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

Sony A7R VI: Two-minute review

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

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

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

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

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

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

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

Sony A7R VI: price and release date

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

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

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

• Price score: 4.5/5

Sony A7R VI specs

Sony A7R VI: Design

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

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

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

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

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

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

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

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

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

• Design score: 5/5

Sony A7R VI: Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Performance score: 5/5

Sony A7R VI: Image and video quality

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

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

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

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

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

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

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

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

• Image and video quality score: 5/5

Sony A7R VI: testing scorecard

Should I buy the Sony A7R VI?

Buy it if...

Don't buy it if...

Sony A7R VI: also consider

How I tested the Sony A7R VI

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy it if...

Don't buy it if...

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

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

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

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

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

First reviewed April 2026

Vantrue Pilot 2: two-minute review

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

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

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

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

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

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

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

Vantrue Pilot 2 dash cam: price and availability

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

Vantrue Pilot 2 dash cam: specs

Vantrue Pilot 2 dash cam: Design

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

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

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

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

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

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

Vantrue Pilot 2 dash cam: Performance

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

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

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

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

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

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

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

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

Should you buy the Vantrue Pilot 2 dash cam?

Buy it if...

Don't buy it if...

How I tested the Vantrue Pilot 2 dash cam

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

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

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

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

• First reviewed April 2026

Thermal Master P4: 30-second review

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

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

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

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

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

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

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

Thermal Master P4: price and availability

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

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

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

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

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

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

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

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

• Value score: 3.5/5

Thermal Master P4: Specs

Thermal Master P4: Design

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

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

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

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

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

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

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

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

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

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

Design score: 3.5/5

Thermal Master P4: User experience

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

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

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

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

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

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

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

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

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

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

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

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

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

• User experience score: 3.5/5

Thermal Master P4 Camera samples

Thermal Master P4: Final verdict

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

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

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

Should I buy a Thermal Master P4?

Buy it if...

Don't buy it if...

Also Consider

DJI Osmo Pocket 4: One-minute review

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

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

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

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

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

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

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

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

DJI Osmo Pocket 4: price and release date

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

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

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

• Price score: 4.5/5

DJI Osmo Pocket 4: specs

DJI Osmo Pocket 4: Design

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

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

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

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

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

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

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

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

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

• Design score: 4.5/5

DJI Osmo Pocket 4: Performance

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

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

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

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

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

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

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

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

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

• Performance score: 5/5

DJI Osmo Pocket 4: Image and video quality

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

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

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

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

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

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

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

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

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

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

• Image and video quality score: 4.5/5

DJI Osmo Pocket 4: testing scorecard

Should I buy the DJI Osmo Pocket 4?

Buy it if...

Don't buy it if...

DJI Osmo Pocket 4: also consider

How I tested the DJI Osmo Pocket 4

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

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

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

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

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

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

Panasonic Lumix ZS300 / TZ300: two-minute review

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

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

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

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

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

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

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

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

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

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

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

Panasonic Lumix ZS300 / TZ300 specs

Panasonic Lumix ZS300 / TZ300: Price and availability

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

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

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

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

• Price score: 3/5

Panasonic Lumix ZS300 / TZ300: Design

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

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

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

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

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

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

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

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

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

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

• Design score: 3.5/5

Panasonic Lumix ZS300 / TZ300: Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

• Performance score: 3.5/5

Panasonic Lumix ZS300 / TZ300: testing scorecard

Should I buy the Panasonic Lumix ZS300 / TZ300?

Buy it if...

Don't buy it if...

Also consider

How I tested the Panasonic Lumix ZS300 / TZ300

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

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

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

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

• First reviewed April 2026

Lomography Lomo MC-A: two-minute review

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

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

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

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

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

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

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

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

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

Lomography Lomo MC-A: price and availability

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

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

Lomography Lomo MC-A: design

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

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

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

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

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

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

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

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

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

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

Lomography Lomo MC-A: performance

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

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

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

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

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

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

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

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

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

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

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

Should I buy the Lomography Lomo MC-A?

Buy it if...

Don't buy it if...

How I tested the Lomography Lomo MC-A

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

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

First reviewed March 2026

Birdfy Bird Bath Pro: one-minute review

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

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

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

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

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

Birdfy Bird Bath Pro: price and availability

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

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

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

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

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

Birdfy Bird Bath Pro: specs

Birdfy Bird Bath Pro: design

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

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

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

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

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

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

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

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

Birdfy Bird Bath Pro: performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Should you buy the Birdfy Bird Bath Pro?

Buy it if...

Don't buy it if...

How I tested the Birdfy Bird Bath Pro

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

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

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

• First reviewed March 2026

Aura Ink: review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Aura Ink: price & release date

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

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

Aura Ink: specs

Should I buy the Aura Ink?

Buy it if…

Don’t buy it if…

Aura Ink: also consider

How I tested the Aura Ink

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

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

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

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

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

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

GoPro Lit Hero: two-minute review

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

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

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

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

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

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

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

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

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

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

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

GoPro Lit Hero specs

GoPro Lit Hero: Price and availability

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

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

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

• Price score: 3.5/5

GoPro Lit Hero: Design

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

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

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

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

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

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

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

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

• Design score: 4.5/5

GoPro Lit Hero: Performance

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

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

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

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

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

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

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

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

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

• Performance score: 3.5/5

GoPro Lit Hero: Image quality

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

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

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

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

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

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

• Image quality score: 3.5/5

GoPro Lit Hero: testing scorecard

Should I buy the GoPro Lit Hero?

Buy it if...

Don't buy it if...

Also consider

How I tested the GoPro Lit Hero

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

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

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

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

• First reviewed February 2026

Fujifilm X-T30 III: two-minute review

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

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

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

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

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

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

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

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

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

Fujifilm X-T30 III: price and release date

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

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

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

Fujifilm X-T30 III: specs

Fujifilm X-T30 III: Design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fujifilm X-T30 III: Performance

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

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

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

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

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

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

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

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

Fujifilm X-T30 III: image quality

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

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

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

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

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

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

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

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

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

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

Fujifilm X-T30 III: testing scorecard

Should I buy the Fujifilm X-T30 III?

