Skylum Luminar Neo: Pricing & plans

• A welcome one-off fee
• Subscription options for regular updates
• Keep all features you buy if you cancel

You can pick up Luminar Neo with a 7-day free trial by clicking here.

First the good news: it’s multi-platform, available for both Windows, Macs and mobile platforms (Android, iOS and Chrome). And here’s even better news: you’re not expected to rent this software; it’s a one-time purchase.

The desktop-only version (for either platform) will set you back just under €100. Choosing the ‘All Platforms’ options for around €130 gives you cross device editing, be it on desktop or mobile machines. That tier also allows you to upload your chosen shots to a web gallery.

Finally, the top level will allow you to edit your shots online (that feature isn’t yet ready for prime time), and incudes one year of ‘Luminar Prime’, for €160.

It’s worth focusing on that subscription for a little bit to explain something important: this is a true subscription. It’s like when you subscribe to a magazine: cancel your subscription, and you still have those issues that dropped through your letterbox. Here, subscribing to Luminar Prime unlocks new features over time, and these unlocked features remain yours once your cancel. This is a very important distinction. Once the first year is done, it will cost you around €5 a month or €60 a year to keep using it.

Between you and me, that’s what all subscriptions should be about. Anything else is just rentals.

Be aware that these prices fluctuate a lot and there might be better deals available when you check their website.

Skylum Luminar Neo: Interface

• Clear menus remove the guesswork when editing
• Easy to choose the right tool when you need it

The installation process offers you the option of adding a Luminar plugin to either Photoshop, Lightroom, or both, which would offer you all the tools inside a more familiar interface. I though it was important to mention, even though I won’t be looking into this option in this review.

Reviewing so many similar apps as I have, you end up recognising the interface instantly as most are incredibly similar. Sure the sidebar may be on the left instead of the right, but the tools and especially the icons used to activate them are immediately recognisable.

Not so with Luminar Neo, and that’s actually a very good thing. Rather than handing you a bunch of icons for you to use on your photos, the tools are divided into categories. And forget about icons: each section is clearly labelled. Take ‘Essentials’ for instance. That’s where your usual color correction is located, in such submenus as ‘Develop’, ’Enhance’, ‘color’ and ‘Detail’.

Working on a Landscape? Then you need to explore the ‘Landscape’ category, where you’ll find such tools as ‘Sky’, ‘Atmosphere’ and ‘Water Enhancer’. Taken a photo of a person? ‘Portrait’ is where you need to go. ‘Professional’ is where some more advanced options are stored, and ‘Creative’ allows you to let loose and have a little more fun with your image manipulation. Clear, simple, and effective.

Skylum Luminar Neo: Tools

• Tools work extremely well
• Simple to make even complex changes to your photos

A good, intuitive, and easy to use interface is one thing, but if the tools aren’t up to scratch, it’s just a fancy wrapper full of useless features.

Thankfully, Luminar Neo is far from that.

Let’s start with Presets. Luminar Neo comes with a bunch of them, many of which are free. Those that aren’t can be identified with a small shopping trolley icon top right of their thumbnail. As always when it comes to presets, their results will vary but what I appreciated was the fact the software analyses your image and presents you with categories that should match what you’re working on.

For instance I brought up a photo of a sunrise, and was offered ‘sunsets’, ‘scenery’, and ‘easy landscapes’ menus for me to explore. Easy, simple, and of course you’re by no means forced to go down that selected road, but it’s nice when an app feels like it’s working with you.

How you work on an image is done with the help of sliders, which makes the process very simple to do and undo. If you’re more of a ‘type the value into a field’ kind of person, you’re free to do that too. You’re also able to work with multiple layers, letting you perform more complex effects on a photo with ease.

You can achieve very good results on your own that way, especially if you know what you’re doing. This is very similar to practically every other image manipulator out there. But what about all that AI I mentioned at the start? That’s where it gets more interesting.

Skylum Luminar Neo: AI

• Many AI-based tools to speed up workflows
• Doesn't feel like it's taking over the creative process

This is not generative AI. There are no text prompts or anything like that. This kind of AI is a collection of complex algorithms designed to facilitate a particular task. Think of them as a powered screwdriver as opposed to a manual one. If that’s still not your thing, you can recognise them in the sidebar as those tools are all labelled with a small orange ‘AI’ next to their name.

But I wouldn’t dismiss them out of hand so quickly myself. Let’s take a look at a few examples, starting with ‘Sky’.

This is the big tentpole feature you might have seen in adverts as it offers the most striking alteration: Luminar Neo can analyse your image, identify the sky and replace it with another. You have 35 to choose from, with the option of acquiring others.

Replacing the sky can be seen as a simple process: just mask what’s blue, cut it out, and add a new sky behind it on a separate layer. But ‘Sky’ goes further, noticing where the sky is reflected somewhere in the image and applying the change there as well, even going as far as altering the colors of the rest of the photo so it blends in with its new sky.

The result can be fantastic. I have a photo of the Eiffel Tower I use to test such features out, as the complex metallic mesh can be a challenge to mask, and Luminar Neo passed with flying colors.

It’s not always perfect of course, but most of the time the results were impressive, and achieved in seconds whereas it would’ve taken me ages to do the same manually.

Speaking of masks, Luminar Neo doesn’t have a dedicated tool in its list, but that’s because it’s embedded into pretty much all the others: select a tool, and switch to its ‘Masking’ tab to affect the image solely on a section of your choice. AI does the selection based on your input. For instance I told it to select the human in a photo, and after a few seconds, the mask was perfectly done with no further input needed from me.

The Bokeh AI tool is also excellent, giving you control over where the effect should be thanks to an easy to understand interface where you drag a slider up or down to limit the extent of the effect.

Perhaps the tool I was most impressed by was the Light Depth Tool. Somehow, it does its best to recreate the 3D environment the photo was taken from, allowing you to alter the light in various ways, even placing it in between objects. It’s most impressive.

Skylum Luminar Neo: Extras

• Good selection of additional fine-tuning tools
• Pales in comparison to Lightroom for organizing photos

And that’s not all: there’s an ‘Extras’ section where you’ll find tools to help you restore old photographs, increase the resolution of an image, stitch shots together to create a panorama, and more.

Luminar Neo offers you a wealth of features to help you fine tune your images to perfection.

If there’s one thing I’m not that impressed by though, is its organisational feature. Sure you can find folders on your computer and add them to the left sidebar, or create albums and add photos to them, but to be honest, that kind of functionality has been available for years and has been surpassed by most of its competitors.

Put it this way: it’s no threat to Lightroom on that front and maybe that’s why you were given the option to insert Luminar's tools into Lightroom upon install: this software knows its limitations.

Should I buy Luminar Neo?

Buy it if...

Don't buy it if...

How I tested Skylum Luminar Neo

As always, when an app is compatible with multiple platforms, I choose the underdog (ie the Mac). I used a laptop running a high-end Apple Silicon chip for my testing, and my machine had no problem with the software.

I did notice that when using some AI tools, it can take a few seconds for the analysis to be done, and the computer’s thinking process was too subtle for me.

Yes there’s a small message beneath the image saying ‘Analysing’. But if you’re more focused on the sliders at the time, you could end up wondering why dragging them isn’t having any effect - until the AI work is done and your slider went to 100, blowing the image up. Thank goodness, like all modern image processing app, everything you do to a photo is non destructive.

For more picks, we've tested the best photo editors.

Sigma's FP2 is a successor to the world's smallest full-frame mirrorless camera, the FP, and it's even smaller, despite coming with a bunch of handy upgrades.

The FP2 packs a partially stacked 24.5MP full-frame sensor — one we've seen before in the Nikon ZR and Lumix S1 II. And like those cameras, it shoots 6K open gate video, only with Sigma's L-Log color profile, and RAW video through an external SSD.

It comes with 70GB built-in memory, plus a higher capacity battery — the same unit found in recent full-frame Lumix models like the S1 II and Lumix S9 — and it features a 3.15-inch tilt-touchscreen. All decent upgrades.

Autofocus performance has been improved too — the hybrid phase detection system can track more subjects, with what Sigma says is a 15% boost in speed and accuracy.

And these features are packed into a diminutive and sturdy metal body with a delightfully simple design and user experience — I love how the photo and video functions are neatly distinguished. It's an attractive package, and a camera that I thoroughly enjoyed having in my hand.

When considered purely as an upgrade to the original FP, the FP2 is a solid camera. However, Sigma's mission to make the smallest full-frame mirrorless camera comes with compromises, which means the FP2 won't be for everyone. For one, the camera doesn't have in-body image stabilization, whereas the Lumix S9, Lumix S1 II and Nikon ZR do.

There's also no built-in viewfinder, though unlike some rivals, there is an optional EVF and it's a fantastically bright and detailed 5.76m-dot unit that tilts for waist-level shooting.

When shooting photos, I regularly found myself bringing the camera up to my eye, only to remember it didn't have a viewfinder – photo and video creatives will absolutely want to pick up the optional EVF.

That for me is where the FP2 comes undone, somewhat. It's starting price is reasonable, but when you factor in the cost of accessories, the package starts to feel pricey.

There is a miniaturisation premium — Sigma isn't alone in this, however. Overall, there are better value conventional alternatives, but if size and feel matters to you, then the Sigma FP2 is well worth a look.

Sigma FP2: Price and release date

• Announced on October 23, 2026, priced from $2,199 / £1,899
• Can be purchased with various kits; with the Electronic Viewfinder EVF-21 or 50mm F2 DG | Contemporary lens
• Goes on sale from November 11

At first, the Sigma FP2 feels like excellent value — it's a beautifully designed and rugged full-frame camera with impressive specs for $2,199 / £1,899. However, that body-only price is just the beginning for a camera that works best with optional accessories — and for those the cost soon stacks up.

For example, photographers will want the divine EVF-21 5.76m-dot tilt electronic viewfinder, which which adds $500 / £500 to the cost when bought with the camera, and it costs even more when purchased separately. Or how about the camera and lens kit with 50mm F2 DG | Contemporary, which I had for the review and you can see in the pictures, which costs $2749 / £2419.

Other accessories include the Hot Shoe Unit HU-21 (same flash terminal as OM System / Lumix), base plate BPL-21, LCD viewfinder LVF-21 and battery charger BC-91. Sigma is still a decent value brand, but you just need to be aware that this camera system benefits from costly extras, and if you're upgrading that the likes of the EVF are not forwards / backwards compatible with the original Sigma FP.

Sigma FP2 specs

Sigma FP2: Design

• Even smaller than the original FP, but a fraction heavier
• Modular design with handy (albeit pricey) accessories, such as the lovely EVF
• Wonderfully simple user experience and interface

The FP2 carries the DNA of the original FP, but comes with some welcome design improvements. Crucially, it stays true to Sigma's core mission with this series — make the smallest full-frame mirrorless camera available.

It's designed as a photo and video hybrid, with a chunky switch to choose between the two and a neatly arranged menu for each discipline — the settings remain unique when you move between the two.

There's a chunky exposure dial, and a line of buttons neatly arranged under the screen, including one for color profiles (there are 13 presets, Log and RAW video options).

The 3.15-inch touchscreen is a tilt-type — impressive considering the camera is thinner than the FP, which has a fixed screen. Pulling the screen out reveals vents which presumably keep the camera cool during high-resolution video recording.

We don't get an EVF, which is no surprise given the size of the camera. However, Sigma sells the FP2 in a kit with the EVF-21 electronic viewfinder.

I actually think the modular design makes perfect sense. Shooting video and don't need a viewfinder? You have the tiniest full-frame shooter. Out taking photos and want the display? Add it on.

And I really did enjoy the display — albeit my brief experience with it. It connects to the camera's side through one of the two USB-C ports, and it's a 5.76m-dot tilt type.

