the time considered to be amongst the best DSLRs available, at least for enthusiasts.

However, it was the likes of the Canon EOS 1Ds Mark III and the Nikon D3 – the photographic equivalents of Concorde – that most aspiring professionals sought to own. These monster cameras were often as useful for weight training as for photography, and they looked as powerful as they did expensive.

Today, things are very different, and rather than bigger often being seen as better, the mirrorless age has reversed the formula. Compact is now king, and even professional-level cameras are a fraction of the weight of the mid-range models of yesteryear. Cameras have never been more powerful: armed with the latest in processor and autofocus technology, models like the Canon EOS R1 are able to capture images that would once have been considered impossible.

I recently had the opportunity to shoot the EOS R1 alongside the Canon EOS 1DX Mark III, bringing together the very best of each generation of Canon cameras. DSLR versus mirrorless.

The 1DX Mark III was the last pro Canon DSLR to roll off the production line, and it is still available to buy new today, despite being launched back in early 2020. But in digital terms, seven years is a long time, so can it hope to keep up with the new pinnacle of mirrorless tech?

Well, I couldn’t wait to find out, and I had a sneaking suspicion that specification alone wouldn’t be enough to change my mind about DSLRs being as relevant today as at the turn of the decade. To make the test as tricky as possible, I headed out for a spot of bird photography – arguably one of the biggest challenges for a camera’s speed and accuracy.

A pro camera for the modern age

There’s no denying it; the EOS R1 is a lot more manageable than the EOS 1DX Mark III. At 3.17lb / 1,440g, the DSLR is approximately 325g heavier than the mirrorless alternative, which might not sound much on paper, but it makes a significant real-world difference.

The body of the EOS R1 is also a lot narrower, which helps to give the impression of a less intimidating product. Using either of the cameras individually, they both seem large compared to other mirrorless models like the Canon EOS R6 Mark III, Sony A7 V, or Nikon Z6 III. However, the weight of the EOS 1DX Mark III wasn’t quite as much of a challenge as I remember.

Having used mid-range DSLRs and mirrorless cameras for several years now, I had expected the mammoth 1DX Mark III pro-spec body to put my core strength to the test, but I was pleasantly surprised by how quickly I acclimatized. Paired with a 24-70mm f/2.8 lens, the setup was certainly noticeable around my neck, but it felt perfectly balanced. The EOS R1, meanwhile, seemed a bit more front-heavy when a larger lens was mounted, the center of gravity having shifted forward.

I quickly came to realise that balance was the biggest influence on comfort rather than overall weight. When a larger, heavier optic is required, I found the 1DX Mark III to be the better choice for me. This balance also made the setup more stable when shooting fast-moving subjects.

For example, when photographing birds in motion, it seemed easier to track the subject thanks to the camera and lens’ inertia. It’s a bit like having the tension on a tripod control turned up; smoother movements were possible, allowing me to keep my feathered subject in the viewfinder.

Of course, overall manageability is helped when pairing the mirrorless body with a mirrorless-first lens. Once I attached a Canon RF 100-500mm f/4.5-7.1L IS USM zoom to the EOS R1, rather than an adapted EF 70-200mm f/2.8L IS III USM or EF 100-400mm f/4.5-5.6L IS II USM, the center of gravity was shifted back towards the lens mount, restoring balance at an overall lower weight.

From a convenience perspective, the EOS R1 is a professional camera for the modern photographer. The weight of one camera might not fully demonstrate the mirrorless advantages, but since many pros will find themselves carrying two or possibly even three bodies, the EOS R1 will surely take a lower toll on the spine than the EOS 1DX Mark III over a full working day.

Handling like a dream

Let’s talk about something that can never be fully described in a camera’s press material or spec sheet: what the body actually feels like to operate. One aspect of a pro DSLR I’ve missed in recent years is an integrated vertical grip for portrait-format shooting.

Yes, it’s possible to add a battery grip to either a DSLR or mirrorless body – I always kept a Canon BG-E7 grip attached to my EOS 7D, while the BG-R20 can add power to an EOS R5 Mark II through holding multiple Canon LP-E6P batteries, alongside dedicated vertical controls – but the handling isn’t quite the same.

And while the EOS R1 and EOS R3 before it bring an integrated vertical grip, the balance still feels a little off to me. The deeper grips of the 1D Series were inherited from the later film SLRs, such as the EOS 1v and the beautiful EOS 3, and as such, they were designed to support the huge fast telephoto lenses of that era.

Therefore, the body of the 1DX Mark III is more contoured and properly gives the impression that the camera is an extension of the photographer’s arm – a big deal for fast-paced wildlife and sport photography.

Then there’s the build quality itself. Although the EOS R1 and other pro-spec mirrorless cameras like it are as robust as their DSLR predecessors on paper, the greater use of high-impact plastics does cheapen the overall feel. Now, I realise that perception might play a role in that aspect of the handling experience, but when you have invested tens of thousands of dollars in your kit, and when shooting important assignments, confidence is critical.

The 1DX Mark III, with its predominantly metal construction, just oozes quality and solidity. I was far more confident when caught out in a spring rain shower with the DSLR than the lighterweight but less metal-reliant EOS R1.

A race that DSLRs can’t win

Technology advances a long way in a short time, and seven years is more than enough time for a revolution to occur in autofocus, processing power, and operational reactivity. The EOS R1 is fast. Very fast. The EOS 1DX Mark III is obviously no slouch, but it simply can’t keep up with the latest Canon tech.

In practise, this means fewer missed shots, greater sharpness, and above all, better reliability on tough jobs. I’m not a professional wildlife photographer, so I haven’t developed the muscle memory needed for completely instinctive reactions when a possible image presents itself, as is the case for the top pros in this genre.

With the EOS R1, I felt as if the camera was taking on a much bigger role in my success rate than its older DSLR counterpart. When I did predict a super-fast reaction from my subjects, it was the EOS R1 I reached for more regularly. I just knew it would be able to track my subject in almost any conditions.

There is then the matter of noise footprint. When used in electronic shutter mode, the EOS R1 is silent, and I mean completely silent. By comparison, the audible ‘snap’ of the 1DX Mark III’s reflex mirror seemed like a percussion player had joined me in the hide. Did it spook more subjects than the R1 in this case?

Probably not, but if I were perched on a mountainside, and my Director from the BBC was asking if Sir David Attenborough could have an update on my Snow Leopard shots for his new documentary, I might reckon I’d take this matter quite seriously.

Then again, it’s worth remembering that the 1DX Mark III does essentially have a mirrorless workaround to this problem. In Live View mode, the mirror is locked in the up position, and unlike older models in the range, the on-sensor AF is virtually as good as the current R-system technology. This means no mirror noise, a super-fast 20fps burst rate, and no focusing compromises.

This brings me neatly onto why I think the last generation of pro DSLRs have a unique and currently unmatched advantage over every other mirrorless camera on the market.

EOS R1 vs EOS 1D X Mark III: conclusion

Many of the shortcomings we see in DSLRs these days, at least when comparing them to the latest mirrorless offerings, are not a flaw in the design. It’s an age thing. Yes, the Nikon D850 isn’t as fast to focus as the newer mirrorless Nikon Z 8, nor is the Nikon D6 able to rattle off shots as rapidly as the Nikon Z 9. But this is to be expected considering how much older those cameras are.

The manufacturers have had far more time for R&D in the intervening years, building on the very finest features of the last pro DSLRs and making them even better. The same is true of the EOS 1DX Mark III; of course the EOS R1 is faster and quieter, but this is as much due to years of extra development than it is because of the differences between the DSLR and mirrorless formats.

Most of the systems we see in Canon’s pro R-Series cameras were trialled on the last 1D EF-mount models. And that’s why I’d sooner choose a 1DX Mark III (or a D6) than the latest models available.

Functionally, there are relatively few differences in tech between the two camera types, meaning you get almost all of the same features with the advantages of an optical viewfinder, almost double the battery life, and deeper handgrips, if they are your preference.

I often think of the last DSLR camera generation as the golden age of digital photography; the technology was prepared for the mirrorless revolution, but the cameras retained the tactile experience of classic types. The EOS R1 might have more firepower, but the EOS 1DX Mark III has more stamina and an unbeatable user experience.

It's July, I'm fresh off writing my 2026 cameras half-year review, and in the process something became clear to me — neither Nikon nor Fujifilm has released a new camera this year (the Instax mini Evo Cinema instant camera doesn't count).

So while I've personally tested standout models from other manufacturers in recent months, such as the Sony A7R VI and Canon EOS R6 Mark III mirrorless cameras, plus the Ricoh GR IV and Panasonic Lumix L10 premium compacts, we're yet to see new Z-mount or X-mount bodies.

I'm sure the question on many a camera fan's lips is this: can we expect new Nikon and Fujifilm cameras later this year?

I've reviewed every major camera release over the last few years, attended countless events, and have studied the timeline and cadence of previous releases to form a picture of what could happen next.

I've considered which bodies could be due for an upgrade, and what direction each brand has been headed recently. So let's see what could happen next for 2026's quiet camera manufacturers, Nikon and Fujifilm.

Nik-none?

The last Nikon camera body was the Nikon Zr from September 2025, which was its first cinema camera co-branded with RED. It packed super-impressive video specs, many of which were borrowed from the superb Z6 III, into a particularly small body with an epic 4-inch touchscreen and stellar audio features.

