Adding one of the best ring lights to your setup is the easiest way to level up your content game. There are so many options to choose from. While I think the Lume Cube Cordless Ring Light Pro is a decent option for amateur content creators, it’s worth bearing in mind that there are cheaper options out there with better maximum illumination settings.

But with that said, if you can drop $300 on a light, the conveniently portable build is ideal for anyone who needs to swiftly move locations, and the highly adjustable brightness, temperature and height can suit most eventualities. It’s great to have remote control over the settings, and having the choice between battery-powered or wired operation opens up a lot of doors.

To find out more about my experience using the light, you can keep reading this full Lume Cube Cordless Ring Light Pro review.

Lume Cube Cordless Ring Light Pro: Specs

Lume Cube Cordless Ring Light Pro: Price & availability

The Lume Cube Cordless Ring Light Pro is available to purchase directly from the Lume Cube online store or from Amazon for $299. The ring light only comes in black or white, and while both colors look good, I think black has the more professional appearance.

While there’s a lot to love about the Lume Cube ring light, the price is not one of those things. At $300, it’s an investment, but not one you need to make if you’re looking for a light for content creation — other options are just as good for a fraction of the price.

For example, the Godox LR120 18-inch ring light is just $59 and still offers plenty of temperature and brightness adjustments. There’s also a built-in phone holder with this light, but the tripod feels a little unstable compared to the Lume Cube. My top choice for a larger ring light is the Neewer RP19H, a 19-inch ring light for $149. The Neewer light is far brighter than the Lume Cube and has much better color replication.

If you are looking for something for content creation but don’t need anything as big as the Godox or the Lume Cube, consider the Neewer Basics R06 7-inch Round Light for $35. The light is evenly diffused and has excellent color replication.

Lume Cube Cordless Ring Light Pro: Design

The Lume Cube Cordless Ring Light Pro has a convenient design. The light looks very professional when set up, and doesn’t take much time to assemble. You simply have to set up the tripod, which extends from 18 to 70 inches, and connect the ring light to the top. With the light attached, the tripod feels well-balanced and sturdy once it has been sufficiently tightened. The ring light head alone weighs 2.4 pounds, so it can flop around if it’s too loose.

The ring light houses 256 LEDs covered with a diffuser for soft lighting with even coverage. Having a cover on the light makes it look a lot sleeker than the Godox LR120. The head of the light can tilt vertically 180º, which is useful depending on what you’re using it for.

At the center of the light, there’s a thread to attach the included phone holder. It could hold my iPhone 17, but it was a little tight. Luckily, you can attach any phone holder with a thread attachment. The holder rotates to switch easily between portrait and landscape shooting without any fuss. The thread mount is also compatible with most mirrorless cameras.

The light comes with a power cord and remote control. The 18-inch light comes with a travel case to store all of the components. This is padded and feels very protective. A handle also makes it easy to transport between locations if you’re on the move a lot.

Lume Cube Cordless Ring Light Pro: Controls

You can control the Lume Cube Cordless Ring Light Pro with either the onboard switches and dials or the included remote control.

There are two dials on the back of the light for brightness and color temperature, and the changes are displayed on the digital screen. However, I found it easier to make changes using the remote control, so I didn’t have to go back and forth to the light.

The remote can connect to multiple ring lights using different channel frequencies to control a studio setup if needed. This is useful if you’re shooting complex portraiture and you want to pair with some of the Lume Cube panel lights. While Lume Cube has an app for controlling some of its ring lights, it’s not compatible with the Lume Cube Cordless Ring Light Pro.

You can adjust the color temperature of the ring light between 2700K and 7500K, which is a very wide range, giving you an option for most situations. It’s a wider range than the Lume Cube Edge Light 2.0, which has a range of 2700K to 7200K. The adjustment on the Cordless Ring Light Pro is stepless, so I feel like I had more control when compared to the Edge Light 2.0.

Lume Cube Cordless Ring Light Pro: Performance

The Lume Cube Cordless Ring Light Pro provided me with consistent lighting for filming video content and taking pictures. However, it’s not the best light I’ve used, and for the price, I want something that I can rely on to make me shine.

The 256 LEDs provide a maximum illumination of 1700 lux/0.5m, which is less than options by more affordable brands such as Neewer and Godox that provide illumination up to 3000Lux/0.5m. And while the Lume Cube Cordless Ring Light Pro lit me (the subject) very well, the background looked incredibly dull and lackluster.

With that said, the light has a CRI rating of 96+, which means it can excellently replicate real-world color on camera, and I would have to agree. The yellow on my t-shirt looked bright, and my complexion looked even. But the Neewer Basics BR60 does a better job of replicating color, even though it is on a much smaller scale at just 5 inches.

Lume Cube Cordless Ring Light Pro: Battery life

The Lume Cube Cordless Ring Light Pro can be used anywhere since it has a rechargeable lithium ion battery battery. For a more reliable wireless battery option, you can look to the Westcott 18-inch ring light, which uses NP-F batteries — but this is a lot more expensive. The screen on the back of the light displays how much charge is remaining so you know when it’s time to juice up. At full brightness, you get about an hour and a half of battery life, but when using dimmer settings, you can get up to two hours.

And if you need a fixed setup for all-day use, you’re in luck, because the light also comes with an AC power adaptor. This provides more reliable lighting, and you won’t need to rush for fear of running out of battery life.

The light also has a fast-charging USB-C port at the back so you can plug your phone in and keep it charged whilst using it with the ring light. This is especially useful if you plan on using the light for live streaming.

Lume Cube Cordless Ring Light Pro: Verdict

The Lume Cube Cordless Ring Light Pro would be a decent ring light option if it were a little cheaper. While it has some great qualities, I can’t justify the price tag when there are better options available, such as the Godox LR120 and the Neewer RP19H for a fraction of the price that provide more intense illumination.

But with that said, if you’re willing to spend $300 on a middle-of-the-road ring light, there’s a lot to like. The convenient and portable build makes it easy to transport and assemble, and it’s highly adjustable to suit most eventualities.