Buy it if...

Don't buy it if...

Fujifilm X-T30 III: also consider

How I tested the Fujifilm X-T30 III

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

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

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

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

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

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

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

Fujifilm Instax Mini Evo Cinema: Two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fujifilm Instax Mini Evo Cinema: price and release date

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

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

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

Fujifilm Instax Mini Evo Cinema: specs

Fujifilm Instax Mini Evo Cinema: design

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

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

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

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

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

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

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

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

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

Fujifilm Instax Mini Evo Cinema: performance

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

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

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

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

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

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

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

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

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

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

Sample photos – 1930 through to 2020

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

Sample video – 100 years in a minute

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

Should I buy the Fujifilm Instax Mini Evo Cinema?

Buy it if...

Don't buy it if...

Fujifilm Instax Mini Evo Cinema: also consider

How I tested the Fujifilm Instax Mini Evo Cinema

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

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

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

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

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

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

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

Miofive Mirror 1: two-minute review

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

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

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

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

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

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

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

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

Miofive Mirror 1: price and availability

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

Miofive Mirror 1: specs

Miofive Mirror 1: Design

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

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

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

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

Miofive Mirror 1: Performance

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

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

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

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

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

Should you buy the Miofive Mirror 1?

Buy it if...

Don't buy it if...

How I tested the Miofive Mirror 1

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

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

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

• First reviewed February 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

Viltrox AF 85mm F1.4 Pro: specs

Viltrox AF 85mm F1.4 Pro: design

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

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

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

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

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

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

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

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

Viltrox AF 85mm F1.4 Pro: Performance

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

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

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

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

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

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

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

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

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

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

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

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

Buy it if...

Don't buy it if...

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

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

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

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

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

First reviewed February 2026

Canon PowerShot Elph 360 HS A: two-minute review

Several camera brands are riding the wave of sudden popularity in compact digital models that we’ve seen over the past couple of years. I suppose we should have seen an uptick in interest coming, once photographers started using smartphone cameras for ‘serious’ work, and while the format has never truly vanished completely, the humble compact seems to be returning to the mainstream.

The Canon PowerShot Elph 360 HS A (known as the Ixus 285 HS A outside the US) is indistinguishable from its predecessor, the ‘A’ in the name being the only external feature that can be used to tell them apart. The biggest internal differences are the replacement of a full SD card slot with a microSD type, which is either an advantage or a nuisance, depending on how you look at it. Apart from some minor changes to Wifi security, that’s about it when looking for ‘new’ features. So, in short, if you didn’t like the 2016 version, which went viral because of TikTok and that fact Kendall Jenner has one, the 2025 edition is unlikely to be for you.

Image quality is perfectly acceptable for point-and-shoot uses which, let’s face it, is the main reason you’d buy a compact camera in the first place. It isn’t going to win awards for critical sharpness or low light performance like it’s big brother the Canon EOS R6 Mark III, nor is it going to become a Netflix filmmakers tool, like the Nikon ZR, but it provides maximum portability and a practical solution for casual travel photography.

Its 20.2MP 1/2.3-inch sensor is back-illuminated, which goes some way to improving signal-noise ratio in reasonable lighting, but it falls short once the ambient lighting levels drop. Images are fairly mushy under interior lights, where the ISO must be raised above 400.

I’m glad Canon didn’t feel tempted to squeeze on more pixels, which is something many smartphone manufacturers do to grab the headlines, as any more would have been a step too far in my opinion. The flash doesn’t help much as it’s small and not very powerful, plus it tends to bleach detail, creating an ugly exposure fall-off inherent to direct flash photography in darker environments.

However, you’ll probably find this flash effect is one of the reasons for people to buy the camera. It’s an incomprehensible reversal of consumer aspirations for image quality, but the ‘disposable camera look’ of the 80s, 90s and 2000s is to Gen-Z what honey is to ants. Images from cameras such as this are edgy and original to this age group, while to mine (millennials and others with more grey hairs than they’d like generally known) they bring a wash of nostalgia.

The zoom is very handy, supported by a surprisingly effective image stabilization (IS) system that keeps shots steady as low as 1/25sec at the long end of the focal range in my tests. The screen, meanwhile, isn’t super-detailed but matches the baseline quality of the files the sensor is capable of turning out.

All-in-all, the Canon PowerShot Elph 360 HS A / Ixus 285 HS A is a fun, trendy, and highly usable compact camera that, as long as you buy it with realistic expectations, is sure to bring you joy and great memories.

Canon PowerShot Elph 360 HS A specs

Canon PowerShot Elph 360 HS A: Price and availability

• Released September 9 2025
• Canon PowerShot Elph 360 HS A costs $379.99 / £369.99 / AU$549
• The camera is currently sold out in most markets due to high demand

The Canon PowerShot Elph 360 HS A is available for $379.99 in the USA. The camera is sold as the Canon Ixus 285 HS A in the UK and Australian markets and can be found for £369.99 / AU$549 depending on the retailer.

Due to the incredible demand for the camera, many resellers are currently out of stock in most markets, with back-ordering often available.

• Price score: 4/5

Canon PowerShot Elph 360 HS A: Design

• Small and compact body which is easy to carry in a coat pocket
• There is no touchscreen LCD, which seems and odd omission
• Telescopic 12x zoom lens closes to a flat profile when the camera is off

On picking up the Canon PowerShot Elph 360 HS A you realise you’d forgotten how impressively small compact cameras could be, despite their sometimes exceptional zoom ranges. Compared to an interchangeable lens camera, or even the average smartphone, this Powershot camera is positively tiny. It comfortably fits in a coat or trouser pocket and, unlike a smartphone, the lens is conveniently folded away behind a protective shutter, reducing the possibility of scratches.

