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

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

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

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

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

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

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

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

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

Isn't photography a creative, human pursuit?

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

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

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

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

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

Is it really OK to record everything?

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

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

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

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

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

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

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

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

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

DJI Osmo Action

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

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

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

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

DJI Osmo Pocket

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

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

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

Outliers

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

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

GoPro Mission 1 Pro: One-Minute Review

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

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

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

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

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

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

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

GoPro Mission 1 Pro: Price and release date

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

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

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

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

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

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

• Value score: 3/5

GoPro Mission 1 Pro: Specs

GoPro Mission 1 Pro: Design

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

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

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

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

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

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

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

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

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

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

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

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

• Design score: 5/5

GoPro Mission 1 Pro: Performance

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

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

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

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

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

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

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

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

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

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

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

• Performance score: 4.5/5

Testing Scorecard

Should I buy the GoPro Mission 1 Pro?

Buy it if…

Don’t buy it if…

Also consider

How I tested the GoPro Mission 1 Pro

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

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

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

First reviewed: July 2026

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

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

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

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

The head

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

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

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

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

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

The heart

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

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

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

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

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

Lumix L10 vs Fujfilm X100VI: the images

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A surprising truth behind the name, and shopping habits

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

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

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

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

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

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

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

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

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

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

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

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

Cracking down

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Viltrox AF 90mm f/2.2 EVO: specs

Viltrox AF 90mm f/2.2 EVO: Design

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

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

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

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

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

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

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

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

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

Viltrox AF 90mm f/2.2 EVO: Performance

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

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

Viltrox

Fujifilm

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

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

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

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

Viltrox

Fujifilm

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

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

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

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

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

Viltrox AF 90mm f/2.2 EVO sample images

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

Buy it if...

Don't buy it if...

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

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

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

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

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

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

First reviewed: July 2026

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

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

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

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

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

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

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

Multi-exposure modes explained

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

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

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

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

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

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

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

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

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

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

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

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

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

Mulitple-exposure in-camera steps

Step 1: choose your blend mode

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

Step 2: work out your exposure

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

Step 3: take your first frame

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

Step 4: shoot your overlay

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

Fujifilm workflow

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

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

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

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

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

What should you shoot?

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

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

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

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

Double or multi-exposure?

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

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

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

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

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

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

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

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

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

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

Size and weight

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

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

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

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

Viewfinder and LCD

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

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

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

Autofocus

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

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

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

Burst shooting

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

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

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

Image quality

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

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

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

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

Conclusion

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

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

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

Sony RX10 V: two-minute review

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

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

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

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

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

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

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

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

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

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

Sony RX10 V: price and release date

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

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

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

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

• Price score: 4/5

Sony RX10 V specs

Sony RX10 V: Design

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

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

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

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

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

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

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

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

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

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

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

• Design score: 4.5/5

Sony RX10 V: Performance

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

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

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

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

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

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

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

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

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

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

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

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

• Performance score: 5/5

Sony RX10 V: Image and video quality

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

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

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

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

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

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

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

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

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

• Image and video quality score: 4.5/5

Sony RX10 V: testing scorecard

Should I buy the Sony RX10 V?

Buy it if...

Don't buy it if...

Sony RX10 V: also consider

How I tested the Sony RX10 V

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

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

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

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

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

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

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

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

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

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

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

1. The lens

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

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

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

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

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

2. Sensor and image quality

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

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

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

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

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

3. Processor and autofocus

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

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

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

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

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

4. Design

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

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

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

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

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

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

5. Price and availability

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

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

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

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

Conclusion

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

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

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

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

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

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

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

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

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

'Unique and extraordinary'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A new wave of citizen scientists

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A pro camera for the modern age

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

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

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

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

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

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

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

Handling like a dream

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

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

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

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

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

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

A race that DSLRs can’t win

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

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

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

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

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

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

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

EOS R1 vs EOS 1D X Mark III: conclusion

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

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

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

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

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

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

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

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

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

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

Nik-none?

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

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

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

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

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

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

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

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

Fujifilm's next generation processor inbound?

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

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

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

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

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

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

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

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

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

• Sony teased a new RX10 on its Instagram, writing 'The Wait is over'
• Its previous bridge camera was the RX10 IV from 2017, which is discontinued
• This latest in the series will arrive on July 9 at 7am PT / 10am EDT / 3pm BST

Sony just dropped exciting news for fans of its versatile bridge cameras — a new RX10 camera will be revealed next week.

The teaser on Sony's Instagram reveals a surprising amount of detail, including the release date plus a silhouette of the next RX10, which from we can glean some info about its lens.

Perhaps the most surprising part of all is that Sony is launching a new RX10 in the first place. Its most recent bridge camera was the Cyber-Shot RX10 IV which was released all the way back in 2017, and has been discontinued for more than two years.

The RX10 IV is still regarded as the best bridge camera available, which tells you everything you need to know about this space, which has been largely dormant for years, save for a tired Lumix re-release and the occasional cheap Kodak model.

Despite the RX10 IV's skills, we can only hope that Sony has a little more in store for the next RX10, because an upgrade on the mark IV could be super interesting. The teaser (below) gives us a little snippet of what we can expect.

The most obvious point to note is the release date, which will be July 9 at 7am PT / 10am EDT / 3pm BST. I predict that putting a Sony bridge camera back in stores will be a popular move, especially among enthusiast wildlife photographers desiring a versatile telephoto lens in a lightweight setup.

Otherwise, there's one little clue, and that's the part of the teaser when the lens is extending upwards. We can't see the focal length of the lens, but we can see the aperture range, which is f/2.4 to f/16.

That aperture range is identical to the RX10 IV, which features a 25x optical zoom with a 24-600mm focal length range. The other details in that lens silhouette also look the same as those in the RX10 IV; the Vario Sonnar T* and twin control rings.

It's harder to glean much else from the teaser — the silhouette of the camera body looks similar to the one before it, but it could very well be different.

We won't have long to wait to find out more, with the next RX10 coming in less than a week.

What do you think of Sony's teaser? Is this the next Sony camera you were hoping for? Have your say in the comments.

Any serious photographer knows the importance of great glass. And while I've had the personal pleasure of testing the best cameras for 2026 so far, innovative lenses get me even more excited.

Only a true macro lens can bring the insect kingdom to life, or a telephoto optic get you close to distant wildlife, or a fast prime bag you punchy portraits with dreamy bokeh.

With that in mind, I regularly review the latest lenses as well as cameras, and I've played with some real crackers this year. These include Sony's overdue macro lens upgrade, Sigma's world first 135mm with an f/1.4 aperture, Viltrox's impossibly tiny 28mm f/4.5, Canon's affordable f/1.2 prime, and Nikon's fabulous 70-200mm F2.8 Mark II.

Each of the above lenses serve different use cases, and they come in at varied price points, starting at just $99 / £90 / AU$169. Let's dive into my top five lenses for 2026 so far…

Viltrox AF 28mm F4.5

• Release date: Staggered release for various mounts
• Lens mount: Sony E, Nikon Z, Fujifilm X
• Verdict: 4/5

The Viltrox AF 28mm F4.5 was first launched in 2025 for Sony E-mount, but it has been released for various lens mounts in 2026, including Nikon Z and Fujifilm X. I expect an L-mount version will land soon.

It's an impossibly small wide-angle prime considering that it features autofocus, full communication with the camera, and an impressively fast f/4.5 aperture. It's so small, in fact — measuring just 15.3mm in length and weighing just 2.1oz / 60g — that I'd describe it more as a body-cap lens than a pancake lens, with a neat sliding lens cover, and it costs just $99 / £90 / AU$169, with occasional sales knocking 10% or so off the price.

I'd describe image quality as characterful rather than technically precise, with detail being fairly soft in the corners, and some obvious vignetting. In the center of shots, however, it's actually pretty sharp. It's a full-frame lens, but the Viltrox 28mm F4.5 actually makes even more sense for Sony, Nikon and Fujifilm's APS-C cameras, because the 1.5x crop effectively transforms the lens into a 42mm optic, plus the softer corners are outside the image area.

The Viltrox lens is so small and so cheap that it's a zero risk purchase, and one that I'd happily keep on my camera instead of a body cap and for quick everyday snaps.

Read my Viltrox AF 28mm F4.5 review

Sigma 135mm F1.4 DG Art

• Release date: January 31 (announced late 2025)
• Lens mount: Sony E, L-mount
• Verdict: 5/5

World-first is a term that's banded around a lot, usually with caveats, but Sigma's pro portrait prime is a true first — a 135mm lens with a maximum f/1.4 aperture. I've tested my fair share of 135mm f/1.8 lenses recently, including the Viltrox 135mm and Nikon Plena, while Sigma has its own that's now nine years old, but Sigma's latest offering has an even faster aperture and creamier bokeh for the ultimate portrait photography quality.

It's a beast of a lens, mind you, weighing 50.4oz / 1,430g, and with a massive front lens element and 105mm filter thread. If you're willing to lug the lens around, though, you'll be rewarded with "razor-sharp detail" and "stunning shallow depth of field", as we noted in our in-depth review, with the lens earning a perfect five-star rating.

Currently the Sigma 135mm F1.4 DG Art is available for Sony E and L-mount cameras; pro Nikon photographers can only hope that a Z-mount version is on the way soon.

Read my Sigma 135mm F1.4 DG Art review

Sony FE 100mm F2.8 Macro GM OSS

• Release date: January 15
• Lens mount: Sony E
• Verdict: 5/5

If there was a Sony E-mount lens that needed updating, it was the 10-year-old Sony FE 90mm f/2.8 Macro G OSS — Sony's only true macro lens. Thankfully, 2026 delivered the new Sony FE 100mm F2.8 Macro GM OSS, and it's a notable improvement on the 90mm original in just about every regard.

With "improved optics, faster autofocus, steadier stabilization, greater magnification, increased zoom and teleconverter compatibility", we concluded in our review that the new Sony 100mm is "the go-to macro lens for Sony working pros who make an income from close-up pictures, whether it’s product photography, still life, flat lays or macro nature shots".

Key features include the new maximum magnification, which was upped from 1x to 1.4x, plus its compatibility with teleconverters to further extend its reach. Compared to Sony's other macro lens, the new 100mm macro is in another league, and very much merited its five-star review rating. It's not the first optic of its kind — Canon walked this path years before with its own 100mm macro with 1.4x magnification. Still, Sony photographers finally have the macro lens their cameras deserve.

Read my Sony FE 100mm F2.8 Macro GM OSS review

Canon RF 45mm F1.2 STM

• Release date: November 6 (reviewed in March 2026)
• Lens mount: Canon RF
• Verdict: 3.5/5

What's this now — an affordable f/1.2 prime lens from Canon? Pick my jaw off the floor. True, it's far from being a perfect lens, but Canon's 45mm F1.2 STM makes a fast aperture and the attendant shallow depth of field potential available to beginners who would otherwise be priced out of owning such a lens.

We gave the lens a 3.5 star-rating because of its optical flaws; there's significant chromatic aberration and "swirly distracting bokeh". It doesn't even come with a lens hood. However, we've got to respect what this lens represents, and Canon for delivering it.

Not only is this the most affordable proprietary f/1.2 full-frame lens for any lens mount, but Canon also makes the most affordable mirrorless cameras. I can see the 45mm F1.2 STM pairing nicely with an entry-level full-frame mirrorless camera such as the EOS RP and EOS R8, and even with an APS-C model like the EOS R100, on which you're getting an effective 70mm lens (approx).

Where rival brands are typically ignoring beginners and putting their efforts into high-end gear, Canon is regularly delivering new cameras and lenses for all budgets and skill levels.

Read my Canon RF 45mm F1.2 STM review

Nikkor Z 70-200mm f/2.8 S II

• Release date: February 23
• Verdict: 5/5

If there's one lens for 2026 that I desperately want to add to my bag permanently, it would be the Nikon Z 70-200mm f/2.8 S II. Granted, I'm a Nikon shooter who regularly works at these focal lengths, who is also in need of upgrading (I still use the DSLR version of this lens via an adapter), but that's not to take away from what I called a "flawless" telephoto zoom.

It follows the 24-70mm f2.8 S II in being a second-generation upgrade of what was already an excellent Z-mount zoom lens, bringing a lighter build, fully removable tripod collar and teleconverter compatibility. The lighter design is thanks to an entirely new optical design that's somehow simpler and sharper at the same time, while also improving close-focusing capabilities.

There's probably not enough reason for owners of the original Z-mount 70-200mm to upgrade, especially given the jump in price, but for everyone else there's arguably no greater 70-200mm f/2.8 available — and it's the kind of lens I've relied on for so many shoots down the years. With the Mark II version now available, I finally feel like it's time to upgrade from my aged DSLR lens.

Read my Nikon Z 70-200mm f/2.8 S II review

What do you think of the lenses above? Are there any other new lenses that appeared in 2026 that you particularly like? Have you say in the comments.

• Capture One has added native Hasselblad .3FR RAW file support
• Hasselblad's X2D II 100C, X2D 100C and CFV 100C are included
• Tethered capture is set to follow later this year

Hasselblad photographers, I have the news you've been waiting years for: Hasselblad cameras finally have native Capture One support.

The support covers Hasselblad's 16-bit .3FR RAW files and includes three of its 100MP medium-format cameras: the X2D II 100C, X2D 100C and CFV 100C digital back (which is the sensor module for the 907X). You'll need the latest version of Capture One 16.8.3 or Mobile Version 3.3.4.

It's truly a match made in heaven; Hasselblad's 16-bit RAW files and 'Natural Color Solution' render possibly the most true-to-life colors I've seen in my 15 years of testing cameras, while Capture One is industry-favorite editing software for color correction and tethered shooting.

This partnership between two Scandinavian companies had to happen some time, and now it has, with tethered shooting support (a studio setup where you can control the camera through the software) also promised for later this year.

It's a big deal for both parties — Hasselblad shooters can ditch Adobe, which is held in lower regard among pro colorists, in favor of Capture One and its precise photo-editing toolset.

The move might also attract new professional and commercial photographers, who have previously been put off because of the lack of Capture One support, to Hasselblad's medium-format digital cameras.

As for Capture One, it can potentially attract a new wave of existing Hasselblad photographers, with a seamless workflow from capture to the finished image.

Letting Hasselblad cameras sing

Until now, workarounds were needed to bring Hasselblad RAW files into Capture One, at the cost of color accuracy and editing latitude. Meanwhile, Adobe's photo-editing platforms, such as Lightroom, are held in less regard than Capture One for outright color fidelity.

Now Hasselblad's 100MP medium-format RAW files are supported, with profiles for Hasselblad's entire range of XCD lenses and the ability to organize files as well as edit them and, later this year, tethered capture.

I reached out to Hasselblad for comment, and a spokesperson told me: "One of the most consistent requests has been native support for Hasselblad RAW files in Capture One. This partnership is a direct response to that feedback, and we've been working with the Capture One team for some time to make it happen."

Capture One echoed Hasselblad's sentiment about the new partnership, saying "Giving Hasselblad photographers the native Capture One workflow they've asked us for is genuinely rewarding. Both of us are firmly rooted in the commercial and professional space, and that's a big part of why this partnership makes sense."

And when I asked about the challenges in bringing native support to a new format, Capture One told me, "The real challenge was less about simply reading the files. Getting a new format right means dedicated color profiles for each of the three cameras, so Hasselblad's files render with the true-to-life color our users know Capture One for, plus lens profiles for the XCD lenses that correct distortion, chromatic aberration, and light falloff.

"Throughout, the priority was making sure the unique character of these cameras comes through with the image quality we pride ourselves on."

You can sign up for a free Capture One 7-day trial if you've yet to try it, with subscriptions starting at $18 / £16.67 AU$27 per month, or a one-time purchase costing $349 / £336 / AU$523.

After having precious little new camera gear to review in the opening months of the year, 2026 has well and truly kicked into gear for us tech journalists.

The first quarter saw a smattering of niche compact cameras, including the Leica Q3 Monochrom, Instax Mini Evo Cinema and Ricoh GR IV. That's right: a black-and-white-only full-frame compact and a 3-in-1 instant camera that shoots video were the highlights.

That peculiar first quarter was followed by some more conventional photographer treats, such as the Sony A7R VI and Panasonic Lumix L10. I described the full-frame A7R VI as 'the perfect camera', and said the L10 was 'the prettiest Lumix in years', and a worthy alternative to the Fujifilm X100VI.

DJI launched a couple of standout five-star drones, the Avata 360 and Lito X1, while navigating both its US ban and some new competition, with Insta360 stealing the Pocket 4P's thunder by launching its fantastic dual-lens Luna Ultra.

Meanwhile, it has been an unusually quiet year for some of the big names thus far. Nikon, for example, is yet to announce a new camera in 2026, nor have we seen a new Fujifilm X.

I expect a steady stream of new releases throughout the latter half of the year, with heavily rumored models including the crop-sensor Fujifilm X-T6 and the Canon EOS R7 II. But here I'm going to look back at my five favorite cameras I've personally tested so far in 2026, in no particular order, with honorable mentions for a few others that have had the full TechRadar review treatment.

5. Panasonic Lumix L10

• Release date: May 12
• Rating: 4.5/5

Panasonic surprised us all during its Lumix 25th anniversary event by dropping the all-new Lumix L10 — and it was a real treat to review.

It's the spiritual successor to the Lumix LX100 series of premium compact cameras, inheriting a gorgeous 24-75mm F1.7-2.8 lens that's been refined to work with Panasonic's latest 26.5MP Micro Four Thirds sensor and the latest Real Time LUTs profiles.

That sensor isn't all that the Lumix L10 has in common with powerful cameras such as the Lumix G9 II — it also features Panasonic's reliable phase-detection autofocus with advanced subject detection and 5.7K video recording, albeit without sensor-based image stabilization.

There's real power under the hood, and a gorgeous design to boot. It's not quite as retro-feeling as the X100VI, but it isn't far off — and that zoom lens versatility is a real win. If you're looking for a versatile everyday compact camera, the L10 is a fabulous pick.

Read my in-depth Panasonic Lumix L10 review

4. Insta360 Luna Ultra

• Release date: June 10
• Rating: 4.5/5

Insta360 and DJI's rivalry got extra spicy this year when Insta360 launched its first vlogging camera, the dual-lens Luna Ultra, pipping the DJI Osmo Pocket 4P to the post. Cue lawsuits and counter lawsuits.

I've tested both compact vlogging cameras (though at the time of writing my DJI Pocket 4P review is under embargo), and they take this format to new heights. Both feature dual gimbal cameras with 20mm (1x) and 60mm (3x) lenses, and an extended 6x lossless zoom.

Each brand takes a different stab at the format; the Luna Ultra features a unique and genuinely useful detachable remote and screen, meaning you can see and control the camera from up to 20m away. That module also features a built-in mic, making solo vlogging so much easier. I enjoyed DJI's magnetic fill light, which is powered by the camera.