The color accuracy with the light is great, and you can easily make adjustments with the included remote control. I also appreciate that you can use the light wirelessly or plugged into a power outlet depending on your needs.

Overall, it’s a decent light; I just can’t get on board with that price tag.

Ukraine has been fighting its war with Russia for over a decade and the ongoing conflict has spurred innovation through brutal necessity. Nowhere is this more apparent than with the country's adoption of drone warfare.

In 2023, Ukraine launched a state-backed defense cluster designed to sync up the needs of frontline soldiers with the country's tech industry. Part of that cluster involves an e-commerce platform called the Brave1 Market. Or, more commonly, "Amazon for drones".

Ukrainian soldiers can order equipment from tech manufacturers directly to their units by logging into a dashboard and spending their allocated military funding based on what they actually need. But here's where it gets interesting: units can earn digital currency (called e-points) for completing missions — whether that's reconnaissance, evacuation or neutralizing an enemy target. Different targets have different values attached and e-points can be redeemed in the marketplace for new kit.

The Ukrainian government changes these values as its priorities in the war shift. This point-scoring in turn incentivises soldiers to buy only the right equipment they need for the mission, which, in turn, creates competition and innovation among the manufacturers. Real-time intel, like telemetry or strike verification data, is also fed back to the manufacturers by the soldiers so they can patch software or refine their products to improve them.

According to Defense Daily, the Ukrainian model has been so successful that the U.S. Army wants to roll out its own version of Brave1 later this year.

Browsing the marketplace

Despite not being enlisted in the Ukrainian military myself, there is still a huge amount of the Brave1 marketplace open to the public. I spent a morning browsing the site and, while I can't buy myself a new reconnaissance drone, I can look at specs, features and prices.

There's a huge amount of equipment available to look at, from land-based transportation drones to tiny interceptors designed to take down much larger (and more expensive) Russian drones before they can hit their target.

You can even filter down by things like which type of camera you need (nighttime or thermal imaging), payload weight as well as range and engine type.

As well as drones, soldiers can order munitions, encrypted radios, targeting tools specialized payloads and combat robots from Brave1.

While regular folks like me can't buy from the marketplace, civilian engineers, garages, and tech startups can all register their hardware or software on Brave1. If Ukraine approves it, then they can sell directly to the military.

In a January article for the U.S. Naval Institute, Marine Corps Second Lieutenant Rob Rucki noted: "Today, innovation is not just a feature of a combat system; it is a principle of warfare to be exploited for advantage. To succeed requires developing processes that enable iteration and deployment of new technologies faster than adversaries. Nowhere has this been more apparent than on the battlefields of eastern Ukraine, where the pace of innovation is driving the outcome of the fight.

"A similar innovation combat marketplace for the joint force would close the gap between frontline, company-level warfighters and private-sector producers."

More from Tom's Guide

• I’ve spent over 900 hours testing all the best drones: here are my top picks
• The Potensic Atom 3 is a great beginner drone — but here’s why I think you should buy these DJI alternatives instead
• DJI announces new Lito drone, possibly the last one coming to the US

Anyone who knows me will tell you that any time I have to head out to a social event, you can rest assured I’ll have a compact camera with me. And if I’m heading to a gig or on a hike, it’s usually one of the best cheap cameras, like the original Camp Snap.

Camp Snap has now released the eponymous Camp Snap 2, which aims to improve on the original. But does it manage it? Well, yes and no. The camera is a little slimmer, still totally easy to use, and has zero distractions thanks to the screen-free design. It even has built-in filter options, an upgrade from the original camera.

But the Camp Snap 2 houses the same 8MP as the original, and features the same occasionally annoying shutter lag. To find out more about the camera, you can keep reading this full Camp Snap 2 review.

Camp Snap 2 review: Specs

Camp Snap 2 review: Price & availability

The Camp Snap 2 is available directly from the Camp Snap website for $69/£54. This is listed as an introductory price for the product’s launch, so if you’re planning to purchase it, the sooner the better. The original Camp Snap camera — which is now discontinued — sold for $65, so the 2 is already (only slightly) more expensive.

Camp Snap also offers the Camp Snap CS-Pro, a "premium" version of the screen-free camera. This version introduced built-in filters to the cameras but came with a higher price tag of $99. The upgraded Camp Snap 2 has built-in filters, so the only real difference between it and the CS-Pro is the sensor resolution.

The Camp Snap CS-Pro comes only in a silver-and-black design that looks more like a traditional compact camera, whereas the Camp Snap 2 is a lot more whimsical. You can choose from nine different colors, including Sunbeam Yellow, Stealth Black, Forest Green, Arctic White, Chestnut Brown, Blue Rush, Strawberry Splash, Twisted Lime and Tangerine Drift. I got my hands on both Sunbeam Yellow and Strawberry Splash, and I much prefer the transparent design of the Strawberry Splash.

The Camp Snap 2 is a fun camera, just like the Instax Pal ($99) or the Kodak Charmera ($29), and I think $69 is a totally reasonable ask. But watch this space for the pricing post-introductory offer.

Camp Snap 2 review: Design

Upon first glance, it’s pretty hard to see any differences between the original Camp Snap and the Camp Snap 2 — they’re so darn similar. The original had such a simple design that there wasn’t much to change, but the color options I mentioned above are a big win for the Camp Snap 2.

So what are the actual differences? Well, the new camera is 15% slimmer and measures 1.3 x 2.5 x 4.5 inches. Honestly, the original camera was already compact enough to slip into your purse or tuck into your pocket, so while this is a neat upgrade, it was hardly necessary.

There are strap lugs on the sides of the camera if you want added security, but the camera is so lightweight at 3.8 ounces that it’s easy enough to just hold in one hand with a nifty ridge for your thumb to sit in. There’s also a ¼”-20 thread to attach the camera to a tripod, but I can’t imagine an instance where you’d need to utilise this, especially since the camera doesn’t have a timer option — although it’s a nice touch.