For a true mirrorless hybrid with viewfinder, we need to go even further back, over a year in fact, to the Nikon Z5 II in May 2025. This was a decent upgrade of Nikon's affordable Z5, which delivered a raft of performance improvements to redefine what entry-level full-frame models can do, and went on to bag our Camera of the Year 2025 award.

Currently, the range of Nikon cameras includes the Nikon Z30, Z fc and Z50 II APS-C bodies, and the Z5 II, Z6 III, Z f, Z7 II, Z8 and Z9 full-frame bodies, plus the ZR cinema body.

The most heavily rumored Nikon cameras are the Nikon Z9 II — what with the Z9 being over four years old — and new cinema camera bodies; potentially a premium and larger option with pro-grade connectivity that could sit above the ZR, plus an even more affordable version with an APS-C sensor.

We could get a new Z f-series model — both of the retro-styled bodies have been around for a while now. Personally, I'd like to see a Nikon camera in the Z f style, but as a compact camera version with a fixed fast aperture prime lens.

Tipsters believe we're unlikely to see another Z7 camera; the Z6 III (and obviously the Z5 II) is too recent for a replacement, while the Z8 has aged well and still holds its own today. CoolPix compact cameras have seemingly been sunsetted — besides refreshing its old 125x zoom bridge camera with the CoolPix P1100, we haven't seen a true new CoolPix in several years.

For me, having been hosted by Nikon at IBC 2025 in Amsterdam last September around the launch of the ZR, it was clear that Nikon has its head in cinema camera gear, so a high-end cinema body to follow the ZR is highly plausible, though I don't know what it would be called.

A new Nikon cinema camera with an APS-C sensor is also highly likely. In theory, it would effectively render a direct Z30 successor redundant, although it would cost a fair whack more than a potential Z30 II would. That would be a shame — the Z30 is Nikon's cheapest mirrorless camera, and Nikon has otherwise largely ignored truly affordable cameras for beginner photographers.

Fujifilm's next generation processor inbound?

As for Fujifilm cameras, the X-T30 III was its most recent X-mount release, back in October 2025, which followed the classy X-E5 from June 2025.

Those launches meant that practically every current X-mount model is fitted with Fujifilm's latest X-Processor 5 chip, besides the X-Pro series, with a range of 26MP and 40MP options.

I wouldn't bank on an X-Pro 4 until the next generation of processor is out in the wild, if at all, and usually each new processor comes with the latest high-end X-T model, the most recent of which was the X-T5.

It comes as no surprise then that the X-T6 is the most-rumored Fujifilm camera, which is being tipped for a September release when Fujifilm typically hosts its once- or twice-yearly X-Summit.

I've written about what upgrades I'd hope for in an X-T6, especially improved autofocus performance and an all-new processor, but otherwise it's hard to see where Fujifilm can better the X-T5 without treading on the toes of the high-speed XH-series.

Elsewhere in the range, the X100VI premium compact continues to sell well, and so I'd be really surprised if a seventh generation model comes this year — a new processor needs to come first, too.

Stepping outside of new gear and into photography, it's worth noting that Fujifilm recently shared its new 'Look Up' campaign (see below), encouraging people to look up from their screens and connect with the world around them, saying:

'Our cameras bring you back into the moment, giving you agency over how you see, how you feel and how you remember. They allow you to turn emotions into images — a grounding force that doesn’t tell you what to think, but helps you stay focused and present.'

Are you a Nikon or Fujifilm photographer? Which camera would you like to see next, and what are the upgrades that would benefit your photography the most? Have your say in the comments.

Fireworks nights are full of pure magic. The bright, colorful explosions, loud whizzes, and the heavy smell of gunpowder in the air always make me feel like a kid again. They are also the perfect excuse to pull out your camera!

Last year, the iconic Macy’s 4th of July Fireworks Spectacular over the Brooklyn Bridge reportedly cost $6 million. And for this historic 250th Independence Day on July 4, 2026, your own photos really could look a million bucks!

Taking pictures in low light, however, is no easy feat. Add in the complication of fast-paced explosions going off haphazardly and a tight time restriction, and capturing the perfect shot can feel stressful.

Fear not! I’ve compiled my favorite tips to help you take better photos of fireworks. Whether you shoot on a professional DSLR, a mirrorless camera, or plan to capture everything on your iPhone – I’ve got you covered.

1. Find a vantage point

Rather than shooting close up details of singular fireworks, it’s better instead, to include them in a wider landscape for extra context. You’ll only have a limited time to capture your shots before the fireworks display is over, so it pays dividends to do your research beforehand – try to figure out where the fireworks are going to be set off from and plan your shoot to make sure you can capture a wide landscape plus the fireworks in the sky above.

Some of the best vantage points for fireworks displays are well known and very popular so it can be well worth getting to the location well in advance of the display and setting up your gear to stake your claim in the best position before the crowds arrive.

2. Steady your camera or phone

For the best quality photos a dedicated camera such as an interchangeable mirrorless or DSLR camera is preferred. You’ll want to set up on a tripod to remove camera-shake caused by the vibrations picked up when shooting handheld. It’s also beneficial to switch off and disable any image stabilization your camera may have as this can actually introduce blur when your camera is locked off on a tripod as it might try to correct for motion that isn’t there.

Rather than trying to focus on each and every firework exploding, you’re best bet is to shoot a wider landscape and manually focus on something in the scene so that your camera isn’t struggling to autofocus on the fast action of a firework. If your scene has street lights in it, for example, use these as a guide to lock focus, thus preventing the camera from hunting in those high stakes split-second moments.

Apple’s latest iPhones automatically enable Night Mode in low light environments, as do most leading Android phones. While it is easier than ever to shoot handheld with recent phones, thanks to the latest and greatest image processing and stabilization tricks, for best results I'd still recommend using a tripod, fixing your phone to it with one of the best smartphone tripod adapters. Failing this, try to find a fence, railing or wall you can prop your phone up on to make it steadier.

3. Starting settings: DSLR & mirrorless cameras – the ‘card’ method

One of the best tricks to create incredible fireworks images is to use the ‘card’ method, for which you set your tripod-mounted DSLR / mirrorless camera to its bulb mode, in which the shutter is open for as long as the shutter button is held down. To minimize vibrations caused by your hand, you’ll want to use a tripod and plug in a shutter release cable to your camera, which allows you to keep the shutter open without directly touching the camera.

It’s called the ‘card’ method because you place a black piece of black card in front of the lens while the shutter is open. When a firework goes off you can quickly whip the card out of the way to expose for the firework and then cover the lens again.

It's possible to repeat this process multiple times for multiple fireworks, to build up a single exposure with lots of the best fireworks going off in it for a more impressive photo.

4. Starting settings: iPhone & Android – long exposure & burst modes

To capture an entire firework, with its long trail and then vibrant colorful burst when it explodes, go into your iPhone’s Live Photo mode and tweak the setting from Live to Long Exposure. To capture the split-second action with better sharpness your best bet is to use your iPhone’s Burst Mode and slide the shutter button to the left to take a brace of photos in fast succession. I’ll show you how to blend your best shots together in Photoshop in my final tip.

Android smartphones may also have something similar to the iPhone, for example my Android has a Light Painting picture mode which extends the shutter time in a similar way to the Long Exposure mode on the iPhone, while recent Pixel phones have a long exposure setting. Camera apps in Android phones vary between manufacturers, do the best settings will vary depending on the model. You should be able to find tips specific to your model through a simple internet search.

5. Blend your best fireworks together

To make your fireworks photos more impressive, it can be a good idea to blend the best fireworks into a single image with editing software — I recommend Adobe Photoshop or, if shooting on a phone, apps such as Photoleap, Snapseed or Adobe Photoshop Express.

If you use a mirrorless or DSLR camera I highly recommend shooting in the RAW file format as this will provide much more exposure information – essential for editing images especially in low light situations like a fireworks display. Select and edit all of your RAW files at once to make sure your edits are consistent, then stack them all together in Adobe Bridge using Tools>Photoshop>Load files into Photoshop Layers.

Now select all of the fireworks images in the layers panel and go to Edit>Auto Align Layers, to make sure all of the pictures are lined up perfectly (which only works if you have a consistent landmark in the frame, hence my advice for shooting wide and including the landscape).

Then in the layers panel, change each of the firework blending modes from Normal to Screen and you’ll see them become blended with the layer below. You may also want to add a Layer Mask and mask off each layer so only the firework is blended with the layer below and not the landscape – you can mask off unwanted areas with a soft black brush tool.

Et voila! You now have a single scene with all of your best firework explosions lighting up the night sky.

You can find more software options in the photography sections of our best Android apps, best free Android apps, best iPhone apps and best free iPhone apps guides.

• Sony teased a new RX10 on its Instagram, writing 'The Wait is over'
• Its previous bridge camera was the RX10 IV from 2017, which is discontinued
• This latest in the series will arrive on July 9 at 7am PT / 10am EDT / 3pm BST

Sony just dropped exciting news for fans of its versatile bridge cameras — a new RX10 camera will be revealed next week.

The teaser on Sony's Instagram reveals a surprising amount of detail, including the release date plus a silhouette of the next RX10, which from we can glean some info about its lens.