Despite its diminutive proportions, the camera is easy to handle. All of the buttons are within easy reach of the thumb and can be pressed comfortably. Most of these are recessed into the camera body, making it less likely to press them by accident - always a potential issue on a device that lives in your pocket, but without the protection of a locked touchscreen.

For someone with larger hands such as myself, it can be a challenge to hit the right button on the first attempt without knocking its neighbours, since they are all so close together. I didn’t encounter too many occasions where I was required to work quickly with the PowerShot though, so it didn’t prove too inconvenient.

The mode switch on the top right of the body, next to the shutter button, makes it simple to flick between Automatic and custom shooting modes, although there aren’t too many of those. The Auto mode is the basic point-and-shoot mode for stills and video, but by navigating through the menu system, it’s possible to switch the camera into Program mode for more manual control.

Just as on higher-end cameras, Program mode looks after the shutter speed and f-stop, but enables the user to select the ISO along with color profiles and other more custom settings. There is no Tv or Av modes like you might find on the main dial of a Canon EOS R8, or even the entry level mirrorless Canon EOS R100, however, so you are reliant on the internal light meter to do its job well.

The middle position is the Creative Shot mode, which curiously shoots five additional frames each time you fire the shutter, each one having a different effect applied. I guess this is a quick way to capture unique shots for social media, but the effects themselves are questionable.

Finally, Hybrid Auto captures a short video ahead of the final still photo, creating a sort of behind-the-scenes style clip that could be used to accompany an image in an Instagram Reel or on TikTok. You can tell it’s this user demographic the Elph 360 HS A is aimed squarely towards.

The main LCD isn’t especially mind-blowing, not least because it isn’t touch-sensitive. I understand this keeps the cost down, but in the smartphone age it seems a strange omission. I guess it really leans into the ‘blast from the past’ theme and while I was unhappy at first, I quickly grew accustomed to going without. In fact, I ended up enjoying the neo-vintage effect this created and suddenly, I was back in High School again. Technology-wise, the 2000s were literally simpler times.

The resolution can’t keep up with many of the most recent smartphones and tablets, at approximately 461,000 dots, and images do look a little washed out. Even magnifying the preview image doesn’t reveal much about the sharpness and contrast of the saved file. However, shots from this camera aren’t meant to be seen up close or in-print, so the screen is good enough for checking the basics of composition and exposure, in anticipation of sending your images to the web.

The new microSD memory card format might bug some users, especially if you have a collection of full-size SD cards in your collection. However, since many potential buyers will be coming from a smartphone anyway, it shouldn’t be too unfamiliar. If you buy a microSD card with an SD adaptor, you can enjoy the best of both worlds should you need to re-use it in a larger format camera.

• Design score:4.5/5

Canon PowerShot Elph 360 HS A: Performance

• Relatively limited 180-shot battery life
• Integrated optical IS system is very effective in low light
• Rapid autofocus with subject tracking
• No RAW file shooting capability

Despite having a smaller sensor and often lower resolution than interchangeable lens cameras, compacts also regularly suffer from reduced processing power, caused by the use of a derated version of a processing engine found in higher-end models. This keeps costs and size down, but negatively impacts performance, including startup times. Thankfully, the Canon PowerShot Elph 360 HS A doesn’t lag too much, and takes only a couple of seconds to be shot-ready from pressing the power button. There weren’t any instances where I felt I had missed a shot because the camera wasn’t ready. It’s impressive for a model in this price bracket.

Similarly, there isn’t excessive buffering after each shot, perhaps helped by the fact you can only shoot JPEGs, with no RAW mode available. This limits maximum file size, but the result is still a sporty camera with respectable reflexes. There’s more of a delay after a burst of images, namely in the Creative Shot mode where a sequence of six shots is created in one go, putting the DIGIC 4+ processor under more strain.

The iSAPS (Intelligent Scene Analysis based on Photographic Space) technology is said to improve the performance of the white balance, autofocus, and auto exposure systems – the camera put in a reasonable performance on all fronts.

The AF system isn’t up to the standards of the Dual Pixel CMOS AF system seen in cameras like the Canon EOS R5 Mark II or EOS R10 or even the PowerShot V1. These models not only provide full phase-detection AF capability, but also have far more latitude for customization of subject sensitivity and tracking behavior. That said, the PowerShot Elph 360 HS A isn’t slow to focus, especially in good light.

It was able to pick out details in the landscape, at both wide and long focal lengths with minimal hunting, and rarely did I find it had back or front-focused. It struggled more at close focusing distances, using the Macro shooting mode. I couldn’t get the camera to find the area of the subject I wanted it focus on, and so it took several attempts to guide it in the right direction. I didn’t expect much else since even dedicated macro lenses can show their AF weaknesses at minimum focus distance. Moreover, the 1cm working distance is praiseworthy.

The zoom range is a reason alone to buy the camera over using a phone. It offers a full-frame equivalent of a 25-300mm lens – a 12x optical zoom. This covers both standard-wide and telephoto lengths. The zoom travel is rapid and smooth, making in-clip zooming possible during video shooting, although the internal mic does pick up the noise of moving components. Within about five seconds from hitting the power button, I was racked out at the longest focal length and focused on my subject.

AF tracking isn’t the camera’s strong point, especially at these telephoto settings. But once again, it’s good enough for the types of scenarios you’d be using such a camera. The AF points aren’t as thoughtfully spaced and positioned as on an enthusiast-level camera, and they rely on a contrast detection-based system, which is always going to be slower and more prone to hunting. This is particularly noticeable in low light, and on a couple of occasions the camera failed to focus entirely.