Sigma has added internal memory, with 70GB of usable memory, plus there's the SD card slot. I used the internal memory a lot, and had no operational issues — I wish more cameras included internal memory like the FP2 does.

And then there's the battery — the same type as used in recent Lumix cameras, for a healthy shot-life that belies the compact size of the camera. I don't think I've seen such a large battery squeezed into such a small space before — Sigma really has worked wonders to keep the FP2 this small.

Naturally, there are compromises for the handling of such a small camera, besides the lack of viewfinder and flash. For one, it's flat-fronted, meaning there's no sculpted hand grip for a secure hold. That's no such problem with small lenses, but the FP2 is so small that even compact primes feel chunky by comparison.

It's true: when stripped back to its basic setup, there is no smaller camera in this class. But to get the most out of the camera, it needs bulking out, all adding to the cost.

What I will say is that the FP2 does modular very well indeed. Its two screw mounts for accessories are handily placed, and they can host the (supplied) loops used to secure the camera's strap, which is a neat bit of design.

The FP2's design isn't for everyone, but after almost two weeks of shooting with the camera, I really did appreciate and enjoy it, and can see how it will appeal to certain users.

Sigma FP2: Performance

• 24.5MP partially stacked full-frame sensor, no stabilization
• 6K open gate video recording up to 60fps, plus 4K slow motion up to 120fps
• 13 color profile presets and Log, but RAW video must be recorded through an external drive
• Improved autofocus performance and built-in memory

We've seen the 24.5MP partially stacked sensor before in various Panasonic Lumix and Nikon models, including the Lumix S1 II and Nikon Z6 III. In the Sigma FP2, however, the sensor is not stabilized, which makes handheld video recording much trickier.

I've included a sample reel below, which demonstrates how challenging it can be to record steady video handheld, even with a steady hand. There is a solution, mind you, and that's to record gyro data which can be used to apply stabilization to footage afterwards using specialist software. Alternatively, of course, the camera can be mounted to a gimbal.

I love the photo and video quality I was able to get from the Sigma FP2 and 50mm F2 DG Contemporary lens: 6K open gate video with a choice of 13 color presets make for quick and versatile output, in various aspect ratios for social media (4K vertical video is possible), while the Log profile is a better bet for users who want to edit after the fact.

Photos can be recorded in RAW and JPEG format, and Sigma cameras use the DNG RAW format, which is universally accepted in editing software. For high-speed action, the FP2 can shoot at a rate of up to 20fps, and for sequences up to 180 frames before the buffer slows up — a decent performance.

Sigma says that autofocus performance has been improved by 15% over the FP, with a broader range of subject detection. I found autofocus snappy on people, and it was smooth and subtle enough for video, too, but haven't had the chance to try it out extensively on other subjects, including animals.

There's 70GB of usable built-in memory, which proved reliable during my test. However, it's not possible to record the memory-hungry RAW video using built-in memory or SD card — you'll need an external SSD for that.

Sigma FP2 sample photos

Sigma FP2: also consider

How I tested the Sigma FP2

• I had the camera for 1-2 weeks before its announcement, along with the 50mm F2 DG Contemporary lens
• I tried the EVF-21 electronic viewfinder
• I shot a variety of photos and videos, all handheld

Sigma introduced the camera to TechRadar a week or two ahead of its global launch, where I saw the FP2, 50mm F2 DG Contemporary lens and various accessories, including the new 5.76m-dot EVF for the FP2.

I was loaned the camera and lens only for my review, and have made the most of that time, taking the gear with me on a break to Lisbon in Portugal where I used it extensively for portraiture and travel photography.

All my images and videos were shot handheld, with no stabilization for video footage. I tried the various color profiles for video and shot in 6K and 4K.

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

While many of the best dash cams on the market come with plenty of features and functions, not all of them boast 4K shooting capability. The dual-channel 70mai 4K A900 Ultra captures 4K footage not only with its front-facing camera, but also with the rearward-facing unit that makes up this potent dash cam bundle.

This camera combo benefits from Sony Starvis 2 IMX678 sensors in both units too, which combined with the 4K, HDR and 70mai’s own Night Owl Vision 2.0 processing, means the bundle is perfect for capturing footage night and day. The resolution is impressive, with the f/1.8 front lens capable of shooting 3840 x 2160P (4K) at 30fps, and the f/1.6 rearward camera able to shoot the same 4K quality at 25fps. The field of view for both units is a generous 130 degrees.

The rest of the specification is similarly impressive, with the chunky main camera featuring a 3-inch rear-facing screen and four control buttons, which makes adjusting settings and previewing footage easy. There is a 5-system built-in GPS, and buffered emergency recording that captures up to 3 minutes and ten seconds before and 30 seconds after an incident.

Bonus appeal is delivered with the likes of 70mai’s Smart Parking Surveillance 2.0 (subject to hardwiring the unit into a vehicle), a Driver Fatigue Alert, and 4G Cloud+ 2.0 compatibility that delivers a live view, remote playback and two-way voice communication that covers all bases on the security front.

While capturing 4K footage soon amasses lots of chunky files, the 70mai 4K A900 Ultra features Wi-Fi 6, which means the transfer of footage and general file management is both quick and easy, with speeds of up to 45MBps. Another plus of the 70mai 4K A900 Ultra comes via compatibility with 70mai’s Battery Pack Mini, which gives assured backup power, and up to 30 days of parking surveillance without draining your vehicle’s battery.

Topping off an impressive set of features is hands-free voice control, while the unit itself features supercapacitor technology that offers more durable performance across the ranged of temperatures that occur inside vehicles over time.

All of this is squeezed into a compact box-shaped design for the main camera unit, while the rearward-facing camera is a fairly typical tube-shaped design. Both units can be attached to screen glass using supplied adhesive pads, and everything needed for the job comes inside the box.

The 70mai 4K A900 Ultra is therefore a one-stop solution, although it is worth noting that a hardwire kit, which unlocks the potential of around-the-clock surveillance monitoring, will need to be purchased separately. Otherwise, the units can be powered via a standard 12V in-car power socket, for which an adapter is supplied. The 70mai Battery Pack Mini is also sold as an optional extra.

70mai 4K A900 Ultra: price and availability

In the US, the 70mai 4K A900 Ultra is priced at $299.99, but at the time of writing can be purchased directly from the US 70mai website for $239.99. In the UK, the 70mai 4K A900 Ultra is priced at £231, but is currently available for £185 from the 70mai website.

70mai 4K A900 Ultra: specs

70mai 4K A900 Ultra: Design

I’ve tested several dash cameras from the 70mai stable, and always found them to be well designed and very nicely made. The 70mai 4K A900 Ultra follows that theme, with a good-looking exterior for the main camera unit that sits upfront. Meanwhile, the tube-shaped rear-facing camera looks fairly conventional, but is also very well put together.

The main camera unit feels great in the hand, weighty and chunky. It also features a built-in mounting bracket, which is non-detachable. The angle-adjustment bracket that joins the camera unit, and the sticky attachment that fits to the windshield felt quite stiff to adjust, but this makes sense when you consider how much vibration and bumping around the unit will be subjected to over time, and should mean that the position of the camera remains consistent over time.

Up front, the lens protrudes from the front of the camera unit, but not so far as to be intrusive when fitting to the windshield. The side of the unit has a slot for microSD cards up to 512GB capacity, and the port for connecting the power and rear camera cable. I like the way 70mai does its connectors, with a push fit for the camera wire that feels almost locked in place once it has been pushed in. Again, having a durable design for components like this means there’s less chance for failure over time.

There’s a 3-inch screen on the back of the front dash camera unit, which is a good size for previewing footage and the like, as well as making the setup process nice and easy. It took me mere minutes to power-up the camera using the supplied 12V power plug and cable. From there, picking through the installation options and setting the language, time and date options was easily achieved via the four plastic buttons directly below the screen.

Both cameras can be fixed to the glass using the supplied self-adhesive pads. In the case of the front unit this has to be applied to the bracket and then stuck to the screen. There are static sheets for anyone who wants to stick these to the glass first, which isa good option if you think you’re going to need to peel it off and move to another vehicle at some point. The rear camera has its sticky pad already fixed to the bracket.

Getting this into position in a rear window can be tricky, depending on the vehicle, but the good news is that the lens barrel can be rotated into its optimal position, and the view it captures checked within the front-facing screen on the front. This is presented as a picture-in-picture view, so any tweaks can be made if the view doesn’t look quite right. 70mai does sell an optional hardwire kit for anyone wanting to access the entire suite of features and functions, including round-the-clock vehicle surveillance.

70mai 4K A900 Ultra: Performance

I found the 70mai 4K A900 Ultra dash cam very easy to use once I’d got it installed and ready to go. As mentioned, the initial setup procedure is very straightforward, and can largely be done without consulting the manual thanks to the simple step-by-step process, which includes formatting the memory card. I especially liked the way the chunky buttons on the back of the camera could be used for making adjustments. Combined with the 70mai app, which I’ve used before, this combination makes light work of everyday file management duties.

Which brings us to the subject of the video. The 4K quality produced by this twin-channel camera combination is excellent, and I found the after-dark footage it captured was as good as footage shot in daylight. The 70mai engineers have clearly put some effort into squeezing the maximum detail from their HDR software, and the results are clear to see in the clips on this page.

The cameras also coped admirably with variable light quality and weather conditions, as well as sudden changes in lighting such driving through a tunnel, as illustrated in the clips here. Importantly, there's good definition in details such as license plates and road signs.

One of the more interesting features of this dual-channel dash cam is its use of low-voltage differential signaling, or LVDS. 70mai claims this means the 4K feed from the rear camera is relayed as a digital signal, with no re-encoding, which ultimately means there's no compression carried out, even though there is quite a long cable connecting the two camera units. 70mai also says the connection features 20ms ultra-low latency. In essence, that should mean that if you're using the feed from the rear camera when reversing, you'll see it in real time, without any lag. On a more practical note, the more efficient cabling seems thinner than usual too.

Overall, the 70mai 4K A900 Ultra dash cam is a potent package that left me wanting for nothing. Naturally, the files are chunky, but the latest Wi-Fi transfer capabilities of this bundle and a rock-solid app means file management really isn’t an issue. Granted, the microSD card tops out at 512GB before it starts looping, but I found that transferring files from the camera to cloud-base storage was about as easy as it gets.

As always, one important thing to note is that anyone wanting to use the parking-monitoring feature will to purchase the optional hardwire kit.

you'll need the optional hardwire kit. Th

Should you buy the 70mai 4K A900 Ultra dash cam?

Buy it if...

Don't buy it if...

How I tested the 70mai 4K A900 Ultra dash cam

• I installed the dash cam in an SUV for a test period of around four weeks
• I used it during daily commutes as well as for longer trips on a mix of roads
• I installed the 70mai app and used it to view, manage and save 4K files

70mai loaned me the 4K A900 Ultra dash cam along with everything I needed to test it, including a microSD card.

I installed the twin-camera bundle in a test vehicle using the supplied cables and connectors. I didn't call on the option of using a 70mai hardwire kit, which offers a more permanent means of supplying power, and enables parking-surveillance features. I didn't get to try the 70mai Battery Pack Mini either, which is another option offered by the company.

I did, however, make good use of the supporting 70mai app. I've tested this before, and it's received a few tweaks here and there since I last used it. As a result, the app works very well indeed, especially when it comes to managing the larger files generated by the higher-quality 4K setup.

• First reviewed October 2026

Given the ongoing component shortages and price pressures, producing an affordable camera in 2026 is no mean feat — and that's exactly what OM System has achieved with the new PEN.