The DJI Pocket series has dominated this space for years with no real rival, but that's no longer the case. For me it will be hard to go back to a single-lens vlogging camera having tested both the Luna Ultra and Pocket 4P — they both get a mention here, because I expect them to be among the best-selling cameras over the next year.

Read my in-depth Insta360 Luna Ultra review

3. Ricoh GR IV

• Release date: Janauary 15, 2026 (announced August 20, 2025)
• Rating: 4/5

As a Ricoh GR III X user, I had been patiently waiting for the Ricoh GR IV, hoping that the latest-generation model would address a few of my issues with my beloved premium pocket compact camera. Sadly, the GR IV didn't deliver on several counts: it again lacks a built-in flash and tilt screen, nor does it have any real improvements in autofocus performance or build quality.

However, the GR IV came with surprising upgrades elsewhere, and raises the image-quality bar for such a truly tiny and pocketable camera. A new 26MP sensor and refined lens gave a small boost in resolution, plus a notable improvement in image stabilization performance. Its lightning-fast startup time further enhances the GR series' street photography chops, while battery life saw a welcome boost, and internal storage was increased.

With those upgrades came a price hike, and the GR IV costs much more than the GR III did, especially if you live in the US. However, there's still no real competition for a camera of this size and quality, and Ricoh has further expanded the range with HDF and Monochrome versions of the GR IV.

Read my in-depth Ricoh GR IV review

2. Oppo Find X9 Ultra

• Release date: May 2
• Rating: 4.5/5

This round-up isn't confined to cameras — I had the pleasure of traveling to China for the first time earlier this year to put the Oppo Find X9 Ultra's camera through its paces amid the stunning mountainous landscape of Yunnan province. Put simply, the Find X9 Ultra is the most versatile cameraphone I've ever used.

The flagship device is globally available, and costs as much as an iPhone 17 Pro Max, but that seemingly hasn't deterred fans desiring its five-camera array and top-spec screen, battery and chipset. The 1x main camera paired with the Hasselblad Master mode delivers especially stunning natural colors and RAW photos up to 200MP, while the class-leading 3x and 10x telephoto cameras each pack the largest sensors in their respective formats.

I shot over 2,000 photos with the Find X9 Ultra, and shared my gallery and overall impressions, which you can find in the link below. I also compared the smartphone to the Lumix TZ300 travel zoom compact, and felt that its 1x and 3x cameras were arguably even better quality, although the telephoto lenses are still no match for the new Nikon 70-200mm f/2.8 S II professional lens.

The quality of smartphone telephoto cameras reached new heights in the X9 Ultra, and it has become my most-used camera this year. There's even a 300mm teleconverter lens accessory that further stretches that reach, and which performed admirably when I took it to a pro soccer game.

Read my in-depth Oppo Find X9 Ultra review

1. Sony A7R VI

• Release date: May 13
• Rating: 5/5

I've been reviewing cameras for over 15 years, so it takes something special to cause me to use the word 'perfect' — and that's what the Sony A7R VI is. It's a professional mirrorless camera with a stacked 66.8MP full-frame sensor and lightning-fast burst-shooting and autofocus performance, with an all-new higher-capacity battery bagging you more shots, and 8K video.

During my lengthy review period I shot everything from landscapes to wildlife and portraits, and the A7R VI can handle it all with ease. It's also a seriously well-designed camera, with a high-resolution EVF and multi-angle touchscreen, and is complemented by a rich selection of professional lenses for just about any use case.

In one sense, Sony has shot itself in the foot here — by giving the A7R VI such raw power and quality, it renders the pricier A1 II redundant for most users. The A7R VI can do 95% what the A1 II can do, for a much lower cost. I've never owned a Sony Alpha mirrorless camera, but the A7R VI has me seriously tempted, especially given that Sony has made my favorite lenses over the last 18 months. If I could keep a hold of a single new camera from 2026, the A7R VI would be it.

Read my in-depth Sony A7R VI review

Honorable mentions

We've tested plenty more cameras throughout 2026, and five other models I want to highlight are the Instax Mini Evo Cinema, Canon EOS R6 Mark III, Leica Q3 Monochrom, and DJI's Lito X1 and Avata 360 drones.

The Instax Mini Evo Cinema is probably the quirkiest of the lot, being a 3-in-1 Instax that shoots photo, video and prints onto Instax Mini film. The 'Eras' dial is its standout feature — it's a dial with 10 settings, one for each decade spanning the last 100 years that mimicks the look of the media of that time.

Canon launched its incredible EOS R6 Mark III full-frame mirrorless camera at the start of the year, and it went head to head with the Sony A7 V as a top all-rounder, with no real weaknesses for photo and video use.

Monochrome-only cameras made a return too. I tested the Leica Q3 Monochrom, which it shoots next-level black-and-white photos, while Ricoh followed up its GR IV with its first stab at this niche, the GR IV Monochrome, which sadly comes with a big mark-up over the color original. If you only shoot in black and white, these cameras should top your list.

Despite its US ban, DJI continues to lead the pack with new drones — we gave both the Lito X1 and Avata 360 five-star ratings in our reviews. The Avata 360 is a more versatile 360-degree drone than the Antigravity A1, while the Lito X1 is incredible value given that it has object avoidance and costs around half the price of the Mini 5 Pro.

I have a feeling that the second half of 2026 will deliver plenty more treats, though I'm curious about what Nikon and Fujifilm could do next. Which new cameras would you like to see in 2026? Let me know in the comments below.

The DJI Osmo Pocket 4P was fully revealed on the China page of DJI's website earlier this month, and I've already taken my test sample traveling, but tech journalists like me across the globe are in an awkward position, still being under embargo with our review content.

What I can tell you now, is that the Pocket 4P is available in black or white, has a new 60mm medium-telephoto lens with a large aperture, offers DLog2 support and up to 17-stops dynamic range. The rest is under wraps, or publicly available on the DJI site by selecting the China region (中国大陆).

I can, however, share some of the footage that I've shot with DJI's first dual-lens model in its hugely popular series of Pocket vlogging cameras. I'll say it now — I love its versatility and am really impressed with the videos I have been able to create with it.

Duel of the dual lens cameras

DJI must have been hoping for a dramatic reveal of its first dual-lens vlogging camera, only for Insta360 to somewhat steal its thunder by launching the Luna Ultra first. I've already tested the Luna Ultra and said it's a super impressive first generation product.

That's the competition the Pocket 4P is going up against, and I look forward to sharing my comparisons between the two models soon. Until then, you can enjoy my Pocket 4P sample reel, above.

Like I say, I can't reveal any specs related to the video, though at the least it should be pretty obvious which clips are shot with the ultra-wide lens, and which clips are shot with the new 60mm medium-telephoto lens.

We can get a rough ballpark on pricing, too. According the DJI site, the Pocket 4P Standard kit costs CNY 3,799 (about $562 / £420), and the Vlog kit is listed at CNY 4,299 (about $636 / £475).

The single-lens Pocket 4 starts at £429 / AU$749 for the Standard kit, or £549 / AU$959 for the Creator Combo, however, so I expect the Pocket 4P to cost more than those price conversions above.

Insta360's co-founder already told me it 'won't compete on price' — it's Luna Ultra starts at $769.99 / £649 / AU$1,229.99. My prediction, therefore, is that the Pocket 4P will sit roughly in the middle between the Pocket 4 and Luna Ultra, but don't expect US availability any time soon.

I'll be bringing you my full review when I'm permitted to.

• Crysta can make a 3D printed model of a Gaussian Splat
• The detail level is quite remarkable
• It doesn't come cheap, but nonetheless, this is jaw-dropping stuff

Ever wanted to take a scene from real life and shrink it into a snow globe-style model (minus the snow) to sit on your shelf, preserved forever?

Well, maybe not forever, but you get the idea, and it's possible to do this now thanks to a firm called Crysta.

As Dany Bittel explains on Patreon, Crysta offered to turn one of their 'Gaussian Splats' – of a bee – into a real-world representation of the insect courtesy of a 3D printer.

The result, as you can see in the post on X above, is pretty spectacular. But wait a minute, I hear you ask (probably): a Gaussian what-now? If you're not familiar with the concept of a Gaussian Splat, it's a 3D model of a real place or thing, built from video footage that you've filmed on your camera (or maybe a drone for more adventurous constructs).

We've previously covered how this works in an in-depth article where we used a cloud-based service called Splatica to make our Splat, and suffice it to say, it's a very cool process with impressive results.

Going a step further with the impressiveness, though, is taking that Gaussian Splat model and 3D printing it. (Crysta can also do this with an alternative process, Neural Radiance Fields, or NeRF).

How is the model turned (back) into a physical rendition? Bittel notes that: "The Gaussian splat is first voxelated, a bit like a Minecraft level. Each voxel has a mix of inks and can be more or less transparent. This then gets printed on [a] special 3D printer, layer by layer."

Cubic cost

As Bittel observes, this is like a modern version of the fly trapped in amber, except it's an entirely artificial construct, built from an artificial model. I absolutely love the idea, and if you do too, you might be wondering how much it costs.

The truth is that it isn't cheap, as you might guess. You'll need to fork out for a Splatica subscription if you go the same way TechRadar did, which is quite pricey (or use an equivalent service or app).

The actual printing of the model by Crysta will run to something like $140 in the US for a 30mm cube, according to Bittel as a guide price (they got one for free, as a present, in case you were wondering). You can go up to a 300mm cube if you want an ornament with a real impact on your room (and likely your wallet, too).

The company ships the 3D printed models globally, although of course, it'll cost more to send outside of the US.

If you’re looking to buy an instant film camera, there are only two serious names in the game: Polaroid, and Fujifilm Instax. While some manufacturers like Canon and Kodak offer digital instant-print cameras that use techniques like dye-sublimation to create instant prints of digital images on specialist paper, it’s not the same. For the true alchemical magic of instant film, you Polaroid and Instax are the big hitters.

Polaroid is undoubtedly the better-known brand name due to its long history, dating back to the 1940s (though hitting major popularity in the 70s). It spent a few years in the wilderness following a bankruptcy in the early 2000s, before being purchased and revitalised in 2017 by an analog film collective called The Impossible Project. All the proper Polaroid cameras you can buy new today have been released since this renaissance.

Instax cameras may not have the historical cachet of Polaroids, but they are massively popular — Fujifilm reported last year that its Instax line has sold more than 100 million units since its inception in 1998. I don’t have similar sales data on post-revival Polaroid, but frankly, I don’t think it’s anywhere close.

Ultimately, there are compelling reasons to choose either brand. The Instax mini 12 is TR's pick as the best instant camera, and I can see why — it's a great option for the majority of users. But for me personally, it’s Polaroid all the way.

Why I’ll pick Polaroid every time

It’s not a question of print size, as both brands have similar offerings. Fujifilm Instax Wide film is about the same size as a Polaroid I-Type (or SX-70) print, just rectangular rather than square. Polaroid’s smaller ‘Go’ film produces prints of comparable dimensions to Instax mini.

What it’s all about is vibe. Scoff if you want, but come on — you’re shooting instant film. You’re not here for accurate colors or pitch-perfect sharpness, you’re here because you love the tangibility of holding a print in your hands, the transportative lo-fi look of a format that’s been around for half a century. It’s all vibe.

I’ve shot Polaroid and Instax prints side by side before for comparison. Once, while I was viewing them, my partner made an astute observation that I have since stolen and made my own: the Instax catches your eye first, but you end up liking the Polaroid more. Instax prints are bright and vivid, with naturalistic colors and a decent level of detail, especially the Wide format. They’re fun and kitschy.

But Polaroid images just have that inimitable retro glow that instantly transports me back in time. The softer, more muted color palette makes images less immediately striking, but more satisfying the longer I look at them. There’s a richness to them, a greater sense of depth and subtle tonality. If I were embarking on an artistic project with instant film, there’s no question which format I’d choose. It wouldn’t even be a decision.

Instax cameras are easier to use for sure — most are just point and shoot. If I were recommending an instant camera for a family, or for someone who isn’t an experienced photographer, I’d go with Instax. But for me, as someone who knows my way around a camera, the depth of control offered by the top-end Polaroid cameras leaves Instax in the dust.

Connect to the Polaroid app, which works very smoothly and is highly intuitive, and you can completely program in your settings, taking total control over your images. Want to try your hand at creating long exposures on instant film? It’s straightforward on a Polaroid Flip or Polaroid I-2, and impossible on an Instax Mini 99.

Sure, Polaroids aren’t perfect. The ongoing cost of I-Type film is a sore point, with packs of eight shots costing the same as a pack of 20 shots of Instax Wide or Mini. This sucks. No way to pretend it doesn’t. Buying in bulk can help a little, though honestly not a lot. At least the smaller Polaroid Go film is much cheaper, and I prefer it to Instax Mini. Again, its subtler look is less striking, but richer.

Do you agree? Let me know which is your preferred instant-film format in the poll above. And if you’re looking for an instant-film camera to buy, see my explainer on why the Polaroid Go Gen 2 is the best buy you can make this Prime Day and click on today's best deals where you live using the links below.

Insta360 Luna Ultra: One-minute review

Despite being Insta360’s first vlogging camera with multiple Insta360 firsts, the Luna Ultra, overall, feels like a polished and bold product. Its triple chipset ably supports powerful features — especially the gimbal-stabilized 8K 30p video with 10-bit color depth and 4K 120p slow motion video recording, Log color profile, autonomous subject tracking autofocus and 32-bit float audio.

With dual 20mm f/1.8 and 60mm f/2.0 lenses, each with its own sensor, you truly are getting two cameras in one. And having enjoyed the Luna's ultra-wide and impressive 3x telephoto versatility for a month, it will be hard for me to go back to a single-lens compact vlogging camera.

The detachable remote module — which features the two-inch OLED touchscreen, main camera controls and built-in microphone — has, understandably, won many admirers. It's such a clever and well-implemented design feature that truly enhances the user experience, especially for solo vlogging.

Initially I had a few minor niggles navigating various camera settings, and it certainly paid dividends to spend time customizing the Luna Ultra to the way I like to shoot. It's also notably bulkier than DJI's Pocket 4 vlogging cameras, and pricier than single-lens alternatives.

Despite its infancy in this space, Insta360 has to its credit already produced crucial supporting accessories — including tripod and battery grips, plus the Insta360 Mic Pro wireless mic for top quality audio — meaning you can stick within the Insta360 ecosystem and enjoying the best possible user experience and compatibility, including full Bluetooth support.

Yes, DJI has been in the compact vlogging camera space for much longer and has refined its Pocket series with every iteration, but the Luna Ultra enters with a bang and is an impressive alternative.

Insta360 Luna Ultra: price and release date

• Full release on June 12 2026
• Available in black or white with prices starting at $769.99 / £649 / AU$1,229.99
• Multiple bundles to choose from, including the Creator Bundle

"We're not going to compete on price" is what Insta360's co-founder Max Richter told me at a pre-launch event for the Luna Ultra, the company's first vlogging camera and DJI Osmo Pocket series rival.

And the Luna Ultra is much pricier than previous Pocket cameras. However, those were single-lens models and, like DJI's most recent Pockets, the single-lens Pocket 4 and dual-lens Pocket 4P, the Luna comes in two varieties: the single-lens Pro and the dual-lens Ultra.

Prices for the Ultra start at $769.99 / £649 / AU$1,229.99. That’s a fair whack more than the latest single-lens models, but you are truly getting two cameras in one device.

Insta360 sent me the Creator Bundle to review, which includes multiple extras such as the Mic Pro transmitter and battery grip and costs $969.99 / £829 / AU$1,549.99. I expect the dual-lens Osmo Pocket 4P to cost less than the Luna Ultra, but it won't be available in the US because of the DJI ban.

Both Luna models are available in black or white versions, and in a further variety of bundles that cater for various use cases; Standard, Essential, Endurance, VLOG, POV and Creator.

• Price score: 4/5

Insta360 Luna Ultra specs

Insta360 Luna Ultra: design

• First compact vlogging camera to land with dual lenses, ahead of the Pocket 4P
• Similar design cues to the DJI Pocket series (but a little larger), with stick-like form factor and camera supported by a three-axis gimbal
• Unique detachable controller which includes a two-inch OLED screen and built-in mic

The Luna Ultra’s form factor is familiar — it's a bit like the compact, stick-like design of DJI’s Pocket series. DJI isn’t happy about it, by the way; it has filed a lawsuit accusing Insta360 of patent violations (which Insta360 has responded to with a countersuit).

However, there are some key design differences. Lunas are slightly larger than Pocket models. Not majorly so, but the difference is clear when you hold them side by side as I did (albeit the dual-lens Ultra alongside the single-lens Pocket 4).

In practice, I didn’t really feel that the Luna’s extra weight and size negatively affected its handling — it’s easy in the hand for on-the-go vlogging. If you want the absolute smallest option, however, DJI is your best best. Even the dual-lens Pocket 4P is smaller.

There’s a good reason why the Luna cameras are bigger, and that’s for a super clever and unique feature: a detachable remote control, which is a module that packs the camera's main controls and rotatable two-inch OLED screen. Simply squeeze the red buttons on either side of the Luna, and the module pulls away from the body.

The module has a 20m transmission range and operates exactly the same way as if it’s on the camera, with the touch display offering a remote view, and the main camera controls on hand, including gimbal, zoom and record. Transmission range is impacted by the surroundings — I found the feed froze inside 15 meters when other people passed in front of me in a busy urban space — but I could see it happening on the screen in my hand and could rectify the situation.

What’s really neat is that the module has a built-in microphone, so you can easily check your frame and present to the camera. It’s certainly better than using the on-camera mic, though a wireless mic such as Insta360’s own Mic Pro with its customizable E Ink display is an even better pick for audiophiles. The camera has direct Bluetooth support for this mic and Insta360’s Mic Air. The video below gives an idea of what the module is like to use remotely.

I really appreciated how much easier it was to frame my shots with the controller module in hand. There’s also smart subject tracking and autofocus (more on this in the performance section), meaning the camera can track you as you move around, within the gimbal’s range, keeping you or your subject centered in the frame. Controlling the Luna using the module and tracking is like having your own cameraperson filming you, provided you can find a secure surface to rest the camera on or a support to fix it to.

On that note, the Luna Ultra can stand freely on flat surfaces, while the battery grip, which extends battery life plus the physical height of the camera, features tiny flip-out tripod feet for extra stability.

The battery grip is larger than the regular tripod grip and extends the battery life of the camera, which was already impressive being rated at up to four hours of 1080p filming. Not bad for a 1,550mAh unit that can be recharged to 80% in just 23 minutes.

At first I had a few niggles with the handling of the Luna Ultra from how it comes straight from the box. Beyond finding it physically clunkier than the Pocket 4, I needed to change various settings to taste, such as its behavior when rotating the two-inch touchscreen.

Overall, however, I can't find much fault with the Luna Ultra's design, which is seriously impressive for a first generation product.