• Performance score: 4/5

Canon PowerShot Elph 360 HS A: image quality

• The sensor is smaller than on smartphones such as the iPhone 17 Pro
• Low-light images feature quite heavy detail loss through noise reduction
• The lens is sharp and can reveal good detail at lower ISO settings

That 1/2.3-inch sensor is significantly smaller than the unit found on the latest iPhone, which is of the 1/1.28-inch format. It’s hard to imagine that phones have overtaken compact cameras in this way, but it’s also important to remember that the iPhone starts at around $1,100 while the Canon PowerShot Elph 360 HS A retails for about $379. That’s a pretty big price gap. Yes, the iPhone isn’t a dedicated photographic tool, but it’s a technology powerhouse and one of Apple’s flagship products. The PowerShot is a proverbial drop in the ocean in the percentage it contributes to Canon’s yearly turnover.

Even with a 20-megapixel resolution, the pixels are fairly small, with an approximate pixel pitch of 1.19 micrometers. This limits their light-gathering capacity, which you can see in the signal-noise ratio from ISO400 and above. At the lowest sensitivities the situation is much better, and outdoors the resolution is rather good. It’s under these conditions that you get to see what the lens is capable of, and it impresses in its sharpness. I was especially enamored by its micro contrast, which lends a great deal of texture to stone walls, tree bark and other granular materials.

In flatter tones like the sky, or smooth areas of berries and other glossy surfaces like car paintwork, noise is far more noticeable – it isn’t as effectively hidden amongst subject texture. By ISO800 the mushiness starts being hard to ignore, and at around ISO1600 colors take on a washed-out, insipid character.

Auto White Balance is fairly accurate, although it is readily confused by saturated color in the frame. Under mixed lighting it will tend to favor one end of the kelvin scale or the other. However, it will then cope unexpectedly well under interior lighting. Exploring the corridors of a 14th-Century castle-turned-hotel, there wasn’t a lot of external light penetrating the small windows in the three foot thick stone walls, so the low illumination and warm artificial light posed a great challenge – true for any camera.

The PowerShot Elph 360 HS A managed to figure out the fluorescent lamps and warm-toned walls, preventing over saturation without unpleasantly neutralizing everything by adding too much blue. A fantastic result for a point-and-shoot camera with limited color control.

Dynamic range, meanwhile, suffers quite a lot from the pixel size, and it doesn’t take much before the photosites are saturated and clipping of the highlights starts to occur. This is even more of a problem in the absence of RAW capture although, while you can actually retrieve a decent amount of shadow detail, once the highlights are blown there’s nothing to bring back.

Video is limited to FHD, although I was surprised once again by the quality in difficult lighting. Grain is definitely visible, but footage can look fantastic. For the TikTok generation, whose buying habits are responsible for bringing the camera back in the first place, it could be genuinely useful.

I must also give a special shoutout to the IS system, which demonstrated it could be remarkably effective at reducing camera shake. There were multiple cases where I tapped the shutter release, audibly heard the length of the exposure duration and instinctively went to delete the resulting shot, confident it would be unusably blurry. But to my surprise, there was very little.

In summary, the Canon PowerShot Elph 360 HS A is a fun little camera to use, that keeps the compact camera flame burning. It’s limited in its capabilities, but it does what it is designed to do very well: taking the joy of an ultra-portable camera and de-coupling it from your phone’s myriad other functions.

• Image quality score: 3.5/5

Canon PowerShot Elph 360 HS A: testing scorecard

Should I buy the Canon PowerShot Elph 360 HS A?

Buy it if...

Don't buy it if...

Also consider

How I tested the Canon PowerShot Elph 360 HS A

• I tested a full production model over the course of a week
• I tried the camera in a range of lighting conditions, including low light
• Images were viewed at 100% on-screen and processing applied to assess detail extraction possibilities.

I ensured the camera was tested in some of the harshest lighting conditions it could be presented with, to see how it coped at the extremes of its design. I took it into the dark interior of a castle, which relied heavily on fluorescent lights, creating pools of contrast. I used the camera at every ISO setting and, although I could not alter the aperture, I used every focus length to test the sharpness continuity.

I shot in Auto Mode, Creative Shot Mode, and Program Mode to explore how these impacted the user experience. I used the Low light Mode and compared the images to those where I had applied more manual control over the exposure settings.

I then processed some sample images to see how much detail could be recovered from the shadows, although the shots that appear here are unedited out-of-camera Jpeg.

• First reviewed January 2026

Viltrox AF 28mm f/4.5: one-minute review

I mean, the pictures don't do justice as to how impossibly small the Viltrox AF 28mm f4.5 lens is. It's a true body cap lens – meaning that you can have it on your Sony, Nikon or Fujifilm mirrorless camera at all times with no real footprint, ready to go for quick wide-angle snaps.

On several occasions throughout my couple of months with what is the tiniest lens I've ever tested, I thought I had lost it, quite literally mistaking it for a body cap in my gear bag (I was testing multiple lenses at the time).

Yet despite the Viltrox AF 28mm f4.5's minuscule proportions – it measures just 15.3mm in length and is a featherweight 60g – it features autofocus and has a respectable f/4.5 fixed aperture. That's way faster than other body cap / pancake-style lenses I've tried, such as the Panasonic 26mm f/8.

Oh, and did I mention that center detail is surprisingly sharp? That'll be the 6 lens elements in 6 groups crammed inside, two of which are ED and another two being aspherical optics.

Quality falls off somewhat at the corners and lens flare is notable. So if you're looking for technical perfection and supreme versatility, then the fixed focal length, fixed aperture Viltrox AF 28mm f/4.5 is not for you. What it is, though, is a memorable lens that I'm confident you will grow fond of, and by heck is it cheap.