It has delivered the rangefinder-style mirrorless camera many PEN fans have been crying out for, and equipped it with in-body image stabilization, twin displays, a retro weather-proof design (IPX1-rated), and a range of fun computational photography modes — and kept the price to $1,000 / £850 / $AU1,800. Need a lens? The 14-42mm f/3.5-5.6 III kit (see below) is just $100 / £100 / AU$300 extra.

Beyond that kit lens, the OM PEN is part of the Micro Four Thirds system, with hundreds of lenses to choose, covering just about any situation, though any of these will add to the cost. I found it to be a great pairing with the low-cost Olympus 45mm f/1.8 for portraiture.

There's little that's new here, mind you — we have the same 20.4MP CMOS sensor with 5-axis image stabilization as previous models, including the OM System OM-5 II, and the same 121-point hybrid phase-detection autofocus, with stripped back subject-detection options. The vari-angle touchscreen and 2.36m-dot EVF are borrowed from previous models, too.

However, the OM PEN remains utterly compelling because it's so much fun to shoot the everyday with, so easy on the eye, and kind on the wallet. Sure, the PEN could be better in various areas (some of the controls are particularly fiddly), but all is forgiven when you consider the overall package, and that price tag.

Having used the camera for several weeks (and made direct comparisons with the excellent Lumix 10 premium compact), I think the OM System PEN as an ideal starter camera for smartphone upgraders — and it's the best beginner camera for 2026 so far.

OM System PEN review: Price and release date

• Announced in September 2026
• Costs $999.99 / £849 / AU$1,499 (body-only) or $1,099 / £949 / AU$1,799 with new 14-42mm f/3.5-5.6 III kit lens
• Available in two colorways: all black, and black with silver trim

After years of rumors, OM System finally put its name on a successor for the Olympus PEN series of cameras. And like the OM-5 II before it, the OM System PEN is excellent value for money in an industry otherwise feeling the effects of component shortages and price hikes — where else can you find a new interchangeable-lens camera with a viewfinder and in-body image stabilization for less $1,000?

That price is for the body only, mind you, and if you're starting from scratch the best-value package is the camera with the new 14-42mm f/3.5-5.6 III zoom lens, and that costs $100 / £100 / AU$300 extra. The third-generation kit lens was announced alongside the camera, and gains a splash-proof design, matching the OM PEN camera.

The camera is available for preorder now in two colorways: black, and black with silver trim.

OM System PEN review: specs

OM System PEN review: Design

• Compact, IPX1-rated body that weighs just 13.9oz / 393g
• Twin displays: 2.36m-dot EVF and 1.04m-dot vari-angle touchscreen
• USB-C charging, mic port and hotshoe

There's no shortage of OM System bodies, but the PEN is the first OM-branded rangefinder proper, with its 2.36m-dot EVF neatly tucked into the top-left corner of the compact, IPX1-rated retro body.

It's the same EVF that you'll find in the slightly pricier OM-5 Mark II — a camera that we awarded a 5-star rating, and which sits in top spot in TechRadar's best travel cameras guide.

The key difference between those two bodies is that the OM-5 Mark II has higher-rated weatherproofing, a pronounced viewfinder bump, and a larger grip — meaning it's better suited to inclement weather, outdoor photography, and use with larger lenses. The OM PEN is also a superb travel camera, but you'd typically use it on city breaks, for everyday and street photography with smaller lenses.

It has the retro charm we've come to expect from Olympus / OM System bodies, and I particular liked the black and silver version I had for this review. It's equipped with a hotshoe for accessories such as an external flash (there's no built-in flash), a Mono / Color profile switch, a USB-C port for charging, micro HDMI, mic jack and a single SD card slot.

Most of the buttons are small and can be a little fiddly. I found accessing the computational photography a pain — you need to hold down the 'CP' button while rotating the top dial (that the shutter button is set within) to access the menu. Why not require just a press of the CP button to open the menu?

The on/off switch is poorly designed, too — good luck trying to land on the photography setting without skipping past it to the video mode. If you have moderately large hands like I do, the whole layout might feel a little fiddly. And I'm sure there are some retro camera fans who will be disappointed that there's no cable-release thread in the shutter button. All that being said, I still very much enjoyed using the PEN.

OM System PEN review: Performance

• 20.4MP CMOS sensor with 5-axis stabilization
• BLS-7 battery with 410-shot CIPA rating
• 121-point hybrid phase detection autofocus with subject tracking

A 20.4MP Micro Four Thirds sensor is nothing to get too excited about in and of itself when you consider the larger-sensor, higher-resolution alternatives that are available.

Computational photography modes can close the gap where there are drawbacks; addressing the fewer pixels and lesser dynamic range versus larger-sensor alternatives, though they don't work for every scenario. (I've included some examples, above.)

With 5.5EV image stabilization, the High Res Shot mode can be used handheld to increase resolution from 20MP to 50MP, though it won't work for scenes with movement in them. The same can be said for the HDR modes, which also work by combining several images captured sequentially together into one, and would otherwise have ghosting in them where there's movement in the scene during capture. For still scenes, HDR works perfectly well for increasing dynamic range.

As a starter camera, however, the level of detail this tried and tested sensor is able to capture is easily sufficient for travel and everyday photography. Add a decent lens — and there are hundreds to choose from, including the low-cost 45mm f/1.8 for portraiture — and you have the foundation for smartphone-beating images.

There's nothing wrong with OM System's 121-point hybrid phase-detection autofocus system, despite its stripped-back selection of subject-detection options that includes humans or animals (cats and dogs).

I've used other systems with a wider range of subject-detection modes, but for the most part you'd struggle to see a major difference in performance — when tracking birds, for example, I found the animal-detection autofocus to be sticky. There's not the same degree of complexity for face and eye detection, though — it's reliable, but you can't manually switch which eye the camera autofocuses on.

Battery life is decent, being rated at 410 shots, but video specs are fairly basic for 2026 — 4K up to 30fps / C4K up to 24fps, with a wide choice of color profiles including OM System's flat OM-Log400 profile, but just 8-bit color depth. The slow and quick mode unleashes up to 120fps slow-motion recording, or down to 1fps quick motion, but in 1080p only. Image stabilization works for video, though, which is a major draw for a camera at this price point.

Should I buy the OM System PEN?

Buy it if...

Don't buy it if...

OM System PEN review: also consider

How I tested the OM System PEN

• OM System loaned me the black and silver version of the PEN and the 14-42mm f/3.5-5.6 III kit lens for several weeks
• I also used it with Olympus 45mm f/1.8 / Leica 12-60mm f/2.8-4 lenses
• I took the camera to China for a work trip, and used it in a variety of scenarios, trying out the various computational photography modes

OM System sent me the black and silver version of the PEN with the new 14-42mm f/3.5-5.6 III kit lens, and I used the kit regularly for several weeks, including during a work trip to China. I also paired the camera with an Olympus 45mm f/1.8 lens and a (Panasonic) Leica 12-60mm f/2.8-4 lens.

I've tried the various computational photography modes, used slow shutter speeds, and shot video handheld to test the image stabilization effectiveness, and tried out various autofocus modes.

I've used the camera in light rain and in bright light, testing its splash proof credentials and the brightness of its displays. Along the way, I compared the PEN to the Lumix L10, a similar MFT camera.

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

The Bird Buddy 2 is the next-gen smart feeder on from the sleek, popular Bird Buddy Smart Feeder Pro. It shares the same integrated solar roof panels but has a new circular magnetic camera unit that pops out and rotates instantly between 9:16 portrait and 16:9 landscape modes.

More than six months after first hanging the Bird Buddy 2 in my garden, I'm delighted with its build quality and solar efficiency; however, it's fair to say my relationship with this smart feeder is still a mix of genuine appreciation and lingering frustration.

The feeder's integrated solar roof has kept the camera powered continuously for over half a year without me needing to bring it inside to charge once (which is good, as this is a fiddly job).

Combine that with its neat, easy-wipe, plastic build, clean refill design, and a charming app full of postcards and daily highlights, and I think it remains one of the most enjoyable, albeit pared-back smart feeders on the market. The equally popular Birdfy ecosystem offers more functionality, whereas I see Bird Buddy aiming for a simpler user experience.

Although it's easily rotatable, the camera is fixed facing forward, and framing isn’t quite right for landscape mode. The shallow seed tray means smaller birds sitting right in the seed for a good munch get cropped at the bottom of the frame. But now that 2K Ultra video resolution is available to Premium users, it takes the clarity of footage to an impressive level.

As I’ve said, one of the big selling points of the Bird Buddy app is how user-friendly and engaging it is, but this can come at the detriment of basic usability features – such as having customizable sleeping hours – meaning my camera regularly missed the earliest (and often most active) morning visitors because it’s not awake to record them.

But I do love how easy it is to keep your feed organised. New postcards will stay in your active feed for a week. From here, you can choose to collect or discard them (and the collection is where postcards stay permanently), which means the onus is on you to curate your sightings and choose the best clips and stills.

I'm not sold on the app feature to give images filters and birds outfits – but if it helps entice younger users into birdwatching, then maybe it's not such an awful idea. There's also a lot of educational content, with Birdy Buddy feeding you tidbits of facts about identified species.

• Interested what other options are available besides the Bird Buddy 2? Check out our best bird feeder cameras guide.

I found live streaming to be occasionally laggy, sometimes not loading at all, and even when I set the camera to Frenzy Mode, the AI postcard capture missed birds I could clearly see sitting on the feeder from my kitchen window. It’s not the most reliable feeder I’ve used, and not ideal if you want to capture every single bird and build a picture of their visiting habits; however, it does stop your feed from getting clogged with thousands of similar clips.

Despite these niggles and quirks, I really enjoy the core experience. The AI bird identification is almost perfect, the postcard collection system provides a handy highlight reel, and the solar roof means near-continuous use.

The Bird Buddy 2 is a sleek, low-maintenance smart feeder with strong app design and best-in-class solar performance. For now, it earns its spot in my garden (and believe me, I have four smart feeders on the go), though I can’t help thinking about its price and hope tighter bird detection lands in future updates.

Bird Buddy 2: Price and availability

• Wider release rolled out in mid-2026
• Available via Amazon US and Amazon UK
• $299 in the US (approx. £300)

At $299 in the US and about £300 on Amazon UK, the Bird Buddy 2 sits firmly at the premium end of smart bird feeders. It demands a serious investment compared to standard single-camera setups and sits noticeably higher than competitors like the Birdfy range (even the dual-lens Birdfy Feeder 2 Pro at $279).

Bird Buddy is fully functional without a paid subscription, however, giving you AI species identification, live streaming, and daily Postcards for free. The Bird Buddy Pro subscription ($5.99/month or $59.99/year) is optional and unlocks longer video clips, 2K Ultra Resolution, Alexa integration, species-specific AI filtering and more.

US buyers can order directly from Bird Buddy or Amazon, but the brand doesn't currently ship the Gen 2 directly to the UK via its official site. That leaves Amazon UK (around £300) as the main route for UK buyers to get hold of one.

That price tag covers the built-in solar roof, but you don't get accessories like a wall mount in the box, and mounting poles are separate, too (less surprising). The Bird Buddy 2 is undoubtedly a steep purchase, with extra costs for the Premium features like 2K Ultra footage. I think a handful of keen and more technically-minded birders spending this much might feel short-changed.

Bird Buddy 2: Specs

Bird Buddy 2: Design

• Flush solar roof for cable-free, continuous power
• IP67-rated weatherproof housing
• Magnetic camera module for quick portrait and landscape switching

I found setting up the Bird Buddy 2 pretty painless; a booklet in the box details assembly, plus an app walkthrough. Like all smart feeders, you need to download the app first, then follow a series of illustrated steps to set up the Wi-Fi connection between your phone and the camera. It takes no more than five minutes and has been well thought through.