The viewfinder window now sits more centrally on the camera, in line with the lens, making it far more reliable when framing my images, and the LED flash is to the right. On the back of the camera, there’s a small screen that displays how many pictures the camera has taken, the filter being used, and the remaining battery life. This digital screen is the same as on previous models, but it works well.

There’s a silicone cover on the USB-C port on the underside of the camera for charging and image transfer. In the hatch next to the port, there’s a pre-installed 4GB microSD card which can store up to 2000 photos. You can remove this card and replace it if needed.

Most importantly, this camera has no screen. This avoids anyone thinking they don’t look good in a picture and reshooting it a billion times, which is what I love so much about the camera. If you’re used to using disposable cameras like the Fujifilm Quicksnap or the Kodak Fun Flash, you’ll be well-versed in the screenless experience and how fun it can be. But with the Camp Snap 2, there’s no waiting around for your film to be developed, and you can transfer the images to your phone at your convenience with a USB-C wire.

Camp Snap 2 review: Controls

Since this is such a simple camera, the Camp Snap 2 controls couldn’t be easier to use. There’s a switch on the back of the camera to turn it on and activate the flash. Then, to the right of the screen, there’s a small button to change the filters. This is an upgrade from the original Camp Snap, but the Camp Snap CS-Pro has a filter dial.

The filter button on the Camp Snap 2 is locked when you get the camera to avoid unwanted filter switches. To turn this off, hold the button down for 10 seconds. After this, you can cycle through the six filters with the buttons. These filters include Standard, Vintage 1 - 3, Black & White and Analog.

To make adjustments to the metadata of the camera, you can use the buttons in the hatch that stores the SD card. It’s useful to do this right away; otherwise you’ll find your images jumbled in your camera roll according to date.

The shutter button sits at the top of the camera and is easy to push even when using the camera one-handed. An issue I faced with both the original Camp Snap and the CS-Pro is a lag between pressing the shutter button and capturing the image. This has improved for the most part, but there were instances where the shutter was taking a while to engage after I pressed the button.

Camp Snap 2 review: Lens & viewfinder

As I briefly touched on in the design section of this article, the viewfinder is finally positioned above the lens on the Camp Snap 2. I feel as though I’ve been shouting into the void about this since using the original Camp Snap and subsequently the CS-Pro (which was worse!), as it didn’t match the framing of the final image at all. It’s great to at last be able to line up my pictures without a hitch. Of course, this viewfinder is just a bit of plastic, so it’s still not a perfect representation of how the final image will look, but at least now I have an accurate idea of framing.

The Camp Snap 2 is fitted with a 4.2mm fixed-focus f/2.0 lens. It offers a decently wide range of view, and I’ve found it to be great for taking group pictures as well as landscape shots. It also has a 30.5mm filter thread to attach compatible filters.

Given how simple the camera is, you don’t get any control over shutter speed or ISO, and the aperture is fixed. This can sometimes mean some images appear washed out, as you’ll see later on.

Camp Snap 2 review: Image quality

The Camp Snap 2 has an 8MP 1/3.2-inch CMOS sensor, which is the same resolution as the original Camp Snap. I was disappointed not to see an upgrade here since the CS-Pro houses a 16MP sensor. If image quality is your main concern, consider picking up the CS-Pro for an extra $30 instead.

As you can see in this image of flowers, the edges of the petals and leaves aren’t very crisp, and there’s not much detail across the petals. If you want something that will accurately depict what you’re seeing, 8MP just isn’t enough.

Although the images you capture aren’t going to be winning any awards, the Camp Snap 2 has been ideal for throwing in my bag and taking fun, candid pictures with my friends. During the World Cup, I took the camera to the pub with my friends to watch the football. Sadly for me, England won, as you can see from my colleague Harry’s reaction in these pictures.

The Camp Snap 2, as the name suggests, is also suited to outdoor adventures. However, because of the lack of onboard manual adjustments available for aperture, shutter speed and ISO, it’s hard to get a good balance of shadow and highlight when capturing an image. You're relying on the camera's auto exposure, which usually gets it wrong (although this adds to the nostalgic look).

The dynamic range of the Camp Sanp 2 is poor. The highlights where the sunlight was breaking through the trees looked blown out in the images, and darker shadows don’t hold a great deal of detail either when you bump up the brightness in post.

The camera is good for selfies. But be mindful since there is no screen or mirror to see yourself, you may get the framing wrong. So take a few different snaps, and definitely give the camera to the person with the longest arms. In my case, at a Pitbull gig, that was Mr. Worldwide.

The filters add a layer of experimentation to the camera, which I appreciate. Although the filter settings aren’t drastically different from each other, they add more personality to the pictures and mean I don’t have to edit in post.

As you can see in the images above, there’s a filter for most eventualities. However, I would have liked to see more cool-toned filters, since these all pull a little warm. I like the Black & White setting, but my favorite was the Analog option, as it added a vintage look to the pictures that I didn’t need to improve with edits.

Camp Snap 2 review: Battery life

The Camp Snap 2 has a rated battery life of 500 shots. You can see how much charge is left in the camera when you turn it on via the small digital screen.

The battery drains faster when using the flash. It’s rechargeable via USB-C and takes around an hour to charge from empty. The camera automatically falls asleep if inactive, so you don’t have to waste any juice.

Camp Snap 2 review: Verdict

The Camp Snap 2 improves on the original Camp Snap camera, even if only modestly. The compact size means it’s ideal for throwing in my bag and heading out to social gatherings or just taking quick snaps of nature when I’m out and about. The camera is easy to use with very minimal controls, and the screenless device means there are truly no distractions. It’s great to see the integration of filters with this camera, similar to those we saw on the pricier Camp Snap CS-Pro.

But if, like me, you were hoping for an image quality upgrade akin to what we get in the CS-Pro, the Camp Snap 2 becomes a bit of a let-down. The 8MP sensor is the same as in the original Camp Snap, and the same slight shutter lag lingers.

So, do you need to upgrade if you have the original Camp Snap? Absolutely not. If changing the filter is essential for you, you can edit your pictures in post. But you’re not getting improved image quality or that big a difference in size.