Viltrox AF 28mm f/4.5: price and availability

• Available in Sony E, Nikon Z and Fujifilm X-mounts
• It costs $99 / £90 / AU$169, but Viltrox regular discounts its lenses by 15%
• There's currently no indication of Canon RF or L-mount versions

The Viltrox AF 28mm f/4.5 first hit the scene for Sony E-mount in September 2024, and has since been launched in Nikon Z and Fujifilm X-mount versions. I wouldn't expect a Canon version since the camera giant sued Viltrox and those bridges feel burned (Nikon is next). Viltrox has joined the L-mount alliance, however, so there could be an L-mount version for Panasonic, Leica, and Sigma cameras – this could be a great pairing with the Lumix S9, for example.

The list price at the Viltrox store and trusted retailers is $99 / £90 / AU$169 (see links to the best prices, below). The 28mm f/4.5 is great value at full price, although I regularly see Viltrox doing site-wide discounts of its lenses, typically around 15% off. I've seen the lens for even less at cheap Chinese import online stores.

I usually include an Also Consider section in my reviews, but being available in three mounts there are too many alternatives to sensibly feature individually. For Nikon cameras, the Z 26mm f/2.8 is one possible, but it's 5x the price, while the 24mm f/1.7 DX (for APS-C) is around 2.5x the price – both are bigger than the Viltrox lens.

Fujifilm has its own XF 27mm f/2.8 R WR, which again costs much more than the Viltrox, plus the wider XF 23mm f/2.8 which was announced alongside the X-E5.

Sony makes a wider-angle 20mm f/2.8, while other third parties include TT Artisans with its AF 27mm f/2.8, which is much like Fujifilm's aforementioned 27mm lens for a much lower price.

For more options, check out my best Sony lenses and best Nikon lenses guides. Let me know in the comments below if a best Fujifilm lenses guide would interest you.

Viltrox AF 28mm f/4.5: specs

Viltrox AF 28mm f/4.5: design

This is a playful lens, with plenty of quirks that won me over - one being the slide lens cap, which protects the otherwise non weather-sealed lens from damage. It's just as well the lens cap is built-in, really, because a removable lens cap would be the tiniest of them all, no bigger than a dime. I would give myself less than a week before losing such a thing.

And there's nowhere to click a lens cap on in any case – there's no thread for lens filters, which is normally where a clip-on lens cap sits. Nope, it's the neat slide lens cap only, which I heart.

I was honestly surprised that Viltrox was able to fit such a small, but more so, low-cost lens with autofocus. Sat alongside those electronic contacts (which provide full communication between camera and lens for autofocus, plus metadata) is a USB-C port, which makes future firmware updates possible.

On the note of focusing, there's another surprise on the flip side – there's no manual focus option whatsoever. No, this is an autofocus lens only – so you're reliant on your camera's autofocus skills.

Thankfully, I found autofocus performance with my mid-range Nikon full-frame camera to be snappy with the lens – but that's hardly a surprise given how lightweight the 6 tiny lens elements are.

I suppose adding a focus ring for manual focus would increase the bulk of the lens and water down its charm, but it was the feature I missed the most as autofocus can miss the mark occasionally. It's helpful to take control at such times.

Minimum focus is 1.05ft/0.32m, which makes for a 0.11x maximum magnification. In short, the lens's close focusing skills are fairly limiting for such a wide-angle lens. The ability to focus closer is a close second on my wishlist for this lens.

I don't mind the fixed f/4.5 aperture, though – that's right, you can't stop down to increase depth of field. For me, f/4.5 is a decent all-purpose aperture with a full-frame camera – it's shallow enough to blur backgrounds (when your subject / focus distance is close), and deep enough for sharp detail when your focus distance is further. What it's less ideal for, however, is low-light photography.

As you can see in the product photo above, the Viltrox AF 28mm f/4.5 lens tucks in neatly on a full-frame camera. In fact, the grip on the Z6 II camera I was using for this test is deeper than the lens.

For me, Viltrox's body cap-style lens makes more sense being paired with a smaller camera than the mid-range model, above, and even more sense with an APS-C model rather than full-frame. I'll explain why in a moment.

It's currently made for Sony E, Nikon Z, and Fujifilm X-mount versions, so the kinds of slimline cameras that would suit the lens include the Sony ZV-E10 II / A6700, Fujifilm X-E series / X-M5 and the Nikon Z30 / Zf series. Lumix users will surely hope that an L-mount version is forthcoming, especially since Viltrox joined the L-mount alliance last year.

Viltrox AF 28mm f/4.5: Performance

As for image quality, I have been pleasantly surprised. Detail is nice and sharp in the center. You'll find plenty other even sharper premium primes, but with a little additional sharpness applied in Adobe Camera Raw, I'm not complaining here at all. On the contrary, I'm impressed.

Sharpness falls off at the corners somewhat, and there's heavy vignetting in the corners, which again benefit from corrections in post. That said, those two notable lens distortions direct the gaze in the center of images and can add character, and as such I've avoided heavy-handed lens corrections and leaned into that style with my sample pictures.

It's these corner lens distortions that also make a strong case for using the Viltrox AF 28mm f/4.5 lens with an APS-C camera, as most of its image quality foibles (technically-speaking) fall outside the 42mm effective frame.

I've not used the lens with an APS-C camera, but if that were all I had done, I'd be even more impressed by the optical quality as those heavier distortions would be outside the frame. And, that tighter perspective with APS-C makes it a compelling everyday lens – you'd never need to take it off the camera.

The same sentiment for corner quality can be said for lens flare. Viltrox itself bills the starburst effect as a draw to this lens – it's a pronounced and a little over the top at times, but again, I'm filing this under characterful rather than ugly.

I've been able to get a couple of light leak affects to when shooting towards the sun, too. These are the kind of effects that could do well in 2026 and beyond, where authentic and lo-fi images are trending over technically perfect ones.

The 'flaws' I've drawn out in this review are worth noting, but take them within context; this is a tiny, sub $100 lens. Design drawbacks and optical quirks only add to the charm of a lens that I'm very fond of.