Initially, I connected the Bird Buddy 2 to my main internet router (likely about 12 metres away), as it said there was a strong signal. But each day I checked the app status, and it flagged that there was a low, unstable signal, and this may affect the number of postcards I was getting. Well, reader, it did just this, as I regularly watched a couple of blue tits land, feast and fly off from my kitchen window without any notifications.

I then added a wireless extender much closer to the garden and the camera. You can't change the Wi-Fi network on the camera directly in the app and instead have to factory reset the device and pair it again as a new one. This doesn’t lose postcards and your history as I thought it would; it’s more just a faff.

I’ve tested over ten smart bird feeder cams in my garden before, and the Bird Buddy 2 stands out for its clean aesthetics. It’s still plastic (recycled ASA plastic with an IP67 weather rating) rather than wood or bamboo, but the housing feels solid and has resisted any signs of UV fading over a very hot, bright British summer. Crucially, I’ve also found it fairly easy to keep clean, but you can't dunk the whole feeder in water to avoid getting the USB-C charging point wet.

On earlier units, you could pop the camera out to charge and leave the feeder hanging outside. With the Gen 2, because the solar roof and camera housing are wired together, offline charging requires unhooking the entire dirty feeder or wrestling with the mounting bracket outdoors. At least the solar roof panels sit flush against the top without trailing cables or awkward side arms. Top-ups are easy thanks to a rear-sliding tray that lets you pour seed in without spilling. There’s less room for access than other feeders I’ve tried where the lid totally comes off, but it’s nice and secure.

The biggest design change on this second-generation unit is its circular, rather than pill-shaped camera module. It attaches in a magnetic socket behind a scratch-resistant Gorilla Glass lens, and can be twisted 90 degrees to flip between vertical (9:16) and widescreen (16:9) modes on the fly. For bird photographers who are more accustomed to landscape framing, I think it’s a welcome addition.

However, I found that the seed tray depth negates some of the benefits of having two different views. Because the tray floor sits close to the lens mount, small garden birds often drop low into the seed to feed. In both portrait and landscape orientation, this leaves their bodies cut off by the bottom lip of the frame, resulting in video clips that showcase plenty of background trees but only the top of a bird's head.

There are several ways to mount the Bird Buddy 2. The easiest is to use the metal hanger wire included in the box, which keeps the feeder suspended from a hook or branch in your garden. I used this option and found the wire very strong, though the Feeder did sway slightly in high winds.

A bottom bracket adapter is included in the box, though Bird Buddy sells a metal mounting pole separately. A wall mount for fence panels and outside walls is another optional add-on, which is a shame, as rival Birdfy usually includes this option in the box.

Bird Buddy 2: Performance

• Flawless solar power over months
• 5MP images detailed in bright light; quality drops off in shade
• Engaging app experience, though the live stream is laggy

If there’s one good reason to buy the Bird Buddy 2, it is the battery performance. Over six months of continuous outdoor use, the solar roof kept the battery topped up continuously and is still at 100% as I write this review. I haven't needed to bring the camera inside to plug it into a wall outlet even once—a massive win for an outdoor smart device—even if I have had to bring it in for cleaning and firmware updates.

Like any camera, the Bird Buddy 2’s image quality depends on the light quality. When mounted in gentle, direct sunlight, I found the 1080p videos and 5MP photos captured were crisp and vibrant. Close-ups show some feather textures, eye reflections, and accurate colors, particularly on bright birds like blue tits. The 2K Ultra footage (available to premium users) truly has the sharp look you might expect at a $299 / £300 price point.

For smartphone viewing and social media sharing, both the 1080p and 2K Ultra clips look great – colorful, sharp, instantly recognizable, and easy to download and share to your camera roll. It's a shame that the downloaded images have the Bird Buddy watermark, but this isn't unique to the brand.

The wider 135-degree field of view also gives a nice sense of surrounding garden action, but I still find it frustrating how much of the bird gets cut off when sat straight in the feeder.

Like most small-sensor outdoor cameras, image quality drops off noticeably in flat or shaded light, and noise becomes noticeable. In high-contrast situations (like bright sun filtering through trees), the dynamic range struggles, leading to blown-out highlights or heavy shadows on dark-plumaged birds. The built-in microphone is clean enough for the app's AI audio identification features to work effectively.

As for AI species identification, only a handful of entries weren't identified, usually because the bird in question (Common wood pigeon) was too close to the camera, but you can edit the species manually if you want. When it does trigger automatically, however, the digital Postcards are delightful. Instead of spamming your phone with hundreds of motion-alert notifications like standard security cameras, the AI compiles a daily highlight reel with accurate species identification. It turns checking your garden activity into an enjoyable daily routine rather than notification clutter.

Detection consistency is an area needing refinement. The app prioritizes simplicity over granular controls, which means you can’t adjust the camera's sleep and wake hours. As a result, the feeder frequently stayed asleep past dawn, missing early-morning feeding rushes.

Even when I toggled it to Frenzy Mode for maximum recording sensitivity, the feeder frequently ignored birds clearly visible with the naked eye. Live streaming initially suffered similar latency issues, often taking 15 to 20 seconds to establish a connection, but improved with time. Maybe like the hobby of birdwatching itself, the Bird Buddy 2 just requires a bit of patience and learning to get into the swing of things.

Should you buy the Bird Buddy 2?

Buy it if...

Don't buy it if...

Also consider

How I tested the Bird Buddy 2

• Tested for 6 months
• Hung in a UK garden between April and September
• Tried HD and 2K video and stills

I tested the Bird Buddy 2 for more than 6 months, hanging it from a pole in my UK garden where small birds and squirrels visit regularly through the seasons. I left the feeder in the same spot, only bringing it inside briefly once a month for cleaning.

I paired the feeder to my iPhone 15 Pro using the Bird Buddy app, and set up a nearby Wi-Fi extender in my kitchen to ensure it always had a strong connection. I tested the feeder's reliability for recording sightings, assessed the AI recognition and tested all the features and settings available in the Bird Buddy app.

Before May, I filled up the feeder more fully with a premium garden bird seed mix. During the summer months, I followed RSPB guidance on feeding birds and left small amounts of mealworms and suet in the base of the feeder.

First reviewed October 2026

I’ve never seen my teenage son more animated about a camera than he was about the Instax Pal 2 — and he’s seen his fair share over the course of my years reviewing gear.

It’s tactile and sensory, with its exaggerated sound effects, clicky winding lever, joystick, dampened dial, and pop-out USB-C connector. For my son, it was like a fidget toy. And I have to confess it was for me too.

The emphasis here is on toy, mind you — he could happily fiddle with the controls for hours without taking a single photo.

Even with my Serious Camera Reviewer hat on, I’m enamored with the Pal 2; it's cute, it's dinky, and there’s enough here to keep my attention.

There's the winding lever that scrolls through the Instax mini, square and wide film formats (or no border at all); the dampened dial for the various picture effects; the joystick that you use to navigate a sub-menu with options for self-timer, flash and display modes, and which you can also press to open the main menu.

Then there’s the cut-out optical viewfinder, and a top-down, 1.3-inch screen for waist-level photography, a red playback button and clear ‘back’ button. Every control is unique, and characterful.

Fujifilm’s design department clearly knows its market — the Pal 2 is latest in a long line of quirky, retro fun models that include the original Pal, the X half and the Instax Mini Evo Cinema.

In a way it’s easy to forget that this palm-sized bundle of retro fun is a camera at all; but that's what it is, and it’s one with very basic tech inside: a tiny 1/3.06-inch sensor with 10MP JPEG photos, shot through a 28mm equivalent f/2.2 lens, with an LED flash for close-up low-light shots. There's no video here, just a 10-shot Animation mode.

It’s also Wi-Fi / Bluetooth-equipped, meaning users can wirelessly connect to a smart device and use the Instax Pal app for image uploads and sharing (the Pal app wasn't updated for the Pal 2 at the time of my review), or to one of Fujifilm’s Instax link printers for uploads or direct printing onto Instax film. There’s that pop-out USB-C for charging, too.

But — and it's a big but — it’s very expensive. The Pal 2 is not priced like the toy camera it is.

You can get four Kodak Charmeras for the price of one Instax Pal 2 and have some change left over. Yes, the Pal 2 is more camera than the Charmera in every way, but they are in the same novelty camera category, and the Charmera knows its place better.

Yes, my son loves the Pal 2, but it’s not in pocket-money saving territory, and it would be a stretch as a birthday gift.

It's easy to be won over by the Pal 2 — this is a retro, pocket digital camera with wireless image uploads and Instax printing. But when the Instax Mini Evo costs the same, and that camera has a larger body and screen, and can print images selected from the gallery directly, the Pal 2 feels like a stretch. If its price comes down, like the X half's did (by about 40%), then it might be a different picture.

Fujifilm Instax Pal 2 review: Price and release date

• Announced in September 2026
• Priced at $169.95 / £149.99 / AU$249
• Available in two colorways; black with silver trim, or white with silver trim

The Fujifilm Instax Pal 2 costs $169.95 / £149.99 / AU$249 and is available in two colorways: black with silver trim, or white with silver trim. It comes with a small rubber selfie stand, which fixes in place by slotting around the lens, and a wrist strap.

Fujifilm Instax Pal 2 review: specs

Fujifilm Instax Pal 2 review: Design

• Weighs just 3oz / 87g, fits in a pocket
• Cool retro look and multi-sensory controls
• Twin displays: LCD and cutout optical viewfinder

It might share the name as the original Pal, but the two cameras bear little resemblance to each other. The original Pal’s golf ball-like exterior is cast aside in favor of retro-style, mini Fujifilm camera-like body.

Fujifilm has packed a lot of controls and features into the tiny, palm-sized body, including a cut-out viewfinder, 1.3-inch top LCD, winding lever, on/off dial, a joystick set within another dial, playback and back buttons, a pop-out USB-C, and a tiny selfie mirror, tripod mount, microSD card slot, and LED flash.

Each control has its own distinct character, and it took me no time at all to memorize each one, meaning I could instinctively locate them.

For the most part, I only found myself scrolling through the Instax film types (glorified aspect ratios) using the winding lever, and using the six picture styles, and the flash settings, self-timer and display mode options in the sub-menu. There’s little else to experiment with, besides perhaps exposure compensation, which is buried in the menu.

You can choose whether to display the selected picture style on the LCD display (kind of like a film roll), or the live view, when composing images. I'd hardly say composition is critical though, because the lens is a wide-angle 28mm optic, meaning you can blindly point the Pal 2 in the direction of your subject and it will be in the shot.

There’s plenty to like about the design of the Instax Pal 2. It’s a highly enjoyable camera to play around with, and it earned plenty of admiring comments from other tech journalists when I was attending another event.

Fujifilm Instax Pal 2 review: Performance

• Wide-angle 28mm f/2.2 lens
• 10MP JPEGs, plus a 10-shot animation mode
• Bluetooth / Wi-Fi equipped for wireless image uploads and printing

The charming, tactile and dinky design is the major appeal of the Instax Pal 2 — you’re not buying it for its technically impressive images and high-speed performance.

Take the JPEG-only photos (up to 10MP, depending on the aspect ratio) from the tiny 1/3.06-inch sensor and 28mm f/2.2 lens. There's no getting away from the fact they're lo-fi images; they're Better than the Charmera’s, but no match for your phone’s.

Don’t expect much detail in highlights, either — they blow out with the camera’s exposure metering left to its own devices, although ±2EV exposure compensation is buried in the camera’s main menu, so it is possibly to go for dark, moody photos too.

The six color profiles are all towards the vintage end of the scale, with options for Soft, Muted, Cool, Flare, Mono and Pure (see below). If you want a punchy, vivid setting, you’re out of luck. The picture style and aspect ratio used at the time of shooting, whether that’s mini, square, wide or no border, are locked in.