Perhaps the most surprising part of all is that Sony is launching a new RX10 in the first place. Its most recent bridge camera was the Cyber-Shot RX10 IV which was released all the way back in 2017, and has been discontinued for more than two years.

The RX10 IV is still regarded as the best bridge camera available, which tells you everything you need to know about this space, which has been largely dormant for years, save for a tired Lumix re-release and the occasional cheap Kodak model.

Despite the RX10 IV's skills, we can only hope that Sony has a little more in store for the next RX10, because an upgrade on the mark IV could be super interesting. The teaser (below) gives us a little snippet of what we can expect.

The most obvious point to note is the release date, which will be July 9 at 7am PT / 10am EDT / 3pm BST. I predict that putting a Sony bridge camera back in stores will be a popular move, especially among enthusiast wildlife photographers desiring a versatile telephoto lens in a lightweight setup.

Otherwise, there's one little clue, and that's the part of the teaser when the lens is extending upwards. We can't see the focal length of the lens, but we can see the aperture range, which is f/2.4 to f/16.

That aperture range is identical to the RX10 IV, which features a 25x optical zoom with a 24-600mm focal length range. The other details in that lens silhouette also look the same as those in the RX10 IV; the Vario Sonnar T* and twin control rings.

It's harder to glean much else from the teaser — the silhouette of the camera body looks similar to the one before it, but it could very well be different.

We won't have long to wait to find out more, with the next RX10 coming in less than a week.

What do you think of Sony's teaser? Is this the next Sony camera you were hoping for? Have your say in the comments.

The annual 4th of July sales are more commonly associated with grills and appliances, but between you and me, it's also a great time to pick up tech. Right now, for example, Adorama and B&H Photo are featuring some of the lowest prices I've seen all year on cameras from well-known brands like Sony, Canon, and Nikon.

I've been scanning through the sale today to find the best price cuts, and in short, I've found some great options. Camera prices have really been hit in the past year, but I'm pleased to note that there are actually record-low prices available on some of our most highly rated bodies.

For example, right now you can get the excellent value Canon EOS R8 for $1,299 (was $1,649), the Nikon Z5 II for $1,596 (was $1,849), and the Sony Alpha A7R V for $3,298 (was $3,798). Some of these are discounts we've seen before, but in the case of some (like the R8), they're brand-new record lows. Just below you can see a full list of deals, including 15 models for all budgets.

According to Adorama's 4th of July sale page, customers who spend over $3,000 will also get $250 back in reward points, so it's definitely one of the better sales at the retailer this year. Note, however, it looks like the sales wrap up on Sunday, so you'll have to be quick if you're interested.

4th of July camera deals - Canon

4th of July camera deals - Nikon

4th of July camera deals - Sony

4th of July camera deals - OM System

• iPhone Photography Awards 2026 winners announced, with top prize going to Robyn Jensen
• Their winning image of a volcano eruption was taken on an iPhone 15 Pro
• 12 other category winners announced, along with the varied iPhones used

The iPhone Photography Awards has announced its prize winners for 2026 — and the image that received the Grand Prix genuinely stopped me in my tracks.

Shot by Robyn Jensen from the Cayman Islands and submitted in the 'Nature' category, the winning image is a stunning low-light capture of a volcanic eruption in Yepocapa, Chimaltenango, Guatemala. Showing the moment a gout of ash erupts from the crater of the volcano, with red-hot trails cascading down around it, the image frames the moment of drama perfectly against a starlit night sky.

What's more, this image wasn't even shot on the latest iPhone, but was captured on a phone two generations old — the iPhone 15 Pro. I love how effectively it uses the phone's inherent qualities to its advantage; for instance, the smaller sensor of the iPhone 15 Pro, or any smartphone, is going to have a more limited dynamic range than a mirrorless or premium compact camera.

Robyn has made use of that, exposing for the brightest spot in the image — the lava and the light it's casting on the underside of the ash cloud — and allowing the rest to be shrouded in darkness. This heightens the impact of the image, sacrificing detail in the mountain for legibility of the key subject. But fortunately, we just about get those beautiful stars in the background.

Robyn has also used the wider 24mm equivalent lens, resisting the temptation to zoom in with the telephoto, and doing this allows us to appreciate the moment in its fuller context, giving a sense of scale. Her exposure is a full second long, meaning either the phone was mounted to a support, or she was aided by the iPhone 15 Pro's excellent OIS (optical image stabilization). And the phone has pushed her ISO to 12,500, and still come away with a pretty clean shot. It's a superb image, and a deserving winner.

Right place, right time

Something I particularly love about the iPhone Awards is the sheer breadth of style and subject matter, and this couldn't be better illustrated than by the contrast between Robyn's image and the winner of the Gold award, an image submitted in the 'Children' category by Hungarian photographer Gellért Gombai. A beautiful grab shot of a precious summer moment, its interplay of light and shadow is heightened by the decision to convert to monochrome — and it was shot on an even older phone, the iPhone X released in 2017!

And this sense of breadth continues when you look at the Silver and Bronze winners (below) — even though they're both by American photographers and are both images of animals! Arnold Plotnick's street shot of a cat, Silver winner, has a feel of total serendipity, a perfectly framed moment well-spotted. Also note how again, the lower dynamic range from the iPhone actually helps the image, with the loss of detail in the cat's fur and the doorway shadow increasing the shot's contrast and impact.

Catherine Wang's Bronze winner, meanwhile, couldn't be more different. It's a meticulously set-up still life, with the elements of the watermelon, mug and parrot clearly having been arranged very precisely, and the end result looking like something from a gallery wall.

For me, almost all of the winning images exemplify one of the iPhone's strongest assets for photographers — it's the camera you always have on you. While there are exceptions, such as Catherine Wang's still-life, most of the images have the unmistakeable feel of grab shots, of a photographer who was at the right place at the right time, and had the means to make the most of it.

Images like the pattern of frost on a car, a pair of dogs peeking out of a window, a child preparing for a leap over a puddle. These aren't things you set up; they're moments you spot, and many of them are moments that anyone might have spotted.

I'm particularly galled by the fact that the Gold prize was won by a shot of a cat in the street. Do you have any idea how shots of cats in the street I have on my camera roll? Loads! And do you have any idea how many of them are as good as Arnold Plotnick's? None!

But my personal bitterness notwithstanding, the iPhone Photography Awards have produced a superb crop of images this year, and in doing so have provided some pertinent reminders of two of photography's most important lessons. First, you don't need the latest tech to make great images. Second, the best camera is always — always — the one you have on you.

You can see the full selection of images, including second and third place winners, at the iPhone Photography Awards website.

Any serious photographer knows the importance of great glass. And while I've had the personal pleasure of testing the best cameras for 2026 so far, innovative lenses get me even more excited.

Only a true macro lens can bring the insect kingdom to life, or a telephoto optic get you close to distant wildlife, or a fast prime bag you punchy portraits with dreamy bokeh.

With that in mind, I regularly review the latest lenses as well as cameras, and I've played with some real crackers this year. These include Sony's overdue macro lens upgrade, Sigma's world first 135mm with an f/1.4 aperture, Viltrox's impossibly tiny 28mm f/4.5, Canon's affordable f/1.2 prime, and Nikon's fabulous 70-200mm F2.8 Mark II.

Each of the above lenses serve different use cases, and they come in at varied price points, starting at just $99 / £90 / AU$169. Let's dive into my top five lenses for 2026 so far…

Viltrox AF 28mm F4.5

• Release date: Staggered release for various mounts
• Lens mount: Sony E, Nikon Z, Fujifilm X
• Verdict: 4/5

The Viltrox AF 28mm F4.5 was first launched in 2025 for Sony E-mount, but it has been released for various lens mounts in 2026, including Nikon Z and Fujifilm X. I expect an L-mount version will land soon.

It's an impossibly small wide-angle prime considering that it features autofocus, full communication with the camera, and an impressively fast f/4.5 aperture. It's so small, in fact — measuring just 15.3mm in length and weighing just 2.1oz / 60g — that I'd describe it more as a body-cap lens than a pancake lens, with a neat sliding lens cover, and it costs just $99 / £90 / AU$169, with occasional sales knocking 10% or so off the price.

I'd describe image quality as characterful rather than technically precise, with detail being fairly soft in the corners, and some obvious vignetting. In the center of shots, however, it's actually pretty sharp. It's a full-frame lens, but the Viltrox 28mm F4.5 actually makes even more sense for Sony, Nikon and Fujifilm's APS-C cameras, because the 1.5x crop effectively transforms the lens into a 42mm optic, plus the softer corners are outside the image area.

The Viltrox lens is so small and so cheap that it's a zero risk purchase, and one that I'd happily keep on my camera instead of a body cap and for quick everyday snaps.

Read my Viltrox AF 28mm F4.5 review

Sigma 135mm F1.4 DG Art

• Release date: January 31 (announced late 2025)
• Lens mount: Sony E, L-mount
• Verdict: 5/5

World-first is a term that's banded around a lot, usually with caveats, but Sigma's pro portrait prime is a true first — a 135mm lens with a maximum f/1.4 aperture. I've tested my fair share of 135mm f/1.8 lenses recently, including the Viltrox 135mm and Nikon Plena, while Sigma has its own that's now nine years old, but Sigma's latest offering has an even faster aperture and creamier bokeh for the ultimate portrait photography quality.