• Design score: 4.5/5

Insta360 Luna Ultra: Performance

• Triple chipset, with 4nm and AI chips ensures smooth operation
• Smart subject tracking and autofocus, but it's not perfect
• Can get a little warm when using the most powerful features

The Luna Ultra is equipped with a triple chipset, comprising powerful 4nm and AI chips. As such, I never really experienced any performance issues, even shooting a lot of 8K video (though never for more than 10 minutes at a time).

The camera does get a little warm when using power-hungry features such as 8K video, and I did see a lag when switching from the 12x zoom back to 1x using the stepped zoom control on the touchscreen. However, those were my only issues.

In addition to regular 8K video, the Luna Ultra has a range of shooting modes, including; Slow Motion up to 240fps (in Full HD), Timelapse, TimeShift and Barrel Roll. I've included some slow motion clips in a sample video below.

Both Luna cameras accept a micro SD card up to 1TB, and include 47GB internal storage — less than DJI’s Osmo Pocket 4 / 4P, which have more than double the capacity. I shot plenty of video clips and photos directly onto the internal memory, and still had plenty of space left over — the maximum 120Mbps bitrates of video files are fairly low and don't take up too much memory.

And there’s plenty more for audiophiles, namely a decent wind guard for the camera’s internal four-mic array, plus 32-bit float audio. This pro-level setting avoids clipping, and is ideal for unpredictable and noisy environments, but for simpler audio edits, the 24-bit setting is probably your best bet.

The quality of the detachable module's built-in mic impressed me, though for the clearest pickup it's pretty fussy about how close you hold it and the angle it's pointed in.

Subject tracking is impressively sticky, though I did find that it switches to a new subject a little more easily than the DJI Pocket 4. In one situation, I was walking with the camera tracking me when other people came between me and the camera and tracking stopped.

In another scenario as I held a product up to the camera for it to focus on, the camera focused back on my face in the background all too keenly when I came back into view. In such a scenario, I think DJI's tracking performs better.

• Performance score: 4.5/5

Insta360 Luna Ultra: Image and video quality

• Dual 20mm f/1.8 (1-inch sensor) and 60mm f/2.0 (1/1.3-inch sensor) cameras are effectively like having a decent zoom
• 8K 30p and 4K 120p video with color grading-friendly I-Log profile — a first for Insta360
• 9MP photos are decent enough, especially in RAW format, and can be upped to 37MP in UltraPhoto mode

The Luna Ultra ups the ante in this camera category with 8K video — double the resolution of the Osmo Pocket 4, which shoots in 4K. It’ll shoot 8K up to 30fps, complete with Dolby Vision (aka HDR) and I-Log color profile.

This is the first Insta360 camera with Log, a flat color profile that pros like to use to maximize the color grading potential and for the most dynamic range possible from their camera, which in this case is up to 14 stops.

DJI has billed the Pocket 4P as having 17 stops dynamic range with its new D-Log2 profile — I look forward to comparing the footage of both cameras to see which is better once I have my hands on the Pocket. 4P.

Insta360 thinks its night mode is superior to DJI, with its PureVideo mode boosting dynamic range in 4K 60p videos. That’s another comparison test I’m looking forward to conducting. From the shots I've taken at night in this mode, detail looks impressively sharp, though of course no match for the quality of daytime footage.

Insta360’s Leica partnership goes beyond the Luna’s Leica-branded lenses and into various Leica color profiles. If you like the simplicity of attractive color profiles with no need for color correction, then the Luna has some great alternatives to Log.

I was impressed with the 3x telephoto camera — provided the subject isn't too far away, it's possible to throw depth of field for punchy portraits. I'm talking upper body shots with notable shallow depth of field.

The zoom of that lens can be further extended with a 6x 'lossless' zoom, a term that suggests you shouldn't notice a drop in image quality — I certainly didn't. I can't say the same for the 12x digital zoom setting, which looks a little more pixelated on close inspection. Still, that 12x zoom is a handy addition should you really need to zoom closer.

Honestly, having enjoyed the variety of two lenses in such a small camera, and how impressive the quality of the telephoto camera is (the sensor is bigger than the main sensor in most smartphones), I know I'll struggle if I have to go back to a single-lens compact vlogging camera.

Video is, of course, the primary use for the Luna Ultra, but it shoots decent-quality 9MP photos too, in JPEG and RAW format, albeit with just eight-bit color depth. I've included a couple of scenarios below, taking JPEG and RAW (DNG format) photos simultaneously at night and in daylight, with the 1x and 3x lenses.

I haven't edited the RAWs so you can see the kind of processing that takes place for JPEGs. All the photos are 9MP, but there is also an UltraPhoto mode which quadruples resolution to 37MP.

Insta360 Luna Ultra photo gallery

• Image and video quality score: 5/5

Insta360 Luna Ultra: testing scorecard

Should I buy the Insta360 Luna Ultra?

Buy it if...

Don't buy it if...

Insta360 Luna Ultra: also consider

How I tested the Insta360 Luna Ultra

• Insta360 supplied me with the Luna Ultra Creator Bundle, which includes 2x grips, Mic Pro transmitter, soft carry case and more
• I tested the camera regularly for a month shooting day and night, mainly focusing on video content. I've tried the monitor in various configurations
• I was testing the DJI Osmo Pocket 4 simultaneously, and could draw comparisons

I had early access to the Luna Ultra Creator Bundle ahead of its launch, and tested the kit out over the following weeks before writing this review. During this review period, I also had the single-lens DJI Osmo Pocket 4, meaning I was able to make comparisons.

The camera shoots decent still photos with RAW format editing flexibility, but my main focus video performance. I've shot horizontal and vertical vlogging-style videos in the various resolutions and frame rates available in each format, and experimented with various color profiles.

I've made sure to try out all of the accessories supplied to me and the various configurations of the detachable monitor. I've checked the camera and detachable monitor's audio quality, and how easily and reliable it pairs with an Insta360 Mic Pro wireless mic.

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

• Canon could release several 'world-first' RF lenses this year
• Among them, an RF 24-70mm F2L and several 'big white' telephoto primes
• We'd love to get your votes on which ones you'd most like to see

The folks at Canon Rumors have recently been writing about a string of promising Canon RF lenses, each tipped for a 2026 release, according to its sources. There's one pro zoom that sounds dreamy, plus several primes billed as first of their kind.

For me, the RF 24-70mm F2L could be a game-changer, covering multiple professional needs with a maximum aperture that's a whole stop brighter than the f/2.8 aperture in the equivalent traditional 24-70mm f/2.8 pro zoom.

What's even more exciting is that the rumored lens could be much smaller and lighter than the RF 28-70mm F2L USM, according to Canon Rumors, even with that wider zoom.

That original 28-70mm zoom with constant f/2 aperture was launched around the time Canon debuted its EOS R mirrorless camera system and RF-mount in 2018, marking a new, post-DSLR age, and was an optic that we couldn't have imagined for Canon's EF-mount DSLRs.

It's a gargantuan lens, mind you, and I'm sure Canon fans will be excited by the possibility of a lightweight alternative with an even wider zoom range and equally bright constant f/2 aperture. And the 24-70mm F2 isn't the only lens being talked about.

Primed for action

Canon Rumors says that an RF 24-70mm F2L could be one of several new RF lenses ready for a 2026 launch — that's one way to keep Canon fans happy especially since Sony has been busy launching it's own lighter f/2 zooms, such as the 28-70mm F2 GM and 50-150mm F2 GM — both five star rated lenses.

Other Canon lenses potentially in the pipeline, according to Canon Rumors, are a new 500mm F5.6L and updates to the current 400mm and 600mm telephoto primes, all 'big-white' pro primes with 'new and unseen technology', the details of which we don't know yet. The 400mm and 600mm primes could feature a built-in 1.4x teleconverter, and eye-watering price tag.

There is also a suggestion that Canon won't stop at a single f/2 zoom lens, and Canon Rumors readers have been speculating about a 70-180mm F2L and 12-24mm F2L in the comments of the Canon Rumors article. There's also mention of a showpiece RF 85mm prime with maximum F1 aperture!

That's a serious collection of pro primes and zooms, though these are all rumored products and by no means guaranteed. I know which lens from the above excites me the most, but I'm keen to hear what you think. Have your say in the poll below — you can vote for multiple lenses, including all seven if you can't decide between them.

• DJI's Pocket 4P has been revealed in full on the China page of DJI's website
• It shares the core features of the Pocket 4, but adds a 3x telephoto camera
• There's no official word on global availability or pricing yet

We knew it was coming after a soft reveal at Cannes Film Festival last month, but now DJI has fully revealed its first dual-lens compact vlogging camera, the Osmo Pocket 4P.

You'll have to dig for the details, mind you — the Pocket 4P has only been announced in China, and for now, the full specs and features can only be found on the China page of the DJI site. You'll need to select the China region (中国大陆) to learn about the camera's core features, or you can stick with me here for the highlights and how it compares to the Osmo Pocket 4 and the Insta360 Luna Ultra dual-lens rival.

There's no official word yet on global pricing and availability, but based on recent DJI launches, I would expect a two-week wait before there's wider availability. Let's see how the Pocket 4P compares to the Pocket 4 and Insta360 Luna Ultra. For now, DJI's confirmed a starting price of CNY 3,799 for the Pocket 4P, which is about $562 / £420.

1. Lenses

The Pocket 4P's core design is the same as the Pocket 4, but with one major difference: the lenses. Where the Pocket 4 has a single ultra-wide 20mm f/2.0 lens, the Pocket 4P adds a second 3x telephoto lens.

The 3x lens is a 60mm f/1.8 optic, and it records onto a separate 1/1.28-inch sensor to the ultra-wide's refined 1-inch sensor. This is truly a dual-camera device with two distinct perspectives, and it's a design approach we've seen in the recent Insta360 Luna Ultra, which I'm still testing in depth as I write this article.

At first glance, the Pocket 4P and Luna Ultra's lenses are designed differently; the Pocket 4P's twin-lens array is vertically arranged, the Luna Ultra's is horizontal. I'm not sure of the reasoning for that, or what practical advantages each array has over the other.

Both Pocket 4P and Luna Ultra offer a 'lossless' 6x zoom from their telephoto cameras, plus a 12x digital zoom. I'll compare the DJI Osmo Pocket 4P and Insta360 Luna Ultra in real-world tests soon, but the specs look pretty similar:

2. Dynamic range and color

Almost all of the Osmo Pocket 4 and Pocket 4P specs are identical, but there is one area where DJI is pushing the pricier dual-lens model: dynamic range and color profiles.

The Pocket 4's dynamic range is rated up to 14 stops, whereas the Pocket 4P is billed as having a ludicrous-sounding 17 stops, which would beat the performance of high-end professional cameras. I don't have details on how the dynamic range is achieved or whether you need a specific mode to get it, but we'll find out soon enough.

One way could be DJI's new D-Log 2 color profile, which it says is an upgrade from the D-Log profile used in the Pocket 4.

And as for the Luna Ultra, it supposedly has a 14-stop dynamic range and an I-Log color profile. I-Log is Insta360's first Log profile, whereas DJI has iterated log profiles over multiple versions.

As far as which camera delivers the best-looking footage, we'll have to wait and see, but the shots on the Pocket 4P product page look stunning!

3. Design

You can think of the Pocket 4P as a Pocket 4 but with an extra camera, because otherwise the design of the two cameras is pretty much the same; they both feature a compact design, a rotating 2-inch touchscreen, which reveals two additional buttons when positioned horizontally.

They both utilize a 3-axis gimbal camera unit, which features a magnetic arm and contact points to which a neat LED light snaps onto, and is powered by the camera. I like the new slimline gimbal protector in the Pocket 4 models — it's much more compact than the hard shell case that came with the Pocket 3.

Of course, there are more design differences between the Pocket 4P and the Luna Ultra. The Pocket 4P is the slimmer and the slicker of the two, and it has additional buttons and that gimbal feature.

The Luna Ultra comes in a larger hard shell case and is overall clunkier, but it has a clever and well-implemented detachable control with 20m transmission range, which has gained much praise and is being touted as a reason to choose Insta360 over DJI. The control features the rotating 2-inch OLED touchscreen, key camera controls and a built-in mic.

I'll be returning soon with my in-depth Luna Ultra review and, no doubt, comparisons with the Pocket 4P once I've got the two cameras side by side.

Having already used the Luna Ultra for about a month, I can safely say that I'd struggle to return to a single-lens vlogging camera like the Pocket 4; these dual-lens models are so much more versatile, so stay tuned for more.

4. Pricing

• Pocket 4P Standard kit costs CNY 3,799 (about $562 / £420)
• Pocket 4P Vlog kit costs CNY 4,299 (about $636 / £475)

If those price conversions are remotely accurate to the actual price, then the Pocket 4P will be much cheaper than the Insta360 Luna Ultra. I think the actual price will be higher.

But of course, DJI is banned in the US, and so the Pocket 4P won't be available there for the foreseeable future, and so those US prices are a moot point.

The luna Ultra costs; $769.99 / £649 / AU$1,229.99 for the Standard Kit, while a Creator Bundle costs $969.99 / £829 / AU$1,549.99. The Pocket 4 starts at £429 / AU$749 or £549 / AU$959 for the Creator Combo.

• The Kodak Charmera returns in a new Y2K-inspired 'Millennium Edition'
• It comes in six new colorways, with additional photo filters and frames, but is otherwise the same mini digital camera
• As before, the Charmera costs $35 / £35 / AU$55 — and you don't know which version is in the box

In a predictable but highly welcome product launch, the wildly popular Kodak Charmera returns in a new 'Millennium Edition'. It's essentially the same 30g / $35 digital toy camera as last year's '1987' edition, but this time the design is Y2K-themed.

The Charmera Millienium Edition comes in six new Y2K-inspired colorways, plus it's equipped with additional photo filters and frames that pay homage to the tech of that era, including camcorders and Microsoft Internet Explorer 5.

Otherwise, it's exactly the same digital camera with a 35mm f/2.4 lens and tiny 1/4-inch CMOS sensor, which shoots some of the worst-quality 1.6MP JPEG photos and 1440 x 1080pixel 30p video you'll see — which oddly is part of the charm.

Pricing is the same as the original, too — a single Kodak Charmera costs $34.99 / £34.99 / $54.99 and comes in a 'blind box', meaning you don't know which colorway you're getting. The 'Whole Set' box, which includes all six varieties, costs $209.94. That's not so much as a dime of a discount versus buying a Charmera individually, but it does ensure that collectors get each version.

As before, there's a limited-edition seventh look, which in this case is a shiny silver version (the uppermost camera in the image below), but you have a one-in-49 chance of getting one of those.

That's another era checked off

Tech nostalgia is big business in 2026, and the renewed interest in film photography, vintage compact cameras — and, indeed, the Charmera itself — proves it.

The original Charmera was a marketing masterstroke, and sold out on the day of its November 2025 release. It inspired a wave of low-cost miniature alternatives, including the even-cheaper Photo Creator Mini Digital Camera series 3, so it's not surprising to see Kodak to return with a fresh offering.

Building on the '1987' edition, Kodak has pinpointed Y2K nostalgia with Charmera 2.0, the Millennium Edition, doubling the varieties available from 6 to 12 in one swoop (14 if you include the limited-edition versions of each model).

Something tells me the Millennium Edition isn't the last we've seen of new Charmeras — and I wonder which era Kodak will celebrate next. It could, perhaps, take inspiration from the quirky Fujifilm Instax Evo Cinema — a 3-in-1 instant camera which has a unique Eras dial, with a unique setting for every decade spanning the last 100 years, including the 2000s.

There's really no need for Kodak to improve the specs and features of future editions. People aren't buying the keychain Charmera for its capabilities as a camera, but for the vibe — and its retro style, novel size and low cost are clearly a winning combo.

That said, Kodak might eventually need to tweak the form factor to mimic other types of camera, like the Chuzhao Mini TLR, depending how far back in time it goes.

Deals for nostalgia-inducing cameras

• Aura has added Google Photos support for its digital photo frames
• Albums / individual photos can be uploaded to frames from linked accounts
• Aura Frames can also be pre-loaded with existing Google Photo albums

Aura features heavily in my best digital photo frames guide. In fact, I have two of its frames in my home; the Ink with its natural, print-like E Ink display, and my absolute favorite, the punchy and classy Walden. Now, as a Google user, those frames just got better with the addition of Google Photos integration.

To add the feature, you'll need the Aura app (which is super handy for syncing frames anyway). In the app, select the 'Add Photos' option, tap 'Connect' on Google Photos, sign into your Google account, and then select which albums / individual photos you'd like to add. It's as simple as that.

Those photos will be added to your frame, and any new photos added to albums later will be included automatically.

Aura frames are collaborative too, in that you can invite family and friends to add their own photos to a frame, from anywhere in the world through the cloud. There are plenty more ways to add images besides the Aura app and now Google Photos, including iCloud, email, web and even by text message.

I've enjoyed personalizing an Aura frame as a gift before; photos can be pre-loaded to a frame, and that now goes for the new Google Photos integration too.

Photos shared, the proper way

I regularly find myself huddled around a phone with my wife and children when curated memories pop up from our Google Photos albums. We've got years worth of memories stored in a Google Photos account, with new photos added automatically.

As much as I love the spontaneity of our family slideshows around the small screen of a phone, there's something that little bit more special seeing those photos in a slick wall-mounted frame or one on a sideboard.

This Aura update, therefore, massively improves my experience with Aura frames, especially for displaying family memories. Most Aura frames also play video with sound, but not the Ink frame, which has the most authentic print-like quality, but is photo-only.

If you're totally new to digital photo frames, I've included links to the best deals for my favortire Aura frames below, and for more buying advice, check out my digital photo frames guide.

• Insta360 launched the Luna Ultra 8K vlogging camera on June 10
• DJI filed a lawsuit on the same day, claiming Luna had copied its DJI Pocket 3, only for Insta360 to file countersuits two days later
• Because of the ongoing DJI ban in the US, Insta360 could enjoy unrivaled availability there

No sooner has Insta360 unveiled its first vlogging cameras, the Luna Ultra and (upcoming) Luna Pro — which look set to enjoy unrivaled access to the US market because of the DJI ban — than DJI has filed an Insta360 lawsuit in the US, claiming they "blatantly copy" its Pocket 3.

For years, DJI has enjoyed near total dominance in the compact vlogging camera market with its hugely popular Osmo Pocket series, but now it faces two very real challenges: access to the US market, and the first serious-rival product.

DJI's latest and best vlogging camera, the Pocket 4, was launched in April this year, but the polished Pocket 3 successor is yet to make it to the US, given that DJI is on the FCC's 'Covered list', which currently affects any DJI products with a camera, not just its drones. So it's unlikely to hit US stores any time soon.

Meanwhile, Insta360 Luna cameras have made quite the impression. Despite being a first-generation product, the Luna Ultra is polished, and features a neat modular design that DJI Pocket cameras lack — check out my first impressions of the Luna Ultra, which I've been testing at length.