Technically this is a photo-only camera, but if you turn the winding lever clockwise (instead of counter clockwise for the Instax film borders), you can enter a burst-shooting 'animation' mode that takes up to 10 photos in a sequence and then pieces them into a single stop motion-like clip (see above).

There’s a built-in battery that's recharged through USB-C — and you’ll need to do that regularly, because battery life is poor. A combination of me playing around with the camera settings and taking around 50-75 images saw battery life depleted by three quarters, so you’ll struggle to get through a full day of shooting.

Shutter lag — the time between pressing the shutter button and the camera actually taking the photo — can get really frustrating, and it’s made worse with the LED flash active. You'll need to hold the camera steady after pressing the shutter, and hope that your subject stays still, otherwise you'll miss the shot

I had the flash mostly set to auto, and it mostly only fired in low light — this isn’t a flash-on for every photo setup, as is the case with some Instax mini cameras.

As with any wide-angle camera, but especially so with the Pal 2's small picture size, it pays to have your subject close and filling the frame to maximize the impact of the photo — this isn’t a camera for taking landscape images, in which detail will be lost.

A curiosity is that the camera limits users to 100 shots between connections to the Pal app, whether that's shooting onto the internal memory or the microSD card. This isn't an issue when shooting onto the internal memory, since there's only space for 100 shots, but I found it a frustrating and unnecessary restriction when shooting to the card.

The original Instax Pal app is also designed for the Pal 2, but at the time of writing there wasn't an update for the app, so I haven't been able to try it out with the latest camera yet. I'll update this review once I've tried wireless uploads and printing.

Should I buy the Fujifilm Instax Pal 2?

Buy it if...

Don't buy it if...

Fujifilm Instax Pal 2 review: also consider

How I tested the Fujifilm Instax Pal 2

• Fujifilm loaned me the black and silver version of the Instax Pal 2 for three weeks
• I kept the camera with me at all times, and took it to China for a work trip
• I've shot around 150 photos using the various picture styles and aspect ratios (Instax borders)

Instax loaned me the black-with-silver-trim version of the Pal 2 for a few weeks, during which time I’ve kept it on me as an everyday camera, and taken it to China on a work trip.

I’ve used the various picture effects, aspect ratios (Instax film types), the self-timer and the LED flash, and tried the 10-frame animation mode.

At the time of my review, the Instax Pal app wasn't updated for use with the Pal 2 (on Android, at least). I'll update this review once I've paired the camera with the app and used it properly.

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

It might look like a Sony or Nikon, but I can assure you that the EOS R8 Mark II is a Canon camera. It's the realization of a long-rumored model that was expected to be a digital remake of the AE-1 analog SLR camera to mark that camera's its 50th anniversary, only those rumors proved unfounded, with Canon working in a "modern twist".

I can see the faint resemblance between the two cameras, and I like the EOS R8 Mark II's angular look, but I also think Canon has missed a trick by not going all-out retro here, in the way Nikon did with its Zf.

Design should have been the major selling point here, but instead we have a camera that blends in, and that's not a compliment. This makes it harder to forgive the dated elements of the camera that have been carried over from the original EOS R8.

That's not to say the EOS R8 Mark II isn't a decent upgrade from the EOS R8 — it adds in-body image stabilization that's rated up to 7.5EV to the 24MP full-frame sensor, plus an AF joystick (Canon calls it a multi-controller) which makes autofocus selection simpler.

Video specs are also improved, autofocus performance enhanced, and pre-capture appears for the first time in a Canon camera at this price point.

The EOS R8 Mark II is a better camera than the EOS R8, but it also carries the same LCD and EVF displays, and the same tiny battery and entry-level build quality. These dated elements only highlight how much better a camera the Nikon Z5 II is — and that camera from 2025 costs less.

Still, if you're a Canon fan and committed to its system, the EOS R8 Mark II is a solid upgrade of the EOS R8, and a sensible alternative to the pricier EOS R6 Mark III for users who don't need the premium design, superior battery life and various high-end features.

Canon EOS R8 Mark II: Price and release date

• Announced on September 16, 2026, priced from $1,899 / £1,729 / AU$2,529
• Available in 24-105mm F4-7.1 IS STM kit for £2,119 / AU$2,859 (or with the 24-50mm f/4.5-6.3 IS STM lens for $2,099) in the US
• Dedicated Extension Grip (EC-G2) costs $99 / £89 / AU$169
• Goes on sale from October 20

Canon is expected to sell the EOS R8 Mark II from October 20, with a body-only price of $1,899 / £1,729 / AU$2,529, which rises to £2,119 / AU$2,859 for the 24-105mm F4-7.1 IS STM kit (not to be confused with the pricier 24-105mm F4 L IS USM), while in the US there's a 24-50mm f/4.5-6.3 IS STM kit for $2,099. Other bundles will be available, including one with an additional battery.

Canon also launched a grip for the EOS R8 Mark II, which costs $99 / £89 / AU$169. It's a grip only, and doesn't feature a battery, but it does feature a hinge allowing direct access to the camera's battery door.

Canon EOS R8 Mark II specs

Canon EOS R8 Mark II: Design

• Major new look for an interchangeable-lens Canon camera
• Multi-controller and tally lamp added
• Single SD card slot relocated to a dedicated side access door
• Same LCD and EVF displays as the EOS R8
• Body not weather resistant

I've already covered the new look of the EOS R8 Mark II. Whether that fresh design is going to be worked into other Canon cameras or remain exclusive to the R8 series, or if an unadulterated retro mirrorless body is on the way, we'll have to wait and see. I asked a Canon spokesperson about the prospect of an all-out retro body, and they didn't rule it out.

I've included a side-by-side photo of the EOS R8 and and EOS R8 Mark II, below, and you can see the sharper lines, and the deeper and textured grip of the new model, which for me evoke the look of Sony bodies more than Canon heritage.

One welcome addition is Canon's multi-controller button, which can be used to select the autofocus point among other things, and is a much loved feature by users who like to control to how their camera autofocuses, included point selection.

I really appreciated the placement of the multi-controller alongside the AF-ON (autofocus) button, which are both within a slight move of your thumb where it naturally rests in the grip. As such, it was entirely possible to hold the camera and make autofocus point selection one-handed.

A tally lamp has been added to indicate when video recording is active, while the single SD card slot has been relocated to a dedicated door on the grip-side of the camera, whereas in the EOS R8 it was found behind the same door as the battery on the underside.

Sadly, Canon hasn't used the space saved in the battery compartment (and deeper handgrip) to fit in a larger-capacity battery. The EOS R8 Mark II uses the same battery as its predecessor — shot life was already a major weak point — and has an even lower battery life when the power-hungry image stabilization feature is active, being rated at 220 shots when using the viewfinder (or 340 shots with the LCD).

Nor has the quality of the body been improved — Canon notes that the EOS R8 Mark II's body materials are part aluminum alloy, part polycarbonate, and it's not weather resistant. The controls, and the build quality, really do feel entry-level.

The 3.0-inch 1.62m-dot vari-angle LCD and 0.39-inch 2.36m-dot EVF displays are unchanged from the EOS R8, and look fairly dated when you compare them to the Nikon Z5 II's displays.

Canon EOS R8 Mark II: Performance

• 24.2MP full-frame sensor now equipped with 7.5EV image stabilization
• Digic X processor unique to the camera, 40fps burst shooting
• 4K video up to 60fps, oversampled from 6K, plus 1080p up to 180fps

The addition of in-body image stabilization (IBIS) is the major upgrade offered by the EOS R8 Mark II, and its effectiveness is rated up to 7.5EV. This feature makes life simpler shooting handheld in many scenarios — whether that's for sharp images in low light or with telephoto lenses, creative long-exposure shots, or run-and-gun video.

The sensor that incorporates the IBIS is otherwise the same as the one in the EOS R8 — a full-frame 24.2MP CMOS unit which is a decent all-purpose sensor. Nothing too exciting in 2026, but dependable.

Maximum burst-shooting speeds are once again up to 40fps, using the electronic shutter. Not that there's a choice — if you didn't already know it, the EOS R8 Mark II, like its predecessor, doesn't have a mechanical shutter.

Canon has added Pre-Continuous Shooting (more widely known as pre-capture) to the EOS R8 Mark II. In short, the camera is able to continually buffer up to 0.5 seconds while the shutter is half pressed, before the user fully presses the button to take photos. In this case, you get up to 20 photos spanning the half-second before you start photos — it's a really useful feature for wildlife and action photography, for when your reactions aren't otherwise up to speed. The feature was introduced in the EOS R5 Mark II, and the EOS R8 Mark II is the first Canon at this price point to get it.

Video recording has been improved in several ways. First of all, 4K footage is oversampled from 6K, so it should look sharper. Secondly, 4K frame rates have been upped to 60fps, while 1080p goes up to 180fps — that's 6x slow motion. Thirdly, there's the aforementioned IBIS, which makes smooth handheld shooting all the more possible. And then there are additional color profiles to choose from, including 'filmtone' looks and other picture styles which can be added using the Canon EOS Utility app.

Canon has also added a new 'defocus' feature, which can add a creative blur effect (not aperture dependent), and alter the speed of focus transitions. I haven't had the time yet to test any of the EOS R8 Mark II's video features, but I will do for my upcoming in-depth review.

Dual Pixel CMOS AF II powers the camera's autofocus, which like before includes subject detection of people, animals and vehicles, but which Canon says offers an improved performance. For example, the camera's focus sensitivity in low light has been improved, being rated to -7.5EV.

‘Register People Priority’ is a neat addition — users can select specific people’s faces, storing up to 10 people for the camera to prioritize. It's a handy feature for scenarios like a wedding, where you might want to keep the bride and groom in sharp focus among a sea of faces.

Canon EOS R8 Mark II: also consider

How I tested the Canon EOS R8 Mark II

• I had a two hour hands-on session with the camera and kit lens
• I spent the time getting a feel for the camera, and took some sample photos
• Canon provided the EOS R8 and EOS R6 Mark III for comparisons

I've only used the EOS R8 Mark II for a couple of hours at Canon Europe's offices in London. During this time, I got a proper feel for the camera, and paired it with the 24-105mm F4-7.1 IS STM lens that the camera is available with in a kit.

Canon supplied me with the original EOS R8 and EOS R6 Mark III, so I was able to make direct comparisons between the three cameras, though only how they handle — I didn't have time to take like-for-like pictures.

I took a stroll in the outside space, and took various photos of birdlife, foliage and buildings. Look out for our in-depth review of the EOS R8 Mark II, coming soon.

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

The Instax Mini 13 is the newest instant-print camera in Fujifilm’s long-standing lineup of budget, easy-to-use party snappers. These film cameras are a great way to capture memories at shindigs, weddings and the sort, and this latest model is no different.

Like most Instax mini cameras, the Instax Mini 13 has a 60mm f/12.7 optical-grade plastic lens, making it ideal for close-up snaps and selfies that require a fixed field of focus. It even has an additional close-up mode to give you a little extra control over the focal length.

These are all features already found in the Instax Mini 12, which we rate as the best instant camera for most people for its point-and-shoot simplicity — but the Instax Mini 13 does have a few small tricks up its sleeve to warrant it being the step up model in the range.

The biggest upgrade from its predecessor that was released in 2023 is the addition of a self-timer, which is normally found on more expensive models like the Instax Mini 99 that retails for more than double the price.

And while the self-timer is the most significant upgrade from the Instax Mini 12, there are other small differences, including a fresh, playful ribbed design with new pastel colors, and a small, rubber wedge that hangs on the strap for propping the camera up on a table.

If I were to sum up the Instax Mini 13 in three words, I'd say it's cheap, cheerful and charming, which is exactly what you want from a fun instant camera that's a piece of cake to use.