Should I buy the Viltrox AF 28mm f/4.5?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 28mm f/4.5

• Viltrox sent me the Z-mount version of the lens
• I paired it with a full-frame Nikon Z6 II
• I've tested the lens over a couple of months, in a wide range of scenarios

I had plenty of time to use the Viltrox AF 28mm f/4.5 lens – at least two months. I paired it with a full-frame Nikon camera, but haven't used it with an APS-C model.

Being a fixed focal length, fixed aperture lens, my testing didn't get bogged down in aperture comparisons and distortion at various focal lengths – I was freed up to use this lens in a very real way.

I've shot everything from portraits to landscapes and everyday observations. I've used the lens in good light and bad, and shot towards and around the sun / strong light sources to check for lens flare characteristics.

First reviewed February 2026

Wandrd PRVKE V4 bag: Two-minute review

I've tested plenty of the best camera bags over the last 15 years (seriously, I've got quite the collection), but only recently got my hands on Wandrd gear for the first time. Of course, I had to start with the established American accessory maker's best-selling PRVKE, which is now in its V4 version.

It's a stylish roll-top backpack, available in seven muted colors and three sizes, with an optional cube insert designed to stow camera gear.

Wanting a slimline day pack, I opted for the mid-size 21L version in 'Sedona Orange' – the boldest look of the lot – with the cube insert. There's an even smaller 15L version (the only size in the range with the camera compartment built-in) or a larger 31L size. Wandrd has seemingly ditched the 41L size from the previous version of the PRVKE.

I also picked up the D1 fanny pack (also in Sedona Orange) at the same time, to complement the bag for essentials.

What I particularly appreciate about the PRVKE V4 is how good it looks without the usual camera bag tell-tale signs. No, this looks like a regular roll-top bag that I see so often on commuter trains in the UK, and a particularly stylish one at that.

Inside, however, I could pack several thousand dollars/pounds worth of camera gear (in the 'Essential Camera Cube'), squeeze in my 17-inch MacBook Pro, and fill a number of the small zipped pockets with accessories such as charging cables.

And there's still space in the open third at the top, which is accessed through the roll-top, for day items such as a sweater and tupperware container.

It took me a little while trying out the various compartments with my gear, seeing what combinations would easily fit in the cube, and at first, I wasn't convinced I had picked the right size for my mid-range mirrorless camera and lenses.

However, with a little endeavor, I squeezed in my mirrorless camera with lens attached, an additional lens, and various accessories, including a small LED light panel.

I've happily used the PRVKE V4 21L for commuting and day trips, although it'd be a stretch using it for a weekend – I reckon the 31L version (which I haven't tried but has the same layout) would be ideal for that.

The PRVKE V4 truly looks the part – I really like the wide choice of muted colors it's available in, which now total seven in all, especially the orange that I went for – but it's also practical too.

The shoulder straps and back are lined with a padded mesh, making a long day of lugging gear a comfortable experience.

On one side, a stretch pocket easily holds a water bottle or tripod, with an additional strap to secure taller items. On the other side, a zip pocket accesses where the cube sits – directly to your camera gear. Not all of today's discreet camera bags offer such direct access to gear, so points to the PRVKE V4 there.

I like the handle on the top, too, with the two straps fixing to each other magnetically. They make picking up the bag a breeze, as does the additional handle on the back, which can conveniently slot over a suitcase handle for air travel.

The PRVKE V4 is not quite perfect, mind you. I found dirt a little sticky on the smooth back of the bag, and the roll-top design isn't the most weatherproof. I don't think all of the pockets are necessary either, but that might not be true of the next person.

It's also a shame that the key camera gear accessory – namely the cube insert – is a pricey extra for what is already a relatively expensive bag (15L aside, which has the camera compartments fixed in place).

Overall, these are minor drawbacks for what is clearly a well-designed backpack. I can easily see myself relying on the 21L bag for days out, commuting, and, with the cube removed, even a weekender pack. If you want a weekend bag with camera gear, I'd recommend the 31L version instead.

There's a reason the PRVKE has proved such a hit these last few years, and now, in its updated V4 form, I'm glad to have joined the party. This will no doubt be my go-to day bag for the foreseeable future.

Wandrd PRVKE V4: price and availability

• Available in 15L, 21L and 31L versions
• There are seven muted colors to choose from
• Prices start at $234 / £207 (Australia availability and pricing vary), the camera cube costs extra

The Wandrd PRVKE has been available for a number of years, and this review is of the current V4 version.

The PRVKE V4 can be purchased in one of seven muted colors at the Wandrd store: Black, Aegean Blue, Wasatch Green, Yuma Tan, Sedona Orange, Rhone Burgundy, and Atacama Clay. It's available in three sizes: 15L, 21L, and 31L – the smallest is the only one to feature a camera gear compartment. Here's a breakdown of the prices:

The 15L version costs $279 / £246 (no need for an optional cube insert), the 21L bag only is $234 / £207, and the 31L bag only is $254 / £224.

The Photography bundle includes the Essential Camera Cube and adds $85 / £74 to the cost of the 21L and 31L versions, while the Pro photography bundle includes the larger Pro Camera Cube and add $120 / £105 to the cost. Those accessory prices are a little steep in my opinion.

The former version of the PRVKE bag also came in a larger 41L version, which is still available at various retailers for around $273 / £242.

Wandrd PRVKE V4: specs

Should I buy the Wandrd PRVKE V4?

Buy it if...

Don't buy it if...

Also consider

How I tested the Wandrd PRVKE V4

• I had the 21L version of the PRVKE V4, with the 'Essential' cube insert
• I used the PRVKE for over a month, mainly as a day or weekend bag

Wandrd arranged a long-term loan of the PRVKE bag for me – the 21L version with cube insert.

I've used the PRVKE as my primary bag for commuting, simple day trips, and the occasional weekender.