It's a beast of a lens, mind you, weighing 50.4oz / 1,430g, and with a massive front lens element and 105mm filter thread. If you're willing to lug the lens around, though, you'll be rewarded with "razor-sharp detail" and "stunning shallow depth of field", as we noted in our in-depth review, with the lens earning a perfect five-star rating.

Currently the Sigma 135mm F1.4 DG Art is available for Sony E and L-mount cameras; pro Nikon photographers can only hope that a Z-mount version is on the way soon.

Read my Sigma 135mm F1.4 DG Art review

Sony FE 100mm F2.8 Macro GM OSS

• Release date: January 15
• Lens mount: Sony E
• Verdict: 5/5

If there was a Sony E-mount lens that needed updating, it was the 10-year-old Sony FE 90mm f/2.8 Macro G OSS — Sony's only true macro lens. Thankfully, 2026 delivered the new Sony FE 100mm F2.8 Macro GM OSS, and it's a notable improvement on the 90mm original in just about every regard.

With "improved optics, faster autofocus, steadier stabilization, greater magnification, increased zoom and teleconverter compatibility", we concluded in our review that the new Sony 100mm is "the go-to macro lens for Sony working pros who make an income from close-up pictures, whether it’s product photography, still life, flat lays or macro nature shots".

Key features include the new maximum magnification, which was upped from 1x to 1.4x, plus its compatibility with teleconverters to further extend its reach. Compared to Sony's other macro lens, the new 100mm macro is in another league, and very much merited its five-star review rating. It's not the first optic of its kind — Canon walked this path years before with its own 100mm macro with 1.4x magnification. Still, Sony photographers finally have the macro lens their cameras deserve.

Read my Sony FE 100mm F2.8 Macro GM OSS review

Canon RF 45mm F1.2 STM

• Release date: November 6 (reviewed in March 2026)
• Lens mount: Canon RF
• Verdict: 3.5/5

What's this now — an affordable f/1.2 prime lens from Canon? Pick my jaw off the floor. True, it's far from being a perfect lens, but Canon's 45mm F1.2 STM makes a fast aperture and the attendant shallow depth of field potential available to beginners who would otherwise be priced out of owning such a lens.

We gave the lens a 3.5 star-rating because of its optical flaws; there's significant chromatic aberration and "swirly distracting bokeh". It doesn't even come with a lens hood. However, we've got to respect what this lens represents, and Canon for delivering it.

Not only is this the most affordable proprietary f/1.2 full-frame lens for any lens mount, but Canon also makes the most affordable mirrorless cameras. I can see the 45mm F1.2 STM pairing nicely with an entry-level full-frame mirrorless camera such as the EOS RP and EOS R8, and even with an APS-C model like the EOS R100, on which you're getting an effective 70mm lens (approx).

Where rival brands are typically ignoring beginners and putting their efforts into high-end gear, Canon is regularly delivering new cameras and lenses for all budgets and skill levels.

Read my Canon RF 45mm F1.2 STM review

Nikkor Z 70-200mm f/2.8 S II

• Release date: February 23
• Verdict: 5/5

If there's one lens for 2026 that I desperately want to add to my bag permanently, it would be the Nikon Z 70-200mm f/2.8 S II. Granted, I'm a Nikon shooter who regularly works at these focal lengths, who is also in need of upgrading (I still use the DSLR version of this lens via an adapter), but that's not to take away from what I called a "flawless" telephoto zoom.

It follows the 24-70mm f2.8 S II in being a second-generation upgrade of what was already an excellent Z-mount zoom lens, bringing a lighter build, fully removable tripod collar and teleconverter compatibility. The lighter design is thanks to an entirely new optical design that's somehow simpler and sharper at the same time, while also improving close-focusing capabilities.

There's probably not enough reason for owners of the original Z-mount 70-200mm to upgrade, especially given the jump in price, but for everyone else there's arguably no greater 70-200mm f/2.8 available — and it's the kind of lens I've relied on for so many shoots down the years. With the Mark II version now available, I finally feel like it's time to upgrade from my aged DSLR lens.

Read my Nikon Z 70-200mm f/2.8 S II review

What do you think of the lenses above? Are there any other new lenses that appeared in 2026 that you particularly like? Have you say in the comments.

Ruko U11Mini 4K: One-minute review

DJI's dominance of the consumer drone market is so total that you have to wonder whether any rival can land a meaningful blow. The Ruko U11Mini 4K is the latest contender to step into the ring, and on paper it looks like a credible one: a sub-250g folding quadcopter with a 1/2-inch CMOS sensor, 4K video, and an optional touchscreen controller that's clearly modeled on DJI's own RC series.

Unfortunately, the closer I looked, the more the U11Mini 4K's limitations revealed themselves, and the gulf between Ruko and DJI's similarly-priced beginner drones remains huge.

In the air, the U11Mini 4K is a mixed bag. Flight is reasonably stable in calm conditions, but it's easily pushed around by wind, and during one flight I experienced an alarming voltage drop that triggered an unscheduled emergency landing. The touchscreen RC3 controller is a solid piece of hardware, and a smart way to sidestep the usual phone-pairing headaches, but its joysticks lack the precision of DJI's equivalents, making smooth, cinematic camera moves a struggle.

There's no obstacle avoidance whatsoever, and the automated flight modes feel half-baked: Point of Interest mode, for instance, simply circles wherever the drone happens to be, rather than the subject you actually want to showcase.

The camera quality is similarly inconsistent. 4K video in good light is detailed and perfectly watchable, if a little flat and lacking in dynamic range, but stills are a different story; the U11Mini 4K's exposure metering routinely blows out highlights, and there's no way to fix this reliably even when dialing back the EV.

Storage is another sore point: the drone does have a small but usable amount of internal storage, but with no USB port on the aircraft itself, getting your footage off it is a major chore, and I'd recommend sticking exclusively to a microSD card instead. One that you'll have to supply yourself, as none are included in the box.

All of this would be more forgivable if the U11Mini 4K were a budget bargain, but at around £300 (rising to £499 for the bundle I tested, with its two batteries, hard case and that RC3 controller), it's pitched at almost exactly the same price as the DJI Lito 1 — a drone that beats it comprehensively on image quality, obstacle sensing and battery life. The U11Mini 4K isn't a complete disaster, but nobody should pick one over DJI's equivalent.

Ruko U11Mini 4K: Price and availability

• Priced from around $339.99 / £300 / AU$549.99
• Touchscreen RC3 controller bundle costs $424.99 / £499
• Available now direct from Ruko and via Amazon

The Ruko U11Mini 4K is available now, sold directly through Ruko's website and via Amazon in the US, UK and Australia.

Pricing varies considerably depending on region and bundle. In the UK, the base package costs around £300, rising to £499 for the bundle I tested, which includes two batteries, a hard case, and the touchscreen RC3 controller in place of the standard smartphone-based remote.

US pricing follows a similar pattern, though at the time of writing Ruko's online store had both bundles discounted. The two-battery, hard case, RC3 controller bundle was priced at $424.99 (down from $599.99), while a separate three-battery bundle with a hard case and smartphone controller (rather than the RC3) was available for just $339.99 (down from $509.99) — making it the cheaper option overall despite the extra battery.

In Australia, Amazon lists a single-battery, smartphone controller bundle for AU$549.99, with a three-battery, hard case and smartphone controller bundle priced at AU$699.99.

In the UK and Australia, its direct rival is the recently launched DJI Lito 1. This costs £299 in the UK, while in Australia it's priced at AU$539 for the basic bundle (one battery and the RC-N3 smartphone controller) or AU$779 for the Fly More Combo (three batteries, RC-N3 controller, charging hub and shoulder bag). I'd say it's a much better value prospect than the Ruko, and shoppers should definitely consider it if they're hunting for a good entry-level model.

US buyers don't have that option, however, since due to the current DJI ban the Lito 1 isn't sold in America. That leaves older models like the DJI Mini 4K as the more relevant comparison stateside — and despite its age, it's still a better drone than the U11Mini 4K.

• Price score: 2.5/5

Ruko U11Mini 4K: Specs

Ruko U11Mini 4K: Design and build quality

• Folding design, weighing under 249g
• Optional touchscreen RC3 controller
• microSD slot supports cards up to 256GB

The U11Mini 4K follows the same folding quadcopter template as most sub-250g drones on the market right now, including DJI's own Mini and Lito series.

It's made from hard plastic, and folds down to a genuinely pocketable size (if we're talking coat rather than trousers, mind you). At under 249g, it sits just inside a weight threshold that exempts it from the strictest drone registration requirements in the UK, US and elsewhere.

Round the back, you'll find a microSD card slot, supporting cards up to 256GB. There's also internal storage built into the drone itself, but accessing it is far more trouble than it's worth.

That's because, bafflingly, there's no USB port anywhere on the drone. The only way to get photos and video off the internal storage is via the controller, transferring wirelessly to an app like Google Photos — a process that, in my testing, also downgraded my 4K footage to 720p in the process. So I'd strongly recommend buying a microSD card (none is included in the box) and ignoring the internal storage altogether.

A clip-on cover is supplied to protect the camera and gimbal during transport, which is a sensible inclusion — if a little fiddly to fit and remove. Depending on the bundle you buy, you may also get a nicely sturdy hard-sided storage case, which comes with internal spaces for the controller, drone and up to two additional flight batteries.