Fujifilm Instax Mini 13 review: price and release date

• Announced in March 2026
• Shipping began in Australia on March 31
• Released in the US and UK in late June
• Priced at $94 / £79 / AU$139

As noted in our Instax Mini 12 review, many of us camera nerds have come to expect a new Instax Mini instant camera every three years from the brand, so it was surprising that this model ended up having a staggered global rollout, without much fanfare. Aussies were the first to get their hands on the new camera on March 31, followed by the US and UK on June 25.

Even more surprising is the fact that those of us in the UK didn't see the same 15% price jump from the cost of the previous generation, with the Instax Mini 13 being priced at £79 — the same as the Instax Mini 12 at launch. Those in the US and Australia weren't as lucky, however, with the Instax Mini 13 seeing an 18% increase from the Instax Mini 12 to $94 and 16% to AU$139.

Fujifilm Instax Mini 13 review: specs

Fujifilm Instax Mini 13 review: design

• A fun, ribbed design for added grip
• Five different color options to choose from
• Comes with a handy accessory on the strap for propping the camera up

The most striking update to the Instax Mini 13 is the rounded, ribbed design and five new pastel colorways, which have been called Candy Pink, Frost Blue (featured in this review), Clay White, Lagoon Green and Dreamy Purple.

Although the new design does bring a new poppy look to the camera, the trade-off is that it's a bit bulkier and heavier than the likes of the Instax Mini 12. If that's a problem, and you're more so after a slimmer and compact build, take a look at our Instax Mini 99 review instead.

That model also has a built-in tripod thread at the bottom of the camera to help with taking group shots, which is one of the reasons why it's the more expensive, premium model. But the Instax Mini 13 brings a thoughtful budget accessory to help you stabilize shots: a rubber wedge attached to the strap that you can use to adjust the angle of the camera when placed on a surface.

Fujifilm Instax Mini 13: performance

• Incredibly easy to use — just point-and-shoot and print
• Best for taking short-range images, like selfies
• For optimum results, make sure to hold the camera about 30cm away

The biggest selling point of the Instax Mini 13 is the fact that it's so straightforward and easy to use. Simply load up Instax’s credit card-sized Mini Film pack of 10, spin the lens dial to turn it on, and you’re all set to go.

With a shutter speed range between 1/2 a second and 1/250 a second, and a film sensitivity rating of ISO 800, it's best used in well-lit spaces, as you'll run the risk of overexposing a shot if you were to shoot in direct, bright sunlight.

At night, the constant-firing flash will automatically adjust itself to different light levels on its own, but it's important to keep in mind the distance of your subject. As mentioned earlier, it's best to use it for close-up shots to get the best quality images. And the optimum range for the flash is the same, with a distance of 30cm to two metres being the most effective.

To make selfies ever easier to capture, the Instax Mini 13 has a self-timer that works brilliantly to stabilize any photograph by reducing the chances of blurring from pressing the shutter button. You simply have to spin the dial that's fitted around the shutter button to activate it. One rotation sets the timer at two seconds, which you can tell is on by the blinking light, while holding it down activates the 10 second timer.

My only gripe is that the self-timer doesn't give you a countdown light for when it's about to take the picture (say, the blinking light speeding up). Yes, I know I can simply count the seconds down myself from pressing the button, but when you're already trying to frame yourself in the small mirror that can easily be forgotten to do.

Should I buy the Fujifilm Instax Mini 13?

Buy it if...

Don't buy it if...

Fujifilm Instax Mini 13 review: also consider

How I tested the Fujifilm Instax Mini 13

• I took the Instax Mini 13 to several events over the course of two months
• Experimented with holding the camera at different distances to determine the best for image quality
• Printed 20 Instax Mini prints, which were scanned into the Instax UP! app

Being an instant camera fan, I knew the best places to bring the Instax Mini 13 to. From a friend's 30th birthday party to a Harry Styles concert, I snapped away to see how it performed in different lighting environments.

I went through two packs of Instax Mini film — the classic white border type and the Instax Mini Rainbow edition that prints out different colors. Unfortunately, the Pastel Galaxy film that was launched alongside the Instax Mini 13 wasn't available to test.

To show off some of the sample pictures I snapped over the two months that I tested the camera for, I scanned the prints onto my phone using the Instax UP! app.

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

Many have tried and failed to produce drones to rival DJI's, but the Potensic Atom 3 is a DJI drone alternative that's actually worth considering — and not just on paper, but in actual flight conditions.

The folding quadcopter impresses with level 5 wind resistance and a 10% bigger battery than its predecessor, the Atom 2, making for robust flight performance even in tricky conditions. It's gargantuan RC PTD 2 touchscreen controller (in the pricier bundle) feels top-drawer, too.

Its 3-axis gimbal camera isn't half-bad, either — being equipped with a 1/1.3-inch sensor and offering 4K video up to 60fps in standard, HDR or Log profiles, slow-motion recording, and up to 50MP stills in RAW and JPEG.

The larger sensor, higher 4K video frame rates and bitrates, plus improved battery life and transmission range are all meaningful upgrades on the Atom 2, and make the Atom 3 a compelling DJI Mini rival, especially given Potensic's competitive pricing.

Despite a few handling issues (which I'll get into below), the Atom 3 could have pinched top spot in our beginner drones guide... six months ago. The bad news for Potensic is that the DJI Lito X1 is now in the picture, raising the bar for any would-be challengers.

For practically the same money, the Lito X1 is the slightly more polished drone overall — and it features object sensing, which the Atom 3 lacks, delivering this incredibly useful feature at a new-low price point (compared to DJI's Mini 5 Pro). Ultimately, the Lito X1 gives consumers so much for the money that the fight here feels unfair.

Would I still recommend the Atom 3? Absolutely. It's way better than the Ruko U11Mini 4K, which we recently tested, and the next best thing for consumers who don't want, or can't buy, a DJI drone (US pricing is displayed on the Potensic website, suggesting it could become available there, unlike new DJI products, but currently Potensic is locked out of the US too). Ultimately, Potensic's best drone yet is a highly capable beginner option — but it remains one big step behind the DJI competition.

Potensic Atom 3: Price and availability

• Priced from $429.99 / £339.99
• Touchscreen RC3 controller bundle costs $424.99 / £499
• Available now direct from Potensic and via Amazon; not available in Australia at launch

The Potensic Atom 3 is available now directly through Potensic's website and via Amazon in the UK. There's US pricing on the Potensic site, but the company told me the Atom 3 is not available there, while it's yet to hit stores in Australia.

Pricing varies considerably depending on the region and the bundle. In the UK, the base package costs £339.99, with the price rising to £579.99 for the Fly More Combo with RC PTD 2 bundle (which I tested), which includes two additional batteries, a charging hub, case, and the touchscreen RC PTD 2 controller in place of the standard smartphone-based remote.

US pricing starts at $429.99, while the Fly More Combo, which includes the standard smartphone-based remote, costs $549.99. At the time of writing only two of the five bundles have pricing — none of which include bundles with the touchscreen RC PTD 2 controller. However, despite pricing being on the Potensic site, the drone is not available there "due to FCC regulations", Potensic told me, and that "our team is actively working on the relevant certification to make it available in the future".

At the time of writing, the Potensic Atom 3 is not available in Australia, but Potensic does have a dedicated Australia website which is the best place to check for future availability.

DJI's Lito X1 is the Atom 3's obvious rival, and it costs from £359 at Amazon UK, so just a little extra money gets you that drone's massively useful object-sensing feature. However, like other DJI drones, the Lito X1 is not available to buy in the US.

• Price score: 4/5

Potensic Atom 3: Specs

Potensic Atom 3: Design and build quality

• Folding mini design, weighing under 249g
• USB-C charging and MicroSD card slot, but no internal storage
• Optional touchscreen RC PTD 2 controller is huge

The Atom 3's hard-plastic design is strikingly similar to recent models in DJI's Mini and Lito series of sub-250g folding quadcopter drones. It's a familiar formula — the drone folds down to a coat pocket-able size and, like most beginner models, weighs under 249g. Sub-250g drones are exempt from the strictest drone registration requirements in most regions, including the UK and US.

At the rear of the drone is a USB-C slot for charging the device directly, and for transferring images from the inserted microSD card. The card slot is also at the rear — there's no internal storage.

I was able to transfer files directly onto a MacBook Pro via that USB-C wired connection, but when I tried connecting the memory card directly my computer was unable to read it. Another option for file transfer is to download the desired files through the Potensic app, which is a reliable albeit slower process.

A clip-on cover ably protects the camera and gimbal mechanism when the drone isn't in use, and this is locked in place with a rear clip by stretching an elasticated band that connects the two (see above).

The Fly More Combo (with RC PTD 2 remote controller), which Potensic supplied for this review, comes with a padded zipped case that holds the drone, the charging hub with its two additional batteries, and the sizable controller. The case is notably larger than the one for the equivalent DJI Mini 4K bundle.

The touchscreen controller feels high-quality; the screen is huge, detailed, and provides a 1080p feed up to 60fps, with Potensic's latest PixSync 5.0 video transmission system boosting the range from 10km to up to 16km, and reducing latency to 150ms. In short, the on-screen feed is smooth and immersive beyond distances that you'll ever realistically fly over.

I found certain movements of the controller's joysticks a little jerky, which spoiled some of my footage, but with practice I was able to find the sweet spots of those controls for smoother moves.

• Design score: 4.5/5

Potensic Atom 3: Features and flight performance

• Battery life quoted at up to 40 minutes; the drone typically lasted around 20 minutes in real-world testing
• No object sensing, just the usual downward-facing sensors for landing and takeoff
• Decent selection of flight and tracking moves, but some have frustrating restrictions

Potensic quotes a battery life of 40 minutes for the Atom 3, which is an improvement over the Atom 2, thanks to a 10% (approx) higher-capacity 2,590mAh unit, and on paper, this performance beats the comparable DJI; however, I didn't get close to this in real-world use.

The best battery performance I got during testing was more like 25 minutes on a calm day, while in windy coastal conditions I rarely, if ever, got more than 20 minutes. The drone's level 5 wind-resistance rating (19-24mph) seems fair, though — I used the Atom 3 in such conditions, and I found flight to be impressively stable and smooth, even if headwinds further drained the battery as I fought to bring the drone home when power was low.

When battery life drops to 10%, the drone automatically initiates landing (avoiding it simply dropping from the sky), so that's something to bear in mind, especially if you're flying over risky areas such as bodies of water.

The Atom 3 has downward-facing sensors for takeoff and landing, with the useful Return to Home feature, but there are no front-, side- or rear-facing sensors, like you get with pricier drones equipped with omni-directional object sensing.

Six months ago I wouldn't have expected any more from a drone at this price point, but DJI has since brought object sensing to the much more affordable Lito X1. If Potensic is to go up a level, adding this incredibly useful feature is the logical next step for the Atom series.

Return to Home (RTH) worked flawlessly, with the drone automatically updating its position at takeoff — there's also an on-screen guide indicating where the RTH position is in relation to where the drone is in the air. It's possible to update the RTH position mid-flight, say if you move to a different location during flight and want it to land at your new location.

For regular flight, there are three speeds to choose from, with the Sport Mode being the quickest at 16m/s (horizontal), 5m/s ascent and 4m/s descent. It's not the quickest drone around, but it's zippy enough for beginner use.

I really did miss object sensing, given that I regularly fly in object-packed areas to capture dynamic footage, so I needed to be extra cautious about where I flew the drone. It is possible to get smooth and stable-looking footage, though, after much practice to get a feel for the controller's joysticks.

There's a good selection of DJI-style 'QuickShot' flight moves, which perform an automated move using a selected subject as the reference point. To do this, you drag a box over the subject using the controller's touchscreen (or your smartphone's screen if using the basic controller). There are seven automated moves in all, including pull-away, rocket and boomerang.