It has stored a range of my camera gear – from mid-range mirrorless models with a couple of lenses, to smaller vlogging gear with a range of accessories such as LED lights. I've also stored a 17-inch MacBook Pro inside.

Throughout my testing, the bag has been subject to inclement weather and used in a range of environments, including large cities. This is a true long-term review.

First reviewed January 2026

Kodak Charmera: Two-minute review

It took me a while to get my hands on the Kodak Charmera – such is the viral popularity of this $30, 30g keychain digital camera, that it sold out on its release day late last year (with what felt like minimal advertising), and it only came back in stock as I publish this review a month later. Who knows, it might be out of stock again by the time you read these words.

And I can see the appeal – the Charmera is cheap, tiny, retro, it’ll easily fix to your keyring, and it’s an actual working camera with a screen.

What's more, there are six 1980s-inspired colorways, plus a limited edition see-through version, and you don’t know which version you’ll get since it comes in a 'blind box'. That’s got gift idea written all over it.

When I unboxed mine, cue disappointment – the black version with rainbow frontage – the one pictured on the box that appealed to me the least. Still, inside the box, a nice poster, a collector card, and a small charging cable.

I charged the Charmera up and slotted the thumb-sized camera into my pocket where it would live for the following weeks.

The Charmera shoots tiny 1.6 megapixel JPEG photos and HD video (1400 x 1080p at 30fps) through a fixed 35mm f/2.4 lens, has seven photo filters and four animated borders to choose from, stores onto micro SD (which needs to be purchased separately), and has a (predictably) tiny internal battery that is recharged through USB-C.

There’s a tiny 16:9 LCD screen with live view that in practice is even smaller given that images are captured in 4:3, a miniscule LED light that illuminates closeup subjects, and possibly the smallest viewfinder I've ever used, which is novel and in a way works.

Honestly, that’s about all the features and design aspects worth knowing about, but what is the Charmera actually like to use?

Menus are simple enough to navigate; turn the camera on, and you select either photo, video, or set date using the three buttons on the rear, with the playback button doubling as select.

The power button doubles up as a back button, and then there's the shutter button to shoot photos and video. It takes barely a minute to figure this all out.

Everything about the Charmera is tiny: a tiny thumb-sized body, tiny screen, tiny images. And it's actually kind of fun to shoot with...in the moment. I was certainly charmed by the Charmera, and I think many others will be too.

It's when you plug the camera into a computer or hook up the memory card to view any images taken with the Charmera that the warm fuzzy feeling quickly vanishes.

The Charmera's photo quality is about the worst I've seen from a digital camera in my lifetime – and I've been shooting digital since consumers could, when 16MB memory cards existed (yes, megabytes).

With a resolution being a truly retro 1.6MP and a barely existent dynamic range, photos are more impressions than anything else. A collection of pixels, pieced together.

And that's me commenting on the regular color profile. Use any one of the monotone filters, and things get super abstract.

Photos are like one of the novel, abstract filters you get with a decent digital camera. I guess such dated quality could charm some. For me, it screams short-lived novelty; for others, it could be the camera they always have with them.

My own gripes aside, I also think that the Charmera is so small and so distinct, that I'll keep it on me every day for the months to come.

It's a conversation starter. A whimsical capturer of moments (assuming it's tiny battery isn't flat when you pull it out of the pocket – that'll happen).

The Kodak Charmera certainly ain't good quality. But that's hardly the point, is it? This is a cheap, charming retro gift for the photography lover in your life, that should get more use than a foot spa or marmite-scented deodrant (the UK's most unwanted Christmas gift for 2025). That's the hope from me as someone who hates waste.

The Charmera is far from being one of the best compact cameras, even the best cheap compact cameras, but I don't expect that to slow down its sales.

Kodak is killing it right now with multiple best-selling cheap cameras – like the recent Ektar H35N half-frame film camera, and the PixPro C1 – and the Charmera could just be the pick of the pack in terms of concept (not quality). It's a marketing masterstroke. Who knew a keychain camera could be so popular?

Kodak Charmera: price and availability

• Announced in November 2025 and sold out in a day
• Priced at $30 / £30 / AU$54.95

The Kodak Charmera costs $30 / £30 / AU$54.95 for a single 'blind box', or you can buy the whole set of 6 for $180 / £180 to guarantee getting each colorway. There's a 1 in 48 chance of scoring the limited edition transparent version.

Scalpers have been selling the Charmera for extortionate prices, and some retailers have bumped the price a little, but you should be able to pick up the Charmera for its fair, original price through one of the links below.

Kodak Charmera: specs

Should I buy the Kodak Charmera?

Buy it if...

Don't buy it if...

Also consider

How I tested the Kodak Charmera

• I got the Charmera last year and it's mine to keep
• I've used it sporadically over a couple of months
• I've tried the various color filters and animated borders

I'm not going to dig into technicals of how I've tested this novel point-and-shoot camera. In short, I've rattled off hundreds of photos in good light and bad, played with the various color filters and shot short video clips. Image quality is predictably bad, but short battery life is particularly unfortunate.

First reviewed January 2026

Camouflage EZ BirdFeed 1: one-minute review

If you’ve ever struggled to identify the birds visiting your garden, or want a better view of your feathered visitors, the Camouflage EZ Birdfeed could be the exact gadget you’re looking for. This smart bird feeder not only captures photos and videos of visiting birds, it can also identify a whopping 11,000 species, which on its own makes it a candidate to be one of the best bird feeder cameras you can buy.

Thanks to the Bird Lover app, you can keep an eye on visitors live and via alerts, thanks to the feeder's Wi-Fi connectivity. You can also connect to the bird feeder remotely when you're away from home.

Set-up and installation of the EZ Birdfeed are simple. Beyond needing a drill and a screwdriver, you get everything you need to mount the bird feeder in your garden. You don’t even need to position the EZ Birdfeed close to your Wi-Fi router because running on the 2.4GHz band means it will work over reasonably long distances, and I was pleasantly surprised in this department.