When I started a YouTube channel back in 2019 it’s fair to say my audiovisual skills were sorely lacking. I could review and talk about running products all day, which is what my channel The Run Testers does, but when it came to recording sound and video, I struggled with anything beyond using my phone.

I had to improve quickly, so I did, and I now have a wide array of cameras and mics I use regularly, but until I tested the new Insta360 Luna Ultra I’d never used a pocket camera with a built-in gimbal. Now I wonder how I’d ever do without one.

The Insta360 Luna Ultra aims to beat the DJI Osmo Pocket 4 and DJI Osmo Pocket 4P to the title of best camera for content creators, with a dual-lens design and the ability to record up to 8K resolution video.

Having not tested the DJI cameras myself I can’t comment on the comparison, but after using the Insta360 Luna Ultra as my main camera for a month of creating videos, I’ve picked out my main likes and dislikes below.

First, some specs.

Insta360 Luna Ultra: Price and specs

The Insta360 Luna Ultra comes in black or white and costs $769 / £649 for the standard bundle, which includes the camera, a windguard for the built-in mic, a wrist strap and a thread handle you can use to mount it to a tripod.

I tested the Creator Bundle which adds in a battery handle, a Insta360 Mic Pro transmitter and a wide-angle lens, and costs $969 / £829.

Like #1: Perfect for a variety of piece-to-camera videos

The stabilization, image quality and subject tracking on the Luna Ultra have all been excellent for me when filming pieces to camera (PTC) for my videos, in a variety of scenarios.

I shot to camera while running, walking or when sitting at a table, and the Luna Ultra worked perfectly in all scenarios. Its auto-exposure also handled changes in light well, which is useful when recording while running in a forest, for example.

The Luna Ultra stands out most when you’re on the move, but even when recording at a desk the dynamic tracking makes videos more lively and engaging than using a phone or static camera. The smart tracking is notably smoother than manually adjusting the gimbal, I’ve found.

For the most part I’ve shot in landscape at 4K/30fps but I’ve tested out the 8K recording, slow-motion, and portrait modes on the camera and they’ve all looked great, even in portrait mode where you’re limited to 3K resolution (though you can turn the camera on its side to get up to 8K portrait video manually). 8K obviously gives you more flexibility in the edit, with cropping and oversampling — the DJI Osmo Pocket 4 maxes out at 4K.

Like #2: The detachable screen remote is very useful

As someone who is almost always filming by myself, the detachable remote and its touchscreen are a genuine gamechanger for making shots easier to set up and capture.

Whether it’s a simple shot of some running shoes I’m testing, or using the gimbal to track and film myself running past the camera, it’s very handy for getting b-roll footage without having any trial and error in framing shots correctly.

Like #3: It’s easy to use and has a fast user interface

I’m no tech whizz, and in the past I’ve found many cameras frustrating to use, either because the settings menus felt unintuitive or the user interface was very slow compared to using a smartphone.

I had no such problems with the Luna Ultra, which responds snappily to touch controls and is easy to adjust and switch between camera modes.

The 47GB of internal storage, three to four hour battery life, built-in mic and detachable remote all also contribute to making it a very easy camera to use out of the box, and save you time when you are using it. The Osmo Pocket 4 features a huge 107GB internal storage, which means you can record for longer without needing a card.

You get a tripod attachment and a case in the standard bundle with the Insta360 Luna Ultra, which is also useful, and the Creator Bundle also includes a battery handle and the Mic Pro, both of which are worthy additions if you’re a solo creator.

Like #4: The built-in mic is surprisingly good, and the Mic Pro is great

I wanted to use the Luna Ultra to film videos where I talk to the camera during runs and initially did this with the Insta360 Mic Pro attached to my shirt, but the mic is a bit heavy for this and bounced around.

This prompted me to just use the built-in mic on the Luna Ultra, and I was very impressed with the sound quality. My voice is a lot clearer than when filming the same kind of videos using my phone. This isn't a surprise, as Insta360's internal camera audio has been fantastic on other cameras, like the Insta360 X5.

That said, when you are walking or stationary, the Mic Pro is an upgrade for sound quality, and I love the e-ink display that allows you to put any kind of logo or image on the camera.

It also links with the Luna Ultra automatically and you get a prompt saying sound is now recording through the mic, which I’m always a fan of as someone who has had to redo videos in the past because my mic wasn’t actually connected to whatever camera I was using.

Dislike #1: You need pretty big pockets

The Luna Ultra is not a tiny camera, especially when you put it into its clip-on case, which I think is wise to protect the lenses and gimbal. It’s still easily portable, but tucking it into a running belt or a backpack pocket was a bit bulkier than I expected. The Osmo Pocket 4, while not exactly tiny, is a lot more pocketable.

Your pockets also need to be deep, because at $769 for the standard combo or $969 for the creator bundle, it’s far from cheap. DJI’s latest Osmo Pocket 4 is not available in the U.S. at the time of writing due to tariffs and the brand's continued fued with the U.S. government, but you can still get the older (and fantastic) DJI Pocket 3 for $479 on Amazon.

Dislike #2: You have to be careful with overheating

When shooting at higher resolutions and in warm environments, I found that the Luna Ultra heated up quickly, though I never pushed it to the point it shut down to protect itself.

If I’m filming a review it can be 15 to 20 minutes long, and that was fine with the Luna Ultra in 4K mode, but you do have to be a bit wary of pushing it too hard for fear of overheating.

Dislike #3: The autofocus isn’t always perfect

On a couple of occasions when shooting using the deep tracking to follow my head, the Luna Ultra switched its focus to something behind me if I moved around a lot. I also found it didn’t correct its focus that quickly when zooming in on something at times.

These didn’t prove to be major problems over extended testing — in particular the deep tracking has almost always been infallible — but it was something I had to monitor carefully to ensure the focus was in the right place.