Now DJI is going straight for the jugular with its lawsuit, demanding that Luna cameras are banned. I've tested both cameras, and the user experience is very similar, but the crux of the situation is whether or not Luna cameras actually violate design and utility patents, as DJI claims in its lawsuit.

Insta360 has now filed two countersuits against DJI, related to "patents covering technology used in gimbal and 360-degree cameras". In a statement provided to TechRadar, Insta360 also defended its Luna cameras, saying "Luna Ultra is the result of years of independent R&D, not a response to any competitor's product."

The DJI / Insta360 rivalry just went up a notch

I spoke with Insta360 co-founder Max Richter at a pre-launch Luna event, and he told me the company was "not going to compete on price", but on premium and exclusive features. Specifically he was referring to the Luna's innovative removable remote, which features a 2-inch OLED screen, camera controls and built-in mic. Right now in the US, however, Insta360 doesn't need to rival DJI at all, because it has a clear field in that market.

But Insta360 faces a potential headache in the form of DJI's lawsuit. Petapixel reports that DJI has filed two patent lawsuits against Arashi Vision Inc. — which does business as Insta360 — covering two alleged violations of design patents and four utility patents.

The lawsuit claims that Luna cameras closely copy the design and features of the Osmo Pocket 3, claiming that “Insta360’s new Luna line of gimbal cameras, including but not limited to the Luna Ultra, supporting accessories, and the Insta360 mobile application (collectively, the “Accused Products”) blatantly copy DJI’s patented inventions wholesale.”

The suit adds: "From its silhouette to its feature set, the Accused Products mirror what DJI has spent the better part of a decade engineering and patenting for its innovative handheld gimbal camera systems.

"The visual similarity between the Accused Products and the DJI Osmo Pocket 3 design is striking. [As shown below,] the Accused Products share the same general proportions, the same gimbal-on-handle architecture, and the same component arrangement as DJI’s Osmo Pocket 3."

As for the four utility patents, DJI says that Insta360 Luna cameras and accessories "copy key features that make the DJI Osmo Pocket unique in the marketplace including DJI’s innovative subject-tracking technology, seamless gimbal-mode switching allowing the camera’s shooting direction to follow user movement of the handle, and a 'locked' mode to maintain a fixed shooting direction regardless of how the handle is moved."

DJI was clearly ready with this lawsuit, given that it was filed on the day the Insta360 Luna Ultra became officially available for purchase in leading US stores, including B&H Photo.

Many US-based vloggers will likely be watching the case with interest — they're already missing out on the excellent DJI Pocket 4, and they must be hoping that they won't also be denied the chance to buy Insta360's Luna cameras.

Now the rivalry has been raised another notch, with Insta360 filing its countersuit.

Insta360's response

In a statement provided to TechRadar, Insta360 founder and CEO JK Liu struck a defiant tone in his response to the DJI lawsuit and Insta360's countersuit, saying about the Luna cameras:

"Development began in 2020, with earlier Insta360 products including the ONE R, Link Series webcams, and Flow Series gimbals helping shape the technology and design direction behind Luna Ultra. DJI filing lawsuits on the same day we launched Luna Ultra speaks volumes — exposing their fear of competition from a highly competitive product."

Regarding the countersuit, the statements reads:

The company asserts that DJI infringed its patents relating to gimbal stabilization, gimbal directional control, camera smooth stabilization, telemetry overlay, and panoramic video stabilization. These technologies are incorporated into several major DJI products, including the Osmo Pocket series, Ronin/RS series, Osmo Mobile series, and Osmo 360.

Liu said, "We are fully committed to protecting our innovations and will take decisive action to defend our intellectual property from infringement."

• Insta360's Luna Ultra is a modular 8K compact vlogging camera
• It rivals the upcoming dual-lens DJI Pocket 4P
• The single-lens Luna Pro is yet to be fully unveiled

We now have the full picture of Insta360's first compact vlogging camera and DJI Pocket rival, after the Luna Ultra hit online stores yesterday (June 10), with prices starting at $769.99 / £649 / AU$1,229.99.

I've already shared my first impressions of the dual-lens 8K video camera, but Insta360 limited what could be shared ahead of its launch. Now all can be revealed — but you'll have to forgive the timing and nature of my coverage, because Insta360 hastily brought forward the launch from the previously-set embargo that I was working to.

I can now reveal that the Insta360 Luna Ultra packs two cameras which are stabilized by a 3-axis gimbal. The 1x main f/1.8 camera shoots 8K 30p video with Dolby Vision (HDR) and 4K 120fps slow motion, and features a 1-inch sensor (Insta360's largest yet, matching DJI) with 14 stops of dynamic range. (DJI has separately teased 17 stops dynamic for its upcoming Pocket 4P.)

The 3x telephoto f/2.0 camera works with a smaller but still decent-sized 1/1.3-inch sensor, and offers a 6x lossless zoom and up to a 12x digital zoom. I've tried both cameras extensively, and the telephoto camera is able to throw depth of field nicely for upper-body vlogging.

The Ultra is equipped with I-Log color profile — a feature pros demand for color grading flexibility, and another complete first for Insta360, plus Insta360's triple processing chips and latest AI subject tracking, which works pretty darn well.

I'll share more about the Luna Ultra's features in my upcoming in-depth review, but until then, let's look at how it handles compared to the Pocket 4.

Clearing up the Luna / Pocket 4 confusion

Insta360 is going hard with its first vlogging cameras, the single-lens Luna Pro and dual-lens Luna Ultra. The latter is available now, while the Pro's launch date is yet to be confirmed. Insta360 changed the Luna Ultra launch date several times due to a "rapidly changing competitive landscape," and it was eventually brought forward to a week earlier than the date I was working to. I've been testing the product for several weeks, and will publish my in-depth review as soon as I can.

DJI's latest single-lens vlogging camera was launched last month — check out my in-depth Pocket 4 review. It's no secret that the Pocket 4P is coming soon — DJI teased the dual-lens vlogging camera at Cannes Film Festival recently.

So, both brands will have single-lens and dual-lens vlogging cameras in their product lineups soon. But what we have right now is DJI's single-lens Pocket 4 and Insta 360's dual-lens Ultra, which makes direct comparisons tricky — it's like pitting a featherweight against a heavyweight in terms of versatility.

That being said, we know enough about the specs of all four cameras, and I've had enough time to get a feel for the design of the Luna Ultra and Pocket 4, to make some early impressions.

Luna Ultra versus Pocket 4

This isn't a fair comparison — the Luna Ultra is a pricier model with dual-lens versatility that will rival the upcoming Pocket 4P. But it's Insta360's first foray into a vlogging camera market, which has been dominated by the DJI Pocket series for several years. In that respect, the Luna Ultra feels surprisingly polished.

The Pocket 4 is the smaller of the two, and the Pocket 4P will be smaller than the Luna cameras too. It's not a big difference in size, and the extra bulk of the Luna Ultra hardly effects its handling, plus it's to facilitate a unique, game-changing feature — a detachable 2-inch OLED screen.

The screen is part of a module which also includes the camera's main controls. It has up to a 20m transmission range, and can be used to view and control the camera, and of course to initiate recording.

Given that the Luna Ultra features advanced subject tracking, you effectively have an autonomous camera that can track you while you move, within the limits of the gimbal's range. The module also features a built-in microphone, which is super handy too for vlogging, even if you still might want a wireless mic like Insta360's 5 star-rated Mic Pro for the best quality audio.

This modular functionality is a bit like the Insta360 Go 3S and its Action Dock / DJI Nano action cams, and clearly an advantage over the Pocket 4. The Pocket 4 has its own tricks mind you, such as its magnetic LED light which directly attaches to and is powered by the camera.

Both cameras are compatible with useful accessories, such as wireless mics. Yes, DJI has had skin in the game for longer, and boasts a solid ecosystem, but Insta360 is hardly lacking either.

As for the single-lens and dual-lens varieties, the latter are indeed like having two cameras, and will set the benchmark for compact vlogging camera quality, potentially persuading new users over using their smartphones. They're much pricier than the single-lens varieties, though — as we now we know, having seen how much the Luna Ultra costs.

How do the two cameras sounds to you? Is the dual-lens version overkill, or what the format needed? Let me know in the comments below, and make sure you vote in the poll above — and check back in for my in-depth coverage, coming soon.

• Stockton has approved a $3.15 investment in Flock drones
• The drones will act as airborne first responders
• Residents have raised privacy and surveillance concerns

Surveillance and privacy are huge concerns for individuals across the world right now, and municipal leaders in the California city of Stockton are the latest to attract criticism for a controversial drone expansion program that's ostensibly being undertaken in the interests of public safety.

As reported by Stocktonia, the city council recently gave the thumbs up to a $3.15 million investment in drones manufactured by Flock, on top of the automatic license readers the company already supplies. These drones can act as airborne first responders, giving police eyes on a 911 call situation in as little as 30 seconds.

The sales pitch is that officers will be better informed when they arrive, and that some incidents could be handled remotely. "It'll really enhance what we already have, in that we get quick deployments, real time updates for officers on scene," said Police Lt. David Padula when the deal was approved.

However, while city leaders all liked the drone program, there has been massive public opposition against it. Issues around privacy, immigration enforcement, and mass surveillance have been raised by residents — not just in regards to how the drones are used, but how the data they collect is stored and shared.

These drones aren't widely used in the US, but there are active programs in some cities in states, including Texas, Indiana, and Connecticut. The license plate readers are far more widespread, with more than 100,000 now in use.

Data collection and privacy

"It sends the wrong message," said local activist group The Stockton Community Check-In Booth in a statement after the council decision. "While our residents continue to struggle under the financial impacts of this administration and economy, Stockton continues to invest in militarization and surveillance."

"Private organizations can control your data from those Flock cameras, and because they're privately owned, you can't even use freedom of information to find out what they have about you," said Stockton Republican congressional candidate John McBride, calling the use of the drones "a total invasion of privacy".

According to Flock, local agencies remain in control of the data. It states that it doesn't work with ICE, and that federal agencies are blocked from discovering or requesting data held by Stockton. Drone flights are logged on a public-facing dashboard, and Stockton police will own 100% of the data they collect.

However, Flock has run into trouble elsewhere: It has previously been found to be sharing access with US Customs and Border Protection in Colorado and Illinois, though it says these practices have now been stopped. In Texas, police used a Flock camera network to track the movements of a woman who had an abortion.

In other areas, authorities haven't been so welcoming to Flock and its systems. In Mountain View, California, a Flock network of cameras was recently scrapped over concerns about unauthorized access.

• Potensic's new Atom 3 replaces the Atom 2 beginner drone
• It adds a bigger sensor, higher 4K frame rates, better battery life, and more
• The Fly More Bundle includes an upgraded controller with a 5.5-inch display

You don't need me to tell you that DJI dominates the consumer drone space, despite its current difficulties entering the US market with a current ban on all foreign-made drones. But there's a viable beginner drone alternative, and that's Potensic.

Sadly for US consumers, Potensic also faces the same barriers to entry as DJI, given that the drone manufacturer is also Chinese. But for the rest of us, the shiny new Atom 3 looks like an excellent value option.

It upgrades the already excellent Atom 2 in several key ways, with a larger 1/1.3-inch sensor, 4K video recording at up to 60 fps with a Log color profile, 50 MP photos in JPEG and RAW, 7x slow motion in Full HD, plus a host of improved flight features.

Battery life has seen a boost, now up to 40 minutes on a single charge, as has transmission range, which now extends to 16km, not that I'd ever expect to fly that far away!

And the usual Fly More Combo, which includes three batteries and a charging hub, also comes with an upgraded controller that has a brighter 5.5-inch Full HD display than Potensic's previous offering, rated at 900 nits.

Potensic has upped its drone's tracking capabilities with AI Tracking 2.0, which can now operate down to a low altitude of 4 meters and recognize and follow hiking and vehicles.

Naturally, there are a range of flight moves too, one of which includes Waypoint (that's a pre-planned flight path that the drone follows).

All of these features point to the Atom 3 being a solid alternative to the new DJI Lito X1 — even if that drone also includes omnidirectional object avoidance — especially with its competitive pricing. The Atom 3 standard kit (with no controller) costs $429.99 / £319.99, while the bundle with the new 'RC PTD 2' controller costs $549.99 / £429.99 at Amazon and the Potensic store with pre-orders now live — I'll update this page with Australia pricing when that info is available.

In the US? No dice

US pricing for the Atom 3 is positive news for US consumers, but we don't actually know if or when the Atom 3 will land in the US. After all, the drone ban in the US doesn't just apply to DJI, but to all foreign-made drones, including those by Potensic.

Potensic is another drone manufacturer based in China, and so it faces the same barrier to entry as DJI. So for now, the Atom 3 looks like another feature-packed and affordable drone for aerial photography that drone fans in the US could miss out on.

For the rest of us, the Atom 3 is easily the best drone by Potensic yet, with a feature set that rivals the Mini 4 Pro / Lito X1, minus object avoidance. I will share my in-depth Atom 3 review once I've had more time with it.

Are you a drone user based in the US? What do you make of the drone ban currently? Make sure you vote in our poll, above.

• Viltrox unveils 75mm f/1.8 and 90mm f/2.2 autofocus primes for APS-C
• They're available in Sony E, Fujifilm X and Nikon Z-mount versions
• We still don't know the outcome of the Nikon / Viltrox lawsuit

It's no secret that I'm a fan of Viltrox lenses — and why not? The Chinese lens manufacturer makes some of the best-quality and affordable third-party lenses, and we now have two more to choose from: the AF 75mm F1.8 EVO and AF 90mm F2.2 EVO.

Both lenses are available from today in Sony E, Fujifilm X and Nikon Z-mount versions, for $329 / £319 at Amazon and $369 / £359 at Amazon respectively (Australia pricing TBC). There are often deals at the Viltrox site — in fact, there's already around 5% off those prices at launch.

They're designed for APS-C cameras, meaning both lenses work directly with the likes of the Sony A6700, Nikon Z50 II, Fujifilm X-T5 (look out for my review of the X-mount version of the 90mm, coming soon), and have 113mm and 135mm effective focal lengths respectively.

These focal lengths are particularly popular for portrait photography — I especially love the 135mm focal length — and the bright maximum aperture for each able to render blurry backgrounds.

Being 'EVO' lenses, the pair are affordable, especially lightweight, and will be impressively sharp considering those factors. And I should know — we've already tested other EVO lenses, including the 85mm F2 EVO for full-frame, and expect the same high quality from the latest additions to the series.

Each lens features a clicked / de-clicked aperture ring, customizable function button and AF/MF switch, plus autofocus powered by an STM motor. They're pretty much the same size and take 58mm lens filters, while the 75mm lens weighs 11.8oz / 335g and the 90mm lens weighs 11.3oz / 320g.

With a 0.74m minimum focus distance, neither lens is particularly strong for close-up photography.

The 90mm F2.2 is a different proposition to Viltrox's 135mm F1.8 LAB lens for full-frame cameras, which has the same effective focal length — that flagship lens is thrice the price and weight. No, Viltrox's EVO lenses are designed to deliver dreamy bokeh and sharp detail for enthusiast-level cameras, but in a lightweight and tidy package. I'm excited to share my review of the 90mm lens soon.

So what's up with the Nikon lawsuit?

It's no surprise to see more new prime lenses by Viltrox — it has been prolific in the last two years especially. What did cause my raised eyebrow, however, is that these two new lenses are available for Nikon cameras.

At the turn of the year, we reported that Nikon was suing Viltrox for alleged patent infringements, and that the case would be in courts at some point in March. That situation has since been awfully quiet, and we don't know the status of this case.

So if you're a Nikon user, say of the Z50 II or Z30, should you buy either of these new lenses? I don't see much of a risk — it would be a highly aggressive move for Nikon to push future firmware updates for its mirrorless cameras that breaks existing compatibility with Viltrox lenses.

There could be a point at which Viltrox lenses go up in price, however, should Viltrox start paying Nikon royalties as a result. Until then, it remains arguably the best-value lens manufacturer of all, even if Sigma overall has a wider choice.

I don't know about you, but my fridge at home is decorated with numerous snapshots of family and friends spanning many years, precariously fixed in place with souvenir fridge magnets. It's into this mix that I've recently added a few Vidabay Snaps.

A Vidabay Snap looks like an instant-film print, but it is in fact a tiny, magnetic E ink display. So, unlike an actual print, you can change the picture displayed and easily attach it to a range of surfaces.

It's optimized for iPhone (and compatible with various Android devices), and any image from your gallery can be uploaded via the (free) Vidabay app using NFC, whenever you like.

Think of Vidabay Snaps as, like, tiny digital photo frames, just set within a Polaroid-style border, and with an E Ink display that's much more basic than the fabulous Aura Ink.

Vidabay Snaps are available from the Vidabay website in white, black, yellow or red (see below), with prices starting at $29.99 for a single Snap (was $35.99) or $86.99 for a pack of three (was $99.99). Vidabay ships to most regions, including the UK and Australia, and price is calculated at checkout.

A genuine instant print from the likes of a Polaroid Go Gen 3 or Fujifilm Instax Mini 13 costs around $1 / £0.80 / AU$1,50 a go — much cheaper than a Vidabay Snap. Even pricier (and larger) formats like Polaroid I-Type are around $3 / £2.50 / AU$4.50 per print, while regular photo prints from the lab are typically the cheapest of the lot. However, the image on a Snap can be changed as often as you like.

I have a small collection of the best instant cameras, and am not short of instant prints to put on my walls (and fridge). And now that it's been a month since I got my Vidabay Snaps, I can tell you they don't hold the same magic as an instant print.

My experience using Vidabay Snaps with an Android phone has been mixed, which I'll unpack next, but there's one fundamental flaw to the product — the frames don't display the color blue (not for me, anyway), which is very limiting for color images.

However, I can totally appreciate these neat, low-cost E Ink devices for what they are, and the concept is pretty well executed. And even though they feel pricey compared to prints, I believe Vidabay Snaps are great little gifts. Let's take a look at how they work.

How to get started

To get started, you need to pair a Vidabay Snap with your NFC-enabled device — they're optimized for iPhone, but I've done the whole process with an Android phone. Once that's done, you select the desired picture from your phone's gallery, choose the paired Snap, and then hold the two devices together to upload to the frame.

Using a recent Oppo Find X9 Ultra phone, I found the NFC connection for image uploads — which takes around 30 seconds to complete — exceptionally fiddly, but persevered for around 15 attempts each time before my first success.

The trick is locating NFC in your device, and Vidabay does point out that not all Android devices will work. The company says there's a Bluetooth dock on the way, which will simplify the process and widen compatibility for Android. Until then, you'll need to check with Vidabay if your device is compatible. I haven't tried a Snap with an iPhone, but I imagine the process will be much easier.

The Snap's display flickers as the uploading image appears, and then there you have it — a lo-fi E ink (aka E Paper) image in a handy magnetic display.