The RC3 controller from the bundle I reviewed is pretty impressive, at least at first glance. Its built-in touchscreen is clearly inspired by DJI's RC series, and it's a decent effort: solid in the hand, with a bright, crisp display. But it came with its own set of connectivity issues, refusing to play nicely with my home Wi-Fi network and preventing me from downloading the latest firmware updates. I was able to connect it to my iPhone's hotspot, so the Wi-Fi antennas evidently do work in some circumstances, but the fact they wouldn't hook up to a network that works fine with every other drone I've reviewed recently suggests there's a deeper issue here.

• Design score: 3/5

Ruko U11Mini 4K: Features and flight performance

• 32-minute quoted battery life; around 20 minutes in real-world testing
• No obstacle avoidance
• Automated flight modes feel underbaked

Ruko quotes a battery life of 32 minutes for the U11Mini 4K. In my testing, which happened mostly in fairly breezy coastal conditions, I got closer to 20 minutes before the low battery warnings kicked in.

That discrepancy might be partly down to the wind, which the U11Mini 4K isn't great at handling. Despite Ruko's claimed Level 5 wind resistance (a tolerance of 19-24mph), I watched the drone get visibly knocked around by some standard coastal gusts. You can see the resulting unevenness in the horizon line on some of my footage.

One flight also threw up a worrying issue. A few seconds after take-off, with the battery indicator initially showing around 75%, a low voltage warning flashed up, the battery indicator dropped instantly to around 10%, and I immediately effected a panicked return to home (not wanting the drone to drop straight into the sea). When I checked the battery afterwards, it was still showing roughly 75% charge. Whatever caused that mid-air voltage drop, it's not a reassuring thing to experience while flying.

Flight itself is reasonably stable and responsive in calm conditions, but the RC3 controller's joysticks let the side down. There's a wide dead zone before inputs register, which makes smooth, considered camera moves all but impossible, and as far as I can tell there's no way to adjust stick sensitivity to compensate. With a DJI drone, the slightest stick pressure produces an immediate and proportional response; here, you're fighting the controller as much as the wind.

Obstacle avoidance is non-existent, so pilots will need to take a lot of care when flying. There's no forward, downward or omnidirectional sensing of any kind, which is a significant omission next to the DJI Lito 1's full suite of vision sensors.

The automated flight modes are similarly disappointing. Point of Interest mode, for instance, should really let you tap a subject on the touchscreen and have the drone circle it automatically; instead, it just flies in a circle around wherever it happens to be at the time, regardless of whether there's anything interesting in front of it. There's also a tracking mode that follows your phone, though I wasn't able to test this myself, since I was flying with the RC3 controller rather than a paired smartphone.

• Flight performance score: 3/5

Ruko U11Mini 4K: Image and video quality

• 1/2-inch CMOS sensor, 4K video at 30fps
• Stills are overexposed and oversharpened
• No flat/log color profile available

The U11Mini 4K's camera is built around a 1/2-inch CMOS sensor and f/1.8 lens, which on paper is perfectly respectable for a drone at this price. There's no fundamental reason a sensor of this size can't produce good aerial photos and video, but in practice, the U11Mini 4K struggles to get the most out of it.

Stills are the weaker of the two. Exposure metering is unreliable, and the camera has a strong tendency to massively overexpose, particularly in bright conditions. Even dialing back the EV compensation for photos didn't fix this consistently; I was left with whites that were blown out and stripped of any detail far too often. Zoom into the shots even slightly and they're aggressively oversharpened and algorithmically upscaled in a jarring way, too.

Video fares slightly better, for reasons I couldn't quite pin down. At its top quality setting — 4K at 30fps — footage is detailed and rich in good lighting, even if it lacks dynamic range and punch compared to the best in this class. Bright areas can still blow out, while shadows tend to lack detail and look slightly underexposed, but overall it's a far more usable result than the stills.

One thing that might have helped close that gap is a log color profile, but sadly there's nothing of the kind available. A log format may have given me more room to fix the exposure issues in post-production grading, but here what you capture in-camera is largely what you're stuck with, unfortunately.

• Image and video quality score: 3/5

Ruko U11Mini 4K: Testing scorecard

Should I buy the Ruko U11Mini 4K

Buy it if...

Don't buy it if...

Ruko U11Mini 4K: also consider

How I tested the Ruko U11Mini 4K

• I tested all available flight modes and control methods
• I captured stills and video in a range of lighting and weather conditions
• I assessed battery life, wind resistance and file transfer in real-world use

I flew the U11Mini 4K over several sessions, in a mix of calm and breezy UK coastal conditions, to get a feel for how it handled real-world flying rather than just ideal, sheltered conditions. I tested manual flight extensively, paying close attention to stick precision and responsiveness, and also tried out the drone's automated modes to assess how well they lived up to their billing.

On the camera side, I shot both stills and 4K video in a variety of lighting conditions, later reviewing the footage and photos on a larger screen to properly judge exposure, detail and dynamic range. The footage you see embedded above was edited in DaVinci Resolve, but not color corrected. Photos were tweaked slightly in Adobe Lightroom.

I also tested battery life under real-world conditions rather than relying on Ruko's quoted 32-minute figure, and ran through the process of transferring footage off the drone via both the microSD card and the internal storage, to evaluate how easy (or otherwise) that process is for a typical buyer.

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

• Capture One has added native Hasselblad .3FR RAW file support
• Hasselblad's X2D II 100C, X2D 100C and CFV 100C are included
• Tethered capture is set to follow later this year

Hasselblad photographers, I have the news you've been waiting years for: Hasselblad cameras finally have native Capture One support.

The support covers Hasselblad's 16-bit .3FR RAW files and includes three of its 100MP medium-format cameras: the X2D II 100C, X2D 100C and CFV 100C digital back (which is the sensor module for the 907X). You'll need the latest version of Capture One 16.8.3 or Mobile Version 3.3.4.

It's truly a match made in heaven; Hasselblad's 16-bit RAW files and 'Natural Color Solution' render possibly the most true-to-life colors I've seen in my 15 years of testing cameras, while Capture One is industry-favorite editing software for color correction and tethered shooting.

This partnership between two Scandinavian companies had to happen some time, and now it has, with tethered shooting support (a studio setup where you can control the camera through the software) also promised for later this year.

It's a big deal for both parties — Hasselblad shooters can ditch Adobe, which is held in lower regard among pro colorists, in favor of Capture One and its precise photo-editing toolset.

The move might also attract new professional and commercial photographers, who have previously been put off because of the lack of Capture One support, to Hasselblad's medium-format digital cameras.

As for Capture One, it can potentially attract a new wave of existing Hasselblad photographers, with a seamless workflow from capture to the finished image.

Letting Hasselblad cameras sing

Until now, workarounds were needed to bring Hasselblad RAW files into Capture One, at the cost of color accuracy and editing latitude. Meanwhile, Adobe's photo-editing platforms, such as Lightroom, are held in less regard than Capture One for outright color fidelity.

Now Hasselblad's 100MP medium-format RAW files are supported, with profiles for Hasselblad's entire range of XCD lenses and the ability to organize files as well as edit them and, later this year, tethered capture.

I reached out to Hasselblad for comment, and a spokesperson told me: "One of the most consistent requests has been native support for Hasselblad RAW files in Capture One. This partnership is a direct response to that feedback, and we've been working with the Capture One team for some time to make it happen."

Capture One echoed Hasselblad's sentiment about the new partnership, saying "Giving Hasselblad photographers the native Capture One workflow they've asked us for is genuinely rewarding. Both of us are firmly rooted in the commercial and professional space, and that's a big part of why this partnership makes sense."

And when I asked about the challenges in bringing native support to a new format, Capture One told me, "The real challenge was less about simply reading the files. Getting a new format right means dedicated color profiles for each of the three cameras, so Hasselblad's files render with the true-to-life color our users know Capture One for, plus lens profiles for the XCD lenses that correct distortion, chromatic aberration, and light falloff.

"Throughout, the priority was making sure the unique character of these cameras comes through with the image quality we pride ourselves on."

You can sign up for a free Capture One 7-day trial if you've yet to try it, with subscriptions starting at $18 / £16.67 AU$27 per month, or a one-time purchase costing $349 / £336 / AU$523.

After having precious little new camera gear to review in the opening months of the year, 2026 has well and truly kicked into gear for us tech journalists.

The first quarter saw a smattering of niche compact cameras, including the Leica Q3 Monochrom, Instax Mini Evo Cinema and Ricoh GR IV. That's right: a black-and-white-only full-frame compact and a 3-in-1 instant camera that shoots video were the highlights.

That peculiar first quarter was followed by some more conventional photographer treats, such as the Sony A7R VI and Panasonic Lumix L10. I described the full-frame A7R VI as 'the perfect camera', and said the L10 was 'the prettiest Lumix in years', and a worthy alternative to the Fujifilm X100VI.

DJI launched a couple of standout five-star drones, the Avata 360 and Lito X1, while navigating both its US ban and some new competition, with Insta360 stealing the Pocket 4P's thunder by launching its fantastic dual-lens Luna Ultra.

Meanwhile, it has been an unusually quiet year for some of the big names thus far. Nikon, for example, is yet to announce a new camera in 2026, nor have we seen a new Fujifilm X.