Verdict: ideal for solo content creators

I have some minor quibbles with the Luna Ultra, but ultimately, I love it. It expands what I’m able to do when making videos solo, but it’s also a product I’m excited to use and that I enjoy using, rather than a tool for simply getting the job done.

I’m sure I’d get similar benefits from other pocket cameras, but there are some standout features to the Luna Ultra, like the detachable remote and impressive built-in mic, that make it the perfect option for solo creators.

More from Tom's Guide

• I tested DJI’s new Osmo Pocket 4 — this is the only tool I'll recommend to content creators from now on
• Insta360's gimbal camera has just hit shelves, and there's one factor that has me lining up to purchase one stat
• The best cameras in 2026

The Lume Cube Edge Light 2.0 is one of the best ring lights I’ve tested and the perfect choice for anyone who needs reliable lighting. The accurate color replication made me look clear on video calls, and the wide range of temperature adjustments ensured I was in control of how I looked at all times. The built-in charging ports are also extremely useful if you’re short on outlet space.

So, yes, it’s one of the best options… as long as you don’t need to move it around. That’s because of the C-clamp fixture, which essentially means that once you’ve locked it in, it’s a pain to move again. However, you can also buy a version of the light with a movable base for an extra $20.

There’s also no remote for many brightness and temperature adjustments, so you have to reach wherever the base of the light is positioned, and there are no phone holders included. Depending on your needs, these could all be deal breakers, but not for me. To find out more about the light, keep reading this full Lume Cube Edge Light 2.0 review.

Lume Cube Edge Light 2.0 review: Specs

Lume Cube Edge Light 2.0 review: Price & availability

The Lume Cube Edge Light 2.0 is available at Amazon U.S. for $149 and at Amazon U.K. for £147. The light comes in black or white, and while both colors look sleek, I think the black works best with my desk setup.

You can also purchase the light as a set of two at a discounted rate for $269 at Amazon U.S. if you’re looking for a two-point lighting solution. The version of the light I tested has a clamp that secures to the edge of your desk; however, you can also purchase the light with a base for $169 from the Lume Cube online store. If you have desk space available, I’d recommend opting for this option for added versatility (I'll cover this more below).

For around the same price, you can pick up the Neewer RP19H ($149), a 19-inch ring light, but this is better for content creation and obviously takes up a lot more space. The Neewer Basics R06 7-inch Round Light, on the other hand, is about the same size as the Lume Cube and a lot more affordable at just $35. However, the R06 doesn’t offer the same level of color temperature adjustments and has a lower maximum illumination.

The Godox LR120 ($59) is another worthy desk lighting option. Again, it doesn’t have the same level of adjustment as the Lume Cube, but it’s lighter and comes with built-in phone holders.

Though the Lume Cube Edge Light 2.0 is more expensive than similar-sized options from the budget brand Neewer, I think it’s worth the extra spend. The reliability of the color replication and responsive controls makes using the Lume Cube a breeze.

Lume Cube Edge Light 2.0 review: Design

The Lume Cube Edge Light 2.0 has given me a convenient fixed lighting solution at my desk. Although it can be moved, I’d call it a fixed lighting solution as it’s inconvenient to do so. The light attaches to the edge of the desk with a C-clamp, so to move it around, you need to get under the desk and unscrew it. I found it best to take some time to find the best position and just stick with it. Thankfully, you can purchase the same light with a base from the Lume Cube online store so it can be moved around more easily. I would definitely recommend that instead, as it'll perform the same, with added convenience and easier controls.

Since the arm can be moved around at the five pivot points, you still have some wiggle room for adjustment. The 6-inch panel light at the top rotates 360º with an arm that bends laterally at three joints, with more rotation at the base. However, I wish there were some rotation at the bend points on the arm to make micro-adjustments easier. When fully extended, the arm reaches a height of 31 inches (too tall for a desk lamp, if you ask me). It meant that if I wanted to adjust the angle of the panel light, I had to stand and reach above me, but hey, maybe I’m just short.

There are no phone holders on this light, so it’s not the best choice for mobile content creators. For that, you should look at the Godox LR120 or the Rotolight Ultimate Vlogging Kit ($109), which offer much more flexibility for camera fixtures.

At the back of the light stand, you’ll find the DC power input for the included 73-inch power cord. There’s also a USB-A output and a USB-C output that can be used simultaneously, so you don’t need to sacrifice charging points when you plug the light into an outlet. I charged my phone using these, but they’re very low-power, so it was much slower than using a power outlet with my fast charger — something worth bearing in mind.

Lume Cube Edge Light 2.0 review: Controls

There are three buttons on the arm of the Lume Cube Edge Light 2.0. Unlike the Neewer RP19H, there’s no controller included with the Edge Light, so I had to lean over my desk to make any adjustments. Although not the end of the world, it made things a little tricky.

The power button is at the bottom, and the color temperature button is in the middle. You can adjust the color temperature to 2700K, 3900K, 5100K, 6300K and 7200K. This is a wider temperature range than other lights I’ve tested, like the Neewer RP19H or the Neewer Basics R06 7-inch ring light. For smoother transitions, you can hold the button for stepless adjustment. Brightness adjustments are at the top and can be changed in increments of 20%. Again, you can have stepless adjustment by holding down the buttons. The controls were very responsive, so any changes I made were immediately reflected.

If you purchase the version of the light with the base, you’ll find touch-sensitive controls on the bottom instead of buttons on the arm. This would be much easier, so if you frequently make lighting adjustments, I’d recommend the base model.

Lume Cube Edge Light 2.0 review: Performance

The Lume Cube Edge Light 2.0 provided me with solid, consistent lighting throughout my testing. I think this light is a solid choice for anyone who wants fixed lighting at their desk for at-home conferencing or streaming.

It doesn’t suffer from any bright spots as the lighting from the 112 LEDs is evenly diffused throughout the panel. This also eliminated the harshness I’ve experienced when using cooler color temperature settings on ring lights such as the Godox LR120.