E ink displays like this are typically lo-fi — don't expect fine detail or a vibrant and wide color range. Quite the opposite, they don't even display the color blue, meaning that in a photo of my son with two teammates in their blue-and-black-striped soccer gear, the jerseys were essentially monochrome. You can imagine what happened when I attempted to load a photo of a sailboat out on the water on a sunny day. The screenshot (above) demonstrates the difference in quality between an original image and how it appears loaded on a Snap.

I picked up five Vidabay Snaps and had mixed success. Three of the five loaded fine (after several attempts); the other two refused to load in color, period, and I eventually gave up.

The app could also do with some work; there's no way of recomposing / cropping the photo within the square frame, nor can you rename a frame once it's registered. I had five frames all identically named, making it extremely difficult to track which frame was which in the app. Writing a number on the back of each one with a Sharpie was my solution.

Each Vidabay Snap has a magnetic back for attaching to surfaces like a fridge. It's also fitted with NFC for image uploads and charging. Being a tiny E Ink display, it consumes next to no power – a true lo-fi product. An individual Snap can be purchased with a leatherette tag to attach to something like your bag, and this bundle costs $48.99.

If you have that sentimental person in your life who happens to be an iPhone user, then Vidabay Snap is an easy, low-cost gift recommendation. Until the Bluetooth dock lands and it proves to address my user experience issues, I'm hesitant to recommend the product for Android users.

The fabulous Fujifilm X100VI is a major success story, being the most preordered camera in history, with a waiting list that stretched well beyond its first 12-months. Not bad for a fixed-lens premium compact camera that costs more than the latest flagship iPhone.

It was arguably the catalyst for a compact camera revival that saw a 35% surge in sales in 2025, the biggest yearly uptick in camera shipments since the dawn of smartphones, and the launch of the Panasonic Lumix L10, which was a surprise unveil at the 25th anniversary of Lumix event in May this year.

Just to be clear, Panasonic has long had skin in this premium compact camera game too. The new L10 is very much a spiritual successor to 2018's popular Lumix LX100 II. It's no mere refresh, mind you, but very much a camera for 2026, fitted with Panasonic's latest sensor, processor and autofocus.

The Panasonic Lumix L10 and Fujifilm X100VI serve the same market; premium compact cameras with retro design and high-end features, but both take a different swing at it. So which of the two is best for you? Let's take a run through the key features.

1. The lens

• Lumix L10: 24-75mm (equivalent) f/1.7 to f/2.8 with OIS
• X100VI: 35mm (equivalent) f/2.0, built-in ND filter

A major difference is the built-in lens that each camera uses. The X100VI has a fixed 35mm lens with a maximum f/2 aperture, while the Lumix L10 has a 24-75mm zoom lens with a maximum f/1.7 aperture at 24mm, which drops to f/2.8 at 75mm.

Zoom versatility wins for most photographers — the Lumix L10 is equally at home for portraiture and macro photography as it is, like the X100VI, for travel and everyday photography. During my lengthy review period with the Lumix L10, I was regularly drawn to its 75mm telephoto setting, and overall, I picture myself using the L10 more often than the X100VI.

The X100VI, to be fair, has twice the number of pixels and a handy digital crop mode. Punch in 1.4x to an effective 50mm focal length, and the resolution is still 20MP, matching the L10. The 2x digital crop mode offers the equivalent 70mm focal length at 10MP. The Lumix L10 also has digital crop settings, mind you.

A lot can also be said, however, for sticking with a single focal length, like what the X100VI offers. Not only are prime lenses typically sharper — the prime lens quality versus zoom lens versatility choice — but they can help users develop a style and an instinctive way of seeing, which is especially helpful for the likes of quick-fire street and reportage photography. If you typically stick with a single focal length, why go for a zoom?

One final note relayed to the lens is the X100VI's built-in ND filter, which is rated up to 4-stops, whereas the L10 doesn't have one. It's an especially handy feature for using the maximum aperture in bright sunlight and for video recording. For the Lumix model, you'll need a separate ND filter (43mm thread size).

2. Sensor

• Lumix L10: 26.5MP Micro Four Thirds (20.4MP effective)
• X100VI: 40.2MP APS-C with 5-axis stabilization up to 6EV

If it's photo quality you're after, there is seemingly little contest between the two cameras; the X100VI has a larger APS-C sensor with significantly more pixels.

Photo quality isn't, however, purely down to sensor size and pixels. For one, the pixels in the Lumix L10 are in fact 55% bigger than those in the X100VI, despite its smaller sensor — that's a 4.74µm pixel pitch to 3.04µm. Bigger pixels do in theory gather more light, which better supports low light photography.

Depth of field is also a consideration — a larger sensor gives you greater control assuming you're wanting to achieve a shallow depth of field and subject separation. Set the Lumix L10 to 35mm and its maximum aperture is f/2.3 to the X100VI's f/2 and the Lumix sensor is smaller — you can get blurrier backgrounds with the X100VI. However, the L10 can shoot at the 75mm focal length and f/2.8, at which setting you can get nice-looking portraits.

There's another major difference between the two sensors; the X100VI's is stabilized (in-body image stabilization aka IBIS), while the Lumix L10's is not. The X100VI is in greater need of enhanced stabilization because it has more pixels, which means softness in detail would typically be more obvious when shooting handheld. However, IBIS also enables slower shutter speeds for more creative shooting effects and working in low light.

The perceived strengths of each camera are countered by weaknesses, so there's really not a clear winner in the sensor department.

Another major consideration regarding image quality is the lens, which I've covered above, especially since both cameras have a built-in lens rather than being interchangeable lens cameras.

3. Handling

• Lumix L10: 504g, 127.1 x 73.9 x 66.9mm (W x H x D), not weather resistant, battery life up to 420 shots, hotshoe, delayed start up
• X100VI: 521g, 128.0 x 74.8 x 55.3mm (W x H x D), weather-resistant, battery life 450 shots (OVF) or 310 shots (EVF), hotshoe, quick start up

Held side by side, the cameras are essentially the same size and weight, meaning there's no reason to pick one over the other in this regard. Both are majorly attractive cameras too, but it's the X100VI that has the edge for build quality, retro goodness, plus it's weather-resistant.

Control layouts vary and, honestly, again, it's hard to recommend one over the other just from having a feel for each one. I like the Lumix L10 lens and its external controls, while I appreciate the X100VI's shutter speed /ISO dial and AF joystick.

Battery life is pretty similar between the two cameras, and above the typical average, depending on which mode you use the X100VI in. You see, the X100VI has a hybrid viewfinder (more on this, next), and a better battery life when using its optical viewfinder. Personally, I'm a fan of the X100VI's OVF, but most X100VI users I know typically stick with the electronic viewfinder (EVF), which results in lower battery life — much lower compared to the L10's.

Both cameras feature a fully functional hotshoe, making them compatible with accessories such as an external flash. The X100VI goes one step further and offers a built-in flash, but it's a modest LED type.

If you're looking for a quick draw camera, the X100VI is the better bet. From turning the camera on and it being ready to shoot, you're looking at somewhere between 0.5 and 1.0 second, whereas the L10 is easily double that because of its collapsible lens, which takes time to extend on powering up. This very fact makes the X100VI a more suitable street photography camera if you need to be ready to shoot at any given time.

4. Viewfinder and displays

• Lumix L10: 2.36m-dot 0.39-inch OLED EVF with 0.74x mag, and a 3-inch 1.84m-dot vari-angle touchscreen
• X100VI: Hybrid viewfinder; OVF or 3.69m-dot 0.5-inch EVF with 0.66x mag, and a 3-inch 1.62m-dot tilting touchscreen

Both cameras pack a viewfinder and rear display, making them easy to use in practically any situation, but there are distinct differences between the two.

The Lumix L10 arguably has the better LCD — it's a vari-angle type with greater pixel density, whereas the X100VI's is a tilt-only touchscreen. Which display type is better for you depends on what you typically photograph; a tilt-only display can be better for waist-level shooting and discreet street photography, whereas the L10's vari-angle screen flips out to the side and can be rotated for selfies.

The X100VI has a unique hybrid viewfinder that offers both optical and electronic displays. I'm a fan of the optical display — it shows outside the frame of your final picture, which can be truly helpful for timing shots, say if you're waiting for the action to literally enter the frame. It's less helpful than an EVF if you simply want to know how your picture is going to turn out.

I marginally prefer the quality of the X100VI's EVF to the L10's; however, it's not enough reason to pick the Fujifilm model over the Lumix.

5. Video and autofocus

• Lumix L10: 5.6K 60p 10-bit, 5.2K 30p open gate, slow motion recording up to 240fps
• X100VI: 6.2K 30p 10-bit/ 4K 60p, slow motion recording up to 240fps

Both cameras are photo-centric by design, but they can both shoot highly detailed and attractive video, too.

The X100VI has the edge for resolution, being able to shoot 6.2K video at 30fps in 10-bit color depth. However, the Lumix L10 can shoot 5.6K video up to 60fps (the X100VI 4K 60fps), and 5.2K video up to 30fps in the versatile open gate (that's the full height and width of the 4:3 aspect ratio sensor), also with 10-bit color depth.

And there's nothing to split the cameras regarding slow-motion recording, since they can both shoot 240fps in Full HD.

Autofocus impresses in both cameras; hybrid phase detection autofocus offers a range of modes, including subject tracking for photo and video. I've not run direct comparisons yet, but the initial verdict among other trusted reviewers is that the L10's autofocus is, overall, more reliable, which is no surprise given that the L10 inherits the same autofocus skills, sensor, and processor as the excellent Lumix GH7.

6. Color

• Lumix L10: Real Time LUTs, Log, wide range of color profiles including Leica looks
• X100VI: Fujifilm film simulations, film recipes, wide range of color profiles

Fujifilm has rightly built up a name for its attractive color profiles, which mimic actual Fujifilm film stock, such as Veliva (vivid) and Provia (standard). But it's the film 'recipes' where photographers got really excited. These recipes are essentially customized versions of the film simulations, created and shared by Fujifilm users, and are a rapid way of getting the look you want with no editing required.

It would be easy to write Panasonic off, then, but the Lumix L10 enjoys Real Time LUTs profiles in addition to the wide range of in-camera profiles that include several 'Leica' looks. Real Time LUTs are a bit like film recipes, and there are plenty available for (free) upload from the Lumix Lab app.

Ultimately, color preference will always be creatively subjective. But in my experience, I find Real Time LUTs even more versatile for photo and video.

7. Price

• Lumix L10: $1,499 / £1,299 / A$2,599
• X100VI: $1,599 / £1,599 / AU$2,899

I'd hardly call either camera a great value or unreasonably expensive. Both cameras are certainly premium in terms of pricing, but the Lumix L10 costs less than the X100VI. The price difference varies depending on your region — being $100 / £300 / AU$300 less. As you can see from the prices noted above, it looks like the UK gets the best value for the Lumix model.

Two years since its launch, the X100VI costs the same as, if not more than, it did before. It has remained a popular camera, and it will hold its value very well. Lumix cameras do not tend to hold their value, but the L10 could be an exception if it's as popular as I expect it to be.

There have also been pricier limited edition versions of each camera, including the Titanium Gold special edition Lumix L10, which costs an additional $100 / £100 (but is not available in all regions) and comes with various extras, including an auto lens cover, leather shoulder strap, and custom lens cloth.

Another Lumix L10 alternative is the excellent Ricoh GR IV, which costs $1,499 / £1,199 / AU$2,199 — that's roughly the same price, depending on where you live. Like the Fujifilm model, it's a premium compact with APS-C sensor and sharp fixed-lens. Being much smaller, it's the only genuinely pocketable camera of the three, but it's overall performance is somewhat behind the other two models.

Conclusion

The Lumix L10 and Fujifilm X100VI sit in the same premium compact camera category; they look alike and are pretty much the same size. That's about where the similarities end.

The X100VI wins for prime lens quality, resolution, in-body stabilization, premium build quality, quicker start-up, and next-level retro aesthetics.

However, the Lumix L10 brings home a versatile zoom lens, exceptional Real Time LUTs profiles, while its burst shooting, autofocus, and video performance have the edge, plus it costs much less.

When listing pros and cons, I'm swayed to the X100VI — there are more areas where it wins. However, having used both cameras extensively, I feel like I'd get more use out of the Lumix L10. It's not an easy decision between the two!

I've covered the key features, and there are too many other little details that impact the overall user experience with each camera to sensibly include here. Have you used either camera? What do you particularly like about it that I haven't mentioned in this versus article? Which camera sounds best to you? Let me know in the comments below.

In my in-depth Sony A7R VI review, I called it "the perfect camera"; but just how much better is it than its predecessor, the A7R V — and is it worth upgrading, or switching systems for, say from Canon and Nikon?

The previous A7R model launched in November 2022, so that makes three-and-a-half years between cameras, and gives me plenty to talk about. I'll cover the headline upgrades here, including the new sensor, design improvements and, notably, Sony’s first new battery for mirrorless cameras in nine years.

The answer to my 'upgrade or switch' question very much depends on what kind of photographer you are — so let’s dive straight into it…

1. Sensor

• A7R VI: 66.8MP stacked full-frame sensor
• A7R V: 61MP ‘standard’ full-frame sensor
• Canon and Nikon rivals have a 45MP stacked sensor

Sony’s ‘R’ nomenclature indicates resolution. If you buy an ‘R’ camera, you buy it for pixels — and lots of them — and images from both the A7R V and A7R VI are detail-rich.

With a stabilized 61MP full-frame sensor, the A7R V had the joint-most pixels in a full-frame camera, along with other Sony models including the A7C R and RX1R III, and some cameras from other brands, including Leica’s Q3 and the Sigma Fp L.

That 61MP sensor was debuted in the even older A7R IV, which is now seven years old (there's an updated A7R IVa still available for less than half the price of the A7R VI). Sony’s latest model has, however, upped the ante with a 66.8MP sensor, and it now leads the pack.

If it’s pixels alone that you’re concerned about, then that might seem like a small bump in resolution, especially when Sony rumors have regularly speculated about a 100MP sensor. A quick look at various Sony forums following the A7R VI's announcement makes it clear that some would-be upgraders are disappointed.

Is an extra 6MP worth upgrading for (read: spending a whole load more cash on)? On the surface, no. However, there’s more to a sensor than its pixels. The new sensor here is a ‘stacked’ type, which means it has a much faster readout speed, making it more capable for capturing fast-moving action and for video recording, with less rolling shutter distortion.

The A7R VI does, therefore, have the highest-resolution full-frame sensor, and it’s a speedy stacked type. It has stepped out of the ‘R’ series lane which prioritized quality, and into the speed and quality category occupied by Sony’s 50MP A1 II, which is slightly faster again but has less pixels.

In my book, the A7R VI’s sensor is the perfect marriage of speed and quality, and it's narrowed the market for the pricier A1 series to top sports photography pros. For everyone else, the A7R VI doesn’t miss a beat.

As for Sony and Canon rivals, their top cameras for detailed images include the Nikon Z8 and Canon EOS R5 Mark II, and those cameras max out at 45MP (as does the Lumix S1R II). Canon has a neat in-camera upscaling trick which quadruples resolution for pictures you’ve already captured to 180MP, but this is achieved by smart (and convincing I must add) upscaling.

2. Performance

• A7R VI: a stacked sensor and new Bionz XR 2 processor / combined AI chip
• A7R V: a regular sensor, Bionz XR processor and twin processor / AI chips
• Canon and Nikon rivals also feature a stacked sensor

The A7R VI’s stacked sensor has a faster readout speed than the A7R V, but Sony says the A1 II is even faster. Until lab testing is done, that’s as much detail as we have, because, unlike some other brands, Sony doesn’t divulge sensor readout-speed specifics.

A quicker sensor readout speed addresses rolling shutter distortion, making the A7R VI a better camera than its predecessor for video and fast-moving subjects when the electronic shutter is in play. Put simply, the A7R VI is more of an all-rounder than the A7R V, but there’s no advantage over the Nikon Z8 and Canon EOS R5 Mark II, which also have stacked sensors.

Following the lead of the Sony A7 V, the A7R VI has a combined Bionz XR 2 processor and AI chip, whereas in the A7R V the processor and AI chips are separate. Burst-shooting speeds are technically the same at 10fps using the mechanical shutter, and up to 30fps using the electronic shutter, but you should be able to squeeze out longer high-speed sequences with the mark VI versus its predecessor.

During my in-depth test of the A7R VI, I found that autofocus performance is marginally better too. It also adds an ‘auto’ subject-detection autofocus mode, meaning you don’t have to select a dedicated subject-detection mode, which is infinitely helpful when you’re regularly swapping between subject types.

The new processor and sensor combine for class-leading dynamic range, at least in theory, which is extended by one stop to 16 stops, with new dynamic range boost settings in the mix. Oh, and image stabilization performance has been marginally improved, measured at 8.5 stops to 8 stops (center) or up to 7 stops (periphery).

3. Battery

• A7R VI: New NP-SA100 battery with 2,670mAh capacity
• A7R V: The NP-FZ100 battery with 2,280mAh capacity
• Canon and Nikon rivals can't match the A7R VI’s battery life

Sony has introduced a completely new battery — the NP-SA100, which is physically bigger than the NP-FZ100 battery used in all of Sony’s full-frame mirrorless cameras for the last nine years. That battery was already legendary, delivering rival-beating capacity, and compatibility with a range of third party accessories such as external monitors.

The new battery is even better. How much better? It has 17% extra capacity at 2,670mAh compared to 2,280mAh. Battery life is one area where the A7R VI beats its predecessor, and indeed its rivals.

The bad news for existing Sony shooters is that the new battery is a different fit and physically larger, meaning there’s no forward or backwards compatibility with the older NP-FZ100 battery. If you’re looking at the A7R VI, your NP-FZ100 batteries are of no use, and additional batteries are going to be an extra cost to factor in.

4. Handling

• A7R VI: larger grip, illuminated buttons, brighter viewfinder, but otherwise much the same
• Both cameras feature a 3.2-inch 4-way vari-angle display and 9.44m-dot viewfinder

The larger battery is housed inside the camera’s grip, which is in turn physically larger than the one in the A7R V. I’m a fan of the larger grip, it’s even more comfortable to hold. Otherwise, the camera’s design is pretty similar to that of the A7R V’s — it’s a game of spot the difference.

Playing that game, I’ve found a few welcome tweaks. There’s a new lamp button on the top plate. Press it, and the control buttons around the body light up. I love this feature for low-light shooting, which makes locating buttons all the easier.

Speaking of lights, there’s also a tally lamp on the A7R VI, which is a handy visual aid letting you know the camera is recording, whereas the A7R V doesn't have one.