I expect a steady stream of new releases throughout the latter half of the year, with heavily rumored models including the crop-sensor Fujifilm X-T6 and the Canon EOS R7 II. But here I'm going to look back at my five favorite cameras I've personally tested so far in 2026, in no particular order, with honorable mentions for a few others that have had the full TechRadar review treatment.

5. Panasonic Lumix L10

• Release date: May 12
• Rating: 4.5/5

Panasonic surprised us all during its Lumix 25th anniversary event by dropping the all-new Lumix L10 — and it was a real treat to review.

It's the spiritual successor to the Lumix LX100 series of premium compact cameras, inheriting a gorgeous 24-75mm F1.7-2.8 lens that's been refined to work with Panasonic's latest 26.5MP Micro Four Thirds sensor and the latest Real Time LUTs profiles.

That sensor isn't all that the Lumix L10 has in common with powerful cameras such as the Lumix G9 II — it also features Panasonic's reliable phase-detection autofocus with advanced subject detection and 5.7K video recording, albeit without sensor-based image stabilization.

There's real power under the hood, and a gorgeous design to boot. It's not quite as retro-feeling as the X100VI, but it isn't far off — and that zoom lens versatility is a real win. If you're looking for a versatile everyday compact camera, the L10 is a fabulous pick.

Read my in-depth Panasonic Lumix L10 review

4. Insta360 Luna Ultra

• Release date: June 10
• Rating: 4.5/5

Insta360 and DJI's rivalry got extra spicy this year when Insta360 launched its first vlogging camera, the dual-lens Luna Ultra, pipping the DJI Osmo Pocket 4P to the post. Cue lawsuits and counter lawsuits.

I've tested both compact vlogging cameras (though at the time of writing my DJI Pocket 4P review is under embargo), and they take this format to new heights. Both feature dual gimbal cameras with 20mm (1x) and 60mm (3x) lenses, and an extended 6x lossless zoom.

Each brand takes a different stab at the format; the Luna Ultra features a unique and genuinely useful detachable remote and screen, meaning you can see and control the camera from up to 20m away. That module also features a built-in mic, making solo vlogging so much easier. I enjoyed DJI's magnetic fill light, which is powered by the camera.

The DJI Pocket series has dominated this space for years with no real rival, but that's no longer the case. For me it will be hard to go back to a single-lens vlogging camera having tested both the Luna Ultra and Pocket 4P — they both get a mention here, because I expect them to be among the best-selling cameras over the next year.

Read my in-depth Insta360 Luna Ultra review

3. Ricoh GR IV

• Release date: Janauary 15, 2026 (announced August 20, 2025)
• Rating: 4/5

As a Ricoh GR III X user, I had been patiently waiting for the Ricoh GR IV, hoping that the latest-generation model would address a few of my issues with my beloved premium pocket compact camera. Sadly, the GR IV didn't deliver on several counts: it again lacks a built-in flash and tilt screen, nor does it have any real improvements in autofocus performance or build quality.

However, the GR IV came with surprising upgrades elsewhere, and raises the image-quality bar for such a truly tiny and pocketable camera. A new 26MP sensor and refined lens gave a small boost in resolution, plus a notable improvement in image stabilization performance. Its lightning-fast startup time further enhances the GR series' street photography chops, while battery life saw a welcome boost, and internal storage was increased.

With those upgrades came a price hike, and the GR IV costs much more than the GR III did, especially if you live in the US. However, there's still no real competition for a camera of this size and quality, and Ricoh has further expanded the range with HDF and Monochrome versions of the GR IV.

Read my in-depth Ricoh GR IV review

2. Oppo Find X9 Ultra

• Release date: May 2
• Rating: 4.5/5

This round-up isn't confined to cameras — I had the pleasure of traveling to China for the first time earlier this year to put the Oppo Find X9 Ultra's camera through its paces amid the stunning mountainous landscape of Yunnan province. Put simply, the Find X9 Ultra is the most versatile cameraphone I've ever used.

The flagship device is globally available, and costs as much as an iPhone 17 Pro Max, but that seemingly hasn't deterred fans desiring its five-camera array and top-spec screen, battery and chipset. The 1x main camera paired with the Hasselblad Master mode delivers especially stunning natural colors and RAW photos up to 200MP, while the class-leading 3x and 10x telephoto cameras each pack the largest sensors in their respective formats.

I shot over 2,000 photos with the Find X9 Ultra, and shared my gallery and overall impressions, which you can find in the link below. I also compared the smartphone to the Lumix TZ300 travel zoom compact, and felt that its 1x and 3x cameras were arguably even better quality, although the telephoto lenses are still no match for the new Nikon 70-200mm f/2.8 S II professional lens.

The quality of smartphone telephoto cameras reached new heights in the X9 Ultra, and it has become my most-used camera this year. There's even a 300mm teleconverter lens accessory that further stretches that reach, and which performed admirably when I took it to a pro soccer game.

Read my in-depth Oppo Find X9 Ultra review

1. Sony A7R VI

• Release date: May 13
• Rating: 5/5

I've been reviewing cameras for over 15 years, so it takes something special to cause me to use the word 'perfect' — and that's what the Sony A7R VI is. It's a professional mirrorless camera with a stacked 66.8MP full-frame sensor and lightning-fast burst-shooting and autofocus performance, with an all-new higher-capacity battery bagging you more shots, and 8K video.

During my lengthy review period I shot everything from landscapes to wildlife and portraits, and the A7R VI can handle it all with ease. It's also a seriously well-designed camera, with a high-resolution EVF and multi-angle touchscreen, and is complemented by a rich selection of professional lenses for just about any use case.

In one sense, Sony has shot itself in the foot here — by giving the A7R VI such raw power and quality, it renders the pricier A1 II redundant for most users. The A7R VI can do 95% what the A1 II can do, for a much lower cost. I've never owned a Sony Alpha mirrorless camera, but the A7R VI has me seriously tempted, especially given that Sony has made my favorite lenses over the last 18 months. If I could keep a hold of a single new camera from 2026, the A7R VI would be it.

Read my in-depth Sony A7R VI review

Honorable mentions

We've tested plenty more cameras throughout 2026, and five other models I want to highlight are the Instax Mini Evo Cinema, Canon EOS R6 Mark III, Leica Q3 Monochrom, and DJI's Lito X1 and Avata 360 drones.

The Instax Mini Evo Cinema is probably the quirkiest of the lot, being a 3-in-1 Instax that shoots photo, video and prints onto Instax Mini film. The 'Eras' dial is its standout feature — it's a dial with 10 settings, one for each decade spanning the last 100 years that mimicks the look of the media of that time.

Canon launched its incredible EOS R6 Mark III full-frame mirrorless camera at the start of the year, and it went head to head with the Sony A7 V as a top all-rounder, with no real weaknesses for photo and video use.

Monochrome-only cameras made a return too. I tested the Leica Q3 Monochrom, which it shoots next-level black-and-white photos, while Ricoh followed up its GR IV with its first stab at this niche, the GR IV Monochrome, which sadly comes with a big mark-up over the color original. If you only shoot in black and white, these cameras should top your list.

Despite its US ban, DJI continues to lead the pack with new drones — we gave both the Lito X1 and Avata 360 five-star ratings in our reviews. The Avata 360 is a more versatile 360-degree drone than the Antigravity A1, while the Lito X1 is incredible value given that it has object avoidance and costs around half the price of the Mini 5 Pro.

I have a feeling that the second half of 2026 will deliver plenty more treats, though I'm curious about what Nikon and Fujifilm could do next. Which new cameras would you like to see in 2026? Let me know in the comments below.

I’m someone who likes the idea of taking a dedicated camera with me wherever I go, in the hopes of capturing higher quality shots than what I can manage with my iPhone 15 Pro. I already have an OM System OM-D E-M10 MKIV, but I’ve taken it away with me on holiday exactly one time, where I used it exactly one day.

Despite being quite small (at least compared to many full-frame alternatives), I found it to be too bulky to fit in a sling bag, especially when spare lenses were thrown into the mix.

It was with this in mind that I actually used a Fujifilm Instax mini camera during my recent trip to Europe. Not only was it easier to fit into my bag, but it made me carefully consider compositions, and I love the fact I now have physical, printed photos to admire.

I can still admit digital is more convenient however, which is why I’ve been keen on the Panasonic Lumix S9, and now it’s 42% off ahead of Prime Day, now is a great time to snap it up.

Now, as I’ve just mentioned, the Lumix S9 is definitely geared more towards videographers, due to its support of open gate 6K video, which benefits from the full height and width of the 3:2, 24.2MP full-frame sensor. The Lumix S9 also boasts one of the best image stabilisation systems when shooting video that we’ve come across.

Unfortunately, this capability would be lost on me, as a videographer I am not. I’m far more interested in the S9’s picture-snapping credentials, and based on our Panasonic Lumix S9 review, I’m in for a treat if I hit the ‘buy now’ button.

That’s because the 24.2MP sensor — which is essentially the same as the one found in the Lumix S5 II — takes great still images, with superb noise control and dynamic range, meaning it can capture detail in darker areas.

Also, its bigger sensor is better suited to low-light photography compared to my E-M10 Mark IV’s micro four thirds one, although the latter does still take lovely images.

The S9 also employs real-time LUTs (look-up tables) which, despite being recommended for videos, allow you to use a range of colour profiles to help enhance images, although I am a little intimidated by the fact that Panasonic doesn’t make this the easiest of options in its photography menu system. I’m still keen to try this feature for stills.