I was happy to see three tracking modes too: Follow, Parallel and Spotlight, each of which keep your subject in the center of the frame as they move. 'Follow' tracks your moving subject from behind (though remember there's no object sensing), while 'Parallel' does the same but from the side. 'Spotlight' simply keeps the subject central as they move around the frame.

The tracking modes are hamstrung by several frustrating limitations, while the omission of object sensing further limits where you can fly. For example, to initiate Follow, the angle of the camera needs to be pointed down a certain degree — in other words the drone needs to be quite high up.

For me, the most dynamic 'follow' footage would be from a lower angle. It's possible to override the limit in the app's menu, which requires checking the option to say that propellor guards are installed (whether in reality they are or are not). Even with the options selected to free up the drone for tracking from a lower altitude, I regularly found that the drone reset itself, reimposing the restriction.

I also found that the tracking functions gave up altogether in less-open areas, when the GNSS (GPS/ GLOSNASS / Galileo / BeiDou) signal was weak. One example was trying to get tracking video of myself biking in my local woods — the drone kept stopping just a second or so into sequences. I had no such issues in the same scenario when testing the DJI Mini 5 Pro (which also has omni-directional object sensing).

Those flight moves are great to have, but adding object sensing, and addressing the other limitations, would make them way more useful for dynamic footage.

• Flight performance score: 3.5/5

Potensic Atom 3: Image and video quality

• 1/1.3-inch CMOS sensor, 4K video up to 60fps
• Wider 24mm f/2.8 lens (vs 26mm f/1.8 lens of the Atom 2)
• RAW stills and flat P-Log video color profile provide editing latitude

Video and photo quality are an upgrade from the older Atom 2, with the Atom 3's camera using a larger 1/1.3-inch CMOS sensor that's comparable to those in the DJI Mini 4 Pro / Lito X1, rather than the Atom 2's 1/2-inch sensor. There's also a slight change to the lens — it's a wider 24mm f/2.8, where the Atom 2 uses a 26mm lens with brighter f/1.8 aperture, which somewhat counters the sensor-based advantage the Atom 3 has.

4K video recording up to 60fps can be done the easy way or the hands-on way, using the standard or detail-rich HDR profiles for ready-to-go footage, or the flat P-Log profile, which holds more detail in highlight and shadow areas, but which requires editing to taste later.

I tried all three profiles at 30fps and 60fps, and then took P-log footage to Adobe Premiere Pro for editing and compared the footage. There are incremental image quality gains when using P-Log, but on the whole I found myself happy with the quality of HDR footage, saving myself the editing hassle.

In addition to 4K video, there's slow-motion capture up to 7x, but only in 1080p HD resolution. Meanwhile, stills are reasonable: 12.5MP as standard, or 50MP in the '8K' mode, with JPEG and RAW formats available.

Where photo quality impresses is in how much tonal depth is retained, although images benefit from a little sharpening afterwards. Another option for further increasing shadow and highlight detail is the 'bracket' mode, which combines multiple photos at different brightness values into one with a wider range of tones, but the standard mode already does a good job.

Interval and burst shooting modes are also included, while a panorama mode combines multiple images into one ultra-wide perspective that covers 180 degrees, with the drone automatically capturing multiple frames one after the other.

I'd say image quality is just about on par with the DJI Lito X1 / Mini 4 Pro, and it's clearly a cut above the recent Ruko model.

• Image and video quality score: 4.5/5

Potensic Atom 3: Testing scorecard

Should you buy the Potensic Atom 3?

Buy it if...

Don't buy it if...

Potensic Atom 3: also consider

How I tested the Potensic Atom 3

• I tested the Atom 3 in a range of conditions — in daylight and at dusk, and in both calm and windy weather
• I shot video at every available resolution and frame rate combination, and still photos in all modes
• I assessed battery life and wind resistance over several flights in various conditions

Potensic sent me the Atom 3 Fly More Combo kit with the RC PTD 2 touchscreen controller. The kit included the drone, battery hub with three batteries, controller, ND filter pack, spare propellors and a USB-C to USB-C charging cable.

I conducted multiple flights in daylight and in low light at dawn / dusk, and in both calm and particularly windy coastal conditions. I tried the various flight settings and modes, and regularly ran the three batteries down, making notes of real flight times and flight stability.

I took the same video sequences in the various color modes; standard, HDR and P-Log, and at 30fps, 60fps and 6x slow motion, and compared the 4K footage. I also tried the various photo modes, including RAW & JPEG capture, panorama and 8K (48MP) modes. I edited photos in Adobe Camera Raw and videos in Premiere Pro.

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

If you thought bridge cameras (aka superzoom cameras) were a thing of the past, you’re probably not alone. This area of the photography market hasn’t received too much attention over the past few years, especially now that the lower end of the mirrorless camera arena has some solid options, providing decent specs at a reasonable price.

However, the main selling point of bridges camera has always been the expansive zoom range, something the Kodak PixPro AZ653 has in absolute abundance. The 24-1560mm equivalent zoom lens will cover just about every subject you could possibly hope to encounter, from everyday street scenes to distant wildlife. My favorite lens is my 70-200mm f/2.8 'trinity' zoom, but after having such a long zoom range at my fingertips, it has been tough to go back to a mere 2.8x zoom, even if that lens' wider aperture and quality are streets above for quality.

If you’re after a lightweight camera to take with you on your travels, and you don’t know exactly what photographic opportunities you’re likely to come across, the AZ653 is a petite option that will cover every base.

Autofocus is smooth, if not the fastest you can find on a camera at this price point. It certainly won’t be able to keep up with the fastest animal subjects, so if you’re looking for a wildlife camera, you might be better off with an interchangeable lens model that uses high-end phase detection AF. For slower animals at a distance, however, the massive focal range positions the AZ653 as a good, budget-friendly safari camera.

Image quality, meanwhile, is impressive for a bridge camera, especially one with such a small sensor. The limited area of the chip does place limitations on what the camera can achieve, because of the tiny photo sites, but in good light at least, images are sharp and detailed, even if they do suffer from extreme color noise.

Handling, meanwhile, is decidedly DSLR-like, which is a good thing if you’re used to a larger camera body. It’s comfortable to hold and to operate single-handed, while all of the controls are logically placed. Having a manual control ring on the lens is a huge bonus too, giving the AZ653 a premium edge and a professional look to boot.

It might not be an image quality match for a pro-level mirrorless camera, nor is it going to outgun even the entry-level interchangeable lens offerings from Canon or Nikon, but the Kodak AZ653 is a powerful bridge camera that goes easy on the shoulder and on the bank balance.

Kodak PixPro AZ653: Price and release date

• $449 / £349 / AU$ 750.99
• Available worldwide now
• Limited availability/ backorder lists current in the UK

The AZ653 is designed largely for entry-level users who aren’t ready to invest in an interchangeable lens system, or photographers looking to minimize their kit. The camera is available globally, priced affordably at $449 / £349 / AU$ 750.99.

This makes it significantly cheaper than buying a mirrorless camera with a comparable specification and adding a super telephoto lens. For example, a Canon EOS R100 and RF800mm F11 STM telephoto prime lens would set you back a combined price of approximately $1228 / £1359 / AU$ 2000.

It also costs around 7x less than the Sony RX10 V — a premium bridge camera launched this year, which is superior in most regards except for its lesser zoom range.

• Price score: 4/5

Kodak AZ653: Specs

Kodak PixPro AZ653: design

• Small and lightweight body made possible by the small sensor format
• Reasonable build quality, though mostly plastic
• Fixed 3-inch LCD makes composing shots difficult

Bridge cameras are, by definition, designed to bring together the size and weight benefits of a compact camera with the superior handling characteristics of a DSLR or mirrorless model. By bridging this gap, cameras like the AZ653 are able to offer a generally unrivalled balance of portability and versatility. At least, that’s the objective.

Of course, this was far more of an obvious benefit before the advent of the mirrorless revolution. The difference in size and weight between a Bridge camera and a DSLR such as the Nikon D850 was far more pronounced than between the AZ653 and an entry-level mirrorless model like the Canon EOS R100 or Nikon Z30. Even higher-end cameras like the Canon EOS R6 Mark III, Nikon Z50 II, Sony a7C II, or Fujifilm X-T5 with a standard zoom lens have a comparable footprint.

That last part is important, though. The lens on the AZ653 is anything but standard. As soon as you take the vast zoom range into account, the projected weight differences diverge dramatically. I say projected since the exact dimensions of a mirrorless equivalent to the 65x zoom can only be estimated – no such lens exists.

The EFL (Effective Focal Length) 24-1560mm F2.9-6.7 optic is only possible because of the smaller 1/2.3in sensor at the heart of the camera, and if you were to try and build a similar lens with an image circle big enough to cover an APS-C or full-frame sensor, it would be more like a telescope than a photography optic.

The Kodak AZ653 is well-proportioned and very comfortable to hold. The deep handgrip is reassuring and allowed a firm grip even with my large-ish hands. Despite the body’s small size, there is ample room for around three fingers on the lower part of the grip at one time, while the forefinger sits precisely over the shutter button.

The zoom control surrounds the shutter release and operates with minimal travel, allowing rapid activation of the power zoom. A nice touch is the ability to zoom using the control ring on the lens instead, which is a far more intuitive action for photographers who have committed two-handed camera work to muscle memory. The downside is an artificially long zoom travel; it takes multiple twists of the ring to zoom from the widest focal length to the longest.

The feel of the zoom indicates it's an electronic fly-by-wire system, where the ring isn’t physically connected to anything mechanical, but merely acts as a switch that drives a motor to move the lens elements.

With an optical system this long, the operation is slow and at times, a little stuttery – the zoom stops halfway through its journey and there’s an obvious pause while the onboard computer recalculates where it should be placing the elements. This proved frustrating during my testing, and resulted in multiple missed shots.

Manual focus was a little more successful when using the ring, and I could make relatively precise adjustments. You can access this by moving the position of a switch on the lens barrel, which is another nod to the DSLR influence and adds to the professional experience. The magnified preview image is low-resolution, however, and isn’t especially useful.

The camera features a PASM mode (exposure) dial on the top plate, next to the power button. This provides access to the usual array of control modes, including full Manual and Auto, along with several creative shooting positions, including Scene modes, a Wireless mode for remote operation and file sharing, Movie Mode, Face Beautifier mode for in-camera retouching, and a Custom setting position.

The dial itself is too easily moved in my opinion. In several cases, I’d switched mode without realising, either because I’d nudged the dial with my finger or while getting the camera in and out of my bag, which again meant some missed shots.

The build quality is actually quite good. It is largely made from plastic, but this feels reinforced and not significantly inferior to many recent mid-range mirrorless cameras. I wouldn’t necessarily trust its resistance to rain and dust as such, but the outer shell doesn’t give the impression of cheapness, while the rubberised grip and viewfinder surround lend a more premium edge.

• Design score: 3.5/5

Kodak PixPro AZ653: performance

• The power zoom system is slow, especially when using the lens control ring
• The camera is not as quick to boot up and shut down as comparably priced mirrorless models
• Focus speed itself is quite snappy

With such a long zoom range, there’s always a risk of sluggish autofocus performance. This is often purely because of the additional glass elements needed to provide such a great magnification, making it a more demanding task for the autofocus motors. That being said, the actual dimensions of the optical system are much smaller than the effective image results – the lens is a physical 4.3mm to 279.5mm unit.

As such, the elements are quickly moved into position once the camera has found the correct focus distance, with minimal delay. It’s not quite as smooth as the stepper motors or ultrasonic drives found in many top-level mirrorless optics, nor is it as quiet, but it puts in a respectable performance for the price.