With a CRI (color rendering index) of 95+, the Lume Cube Edge Light 2.0 does an excellent job of making sure the lighting and colors on screen are representative of the real world. Everything from my hair color to the wall behind me looked true to life on camera. However, if you want an even higher CRI, the Neewer Basics 5-inch Ring Light’s is 97+.

When using natural lighting, there’s more grain, which in turn makes the image appear flatter and of lower quality. You get more detail in your image with the Lume Cube, which I find ideal for conference calls, as it makes you more personable and professional-looking.

It’s great to have the option of warmer lighting settings as well if, like me, you tend to get a headache when using bright white lighting for extended periods. While it doesn’t look as professional on camera, color lighting has a smoothing effect on the skin.

Lume Cube Edge Light 2.0 review: Verdict

The Lume Cube Edge Light 2.0 has provided me with even lighting while sitting at my desk, as the panel does a great job of diffusing the 112 LEDs to avoid harsh lighting. This has meant I easily achieve accurate color replication. There is a wider range of temperature adjustment than in other lights I’ve tested, which is great to see, as it gives a whole lot of flexibility. The built-in charging ports also meant I didn’t feel like I was sacrificing a power outlet when plugging in the light.

But I have a couple of minor annoyances with the light. There’s no remote to adjust the lighting settings, meaning I was constantly leaning across my desk when I needed to make changes. There are no phone holders included with the light, so it’s not the best choice for short-form mobile content creation. My biggest qualm with the light is the C-clamp fixture because the light can’t be moved around easily. But it's still a great light, and you can simply buy the model with the base (rather than clamp) for much easier control and more placement freedom.

Overall, this light is a brilliant choice if you’re looking for a desk light suited to conference calls and streaming.

The best instant cameras need to do three things to be considered great: they should be easy to use, they should take great photos, and above all, they should make instant photography fun. The Fujifilm Instax mini 13 does just that — and it looks stunning while doing so. Supremely easy to use, the Instax mini 13 captures and prints lovely photos, and it features a handy selfie mirror, Close-Up mode, and a self-timer.

Image and print quality are sublime as always, as is the handling. Straightforward controls, an easy-to-use app for scanning prints, and cute styling make the Instax mini 13 a fantastic instant camera. However, it still can’t shoot double exposures, and shots can sometimes come out overexposed in bright sunlight.

For the complete breakdown, read my full Fujifilm Instax mini 13 review.

Fujifilm Instax mini 13 review: Specs

Fujifilm Instax mini 13 review: Price & availability

Announced in March 2026, the Fujifilm Instax mini 13 is the latest addition to the brand’s lineup of beginner-friendly instant cameras. It succeeds the Fujifilm Instax mini 12 after a three-year wait. The Instax mini 13 costs the same as its predecessor did at launch: $93 / £79 at Amazon.

The Instax mini 13 is an analog instant camera, which means that all you need to do is point and shoot. There are no fancy video recording features, like on the Fujifilm Instax mini Evo Cinema ($409) or audio recording ones on the Fujifilm Instax mini LiPlay+ ($234). The Instax mini 13, then, competes with the likes of the Polaroid Go Gen 3 ($79) and the Fujifilm Instax mini 41 ($99).

The Go Gen 3 is smaller and cheaper and so are its prints. The Instax mini 41 is similar to the Instax mini 13 in terms of internal hardware, but it doesn’t come in whimsical colors, and it’s a little bulkier too. If you want a cute instant camera and credit-card sized photos, the Instax mini 13 is the way to go.

Fujifilm Instax mini 13 review: Design & build

When I first saw the Fujifilm Instax mini 13, I thought it was an Instax mini 12 wearing a puffer jacket. Still curvy around the edges, the Instax mini 13 sports a more rounded shape compared to its predecessor. It still looks cute, and comes in a few fun colors: Candy Pink, Dreamy Purple, Frost Blue, and Lagoon Green. I tested the Candy Pink model and it looks adorable.

The only other visual difference between the two cameras is a timer lever fitted around the power button on the Instax mini 13 — and I’ll discuss it in detail shortly. Fujifilm has also included an Instax-shaped camera angle adjustment accessory attached to the camera’s wrist strap. You can put this under the Instax mini 13 to prop it up at an angle, and it’s similar to the one that was introduced with the Fujifilm Instax Wide 400 ($149) back in 2024.

Handling is sublime as always — whether you’re looking through the viewfinder and photographing your friends, or holding it up with one hand to take a selfie. The Instax mini 13 is ever-so slightly heavier and bigger than the Instax mini 12. It weighs 11.53oz (versus 10.79oz) and measures 4.91 x 4.15 x 2.66 inches (versus 4.8 x 4.09 x 2.62 inches). The difference is negligible, though, and the Instax mini 13 doesn’t take up much space in handbags and backpacks.

For those who like snapping selfies, a small selfie mirror is located on the lens. It’s the same size as the one on the Instax mini 12, and I found it accurate for framing, regardless of whether I was taking a selfie on my own or with my partner.

Build quality has never been an issue with Fujifilm cameras, in my experience, and the Instax mini 13 isn’t an exception. The camera is built extremely well, and you can tell the plastic used in its construction is of high quality.

Fujifilm Instax mini 13 review: Lens & viewfinder

Optics on both the Fujifilm Instax mini 13 and the Instax mini 12 are fairly similar, if not identical. The instant camera is fitted with a retractable lens with a focal length of 60mm and a fixed f/1.27 aperture. The 60mm lens is neither too wide nor too telephoto, and it’s suited to landscape, portraits, street shots, as well as selfies.

In Normal mode, the Instax mini 13 has a focus range of 0.3m-∞, and 0.3-0.5m in Close-Up mode. The shutter speed, between 1/2s and 1/250s, is adjusted automatically and you can’t change it manually — you’ll need to spend extra on the Fujifilm Instax mini 99 ($199) for that.

But given that you don’t need to make any adjustments to the Instax mini 13’s settings, you can simply look through the 0.37x viewfinder and shoot. The viewfinder is the same size as the one on the Instax mini 12 so it’s a little small, but I didn’t have any problem looking through it and framing my shots — even as someone who wears prescription glasses.