And then there’s how the camera itself looks. I’m pretty infatuated with the S9’s aesthetic — it’s compact and minimal, two qualities I adore. However, one of the biggest gripes we had in our review is the fact there’s no viewfinder. On paper, this won’t be a huge deal for me if I’m not using the camera constantly but, clearly, I have to point it out. The screen does extend and tilt though, which will help when composing shots.

Another advantage that the S9 has is based on Panasonic’s L-Mount Alliance membership, which allows you to use any full-frame L-mount lens from other members, like Leica and Sigma — although this particular offer comes included with an 18-40mm kit lens. If you’re keen to know more, our friends at Digital Camera World have put together a guide to the best lenses for the Lumix S9 to help you on your way.

All in all, I think this is a superb camera, although I did baulk at the AU$3,299 RRP, which is why I held off buying it for this long. Thankfully, the 42% discount fixes that in a big way. Less than two grand for a very capable full-frame shooter? Count me in.

If you like the idea of owning the very best action camera but have so far been put off by the price, then let me bring you some fantastic news. This excellent value GoPro Hero 13 Black bundle is on sale at Amazon for $379.99 (was $479.99).

That's a new record-low price for the highly rated 5.3K resolution camera from the industry's leading brand. Considering the camera ordinarily retails for $429 by itself, this bundle deal is even more impressive.

In addition to the excellent GoPro camera, the bundle features a handle, two Enduro batteries, two curved adhesive mounts, a 64GB SanDisk MicroSD card, and a handy carrying case. That's everything needed to get filming as soon as it arrives at your door.

Today's best action camera deal

Competition for the top spot in our best action camera guide is fierce, but the GoPro Hero 13 Black has held prime position for a long time now. Its commendation is in large part thanks to the excellent-quality 5.3K video, a superb range of accessories, including new auto-detected Lens Mods, and improved battery life and heat dissipation.

You can read more about why we love it in our GoPro Hero 13 Black review. Specifically, we praised its Bluetooth audio support, versatile mounting options, and ability to capture great-looking footage in well-lit areas.

I don't record much video for social media specifically, but if you do, then you'll love the 27MP sensor, which enables footage to be recorded in an 8:7 aspect ratio. Say goodbye to the awkward cropping of landscape footage for portrait outputs.

• Though mostly known for photo lighting equipment, Godox has announced a small 'transparent viewfinder camera' that weighs just 65g.
• It features a transparent(ish) window for composition that also doubles as a settings display — and it can also function as a light meter.
• We don't yet have information on key internal specs like sensor size and resolution (but you can expect them to be low).

Very cheap cameras are back in vogue these days, so I wasn't necessarily surprised to see another one released — but I was surprised to see it coming from Godox.

The Godox C100 is a 'transparent viewfinder camera', announced by the Chinese firm who heretofore have been better known for producing the kind of high-end lighting equipment you'd find in the studios of professional photographers, as well as more affordable flashguns. However, with an announced price of just ¥199 (equivalent to about $29 / £22 / AU$42), the C100 is considerably more affordable than anything else on the Godox books.

As you can see, the C100 is built around quite an unusual form factor. A palm-sized rectangle, it doesn't feature a display exactly, but instead a transparent window that you use to compose your images. This window is also able to display key information like exposure settings and battery life.

Now, I said 'unusual' form factor, not 'unique'. This is because, as a few people have already observed, the Godox C100 looks a lot like a camera that debuted at CP+ in 2025, the Escura InstantSnap. The Godox version looks a bit more advanced, offering a few interesting features that the Escura version doesn't. But we can make a few inferences — the Escura camera produces images at a resolution of 1.3MP, and I'd be surprised if the Godox offered a great deal more than that.

The Godox C100 features a USB-C connection for charging and file transfer, and it accepts 128GB micro SD cards for storage. It also records video and can do so continuously for up to 1.5 hours, and offers shooting in a number of different aspect ratios: 16:9, 4:3, 3:2 and 1:1. There are a couple of physical buttons for shooting and changing settings, and it weighs just 65g.

A handheld light meter

At first glance, the Godox C100 looks like another cheap novelty camera in a market beginning to be saturated with them. However, there was one feature announced that really caught my attention, since I'm an avid film photographer — the C100 can also act as a light meter.

Like any good handheld light meter, Godox C100 can read the levels of brightness in a scene's central area, and provide the optimal exposure settings with which to capture a balanced image. Once hugely invaluable tools, light meters have been rendered mostly entirely redundant in the digital age. However, anyone who habitually buys a lot of old film SLRs will tell you that the metering system is always one of the first things to go. I have several beautiful Pentax SLRs in the drawer beside me that still shoot and wind on beautifully, but can't meter a scene because the electronics are shot.

So, the idea of an elegant little pocketable device, costing just $29, that I can carry everywhere with me and use to quickly meter a scene, and maybe even use to take a couple of comparison shots for reviewing alongside my developed and scanned frames — that interests me.

Granted, the metering functionality is only going to be of interest to a small percentage of users. But still, I wouldn't be surprised if the Godox C100 is a huge hit, if and when it eventually arrives at international retailers (it's currently only announced in China). Tiny cameras have been big hits of late, most notably the keyring-sized Kodak Charmera, and screen-free cameras that offer a purer, more immersive shooting experience have also seen success, the poster child for the movement being the Camp Snap.

People like cute cameras. People like cheap cameras. And the Godox C100 is both! I'm sure once we get hold of it for a review we'll discover that the image quality is no great shakes — but did that stop the Kodak Charmera? No, it did not.

The DJI Osmo Pocket 4P was fully revealed on the China page of DJI's website earlier this month, and I've already taken my test sample traveling, but tech journalists like me across the globe are in an awkward position, still being under embargo with our review content.

What I can tell you now, is that the Pocket 4P is available in black or white, has a new 60mm medium-telephoto lens with a large aperture, offers DLog2 support and up to 17-stops dynamic range. The rest is under wraps, or publicly available on the DJI site by selecting the China region (中国大陆).

I can, however, share some of the footage that I've shot with DJI's first dual-lens model in its hugely popular series of Pocket vlogging cameras. I'll say it now — I love its versatility and am really impressed with the videos I have been able to create with it.

Duel of the dual lens cameras

DJI must have been hoping for a dramatic reveal of its first dual-lens vlogging camera, only for Insta360 to somewhat steal its thunder by launching the Luna Ultra first. I've already tested the Luna Ultra and said it's a super impressive first generation product.

That's the competition the Pocket 4P is going up against, and I look forward to sharing my comparisons between the two models soon. Until then, you can enjoy my Pocket 4P sample reel, above.

Like I say, I can't reveal any specs related to the video, though at the least it should be pretty obvious which clips are shot with the ultra-wide lens, and which clips are shot with the new 60mm medium-telephoto lens.

We can get a rough ballpark on pricing, too. According the DJI site, the Pocket 4P Standard kit costs CNY 3,799 (about $562 / £420), and the Vlog kit is listed at CNY 4,299 (about $636 / £475).

The single-lens Pocket 4 starts at £429 / AU$749 for the Standard kit, or £549 / AU$959 for the Creator Combo, however, so I expect the Pocket 4P to cost more than those price conversions above.

Insta360's co-founder already told me it 'won't compete on price' — it's Luna Ultra starts at $769.99 / £649 / AU$1,229.99. My prediction, therefore, is that the Pocket 4P will sit roughly in the middle between the Pocket 4 and Luna Ultra, but don't expect US availability any time soon.

I'll be bringing you my full review when I'm permitted to.

GoPro made a splash recently with its announcement of a new trio of cameras — the Mission 1 series. With 50MP 1-inch sensors, the powerful GP3 processor, and in one case even a Micro Four Thirds lens mount, these are the most sophisticated and advanced action cameras I've ever seen — and I don't think you should buy one.

Not right now, anyway, because right now, the Amazon Prime Day deals on the GoPro Hero 13 Black are absolutely out of this world.

While the Mission 1 cameras are looking like a bit of a revolutionary reset for GoPro, the Hero 13 Black was very much not that. It was, and is, pretty much exactly what you'd expect a GoPro to be — a little cuboid, small enough to wear on a helmet or chest mount, capable of capturing crisp, stabilized 5.3K video and punchy, detailed photos. One thing it did introduce, however, was the idea of Lens Mods — clip-on accessories that significantly alter the perspective of the image.

It's a great action camera, one that still sits at the top of our list of the best GoPros while we're finishing up our tests of the Mission 1 series. And right now, as we enter the final hours of Prime Day, you can get hold of the GoPro Hero 13 Black, together with a raft of accessories, for as little as $399 in the US, and an incredible £269 in the UK.

Prime Day deals are, of course, only for Amazon Prime members — and since the Prime Day deals only run from June 23 to June 26, these offers might not be there this time tomorrow.

Today's best GoPro Hero 13 Black deals (US)

Today's best GoPro Hero 13 Black deals (UK)

One of the most versatile action cameras

The Hero 13 Black uses the same sensor as the Hero 12 Black. A 27MP multi-aspect 8:7 sensor, it captures imagery in a near-square format that makes it easy to crop footage into different aspect ratios. Given that many content creators post their footage to both YouTube (16:9 cinematic aspect ratio) and TikTok (9:16 vertical aspect ratio), this is an invaluable timesaver, making it easy to spread the same content across multiple platforms.