Image quality produced by the EZ birdfeed isn’t going to win any awards, but it’s good enough, and on a par with other smart bird feeders. Most importantly, it will give you a clear and intimate view of feathered garden visitors from the comfort of your sofa, without running the risk of scaring the birds away.

Camouflage EZ BirdFeed 1: price and availability

• Attractive mid-range price
• Comes with an installation kit
• Available from multiple retailers

The Camouflage EZ Birdfeed was announced during the summer of 2024, and the price of the birdfeeder has come down nicely since then to £139. I checked for availability of the birdfeeder in the United States and Australia, but could only find it on sale in Europe from multiple online retailers.

The EZ Birdfeed comes in a kit with everything you need to easily mount it in your garden, whether that’s to a tree, fence or shed. This is done using screws, but the mounting bracket does have two slits, so you could strap it to a tree rather than drilling it in with screws as the instructions suggest, although a strap isn’t included in the kit, so you’ll have to source one.

Camouflage EZ BirdFeed 1: specs

Camouflage EZ BirdFeed: design

• Easy to install
• Dual solar panels
• Great build quality

The EZ Birdfeed follows a fairly common smart birdfeeder design with two solar panels on the roof section. The roof flips back to allow you to fill the bird food storage section. This then fills a tray area at the bottom with a perch in front where a water bottle is also attached. I was sceptical about the water bottle, but birds did use it to my surprise.

The solar panels connect to the camera and keep the 5,200mAh battery charged. As part of the setup, you have to charge the battery, and during testing, it never dropped below 95% according to the Bird Lover app. The camera sits recessed into the food storage area, and can be tilted forward and backwards if necessary to adjust the camera angle.

It’s a simple design with the motion sensor and lens being the most prominent features on the front. There’s also an indicator light, an Infrared LED, a microphone and an indicator light. On the top is an area covered by a kind of rubber bung where the microSD card slot can be found, the on/off switch, a sync/reset button and a charging port. On the back is just a mounting hole and a speaker.

Build quality is good overall, and the EZ Birdfeed offers IP65 water resistance. The operating temperature is -5°F to 120°F / -20.5°C to 48.5°C, so it’s going to work in most conditions unless you live in a country that experiences extreme weather. In winter, depending on its location, you may need to top up the battery with a mains charge via USB, but you may not need to if the chosen location gets enough sunlight.

Camouflage suggests that you can attach the EZ Birdfeed to trees using the included wall plugs and screws, although it will work well attached to a fence post or even just a post, as long as the bird feeder is positioned at least 1.5 meters above the ground. Beyond this requirement, the only other thing you have to do is clean the birdfeeder occasionally and make sure that the food doesn’t get mouldy.

Camouflage EZ BirdFeed 1: performance

• 2MP / 1080p resolution
• 130-degree angle of view
• Bird identification of 11,000 species

Like most, if not all, smart bird feeders, image quality is extremely limited with heavy JPEG processing visible in photos and a similar ‘waxy’ processing visible in videos. Resolution is extremely modest from the 2MP camera, with photos and videos recorded at 1080p/Full HD. When you’re viewing both live and captured video on your phone in the Bird Lover app it looks fine, but it’s limited if you want to print a photo.

The camera provides a wide 130-degree angle of view and detection angle. There is some barrel distortion visible, but this doesn’t negatively impact photos and videos when birds are sitting on the perch.

When positioned here, the birds are nice and sharp, but if they happen to hop into the food tray, they’re captured blurry due to the minimum focusing distance of the camera. The camera captures in color during the day and in black & white at night, where photos and videos are illuminated by six No Glow 940NM IR LEDs.

My favourite feature of the EZ Birdfeeder is the bird identification, which uses AI to recognise 11,000 species. I didn’t manage to put that anywhere close to a full test since my garden has been taken over by great tits and blue tits, but I love the fact that you can click on the bird identification button and be taken to a Wiki page for the bird that has been identified. This is a fantastic feature for newcomers to birdwatching and more experienced twitchers when a rarer bird is captured.

One aspect of the EZ Birdfeed that I’m not a fan of is that all photos and videos can only be accessed through the app on your phone. You cannot remove the microSD card from the camera and access these files on your computer. I found this out the hard way after removing the microSD card when the review unit was sent back, as I intended to download everything, only to discover this wasn’t possible.

I had fortunately sent some photos and videos to friends, so they had been saved to my phone. Once the EZ Birdfeed is removed from your WiFi network, you can no longer access the photos and videos on the microSD card. This ultimately means that when the EZ Birdfeed is capturing multiple visits from birds during the day, you have to laboriously scroll through the timeline for the day to find the video captures.

Aside from the frustrating aspect of the Bird Lover app, where you have to trawl through the timeline to find captures, the app is easy to use and does send notifications when birds are spotted. These alerts can become annoying when your phone is vibrating or beeping every couple of minutes throughout the day. It is, of course, useful when you want to be alerted.

A simpler way of accessing videos captured would be most welcome. Not to mention, the ability to access photos and videos directly from the microSD card to bulk download would be great. It seems that this sort of thing is a common issue with smart birdfeeders. Sure, app control is most often the most convenient option, but functionality and a simple file-saving system can’t be ignored

Should you buy the Camouflage EZ BirdFeed 1?

Buy it if...

Don't buy it if...

How I tested the Camouflage EZ BirdFeed

• Connected to a home WiFi network
• Tested during fall/winter
• Tested in a city garden next to a park

I tested the EZ Birdfeeder over the course of a couple of months in two different gardens, with the most effective being a city garden next to a park. The birdfeeder was connected to a dual-band WiFi network where the router was at the front of the house, and the birdfeeder was in the back garden, putting connectivity to the test. Testing took place during fall / early winter, and once birds in the area became aware of it, it received many visitors.

With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.

• First reviewed January 2026