The displays are mostly the same. The 3.2-inch 2.1m-dot touchscreen has a four-way tilt hinge — you can tilt it up from the body, or pull it out to the side and rotate it for selfies, for vertical and horizontal shooting at just about any angle. The EVF is again a 9.44m-dot unit, but on the A7R VI it's 3x brighter, and I can attest that it’s an even nicer viewfinder to use — the best I’ve used on a camera this size, and up there with the very best of any camera I’ve used.

On the side of the new camera, each port has its own rigid door now, whereas some share a door in the A7R V. By the way, I much prefer this type of door to the soft doors found in most other cameras, which can get in the way.

5. Price

• A7R VI: Body-only: £4,500
• A7R V: Now £3,000 (launched at £4,000) while the A1 II is £6,200
• Nikon Z8: Now £3,000 (launched at £4,000)
• Canon EOS R5 Mark II: £4,500

Compared to the A7R V, the A7R VI is a pricier upgrade, especially since the A7R V is over three years old, and its price has dropped by about 25%. It started out at £4,000, but can now be had from Sony’s site and other leading retailers for around £3,000.

I’m not surprised by the bump in price, considering the time between the two cameras and the A7R VI's new sensor and battery.

The A1 II is much pricier than either, costing around £6,000, and making the A7R VI look like excellent value by comparison. That being said, Sony’s latest ‘R’ camera costs the same as the Canon EOS R5 Mark II, and is in turn pricier than the Nikon Z8 which is closer in price to the A7R V.

In summary, the A7R V costs significantly less, but the A7R VI gives you more camera, and offers decent value compared to rival models.

Conclusion

I already loved the Sony A7R V, with its 61MP full-frame sensor and speedy autofocus. The A7R VI is, however, better on both the quality and speed fronts, and even plants a foot on A1-series turf.

For me, as someone who shoots a wide range of photography genres, covering anything from landscapes to portraits and sports, the A7R VI is a dream camera, and it now tops my Sony camera wishlist.

Before the A7R VI was announced, I would have opted for Canon and Nikon rivals, given the various compromises in its predecessor, but the A7R VI changes the equation. It's a strong upgrade for a range of photo and video subjects, and could even be worth switching systems for. It also offers superior battery life, and a range of lenses for all budgets that Canon and Nikon owners wish they had. For me, the A7R VI is the professional camera to beat.

I've been snapping away with the Panasonic Lumix L10 for weeks, ever since it was announced on May 12.

You can learn more about the Lumix L10 in my in-depth Panasonic Lumix L10 review, but because I've taken so many photos and videos with the premium compact camera, I thought it apt to share more of my favorites in this extensive photo gallery.

I've included a range of my favorite photos, and they really show what the Lumix L10 is capable of, but they're also simply for you to enjoy (the timing of cute kittens joining our family couldn't have been better)!

For its gorgeous design and powerful features, the Lumix L10 ranks among the best compact cameras. And with its versatile and bright zoom lens, the L10 is, for me, a compelling alternative to popular fixed-lens compact rivals such as the Fujifilm X100VI and Ricoh GR IV.

As the spiritual successor to the LX100 series, and a camera that's packing the latest Lumix tech, I predict the Lumix L10 will be one of the most popular Panasonic cameras in years — it's available in Black, Silver or limited edition Titanium Gold, and I've provided links to today's best deals below.

That's enough about the camera — let's get to the pictures...

Panasonic's latest autofocus

I had to start with the kittens, which were rescued after being found in a neighbor's cupboard (a stray had entered the house, given birth, and left), and which my family is currently nursing!

The Lumix L10 features Panasonic's latest hybrid phase-detection autofocus with subject detection, including humans, animals and more, and it can be fine-tuned for certain species such as cats, with pose detection. The camera pretty much nailed the focus every shot.

A versatile zoom

Unlike other popular premium compact cameras with a fixed lens, the Lumix L10 features a 24-75mm f/1.7-2.8 optic. That's a 3.1x zoom, and I often found myself at the telephoto end of the zoom range.

Below I've included a series of five shots of the same scene at key focal lengths: 24mm, 35mm, 50mm, 70mm and 75mm. A switch on the camera's lens can be assigned as a stepped zoom for quick access to three of the six recognized optical focal lengths, or beyond for digital zoom settings.

Macro focusing

The Lumix L10 can focus as close as 3cm, which sounds super-impressive. However, that's just for the wide-angle 24mm setting of the lens — which is not the perspective I typically go for with macro photography.

With the lens zoomed in to 75mm, the minimum focus distance increases to 30cm, which isn't nearly as impressive. However, the camera can still focus nice and close.

An everyday and travel camera

The beauty of a compact camera like the Lumix L10, which only weighs around 500g, is that it can be with you at all times. It excels as a travel and everyday camera; however, one drawback makes me cautious recommending it for street photography, and that's its start-up time.

The camera itself is lightning-quick in operation, but it features a collapsible lens. That means from starting up, to the lens extending into position, and the camera being ready to shoot, there's a good 2-3 seconds delay, which is fine for many scenarios but less helpful for quick-fire street photography.

Portraiture

The 3.1x zoom lens covers popular focal lengths for portrait photography, while its maximum f/1.7 (24mm) to f/2.8 (75mm) aperture can provide a shallow depth of field to separate subject and background.

With a Micro Four Thirds (MFT) sensor, the full-frame effective depth of field is like having a f/3.4 to f/5.6 aperture. Still, with the right framing, and distance between the camera and subject, and the subject and background, it's pretty easy to get attractive portraits.

Bokeh is nice and smooth most of the time, but if the scene has strong background sunlight I've noticed the unattractive onion-ring effect in bokeh at times, rather than it being smooth (I've included a couple of backlit wildflower photos to give you an idea of bokeh quality). The lens is far from being a specialist portrait optic.

Color profiles and Real Time LUTs

Fujifilm has a solid reputation in this department, but don't overlook Panasonic. A combination of in-camera profiles — which include numerous 'Leica' looks and some new profiles including L.Classic Gold (most of the images below are shot with this new profile) — and Real Time LUTs, which can be downloaded via the excellent Lumix Lab app and used for photo and video, make the Lumix L10 a color powerhouse. As I said in my review, I've never been more tempted to shoot JPEG-only.

Panasonic Lumix L10: Two-minute review

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

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

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

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

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

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

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

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

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

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

Panasonic Lumix L10: price and release date

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

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

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

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

• Price score: 4/5

Panasonic Lumix L10 specs

Panasonic Lumix L10: design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Design score: 4.5/5

Panasonic Lumix L10: Performance

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

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

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

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

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

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

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

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

• Performance score: 4.5/5

Panasonic Lumix L10: Image and video quality

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

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

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

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

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

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

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

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

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

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

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

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

Panasonic Lumix L10 sample gallery

• Image and video quality score: 4/5

Panasonic Lumix L10: testing scorecard

Should I buy the Panasonic Lumix L10?

Buy it if...

Don't buy it if...

Panasonic Lumix L10: also consider

How I tested the Panasonic Lumix L10

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

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

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

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

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

• The Camp Snap 2 is the latest screen-free digital compact camera, designed to provide a simple experience and film-like feel
• It adds a new filter button, similar to the dial on the CS-PRO but with even more options for giving images a vintage look
• The shutter has also been upgraded for faster responsiveness and instant quick-draw shooting

Camp Snap, producer of affordable retro-styled digital cameras, has announced the successor to its mega-viral original Camp Snap camera — the Camp Snap 2.

The original Camp Snap came somewhat out of nowhere to become an unexpected hit. An ultra-affordable compact camera with a tiny sensor and no screen, meaning you couldn’t see your images until after you’d shot them, it proved hugely appealing to consumers looking for a simpler photography experience that evoked some of the feel of shooting film without the ongoing expense.

Since then, we’ve also seen the Camp Snap CS-8, a video camera aping Super 8 camcorders, and the CS-Pro, a slightly upgraded Fujifilm X100-styled version of the original Camp Snap with a higher-resolution sensor and filter dial. But now, we have the mainline sequel to the original camera that started it all: the Camp Snap 2.

So, what’s new? At first glance, not much — this is still a screen-free digital compact with a small 1/3.2-inch sensor that has a resolution of 8MP. Once again this is paired with a fixed-focus wide-angle lens (26mm equivalent), in a camera with fixed exposure settings, a small optical viewfinder and an LED flash. All these things were true of the original Camp Snap.

However, once you dig in a bit further, there are a few upgrades that I really like the sound of. And with the price still tantalizingly low ($69.95 at launch, equivalent to about £52 / AU$97), I think it’s quite possible that Camp Snap is going to have another hit on its hands. I have the camera on my desk now and will be testing it out fully over the next few weeks — but here’s a quick rundown of the key new features.

More filters, faster shooting

The Camp Snap 2 adds a new filter-toggle button, similar to the dial on the CS-Pro but with even more options: six filters by default rather than four. You get: Standard, Vintage 1–3, Analog, and Black & White. I’ll be interested to see exactly what ‘Analog’ means (I suspect it’s going to be grainy). This button comes locked by default as part of the ‘Camp Lock’ feature-set designed to make the camera suitable for children; this is also why the memory card door is screwed in.

Elsewhere, the shutter has also been upgraded. Shutter lag was a common complaint about the original Camp Snap, and the manufacturer promises that the button has been redesigned for an instantly responsive shooting experience. Also, Camp Snap says that while the camera will power-off after a period of inactivity to save battery, you can still quickly draw it and shoot to get the next shot without needing to power-up first.

This, I really like the sound of. One of my gripes with a lot of film-style digital compacts — I discussed it in my RewindPix review — is that auto power-off functionality means they don’t recreate the always-on readiness of analog compacts. If the Camp Snap 2 has fixed this issue, I’ll be very pleased.

Camp Snap says this new version is even lighter than the original Camp Snap, to the tune of a 15% weight reduction (it weighs a slender 108g). It now has a screw thread on the bottom for tripod mounting, and a 30.5mm filter thread on the lens for attaching screw-on filters.

The CS-Pro also has a filter thread, and in my review I was a bit dismissive of the idea that a Camp Snap user would bother to attach a screw-on lens filter. Naturally, someone immediately popped up in the comments to prove me wrong and explain how they bought a cheap mist filter and it really helped enhance the lo-fi filmic look of their images. So, that’s taught me to be a bit more open-minded about how people are using these cameras.

Furthermore, in the release material for the CS2, Camp Snap also not so subtly hints that it’s working on producing its own filters for the cameras. I’m interested to see what comes out.

The Camp Snap 2 is available now in a range of colorways, priced $69.95. I have the natty Sunbeam Yellow version with me now, and I’m looking forward to putting it through its paces for a full review coming soon.

• Peak Design’s new bag series, initially exclusive to Kickstarter backers, is now available to all
• The new range consists of two backpacks, a crossbody sling bag and a duffel-style bag — and the new 2-in-1 backpacks look particularly interesting
• All are carry-on friendly, and compatible with Peak Design’s Camera Cubes

Travelling with photography gear can be a huge pain. Whether you’re someone who carries multiple camera bodies and lenses, or keeps it light with a single slim compact, keeping your gear safe and protected is hugely important and can be a great source of stress.

Step in Peak Design’s new series of travel bags for photographers, funded on Kickstarter and on general sale from today, which looks like it could be a great solution for a host of different types of photographer. The series consists of two backpacks, a crossbody sling bag and a duffel-style bag — and as someone who’s looking for a better travel solution for my cameras, one of the backpacks has grabbed my attention.

The Travel Backpack 2-in-1 ($399.95 / £349.99 / AU$$779.95) consists of a 34L main backpack and a standalone 16L daypack, which can also be zipped into the main bag for a combined 40L of capacity. I’m someone whose gear needs are quite elastic when I travel — on different trips, I’ve been both a ‘two bodies, four lenses’ guy, and a ‘single point-and-shoot’ compact guy. So the idea of a bag that could flexibly accommodate both of those scenarios is massively appealing to me, as is the idea of having a single bag where I could keep everything photo-related in one compartment, and everything else in another.

The rest of the series looks pretty cool too. The Travel Backpack 20L ($199.95 / £169.99 / AU$389.95) is a more straightforward and smaller 20L backpack for those who don’t need the 2-in-1 functionality, with a simple and clean exterior design that’s smart enough to get away with being business/casual, but still packing useful features like an expandable main compartment and a weatherproof shell.

For those using ultra-lightweight travel photography setups — a single slim compact like the Ricoh GR IV or Fujifilm X100VI — the Travel Crossbody 3L ($99.95 / £89.99 / AU$199.95) looks like it could fit the bill. It’s designed to be an essentials-only pouch for nimble, lightweight daytripping, with an eight-pocket internal layout allowing for clear organization, and a clamshell-style opening that makes it easy to pull out and access your camera at a few second’s notice.

And finally, there’s the Travel Weekender 25L ($199.95 / £169.99 / AU$389.95). As the name implies, this duffel-style bag is designed for trips of a few days, but it could also work as a carry-on companion to a larger roller bag, since its dual grab handles and removable padded shoulder strap mean it can be carried in a number of different ways.

All the bags are compatible with standard carry-on dimensions, and can also be used with Peak Design’s Camera Cubes, further isolating and protecting important cameras and lenses.

The Travel Backpack 2-in-1 is the most expensive of the lot, and I think it brushes the upper limit of what I’d be willing to spend on a camera bag. But quality is something you pay for, and I have to admit — I’m tempted.

Kickstarter-funded

Back in March of this year, Peak Design unveiled a Kickstarter campaign for a set of four travel bags for photographers. The series was billed as being designed to meet the hectic demands of modern travel, based on feedback and experience of users traveling with Peak Design’s previous products.

The campaign was a huge hit — as we would have expected. Peak Design funds all of its new products via crowdfunding campaigns, and it’s about as close as you get to a completely safe pair of hands on the crowdfunding platform — TechRadar has previously reviewed multiple Peak Design products, including the 5 star-rated Pro Tripod, the Roller Pro wheeled-case, Slide camera strap and a rugged Outdoor Backpack 25L.

At time of writing, the latest campaign has secured $2,428,996 (about £1,811,168 / AU$3,401,716) from backers who will already be getting their bags. The rest of us will be able to order from Peak Design from today.

Keen on exploring further options? We have an in-depth camera bags buying guide which covers a range of styles and needs for every kind of use.

These days, it’s not uncommon for phones to share two big selling points: a partnership with a trusted photography brand and flashy AI features. The Xiaomi 17T Pro, launched this week in Vienna, is no different, boasting Leica-tuned cameras and fresh new AI skills from Google's text-to-video tool, Gemini Omni.

Of course, Leica is a storied brand with 157 years of history — so how does Omni's presence on the Xiaomi 17T Pro sit with this photography heritage?

At a post-launch roundtable attended by TechRadar, the German camera giant — which has been collaborating with Xiaomi since 2022 — shared its take on the utility of generative AI, and its remarks were decidedly diplomatic.

For context, at the launch itself, Google made a cameo appearance to reintroduce Gemini Omni, which debuted at Google I/O 2026 earlier this month and is available on compatible Android phones, including the Xiaomi 17T series.

On stage in Vienna, Erin Pettigrew, Director of Product Experience at Gemini, generated a postcard-style video of herself enjoying the city’s cafe culture “to send back to [her] friends and family,” presumably because doing so was easier than filming an actual video of herself enjoying Vienna's cafe culture.

Here's what Leica had to say about generative AI tools like Omni:

“The philosophy of Leica is always to create authentic images; real images that really replicate reality,” said Marius Eschweiler, VP of Business Unit Mobile at Leica. “I think there is a little difference between customers who are choosing [to use] a smartphone for taking images [and traditional photographers], and I think we are offering smartphone users a good Leica experience with different Leica modes that are focused on authenticity.

“But there are also use cases [for generative AI], like this cute video postcard Erin [Pettigrew] presented. This is just a different use case. Whether you want to take a serious image or create something with generative AI — I think that’s a different use case. Most likely, you won't see it on a Leica M camera, but I think on a Xiaomi 17T series, it makes perfect sense.”

Leica’s Head of Development and Engineering for Mobile, Pablo Acevedo Noda, was also keen to point out that Leica offers a Content Credentials feature, which embeds a digital signature into photos taken with Leica hardware — including the best Xiaomi phones — to verify their authenticity.

“Adding Content Credentials to photos taken with the phone prevents somebody from tampering with the photo afterwards — [or at least] you’ll know that it has been tampered with,” Noda explained.

“Sometimes, it will be obvious — if you add something special with Nano Banana, for example — but sometimes, it will not be obvious. The metadata will have that information there. That's the important part.”

In a similar vein, Google announced a major upgrade for its Verify AI tool at I/O 2026 to show that it too is concerned about preserving authenticity and combating misinformation (though that feels a little bit like an arms dealer preaching to the masses about gun safety).

The sticky relationship between photography and generative AI has been a topic of conversation for several years now. I’ve asked the likes of Samsung, Qualcomm, and Honor for their thoughts on the subject in the past, and while some of those companies have been looser with their definition of ‘photography’ than others (in the early days of Galaxy AI, Samsung told me “there’s no such thing as a real picture”), most seem to agree that there is a place for generative AI tools in photography, as long as they’re presented to users as a choice.

Of course, there’s a big difference between AI-enhanced photo tweaks and a full-blown text-to-image machine like Gemini Omni, but it’s clear that tech companies are aware of (and in many cases, reacting to) consumer concerns surrounding AI.

My hunch is that Leica — a 157-year-old camera maker — has its own private thoughts about tools like Gemini Omni, but diplomacy prevails when multiple companies are involved in producing a single smartphone such as the Xiaomi 17T Pro. At least we know that Leica’s traditional M cameras are safe from generative AI for now…

For more on Xiaomi’s latest handsets, check out our full Xiaomi 17T Pro review and our dedicated feature on the Xiaomi 17T Pro’s excellent 5x telephoto camera.

Insta360 invited me to a hands-on event for its upcoming Luna Pro and Luna Ultra vlogging cameras, during which time I had the opportunity to test the dual-lens Ultra version and speak with the 360 camera manufacturer's co-founder, Max Richter.

I quizzed Max on everything from branching out into a new market dominated by DJI, to what Insta360's competitive advantages are and how a surprising number of Insta360 fans are using their action cams for photography.

There's still a lot we don't know about the Luna cameras ahead of their full unveil, and I'm restricted with what I can share because of a staggered embargo. Nonetheless, my conversation with Max shed a little light on where the innovative camera manufacturer is heading.

Rivalling DJI

Insta360 and DJI are launching new action cameras and compact video cameras at breakneck speed, seemingly leaving the likes of GoPro behind when it comes to innovation, even if GoPro recently announced its trio of Mission 1 cameras.

The 360 camera space is very much dominated by Insta360, who commands almost 70% market share, despite DJI announcing its own Osmo 360, and GoPro, its Max 2.

And the same can be said for DJI and compact vlogging cameras — its Pocket series has sold by the bucketload for years, the latest model being the Pocket 4, with no obvious competition. That was, until the Luna.

I expect the vlogging camera market to be a tough nut to crack for Insta360, but I believe it has the necessary software to give it a go, and now, finally, the hardware with the new Luna Pro and Luna Ultra.