The limiting factor is going to be the autofocus system in the camera itself. Unlike the majority of mirrorless cameras, which use phase-detection AF, the AZ653 shares the slower contrast detection system found in many compact cameras, smartphones and older interchangeable lens bodies.

Without dwelling for too long on the technical specifics, phase-detection autofocus uses specialized sensors to measure the focus position of the lens by looking at how front- or back-focused the light projected through it is. Meanwhile, the AZ653’s contrast-detection AF merely looks for edges of objects in the frame to estimate how far it has to move the lens to get the maximum contrast.

As such, contrast detection has a tendency to hunt, moving the lens elements back and forth to test the correct placement. As expected, this slows down reaction times and isn’t suitable for rapid sports and animal subjects.

The EVF is small but fairly detailed. All of the relevant camera settings are displayed, and it is sharp enough to judge focus with ease. The LCD, on the other hand, is underwhelming. It makes use of only 460K dots, which isn’t enough to accurately assess the quality of captured images.

All files look smudged, not helped by the matte texture of the screen itself. The non-glossy surface makes it easier to preview images in bright light, but critical sharpness is almost impossible to check with any sense of confidence.

• Performance score: 3.5/5

Kodak PixPro AZ653: Image quality

• Surprising quality in good lighting
• Mushy JPEGs even at low ISO settings
• Limited to Full HD (1080p) video - no 4K or greater

Image quality is quite surprising. In good light, RAW format files from the AZ653 are rich in detail, and the lens is able to deliver crisp results. Having the RAW capability is a huge bonus and can honestly be considered a staple feature of an enthusiast camera now that many smartphones come equipped with their own RAW mode.

Kodak has been smart not to overstretch the sensor with resolution. The 20 million pixels are more than enough for everyday uses, and by keeping pixel count lower than most APS-C and Micro 4/3 cameras, the AZ653 is able to maintain a workable level of noise control and a reasonable dynamic range.

Sure, highlights clip more easily than when shooting the same scene on both the AZ653 and an APS-C model like the 26MP Fujifilm X100VI, but the performance is better than many larger-sensor cameras of last decade.

In-camera JPEG shooting is a different matter, and the quality is far less impressive. Default noise reduction is too aggressive and fine detail is rapidly obliterated, creating a smudged look common to compact cameras. Color noise reduction itself isn’t especially effective either, leaving behind too many colored blotches.

When shooting RAW, I was able to increase the ISO to about 800 before grain became a major problem which is, once again, impressive. My advice would be to increase the sensitivity of the AZ653 rather than to brighten underexposed RAW files — unlike many of the more ISO-invariant cameras we see today — this should produce a better balance of image texture and noise pattern.

Regarding lens quality, sharpness does drop off towards the long end of the zoom range. The slightly blurred results reminded me of shots taken with a budget Tamron 70-300mm DSLR lens I used to own back in the day – fine detail just isn’t present, almost as if your shots were taken through a greasy window. Files are usable on Instagram, but won’t be suitable for prints.

• Image quality score: 3/5

Testing Scorecard

Should I buy the Kodak PixPro AZ653?

Buy it if…

Don’t buy it if…

Also consider

How I tested the Kodak PixPro AZ653

• I spent around two and a half weeks with the AZ653
• Images were taken in both good light and low-light conditions, shooting in JPEG mode and RAW
• Most images were shot handheld to test the usability at longer focal lengths

I spent several weeks shooting with the PixPro AZ653, taking in multiple different lighting conditions. I shot in both JPEG and RAW formats to see how differently the built-in processing algorithms might process the images to my own RAW workflow.

Since one of the reasons to buy a bridge camera is for weight saving, I decided to shoot mainly handheld, as this would be how many users would experience the camera. I wanted to thoroughly check the ease with which someone might capture sharp images at the longer focal lengths.

I mainly used Aperture Priority (A) and Manual (M) modes for both creative freedom and to test the auto exposure systems.

To explore the noise performance, I shot with the camera at each ISO setting, from 100 through to 3200, using a tripod to ensure any drop in sharpness was not due to camera shake at the lower sensitivities. I also worked through the focal range, capturing the same scenes from the widest to the longest zoom settings.

First reviewed: September 2026

If you're searching for a high-quality and compact lens for your Sony or Nikon mirrorless camera, then the excellent value Viltrox AF 26mm F2.8 EVO is well worth considering.

Compared to Nikon and Sony's own alternatives, the Viltrox 26mm f/2.8 strikes a balance of premium design, compact size and reasonable pricing most compellingly of all.

For $299 / £279 (approximately AU$500), you get a wide-angle prime with bright f/2.8 aperture, rugged metal body that measures just 25.8mm in length, rubber-sealed mount, twin dials and a fabulous magnetic lens cap design.

Not only is the Viltrox lens around half the price of the Nikon alternative, but it packs more features, while Sony's closest alternative is a physically larger and pricier 24mm F2.8.

Viltrox's lens isn't perfect, mind you; optically it's not the sharpest lens I've used and the maximum f/2.8 aperture setting is prone to flare, which reduces contrast. Autofocus can be a little fussy too.

Those drawbacks aside, the Viltrox AF 26mm F2.8 EVO is another high-quality hit from the established Chinese lens manufacturer that deserves to live on your Sony or Nikon camera.

Viltrox AF 26mm F2.8 EVO: price and availability

• Available in Sony E and Nikon Z-mount versions
• It costs $299 / £279 (around AU$500), with a 10% discount at launch
• A magnetic lens cap and filter is supplied

The Viltrox AF 26mm F2.8 EVO full-frame lens launched for Sony E-mount and Nikon Z mount mirrorless cameras. It can also be used with either's APS-C cameras, with which it has an effective 39mm focal length. The lens costs $299 / £279 (not directly available in Australia), but I regularly see 10-15% discounts on the Viltrox site and at Amazon. At the time of writing, there's 10% off the 26mm lens.

Viltrox has another autofocus pancake lens, the 28mm f/4.5, which is just one third of the price. However, that lens is much more basic, and for a fair comparison on value, consider Nikon's own 26mm f/2.8 pancake lens, which has a slightly simpler design yet is almost double the price.

Sony's choices are much more varied — there are low-cost (and lower quality) options such as the 20mm F2.8, while premium options such as the 24mm F2.8 are pricier and physically much larger. TTArtisan sells a AF 27mm f/2.8 pancake lens that costs around $130 / £110 less, but I've not tested that lens.

So while the 26mm F2.8 EVO is hardly cheap for a Viltrox lens, it is still excellent value considering its quality and the available alternatives. I think it's an excellent quality to size and price ratio. For other primes, check out my best Sony lenses and best Nikon lenses guides.

Viltrox AF 26mm F2.8 EVO: specs

Viltrox AF 26mm F2.8 EVO: design

• Just 25.8mm in length and 6oz / 170g
• Metal components, rubber-sealed mount
• Clever magnetic lens hood

Lightweight, rugged and convenient, the Viltrox AF 26mm F2.8 EVO fits the bill for everyday photography.

It's clearly made from premium materials, with a metal barrel and rear mount with rubber seal to keep out moisture and dust.

And despite its compact dimensions, the lens fits an impressive number of controls, squeezing in focus and aperture control rings. Unsurprisingly, each ring is very narrow, and getting a secure grip on the focus ring is a little fiddly, but I certainly prefer having those shrunk-down controls rather than none at all.

The aperture ring is clicked with no option to de-click it for video use. Again, I'm not surprised about this given how small the lens is — there really is no spare space to fit this control.

Like all recent Viltrox lenses, the 26mm pancake features a USB-C port in its rear mount, through which firmware updates can be installed.

The simple optical construction comprises eight elements in six groups, and includes two aspherical elements. The front lens element is tiny. In fact, the 43mm filter thread isn't even built into the lens itself, but the supplied lens hood.

Said dual-purpose lens hood is suitably compact, but I found it didn't provide the sort of protection against lens flare that I would hope for (more on this in the performance section).

The lens hood has a neat trick up its sleeve mind you — it's magnetic. The supplied lens cap snaps onto the lens hood magnetically, doing away with the traditional pinch lock lens cap design. The hood screws onto the lens, but you can bypass the hood because the front of the lens is also magnetic.

Viltrox's neat magnetic system is a revelation, and I hope other lens manufacturers follow suit. It might not be suitable for all lens types mind you, say those with floating lens elements which use electromagnetism, such as Viltrox's own 85mm F1.4 Pro.

Close focusing goes down to 0.2m, which delivers a maximum 0.2x magnification. This is no close up lens, therefore, but I've certainly tested plenty of lenses with a lesser maximum magnification factor.

At launch, the 26mm lens is available in Sony E and Nikon Z-mount versions. There's no word yet on L-mount or X-mount versions (nor Canon RF, as per usual).

To truly appreciate the benefit of its compact dimensions and lightweight 6oz / 170g design, cameras such as the Sony A7C series and the Nikon Z f series are a good bet. And as a full-frame lens, you can also use it with APS-C cameras with a 1.5x crop factor, such as the Sony A6700 and Nikon Z50 II. It could be a fabulous option with the Lumix S9 or Sigma BF too, should an L-mount version land.

Viltrox AF 26mm F2.8 EVO: Performance

• Bright maximum f/2.8, but risk of strong lens flare at this setting
• Detail is impressively sharp for such a small lens
• Autofocus is decent, but I've used snappier lenses

Viltrox's smaller 28mm F4.5 lens wins for compact size and price, but for image quality, the 26mm F2.8 EVO is a step up.

True, it's not the sharpest lens I've ever used, but optical quality impresses, especially given how small and lightweight the lens is.

I regularly used the lens' maximum f/2.8 aperture setting, with which it's possible to get shallow depth of field and pleasant enough bokeh. There's no discernible drop in sharpness at this setting from the peak f/5.6 to f/8 settings, either.

However, lens flare is prominent at f/2.8 when shooting towards the sun and strong light sources, which massively reduces contrast. In some scenarios I rather liked the effect — it was at times characterful and dreamy. At other times, I wished the distortion was better controlled.

Vignetting (darker corners) is also visible at f/2.8, though nothing too dramatic, and remains even up to f/8. The worst of these lens distortions would be less noticeable when pairing the lens with an APS-C camera where the outer portion of the image is cropped out. Otherwise, using f/4 to f/11 aperture settings delivered impressively sharp images, generally free from severe lens distortion.

I tested the lens exclusively with a Nikon Z6 II camera. Not the latest mirrorless camera by any means (that'll be the Z6 III), but one with snappy autofocus and subject detection modes. Even still, I found myself fighting focus hunting more than usual when using the Viltrox lens, compared to a lens like, say, my Nikon 24-70mm F2.8 S.

I'll try the Viltrox 26mm lens with another camera when I get the chance, but so far I'm not fully impressed with its autofocus performance.

Should I buy the Viltrox AF 26mm F2.8 EVO?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 26mm F2.8 EVO

• Viltrox sent me the Z-mount version of the 26mm lens
• I paired it with my own full-frame Nikon Z6 II
• I regularly used the lens for a month, across a wide range of scenarios

I used the Z-mount version of the Viltrox AF 26mm F2.8 EVO lens with my own Nikon Z6 II full-frame mirrorless camera regularly over the course of one month. My main focus was real world use over technical studio-based tests, though I typically use lenses in scenarios that test their technical capabilities.

For example, I took the same photo in a sequence to see how quality compares using each of the lens' full aperture settings, starting at f/2.8 through to f/16. I checked for bokeh, lens distortion and sharpness at each setting, too.

I was particularly keen to check quality of the maximum f/2.8 aperture, and how the lens copes in strong daylight, especially with such a small lens hood supplied. I photographed landscapes, portraits and documentary-style moments.

First reviewed August 2026

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

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

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

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