It captures video at a maximum resolution of 5.3K 60fps, and you'll likely have no problems with overheating — in our full GoPro Hero 13 Black review, Tim was recording 5.3K on the go-kart track for more than an hour, and the camera kept up.

Some were disappointed that the Hero 13 Black didn't add 8K, as this felt like it would be the next logical step — and indeed, as mentioned, the Mission 1 cameras can shoot in 8K. But honestly, I think for the vast majority of content creators, especially amateurs and hobbyists, you just don't need it. Very few monitors or televisions will even display 8K, so its main use is allowing you to crop losslessly into footage, effectively giving you a digital zoom. Handy? Sure. Essential? Hardly.

And with the Hero 13 Black, you have a unique, exciting tool in your arsenal — the HB-Series lens mods. These are designed specifically for the Hero 13 Black and will only work with this camera. Clip them on, and you can shoot with an anamorphic perspective for cinema-style shots, or go ultra-wide to radically extend your field of view, get super close-up with a dedicated macro, or control bright sunlight with an ND filter. They're an extra cost, but they're inexpensive, you can individually buy the ones you think you'll use, and if you jump on this Prime Day deal, you'll already have saved a packet on the camera itself.

You can further customise the Hero 13 Black with extras like the Media Mod, which adds a directional mic for better audio, or the Light Mode, giving you a burst of LED illumination. Fundamentally, this is an action camera that's very easy to set up exactly how you want it, in a way that suits your style of adventurous shooting.

This deal is as cheap as I've ever seen the GoPro Hero 13 Black, and if you've ever thought about jumping on board and trying it out, the next eight or so hours are the time to do it. It's worth noting also that GoPro has a pretty robust trade-in program – so if, down the line, you want to trade up for a Mission 1 camera, you'll have the option.

But right now, while Prime Day deals are still live and our review of the Mission 1 cameras is still in process, I'm saying skip it. The Hero 13 Black is outrageously good value.

More of today's best GoPro deals

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: sign up for a 30-day free trial
• Amazon Devices: Fire TV, Ring & Blink from £24.99
• Amazon Haul: up to 30% off
• Apple: AirPods Pro 3 for a record-low price
• Appliances: up to 45% off Ninja, Tefal & Sage
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from under £10
• Fashion: up to 50% off
• Father's Day: up to 50% off gifts & drinks
• Headphones: up to 50% off
• Laptops: from £149.99
• Tablets: Samsung & Lenovo from £125
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Eufy & Roborock
• Wearables: Garmin & Huawei from £36.99

Leica SL3-P: One-minute review

The Leica SL3-P is not a camera for everyone, and it knows it. There's no red dot logo on the front — that easy-to-spot symbol of prestige has been deliberately omitted in favor of a clean, all-black anonymity. Only the word 'LEICA' in white block capitals above the lens mount gives the game away. This is a camera built for photographers who'd rather be invisible than show off, and that philosophy runs all the way through it, with minimal controls, a stripped-back UI, and a design language that says a lot through everything it leaves out.

Getting to grips with it takes some patience if you're arriving from a more conventional mirrorless system. With only four labelled buttons on the body, a lot of control is handed off to the touchscreen, which is polished and logically organized once you learn its rhythms. The rear LCD tilts but doesn't swivel, which is an unusual limitation for a camera at this price — and with a serious L-mount lens fitted, the combined weight is considerable. But pick it up, hold it to your eye, and look through that large, crisp EVF, and something clicks. This is a camera that feels like it was made to be used, not admired.

Image quality is exceptional — unsurprising given the 44.7MP BSI sensor, which is of the same type used by the superb Panasonic Lumix S1R II — and battery life is impressive. The autofocus is competent and handles moving subjects well enough, though it won't trouble Sony or Canon on raw speed. At around £5,150 (US pricing TBC), it's an expensive proposition. But as a pure expression of what a modern Leica should be, the SL3-P makes a very strong case for itself.

Leica SL3-P: Price and availability

• Priced at $6,690 / £5,150 body-only
• Also available in three zoom lens kits

It's unlikely to come as a shock to you that the Leica SL3-P is a very expensive camera. Its launch price, for the body only, is $6,690 / £5,150 (Australia pricing is still TBC at the time of writing).

Leica is also releasing the camera in three kit bundles, each of which includes at least one Vario zoom lens. The SL3-P with a Leica 28-70mm lens is $7,790 / £6,100; with a Leica 24-70mm it's $8,390 / £6,480; and with both the 24-70mm and a 70-200mm it's $10,995 / £8,560.

Leica SL3-P: specs

Leica SL3-P: design

• All-black, badge-free design with minimalist controls
• Premium full-metal construction with IP54 weather sealing
• Large, comfortable EVF with twist-barrel diopter adjustment

The absence of Leica's red dot is the first thing you notice, and it sets the tone for everything that follows. The SL3-P is clad entirely in black, with only 'LEICA' in white block capitals on the EVF housing to identify it. Four buttons across the whole body are labelled (one of which is the power button). It's a stealthy, understated thing — clearly designed for people who want to use a Leica but aren't fussed about being seen with one.

The German-made full-metal body felt exactly as solid and premium as I'd expect from the brand, and comes with IP54 weather sealing for extra outdoors reassurance. There's a large grip covered with a textured material that provides a secure hold even when conditions aren't ideal, and the supplied neck strap is thick and well-padded, which I appreciated given how much weight a serious L-mount lens adds to the equation.

With so few physical controls, much of the camera's operation is routed through the touchscreen. The UI is stylish and well organized, with photo and video modes color coded distinctly in red and yellow respectively. And while the layout takes some adjusting too if you're used to a more button-heavy system, the logic is coherent, and settings are never difficult to locate. Touch-to-focus on the screen works exactly as expected, and custom button assignments help flatten the learning curve further.

The EVF is large, crisp and comfortable thanks to its 5.76-million dot resolution and 0.76x magnification, and as a glasses wearer I really liked the satisfying diopter mechanism that simply requires twisting the EVF barrel rather than hunting for a small dial.

The top-plate display is a genuinely useful feature, giving you a quick rundown of current settings without you having to lift the camera to your eye. The rear LCD, however, only tilts: up to 90 degrees upward and around 45 downward. That covers most tripod and arm's-length scenarios, but there's no forward-facing position for self-shooting, and no side-to-side articulation, which feels like an unusual limitation at this price.

On a practical note, I will say that the SL3-P is not a lightweight system, especially when teamed with some high-quality glass. The Summilux-SL 50mm f/1.4 lens I used with it added over a kilogram to the body, and while the grip is secure and comfortable, a long day of handheld shooting (covering a child's birthday party, in my case) does become fatiguing. That's less a criticism — after all, there are plenty of heavy cameras around — and more of a warning about how and when it can be used.

Leica SL3-P: Performance

• Exceptional image quality from a 44.7MP BSI full-frame sensor
• Competent hybrid autofocus with broad subject detection, including birds
• Impressive battery life and extensive video options including 8K and ProRes

The SL3-P shares its 44.7MP BSI full-frame CMOS sensor with the Panasonic Lumix S1R II — a camera I've tested and rate very highly — and the image quality is, predictably, exceptional.

Raw files processed in Lightroom offer tremendous latitude, with smooth tonal gradation, wide dynamic range and excellent high-ISO performance. JPEGs are very good straight from camera too, and five film-look presets — three color, two monochrome — add some welcome creative options. The high-contrast black-and-white preset is particularly striking, and feels authentically Leica in character.

Video capabilities are more extensive than the camera's photographer-first positioning might suggest: 8K Open Gate, ProRes to 5.8K, 4K at 120fps, L-Log, 12-bit RAW and 4:2:2 10-bit are all available. It's a serious toolkit, even if the handling feels more naturally attuned to stills.

The hybrid autofocus combines 315 contrast AF points with 819 phase detection points, with human, animal (including birds) and car detection. Tracking held up well in practice; testing on an active cat, the camera maintained focus through erratic movement without significant trouble.

Outright acquisition speed with the Summilux 50mm f/1.4 in AF-C is where it falls short of class leaders; it's capable rather than decisive, and anyone shooting fast action should look elsewhere. For portrait, street or documentary work, though, it certainly gets the job done.

Five-axis IBIS rated at up to five stops works quietly and effectively, and battery life is a genuine highlight. After a full charge I shot well over 100 frames across a lengthy session, and the indicator remained full. That seems in line with Leica's claimed 383 shots per CIPA standard cycle.

Should you buy the Leica SL3-P?

Buy it if...

Don't buy it if...

How I tested the Leica SL3-P

• Leica loaned me a sample for over a week, along with a 50mm prime lens
• I used it indoors and outdoors for several days, shooting photos and video
• All sample photos were shot in raw and processed in Adobe Lightroom

Leica loaned me a review sample of the SL3-P camera to test out in real-world use, a few weeks ahead of the official release.

I reviewed the Leica SL3-P over the course of a week, using it exclusively with the Leica Summilux-SL 50mm f/1.4 ASPH. prime lens. My shooting covered a wide range of scenarios: street photography and candids outdoors, landscape work, and indoor shooting in both natural daytime light and normal interior lighting at night — the latter without flash or studio lighting assistance of any kind.

All sample images were captured in raw format and processed in Adobe Lightroom.

First reviewed June 2026