"Luna is a new space for us, because it's going to be the first time and we actually have a real vlogging tool on the market," Max tells me.

"It's going to be seriously considered by prosumers or professional creators. This market category is quite big already, right? But we think there's space that we bring some new things to it. A little bit of competition to it.

"At the same time, though, what we're not going to do is to compete on the price. It's definitely gonna compete more on the on the product itself. It's a higher-end solution. It's not price competition, we really want to compete on the product."

And how will Insta360 compete on product? For one, the Luna seemingly matches the latest DJI Pocket cameras, at least where headline features are concerned.

The single-lens Luna Pro rivals the Pocket 4, while the dual-lens Luna Ultra, which I am testing, squares up to the upcoming Pocket 4P.

Like DJI, both Luna cameras utilize a 1-inch sensor and 10-bit video recording, while the Ultra features a second 3x camera, as the Pocket 4P will. All these cameras are supported with 3-axis gimbal stabilization, too.

And while Insta360 is coming into this space years after DJI, it now has its five-star Mic Pro wireless mic to rival the DJI Mic 3. So far, the Shenzen-based pair looks evenly matched.

Purely matching DJI while not competing on price is clearly not going to cut it, though, especially for an unproven first-generation product. That's where the Luna's neat modular screen gives it the hardware edge.

I've tested the unique feature, and it is truly brilliant. The rotating touchscreen is part of a removable component which also includes the main camera controls; the zoom lever, gimbal joystick, and record button.

You can use the screen to view and control the camera remotely, complete with subject tracking, giving the impression of having a cameraperson. What's more, the unit is fitted with a microphone, meaning you can view, record, track subjects, and present to camera.

That's what 'competing on product' looks like, and this game-changing feature alone could be enough to tempt first-timers and DJI fans to switch.

Powering the hardware

Insta360 is coming into the space fresh, but behind the scenes, it has long made cutting-edge software the foundation of its camera tech, which is crucial, especially in the 360 camera space.

“The new generation of content creators want convenience, ease of use, simple sharing on TikTok, Instagram, and so on, and that’s where Insta360 excels due to the software excellence,” says Max.

"Software is the key reason why you choose our products. Not everybody has the time to go into the mobile app and edit their videos, reframe the moment — that’s an extra step in the workflow that a lot of people are not willing to spend time on. We think AI will ultimately be a solution to that.

“The software or AI can choose the best moment or the best shot, or even be trained to know what is your preference in terms of editing. It’s getting better and better. I recently used it [Insta360's app] for diving videos when I didn’t have time to do a lot of reframing, but it perfectly got me the right frame on the sharks and turtles and on myself, that I couldn’t have done better in this short amount of time.

"On the hardware side, you’re not able to iterate so fast, but on the software side, I think we can play out our advantage; we can move very fast.

"To be honest, I see camera technology going in this direction. In the future, it will be hard to differentiate yourself on the hardware side; you also need to invest in the software, because the software can also balance out a lot of the hardware deficiencies."

I've personally used Insta360's app for videos shot with its 360 cameras, such as the X5, and can testify how much it simplifies the editing process. The same software is being used for the Luna vlogging cameras and might just take out pain points for editing vlogging content.

Max talked up Insta360's software credentials, but in a way, he's also doing the Luna a disservice — my first impressions of the camera itself are very positive, and it's great to see some competition for the DJI Pocket series.

What is currently unknown is pricing — just how uncompetitive will the Luna be? We'll find out soon enough.

I spent the UK’s sweltering Spring bank holiday outside — getting sunburnt on every inch of my exposed skin and testing the brand-new GoPro Mission 1 Pro. Given GoPro’s history I was expecting an action camera, but was greeted by that and a rugged vlog camera that can handle (almost) any adventure you could throw at it provided you respect its limitations.

The Mission 1 Pro is one of a trio of new Mission 1 action cams and, like the best GoPros that came before it, is ready for action. The Sport POV mode is set up to perfectly capture your perspective as you tackle a mountain bike trail, for example, while subject tracking is ideal for following your partner as they race through woodland or down a slope (keeping them framed in the shot so you have one less detail to focus on).

Plus with the Dive mode and a design that’s waterproof to 66ft (20m) without a housing you can easily capture color-corrected underwater footage as you snorkel. Though for me it just provided some extra reassurance I wouldn’t ruin my camera as I snapped shots while my partner and I paddled around in the water just-off Brighton beach.

My weekend was a lot more relaxed than you might expect for a GoPro excursion, but the Mission 1 Pro still felt like a solid companion.

As I just mentioned its rugged design meant I was never worried about it getting damaged, and that same subject tracking is utilized effectively by its Vlog mode — which in conjunction with its cover screen makes it easy to capture selfie-style video as my partner and I wandered through the city’s tight lanes and gardens.

For pure quality, however, you can’t beat the 8K open gate capture which delivers generally high-quality 4:3 video that can be comfortably cropped to 16:9 or 9:16 based on your needs — or be used to clip 44MP photo stills so you don’t need to take yourself out of the moment to swap between capture modes.

The quiet champion of my days out wasn’t the camera itself, it was a new add-on: the point-and-shoot grip case. The three-part attachment makes it much easier to hold the Mission 1 Pro and use it like any point-and-shoot camera, and it can be picked up separately or as part of the Grip Edition Bundle — which costs $779.99 / £679.99 / AU$1,229.95 for non-GoPro Premium subscribers

Capturing quick shots here and there I felt no pressure to be choosy as I had plenty of battery life to eat through. GoPro promises the Mission 1 Pro’s 2,150mAh Enduro 2 battery can deliver over five hours of 1080p 30fps video (or over three of 4K 30fps) and this translated to me finishing my day with charge to spare — letting me refuel the GoPro overnight so it would be ready to go again in the morning.

Some of the less standard shooting modes, though, will be a bigger hit to your battery. I took a few slow motion clips which ate about 15% of my charge. The upshot, however, are ridiculously impressive frame rates — burst Slow-Mo captures offers up to 10 seconds of 1080p at 960fps capture, working out at 5m 20s playback time at 30fps), plus slightly slower frame rates are available at higher resolution.

These slow-mo shots also clearly exposed a couple of the Mission 1 Pro’s weaknesses: focus and zoom quality.

For some burst slow-mo I captured my partner Izzy moving back and forth on a swing but I didn’t realize I’d zoomed in on the shot — it was only to 1.6x but when watching footage back on my computer it was clear the digital crop didn’t pair well with the 1080p video quality.

My other, standard slow-mo footage of Izzy blowing a dandelion was instead ruined because I got too close to her. I wanted to get a better frame of the seeds drifting away but instead the plant was entirely out of focus — as I realised after the fact that tapping on the screen tunes to auto-exposure and not an auto-focus, and that there are no manual focus controls.

These issues appeared in plenty of my other shots too, especially my photos, as it became clear the point-and-shoot grip might have changed my perspective of the Mission 1 Pro but hadn’t actually changed how the hardware functions.

With the grip attached, I was treating the GoPro Mission 1 Pro like the Canon Powershot V1 I had recently been testing for an upcoming piece, when it isn’t the same kind of beast even if it felt the same in my hands.

That’s not to say the Mission 1 Pro is therefore bad — I think it’s pretty great — and the Grip Edition adds some excellent versatility to the snapper. You just need to respect the fact the Mission 1 Pro is still an action camera at its core: this leads to a rugged design that feels perfect for surviving most adventures, but there are some hardware nuances you’ll need to navigate as you vlog your experiences.

With my lessons learned I plan to keep testing the Mission 1 Pro as I try to crack this camera — be sure to look out for my upcoming in-depth review — but if you’re keen to pick one up today it’s currently up for preorder at various retailers for $699.99 / £599.99 / AU$1,099.95.

Action cams are primarily for video, but how do they fare for photography? It’s an area that leading manufacturers, such as Insta360 and DJI, have been exploring recently with a glut of quirky accessories.

Take the Photography Grip for the Insta360 X5. It transforms my favorite 360 degree action cam into a point-and-shoot — a use case that I wouldn’t necessarily have otherwise considered.

Or how about the optical viewfinder for the Insta360 Go 3S, which is now available in a Retro Bundle? This, again, changes its primary function as a tiny 4K camera into a waist-level stills shooter.

Third-parties are in on the act too — SmallRig makes a cage for the DJI Osmo Action 6, which significantly improves its handling for photography, and our reviewer Sam Kieldsen loved it.

I was curious about these accessories that turn some of the best action cams into point-and-shoots — are they simple novelties, or are they genuinely useful? How suited are action cams really for photography? I had to find out for myself...

Getting a grip

Photography with action cameras is certainly possible, but there’s no doubt that these types of cameras are primarily designed and equipped for video. However, the Insta360 X5 Photography Grip — which costs $49.99 / £47.99 / AU$87.99 and is available in black or white at Insta360's store — certainly improves the camera's handling for photography.

It fixes to the tripod mount on the camera's underside, and connects through the USB-C port — all you need to do is open the X5's USB-C door to 90-degrees and then pull the cover completely off (and find a safe place for it as you'll need it again for regular use!).

The X5's Photography Grip is comfy to hold and features a simple shutter release button. It aids shooting at awkward angles and framing elements such as leading lines, because it’s positioned away from the camera and gives an easy hold to frame shots in vertical and horizontal perspectives.

I especially enjoyed holding the camera vertically with the grip at the top. And given the X5 is fully waterproof (to 16ft / 5m), its lens can be submerged in water too — this very feature enables creative shot such as above and below water simultaneously with the lens half-submerged. (Given the USB-C door needs to be removed to attach the grip, however, you can’t fully submerge the camera with grip because that port is consequently exposed.)

Besides design, many action cameras actually have decent specs for photography; the Insta360 X5 is able to shoot 72MP stills that cover 360-degrees, or 36MP stills in a single lens mode, which was my primary concern with the grip.

Most action cameras have a wide-angle FOV, the X5 even more so. If you want telephoto shots, then action cams aren’t for you, period. However, for scenes that feature a point of interest close to the camera, they can offer truly dynamic perspectives. The X5 specifically has Ultra, Dewarp and Linear options — the latter corrects image distortions and was my top pick for everyday photography.

And the latest action cameras typically major on attractive color science, such as the Insta360 Ace Pro 2 with its Leica-inspired looks (for which there's an Xplorer Grip Pro kit like the one SmallRig makes for DJI, which costs $99 / £99 / AU$180). The X5's range of color profiles, however, are much more limited, but it can shoot in RAW format to make color grading easier after the event. I'd like to see more photography-first features added by a firmware update.

Action cameras are also small and discreet, making them somewhat suited to street photography. So, with its wide-angle perspective, waterproof design and small body, the X5 with grip can actually be a surprisingly powerful every day photography camera. That said, it needs to process photos faster too to be taken seriously as a stills camera.

A niche accessory worth trying?

The Insta360 X5 will still primarily be a video camera for me. The same can be said for the Insta360 Go 3S even with the cutesy optical viewfinder that comes in the new Retro Bundle (and which can be purchased separately if you already own the camera).

However, don’t write these cameras off for photography, especially action cams such as the Ace Pro 2 and DJI Osmo Action 6, which are better equipped for stills. If you want an altogether different use for your action camera, and enjoy shooting a wide perspective with the freedom of a small, lightweight and rugged build, you might just discover a new niche with the help of one of these accessories.

I’m not the only one trying action cameras specifically for photography, with these new accessories; photographer Geit Eero has demonstrated the Xplorer Grip Pro kit in action on Instagram (see above).

Peruse the links above for the best deals on the weird and wonderful world of action cam photography accessories — you might just find a new use for your action cam.

Would you use a GoPro, DJI or Insta360 action camera for photography? Do these accessories sway your thinking? Have your say in the poll and comments below.

Like many photographers, filmmakers and tech journalists, I’ve picked up a Lumix camera at various times in the 25 years since Panasonic started making cameras.

I’ve reviewed countless Lumix cameras and lenses down the years, and decided to part with my own cash for a Lumix GH5 to level up my video quality just before moving to East Africa in 2015.

I've used that camera for multiple video projects, and 10 years on, paired with a 12-60mm f/2.8-4 Leica lens, it’s still my go-to camera for my product photos, which you can see in my reviews and other articles on TechRadar.

To commemorate 25 years of Lumix cameras in my own small way, I decided to buy another model, the Lumix G1, which was in fact the very first mirrorless camera ever made — at 18 years old, it even predates TechRadar, and this is our first proper write-up about it!

The Lumix G1 was a true innovation, marking a new era of cameras that would eventually replace the best DSLRs, and which dominate the market today. Was it easy to find one? Surprisingly enough, it was.

A vintage bargain

My original idea to mark 25 years of Lumix was to buy the very first Lumix camera, the DMC-LC5 compact. However, after many hours of fruitless searching I diverted my attention to the OG mirrorless camera.

I quickly found a secondhand Lumix G1 for just £41 at MBP (about $50 / AU$90), or double that with an original 14-45mm kit lens. If I was willing to pay a little extra, I could get the camera in what I’d describe as a dark shade of red instead of the original black.

Given that these cameras are 18 years old, there are very few excellent-condition models still available, so I settled for a ‘well-loved’ version.

I wanted the authentic experience rather than using my own 12-60mm Leica lens, so I bought the camera with the original kit lens. A few days later, the gear arrived in an original box with all the original accessories — there was even the user manual on a CD.

Back when the Lumix G1 was launched, proper plug-in battery chargers came as standard — and the original charger was in the box too, which was a novelty, because these days you don’t typically get a charger with USB-C-ready cameras. And I got all of this — camera, lens, charger and all original items — for just £80. Bargain.

Once the battery was charged and inserted, I connected the camera and lens, and got a feel for the DSLR-style body. The immediate downside to a camera of this age and design is that the exterior was sticky and peeling in parts — not a particularly pleasant experience.

On turning the camera on, I was greeted with an old-school white background menu with vintage typeface and a time / date set page, with the year set to 2008 — yes, the Lumix G1 is a full 18 years old! Numerous hits of the D-pad later, with the correct time and date set, I was ready to go.

Despite its age, there’s a familiarity about the way the Lumix G1 feels and handles, though there are exterior controls that feel somewhat quirky 18 years later, but which offer an insight into what features were all the rage of that time — for example, there's a 'film mode' button for color profiles aped today by Fujifilm, and an autofocus mode dial. That said, camera design really hasn’t moved on that much, and I felt immediately at home handling the G1.

They don’t make ‘em like they used to

So what about the technology inside?

What Panasonic did well when it started out making micro four thirds mirrorless cameras was to give us compact-sized models that made the most of the ‘half-size’ sensor format.

With its DSLR-style design (read: viewfinder hump), the Lumix G1 was larger than other Lumix models such as the GF series and legendary GM1, but nonetheless it feels small, and the pronounced grip fits in the hand comfortably.

The range evolved over the years, and quite literally grew in size as more features were added, and the Lumix G1 better realizes the micro four thirds concept than, say the Lumix GH7.

The electronic viewfinder is understandably quite small and basic, but it’s still what I like to use to compose images in bright light. The vari-angle screen is not touch-sensitive, which certainly makes the Lumix G1 feel somewhat primitive in 2026.

Menus, therefore, need to be navigated using the camera’s buttons, including the function button for the quick menu. I might have missed a trick, but by my reckoning it takes a four-step process of tapping different buttons to access exposure compensation, which became tedious after prolonged use.

Thankfully, for the most part, the menus in the Lumix G1 are refreshingly simple. I suppose that’s because it has less going on versus the feature-rich Lumix cameras of recent years. But in a way, it’s feature set is not so different.

You might expect autofocus speed to be archaic, but honestly the contrast detection-based AF still felt pretty snappy in good light, easily latching on to most subjects, and it was decent enough even in low light.

Sure, there are fewer autofocus points, and the percentage coverage across the frame is smaller compared to today’s models, but autofocus was generally reliable.

And get this: there’s human subject-detection autofocus, and it works pretty well. Leading brands are still tinkering with advanced subject-detection autofocus 18 years later, throwing ‘AI’ into the mix covering pose recognition for humans, animals, and more, but the truth is that the foundation for this tech has been around for many years — and the Lumix G1 is proof of that. It's autofocus is simpler than today's mirrorless cameras, but sufficient for everyday photography.

Enough for the everyday

The camera packs a 12MP micro four thirds sensor (aka MFT / M43), a megapixel count which 18 years later is more than doubled by flagship cameras in this format — the top micro four thirds cameras like the Lumix G9 II offer 26MP, and a high-res mode that can quadruple that resolution.

Picture quality isn’t just about pixels, though, and the Lumix G1’s sensor is also pretty dated in terms of low-light performance, with an ISO sensitivity range of just ISO 100-3200 — yes, it tops out at ISO 3200.

Low-light quality is the main drawback of the micro four thirds format versus full-frame mirrorless models which came several years later (but were predated by full-frame DSLRs), especially in earlier models such as the Lumix G1.

Still, a pop-up flash is handy at a pinch for party portraits, with manual exposure control for attractive fill-flash effects. And I dig the overall quality — many of today’s cameras recreate vintage effects with various color profiles, whereas here every photo as a dated look to it.

Burst-shooting speeds are understandably much slower than the latest cameras, and I’m not about to take the Lumix G1 to my kid’s sports day. Its top speed is just 3fps, a rate that the camera can sustain when shooting JPEGs until the card is full. Add RAW format into the mix, however, and the camera slows up after just a couple of seconds.

After using the 14-45mm lens exclusively, I decided to throw my cheap Olympus 45mm f/1.8 portrait lens into the mix — after all, lens choice and cross-brand compatibility was and is the beauty of the micro four thirds system, even if you don’t always get the full suite of features when mixing and matching brands.

The 45mm f/1.8 was typically the second lens that Olympus (now OM System) users would purchase, and it leveled up the quality of my portraits and other shots with its improved light-gathering capabilities. Aesthetically, the camera and lens pairing still look the part too.

Are old cameras worth it?

For me, cameras are a bit like cars. Vintage models, such as the Lumix G1, have a certain rough-around-the-edges charm about them that has been lost with modern design and increased capabilities.

Sure, the Lumix G1's capabilities pale in comparison to, say, the Lumix G9 II, which is the latest version in the series. That camera has an incredible suite of features, including Panasonic’s hybrid phase-detection autofocus and blazing-fast performance.

For all the Lumix G9 II’s excellence, however, I’m charmed by the original model. Of course, I wouldn’t use it for serious work or once-in-a-lifetime trips like I would the current day model. But for photographing the everyday, I’ve enjoyed reaching for the Lumix G1, and I’ve been loving taking photos just for the fun of it.

The Lumix G1 is still a decent beginner camera all these years later — and it's available secondhand for a ridiculously low price. So, in the spirit of celebrating 25 years of Lumix, I toast Panasonic for producing the mirrorless camera that started it all, and for all the cameras it has given us down the years.