The Instax mini 13 also features a built-in flash, located above the lens barrel. Similar to the one on its predecessor, the flash has a range of 0.3-2.2m and it can aid in low-light environments. But like on the previous gen and the Instax mini 41, the Instax mini 13’s flash can’t be turned off, so it fires every time you press the shutter button.

Fujifilm Instax mini 13 review: Controls

Fujifilm’s lineup of Instax cameras has always felt accessible and easy to use. You don’t need much prior knowledge of photography to use Instax instant cameras — and the same applies to the Instax mini 13. Controls are extremely straightforward. To turn on the camera and switch between Normal and Close-Up mode, you need to twist the ring around the lens, and you’ll know that the camera is ready to use when the orange LED lamp lights up.

Located next to the lens is the round shutter button which is comfortable to reach with your index or middle finger, and it gives good tactile feedback when pressed. I found it to be highly responsive in my testing, with no noticeable shutter lag. There’s a timer lever fitted around said shutter button, and this lets you set the timer to 2s or 10s. It’s easy to use, and the LED lamp flashes to indicate the countdown.

That’s about it in terms of controls, really. I reckon even a 10-year-old could use the Instax mini 13. It’s that simple.

Fujifilm Instax mini 13 review: Image quality

The Fujifilm Instax mini 13 is a great little camera for photographing your friends and family, travels, and everyday life. There aren’t any technical differences between the Instax mini 13 and the Instax mini 12 — so if you already own the latter, there aren’t enough compelling reasons to upgrade.

Most of the photos I captured turned out lovely, with retro aesthetics and colors. The Instax mini 13 has a tendency to overexpose shots taken in bright sunlight, though, just like the Instax mini 12 and Instax mini 41 — but for the most part, it’s just a fun camera.

You can see a few sample images in the gallery above. Shades of green look vivid and lush, while blues appear rich. The shadows look inky. I like how the purple flowers pop against the green leaves too.

The selfie mirror works as intended, enabling you to frame yourself and another person, if you wish to capture a group photo. The photo came out exactly the same as it looked in the Instax mini 13’s selfie mirror, so both my partner and I were pleased. In both selfies, our faces are in focus and they appear detailed with well-defined edges. While the exposure is well-balanced in darker lighting, images can come out overexposed with blown highlights in brighter scenes, like in the first selfie above.

Though the Instax mini 13 has a Close-Up mode, taking those shots involves a fair bit of trial and error, as you can see above. I struggled to get the hang of distancing, but with practice, I bet I could do it right. Overall, though, the Instax mini 13 is great, and though the shots may not look very hi-res as they’ve been scanned and blown up, the credit card-sized prints themselves look plenty detailed at typical viewing distances.

Fujifilm Instax mini 13 review: App

The Fujifilm Instax mini 13 is accompanied by the Instax Up! app, available for free on iOS and Android. The app sports a clean interface and is straightforward to use, and it enables you to scan all your Instax prints, regardless of the size. You can then save them to your phone or create wallpapers out of them, and you can edit the brightness, contrast, saturation, and color temperature. There’s a handy Remove Reflections feature too, which works well.

I don’t own a scanner and if you don’t either, or you don’t want to spend ages scanning your prints, Instax Up! is a fantastic solution. That way, you can quickly share the prints on your social media, too.

Fujifilm Instax mini 13 review: Film cost

Just like every other camera in Fujifilm’s Instax mini lineup, the Instax mini 13 utilizes Instax mini film which generally costs $16 / £16 per double film pack (20 pieces of film). That equates to approximately 80¢ per picture. Alongside the Instax mini 13, Fujifilm also launched its new Pastel Galaxy mini film, 10 exposures of which cost $18 / £9. It’s a little expensive but it’s ideal for those who want a colorful border.

Instax mini film is a little cheaper than the Polaroid Go Color film used by the Polaroid Go Gen 3. A double pack of 16 exposures costs $21 / £18, making the Instax mini 13 more cost-friendly in the long run.

Fujifilm Instax mini 13 review: Battery life

The Fujifilm Instax mini 13 uses two AA batteries, so not much has changed in this department. Disposable batteries aren’t the best for the environment as they can’t always be recycled efficiently, but you can use rechargeable batteries if environmental impact is a concern.

Fujifilm claims that a pair of AA batteries should be able to yield 100 shots, or 10 packs of 10 exposures each — again, similar to the Instax mini 12 and the Instax mini 41. I wasn’t able to test the battery life entirely as that would involve a lot of shooting, printing and wastage of paper, but I got through four packs of prints with ease. If batteries need to be swapped, the LED lamp on the front will blink fast — or the camera simply won’t turn on.

Fujifilm Instax mini 13 review: Verdict

If it ain’t broke, don’t fix it, but you can certainly make improvements to it. I believe that’s the mantra Fujifilm followed when designing the Instax mini 13. Not necessarily a big upgrade over the Instax mini 12, the Instax mini 13 introduces a better self-timer mechanism and features a more rounded body for better handling. Oh, and it comes in fun, cute colors too.

Image and print quality don’t give you much to complain about. Most photos turn out great (except the ones that are a little overexposed in super bright conditions) with retro, instant camera-esque color reproduction. Handling is sublime, and thanks to automatic settings adjustments, it’s the easiest instant camera to use.

If you already own its predecessor, I wouldn’t outright recommend upgrading. But if you’re picking up an instant camera for the first time, the Instax mini 13 warrants a recommendation. It makes instant photography easy and, above all, just so fun.

I'm a photography and content creator novice, so while some may take photos much more seriously than I do, I must admit I enjoy taking a quick snap. Whether it's my surroundings, a selfie or just another pic of my dog being cute, I find joy in fun photos.

Equally so, I find joy in fun cameras, which may not be classed as traditional point-and-shoots, but still grasp the essence of any moment. And right now, during Amazon Prime Day, some of my top-rated fun cameras are on sale, with up to 32% off.