Insta360 might be the dominant force in 360 cameras, but the brand just stepped out of its lane in a major way — and muscled into DJI territory — with its first vlogging camera, the Luna.

The Luna rivals DJI’s unique Pocket series of gimbal-stabilized 4K vlogging cameras. With no obvious competition, the DJI range has sold by the bucket-load for years. But with Insta360 adding its own unique features, could DJI see some proper competition at last?

I’ve been testing the Luna ahead of its official launch, and while I can’t share everything I know about the Luna yet, nor any sample footage I've taken, there are a few details I can reveal. First up, Luna comes in two varieties, the single-lens Luna Pro and the dual-lens Luna Ultra, which are clearly set to rival the DJI Osmo Pocket 4 and the recently teased / soon-to-be launched Pocket 4P respectively. Both Luna versions are available in black or white colorways, and the pricing is yet to be confirmed.

I’ve been using the dual-lens Ultra version which, like the Pro version, features a 1x main wide-angle f/1.8 lens and 1-inch sensor — that’s the largest sensor in an Insta360 yet, and matches DJI — but also adds a 3x telephoto camera.

Users can punch in with that telephoto camera for a 6x lossless zoom — meaning that there should be no obvious degradation in image quality — and up to 12x with a digital zoom, a total of five zoom steps.

We don’t have concrete details of the DJI Osmo Pocket 4P yet, but from the early teasers it seems as though DJI is taking the same dual-lens approach as the Luna Ultra, so the rivalry is about to get real. Who gets there first with a world-first dual-lens vlogging camera, we’ll have to wait and see.

Naturally, the Luna cameras are supported with 3-axis gimbal stabilization like the Pocket cameras. In another first for Insta360, they offer 10-bit color depth and an I-Log color profile, again matching the specs of the DJI Pocket (though which one has the better-looking footage is another matter).

All of the above suggests that Insta360 is ready to go toe-to-toe with DJI, but that’s not even the most exciting part about the Luna.

The feature that DJI wishes it had

The Luna has a modular design party trick that DJI wishes it had: a multi-function removable screen, and it’s brilliant. You simply press in buttons on either side of the screen to release it from the camera body, and then you can see what the camera is seeing remotely, complete with the record, zoom and joystick controls.

Here’s where things get really clever — the Luna’s removable screen features a built-in microphone, so you can use it to remotely view yourself, compose the shot, and present to camera.

What’s more, the Luna features subject tracking. With a double tap on the screen of your intended subject, the camera will then track them, keeping them centered in the frame as they move about.

Pair those features — a removable screen with microphone and subject tracking — and you truly can be a one-person show, gaining the impression of a cameraperson tracking you as you walk around the scene (though of course you will need to find a suitable surface to rest the camera body on or mount it to a support).

The removable screen is such a neat feature, especially for solo creators, but also when you’re traveling with friends or family and would like to take selfies.

What makes the Luna even more compelling as a DJI Pocket alternative is that Insta360 has recently launched new accessories, including the recent Mic Pro wireless mic (see above), which we awarded a maximum 5 out of 5 rating in our review. These excellent accessories mean that you don’t need to mix and match brands to get top quality video and audio — Insta360 now has its own complete ecosystem for vlogging.

Yes, DJI has been making vlogging cameras for longer than Insta360 and I expect it to continue dominating the space for some time — reports suggest the Pocket 4 took a huge 72.5% of total video camera sales in Japan last month, despite it being launched in the third week of the month — in the same way that DJI launched its own Osmo 360 to rival Insta360, but Insta360 still has almost 70% total market share. However, the Luna might just do things differently enough to persuade first timers or DJI fans to switch.

I’m excited to share more Luna details with you when the full embargo lifts. But what do you make of the features I have been able to share — game-changer or gimmick? How does the Luna look compared to the Pocket 4? Have your say in the comments below.

• Meet the GoBirding Vision Master Smart AI Spotting Scope
• It's the world's first with AI hardware, and it can shoot 4K video
• Subject detection, autofocus, and bird identification also feature

Spotting scopes are traditionally a wildlife and bird watching essential, offering a stable and highly magnified view of distant subjects — much greater than monoculars can — but little has changed in these devices for decades. That was until now.

Meet the GoBirding Vision Master Smart AI Spotting Scope — it looks just like a regular spotting scope, only it's equipped with AI hardware and a host of handy tools that could change wildlife and bird watching.

Following in the footsteps of the premium Swarovski Optik AX Visio binoculars, which we have tried and tested, the Go Birding AI spotting scope has 'industry-leading AI recognition' and can identify up to 10,000 species of birds.

It will do this with the ability to record 4K / 30fps video, 1080p / 120fps slow motion video, and 8MP photos (RAW & JPEG), with a 30x optical zoom that can be digitally extended to 120x, supported by actual optical image stabilization for clear (tripod-supported) viewing and recording.

There's also subject detection autofocus that's supposedly able to track fast-moving subjects, and you'll be able to view and share the spotting scope's image through a connected device loaded with the Go Birding app, potentially making wildlife watching a shared experience even in the field (see images below).

Put simply, GoBirding Vision Master Smart AI Spotting Scope is the world's first 'smart' spotting scope.

The future of spotting scopes?

As far as spotting scopes go, the GoBirding Vision Master Smart AI Spotting Scope offers a decent high-magnification view and is fitted in a standard-size body, though at 800g it is about twice the weight of similar devices, given its unique built-in image-making skills.

Traditional scopes are for viewing only, and you need to attach a separate camera to the eyepiece using an adapter to capture the device's view — also known as digiscoping. Go Birding, however, features a 1/2.7-inch sensor and direct photo and video recording.

The device is made by Chinese optical manufacturer Apexel, and features a 13x eyepiece magnification, 15mm eye relief, 38.2-degree exit pupil FOV, and a focusing range of 2m to infinity. In simple terms, the telephoto end of the optical zoom is equivalent to the 900mm focal length.

The display is actually a 0.49-inch OLED type with 1080p, not the optical type you get with traditional scopes, which could be a dealbreaker for some. On the flipside, however, the device will wirelessly connect with a smartphone or tablet through the Go Birding app (for iOS or Android), meaning multiple (simultaneous) ways of seeing what the spotting scope is viewing.

There's a built-in 6,300mAh battery, which provides up to 6 hours continued use / 72 hours standby — another potential dealbreaker for long trips versus battery-free types — but at least it supports 2-hour fast charging.

The GoBirding Vision Master Smart AI Spotting Scope is currently in a crowdfunding phase. Its estimated price is $699-$999, with an expected launch date of late August 2026. Backers do so at their own risk.

We are currently testing the device and will report back with how it fares in the field, together with any further developments on pricing and availability. We're keen to see if this is indeed the future of bird watching, and if it could replace superzoom bridge cameras or some of the best wildlife cameras for the wholesome hobby of bird watching and photography.

Are you a keen bird watcher? What do you make of the new AI spotting scope? Feel free to vote in the poll above and have your say below in the comments below.

When Sony invited me to try the new Sony A7R VI, naturally, I leaped at the chance to handle a camera that we just rated five out of five stars in our recent review. The camera wasn't the only thing I wanted to try, however, as the brand was also debuting the rather eye-catching FE 100-400mm F4.5 GM OSS — a lens that looks to offer serious reach for birders or sports photographers alike.

Such reach, alongside the A7R VI's impressive 66MP resolution, should be a birders' dream considering the camera's rather ridiculous cropping potential. Couple that with the brand's latest autofocus? Even a street photographer like me has no excuse for not nailing the shot anymore.

The Sony 100-400mm f/4.5 GM currently retails for €5,000 / £4,400 (AU$ TBC), so it's not a cheap lens by any stretch. According to Sony, it's aimed at the Professional/enthusiast crowd, straddling the middle-ground between 'amateur' and the brand's highest-end professional glass.

When I saw this lens, I immediately thought it was a like-for-like upgrade to the prior FE 100-400mm F4.5-5.6 GM OSS, released back in 2017. That's not the case, however, as this new lens features not just a constant aperture, but also improved autofocusing capabilities according to Sony.

In the hand, the 100-400mm f/4.5 is a hefty specimen, but it's surprisingly lightweight for a telephoto of this size. Sony stated that they were deliberating between making this one either an f/4 or an f/4.5 constant aperture, but they chose the latter because of its substantial weight savings.

At 1,840g, I think they made the right choice here. Considering just how good the brand's BSI full-frame sensors are, you're not losing much light-gathering capacity with a half-stop of aperture. The lighter weight, however, should pay dividends when lugging this lens out and about in the field.

A few other things I really liked about this lens are the well-thought-out FN buttons scattered around the barrel of the lens, which offer plenty of customization options. The support for 45mm drop-in filters at the base of the lens is also a nice touch, meaning you don't have to fork out for massive 95mm front filters.

A great pairing with the Sony A7R VI

There is an old adage that gear doesn't make the photographer. Certainly, that's true, but if there's anything that can help you nail that telephoto shot, it's got to be this lens in combination with the Sony A7R VI.

I have to admit, I'm a relative beginner when it comes to bird photography. I could not even tell you the difference between a coal tit and a great tit. I can tell between a duck and a goose, but only just.

Even I was able to get some good shots with the 100-400mm f/4.5. In the hands of a pro, the possibilities here are surely expansive.

At 400mm, the lens features impressive reach, but it's in combination with the A7R VI's 66MP sensor where it truly shines. With such cropping potential, you can reach far beyond an APS-C crop here - upwards of 100% zoom, in fact.

This is where the lens's constant f/4.5 aperture also comes in handy, in that you still get a decent level of background separation at the most extreme end. While the bokeh can still get a little busy, it will be smoother than the f/5.6 featured on the older 2017 lens.

I didn't have much time to test this lens in the field, but from my short experience, it was a very potent combination. I still missed a few shots (mostly due to my own failings), but I was definitely surprised at how sharp the images were at such extreme crops upon inspection in post. Again, there's serious potential here for experienced birders.

Excellent autofocus, too

Everyone knows the Sony A7R VI is a beast when it comes to autofocus, but this lens is arguably just as impressive. Throughout my session, I tried quite a few lenses, including higher-end GM primes, and I was surprised that the hefty 100-400mm f/4.5 didn't lag behind any of its siblings.

Sure, when compared to something like the stunning FE 50mm F1.2 GM, the 100-400mm f/4.5 is not quite as rapid, but it is surprisingly close. In my brief testing, focus acquisition was extremely impressive when paired with the new A7R VI. Even on a busy basketball court, the lens had no trouble tracking faces and action with the camera's admittedly excellent human-priority focus mode.

Again, I'm reminded of the previous gear adage, but really, with equipment this good, it really is so effortless to nail a shot - this is action and bird photography on easy mode. From my few hundred-or-so test shots, I had an impressive hit rate, and the images from the basketball scene in particular rendered with impressive sharpness thanks to the lovely light conditions.

For a full assessment, I'd need to properly judge low-light performance as well as distortion, aberration, and so on, but this lens definitely impressed me from my initial hands-on.

There's an open nature reserve with a wetland, encircled by woodland, about a 10-minute drive from my house, and it’s one of my favorite places to go running. Sunrise on a cold morning here can be magical for photography too — the sun-kissed mist hovering over the water makes for dreamy conditions.

Throughout the year, the nature reserve attracts a range of migratory and rare species of birds, making it a popular spot for birding — people will drive a good hour or more to visit with their long lenses, spotting scopes and binoculars.

I've never tried serious bird photography myself, chiefly because I'm way too young for that (joking), but also because the longest lens I've ever owned is a 70-200mm, which doesn't get me nearly close enough.

Recently, however, I had the chance to test Sony's longest lens, the FE 400-800mm F6.3-8 G OSS, and the idea of trying bird photography suddenly became very appealing.

I paired the super-telephoto zoom lens with the new Sony A7R VI. My logic was that the camera’s stellar bird-detection autofocus skills, blazing-fast shooting speeds of up to 30fps, and 66.8MP stacked sensor were perfect for bird photography when armed with the 400-800mm focal length.

One visit led to another, and before I knew it, I was out the door at 5am every morning, gear in hand.

I had just found my new hobby. It happened a few years earlier than I care to admit, but why resist the inevitable? Yes, I'm now into birding, and I have this incredible Sony camera gear to blame.

The super-supertelephoto lens

When I first saw Sony’s 400-800mm lens in 2024, I thought it was a peculiar focal length. But after my bird photography testing, it feels like the perfect range for this genre.

For most bird photography — in the wild at least — you’ll want a focal length of at least 600mm to get close enough, but I found that even longer, at 800mm, was my most-used setting.

I wouldn’t want an 800mm prime lens, mind you, even if that meant benefitting from a slightly faster aperture. When you're locked in on a bird at 800mm, and it moves, which it will, it can be tricky to locate them again. That’s why quickly zooming out to 400mm is handy.

With a wider perspective at 400mm, you can locate the subject more easily, and then zoom back in again. In any case, about 10% of the time, the 400mm focal length was actually the better pick when I was lucky enough to get physically close.

Optical image stabilization is handy, smoothing out camera shake and consequently making this lens totally usable handheld. The focus range limiter is neat too, but I tended to keep the focus range set to 'full' given the birds could be located any distance from me at any point — in one spot, there are gauze bushes next to a boardwalk.

The one thing against the lens is its maximum aperture, which is f/6.3 at 400mm and reduced to f/8 at 800mm. I usually opted for a 1/1000sec shutter speed at 800mm to freeze action, and at f/8 in anything but good light, you’ll find ISO needs to be bumped up, which impacts image quality.

Depth of field is not an issue, though. At 800mm and f/8, backgrounds are delightfully blurred, just about all of the bird is in sharp focus, and the photos looks great.

An upshot of the limited maximum aperture is that the lens is much lighter than Sony’s professional fast-aperture telephoto primes, such as the 600mm F4, and it’s much, much cheaper, too. For amateur bird photography, I think the 400-800mm F6.3-8 is the practically perfect lens.

The speedy, highly detailed camera

If the 400-800mm F6.3-8 is the ideal lens for bird photography, the A7R VI proved to be its perfect partner. Like its predecessor, the camera features subject-detection autofocus with a dedicated option for birds, but it adds an auto option, which is handy when you’re regularly switching between subjects.

For bird photography, however, I selected the dedicated AF mode on the assumption that this could help improve the camera’s scan rate, with less in the scene for it to be looking for — after trying both options, I would advise you to do the same.

I also tried bird photography with the 400-800mm lens and the older Sony A7R V, and it felt like autofocus was slightly slower compared to the new camera. I don’t have numbers to back this up or give a measurable difference, just my experience.

I was impressed by how the camera could latch onto birds even when they filled just a small portion of the frame. Check out the example below — the A7R VI easily located the distant male stonechat.

With continuous burst shooting set to 10fps using the mechanical shutter, bird-detection autofocus in play, camera and lens image stabilization active, I had a dream setup, on the foundation of a high-resolution stacked sensor and extreme dynamic range.

Sony says the A7R VI has a 16-stop dynamic range, which is 1-stop more than the A7R V and most other professional cameras. It also has the most pixels in a full-frame sensor — all 66.8MP of them.

What I appreciated about the high-resolution sensor was the ability to crop into images where the subject filled a small portion of the frame, even when shooting at 800mm.

Just how much can you crop? Well, the camera's APS-C crop mode (1.5x) is still 28MP, and in that mode the 800mm setting of the lens effectively looks like a 1200mm lens (see the sequence above at 400mm, 800mm, and 800mm with the 1.5x crop mode). It's possible to crop in much more than that and still get a detail-rich image, especially for images displayed on mobile devices. You might not need such big files in terms of output, but for bird photography, being able to crop is supremely helpful.

The birdlife

That’s the gear covered — but how was my experience itself? I had an absolute blast — in the space of a week, I went from a complete novice to confidently identifying a range of bird species for inquisitive passersby impressed by the camera gear in my hand. Yep, I had become one of those guys.

The nature reserve is home to a wide range of birdlife. My very first snaps were of Canada geese on the water, mainly because the light and mist were magical. But venturing further along the boardwalk, I saw ground-nesting birds and more.

There were Chats, Finches, Woodlarks, and I even saw a family of Dartford Warblers. I tuned in my ear for birds; the car alarm-like shrill of a Lapwing and the peculiar call of a Curlew — I was told that I was looking at the only nesting pair in this county. Common Cuckoos were present too, though I never got the camera tracked onto one of those.

I photographed European Stonechats who had caught dragonflies and grubs, and watched a Reed Bunting go back and forth gathering nest-building material. The delightful contrast of a (European) Goldfinch amidst the pale green leaves of a birch was spectacular.

Seemingly, it was my time — I was becoming a bird enthusiast. I had given in to the inevitable. I was hunting for birds, enjoying the thrill of getting the shot, but with a camera and not a rifle.

And honestly, it was the most fun I'd had with the camera in ages. This didn't feel like work, but something that fed me. And, yes, I did ask Sony to extend the loan of the lens, because I wasn’t ready to give it back. Once I bid farewell, I’ll be looking into buying a super telephoto zoom lens of my own (but I'm not quite ready for a bird spotting journal...yet).

Interested in trying bird photography out for yourself? Check out our selection of the best wildlife photography cameras.

• We're getting closer to the launch of the DJI Osmo Pocket 4P
• Official images of the camera have been posted by DJI
• A lot of the key details about the device are still to be confirmed

Following the launch of the DJI Osmo Pocket 4 vlogging camera last month, we're getting closer and closer to the full unveiling of its premium sibling — and DJI has given us our best look yet at the Osmo Pocket 4P on social media.

Posts to X and Instagram reveal the design of the device in full, more or less. We can see the dual-lens camera setup, which is one of the key differences from the standard model, and there are hints towards 3x zoom and a 1-inch sensor.

The camera was shown off at an "exclusive preview" at the Cannes Film Festival yesterday, but we're still waiting on a lot of details. Some festival attendees have been showing off the camera, without revealing any specs or showing any footage captured by the device.

What we can say is that this is going to be a step up from the standard Pocket 4 in terms of video quality and price, and its tease at Cannes is a sign that DJI wants to promote this as a serious bit of equipment for movie-makers.

The waiting game

There is now an official press release, but again it's light on specific specs. We do hear the camera is capable of "professional-grade storytelling" and offers 10-bit D-Log2 color performance, which industry creatives will appreciate.

The press release also talks about better portrait, zoom, and low-light performance, so it sounds as though DJI has put everything it can into the DJI Osmo Pocket 4P. However, pricing and configurations "will be announced at a later date", DJI says.

This long build-up of hype hasn't sat well with some commenters on Reddit, who have dismissed the Cannes tease as "pure marketing fluff" with "zero real details". We'll have to wait and see if the camera ends up being worth the extended wait.

Meanwhile, Insta360 is busy getting ready to launch the Insta360 Luna Ultra, with its own dual-lens camera setup, 8K video recording, and a detachable, remote control dashboard, according to the latest leaks.