Earlier this year, I nabbed the cutest cam in business – the Kodak Charmera for AU$60, but now it's down to just AU$44. I adore my Kodak Charmera. It's permanently attached to my keys (and me, by extension), and while it doesn't take the best photos or videos quality-wise, it is a fun way to capture everyday moments.

I've also just gotten my hands on the Insta360 Go 3S, which has been a nice addition to my content creator set-up. I'm still a newbie, but the Go 3S is really easy to use and helps me when I'm filming solo in public or picture a gorgeous landscape in full panoramic view. Better yet, it's also discounted for Prime Day, now just AU$524.99.

In addition, I've included 4 more of the best fun camera deals worth shopping on Amazon right now below, in case you're anything like me and love a fun camera. These cameras all live in the "cute", not serious photography category, and if you're after more serious recommendations, I'd suggest checking out our best cameras guide.

It's also worth mentioning that these deals are exclusive to Prime members, and if you're not signed up already, you can get a free 30-day trial here. You'll need to act fast to nab any of these cute Prime Day camera bargains, though, as these deals are set to expire on Monday, July 13, at 11:59pm.

Best fun camera deals

The best drones are continuously improving their range or camera quality, but something that really hasn't changed is their fear of deep water. If your drone loses connection, runs out of battery, or just falls out of the air, that machine isn't flying another day. But what if a drone could plunge into the water, float, and fly away without skipping a beat?

The HoverAir Aqua might have solved that. This specialized, IP67-rated drone features built-in foam prop guards that double as its personal flotation device. It is designed to take off and land directly from the water, removing the usual terror of flying over lakes, ponds and pools. I took the drone along on a recent family beach vacation to the Outer Banks (OBX), North Carolina, to see if its wet-and-wild innovations translate into a practical everyday flyer or if it's just a gimmick.

HoverAir Aqua review: Price and availability

Innovation doesn’t come cheap. The HoverAir Aqua starts at a relatively steep $1,299 for the Standard Combo. For this review, I tested the Fly More Combo, which retails for $1,499. This kit steps things up by adding two extra smart batteries (three total), a multi-battery charging hub, three waterproof battery bags, and the wearable Lighthouse tracker beacon.

If you want a better manual control experience, you should to step all the way up to the $1,699 Land and Sea Combo which adds HoverAir's dedicated joystick remote controller to the mix alongside the touchscreen beacon.

For perspective, one of my favorite drones, the DJI Mini 5 Pro, starts at just $709. Even with its premium Fly More Combo featuring the integrated screen remote, it maxes that'll set $1,009. That model comes with a larger 1-inch sensor, a 3-axis gimbal, and omnidirectional obstacle avoidance. With the Aqua, you are paying a massive premium specifically for its ruggedized, buoyant engineering and making a few trade offs in return. Here's what stood out to me.

HoverAir Aqua review: What I like

Safely fly over water

Hands down, the best thing about the HoverAir Aqua is its buoyancy. The drone's built-in prop guards look and act like mini pool noodles, allowing it to float effortlessly on the surface of calm water. On the beaches of OBX, this completely changed how I flew. Instead of the usual anxious thoughts in the back of my head, I knew worst case, so long as I was flying relatively close to the coast, this drone would be safe.

Even cooler is its self-righting mechanism. If a splash or a bad wave knocks the drone upside down on the water, it can flip itself right-side up and take off again. This was huge crowd-pleasing party trick during our afternoons by the pool. My younger nieces and nephews, and even my aunts and uncles absolutely got a kick when I showed this off.

This offers incredible peace of mind if you are regularly flying over water and makes it a fantastic tool for people filming water sports like surfing or jet-skiing. Just keep a caveat in mind: limit your water landings to no-current zones. If you try it in a heavy rip current, the drone might just wash away before you can spin the props and safely take off.

Easy to operate

There are several ways to fly and operate the Aqua. On top of the drone sits a bright, built-in 1.6-inch AMOLED screen that handles setting changes and flight mode selections directly on the aircraft, complete with clear auditory cues.

With the wearable Lighthouse beacon that you strap to your arm, you can perform basic manual flight movements and command a Return-to-Home. This will also provide tracking (thanks to its centimeter-level RTK tracking technology) and be able to follow you as you move around. This specialized RTK tech creates a highly precise virtual tether, ensuring the camera stays locked on your position even if water spray or waves temporarily block the camera's line of sight.

You can also connect directly via Wi-Fi with your phone, see a live view from the camera, and fly with the touch screen controls. The range is shockingly steady and long. It's great when I'm packing light and want to use this as a more traditional drone for cinematic shots from land, but it is hard to be precise with a touch screen. For those more precise controls, there's the traditional joystick controller option included in the Land and Sea Combo. This modular system snaps on both sides of your phone and gives you physical joysticks for when you need to nail more complex shots.

Built in prop guards

The foam noodles pull double duty as full-coverage prop guards. It makes the Aqua feel incredibly safe to fly close to people, objects, or tight spaces, similar to the built-in guards on the DJI Neo or DJI Flip. This bumper system gave me the confidence to pull off one of my favorite drone shots to date.

I lined up the Aqua and flew it straight through the open side-split doors of my new-to-me parked Honda Element, revealing the beautiful Shenandoah mountainside hidden right behind it. If I tried that with a standard exposed-prop drone, a tiny drift would mean shattered plastic and a ruined car headliner.

HoverAir Aqua review: What I didn't like

It sounds like a swarm of angry bees

If you are looking for a stealthy drone that can quietly capture cinematic landscapes, look elsewhere. Because of its smaller props, the HoverAir Aqua is incredibly loud. Compared to the relatively quiet flight profile of the newer DJI Mavic Minis, the Aqua emits a high-pitched, buzzy whirr. Whether I was flying it by the beach, near the pool, or at a local park, it instantly drew a ton of unwanted attention because it sounds exactly like a massive swarm of angry bees at lower altitudes.

Limited obstacle avoidance

Because the Aqua is primarily designed for wide-open water flight, obstacle avoidance sensors are limited to downward only. It relies on its camera system and the tracking beacon to follow you, but is limited in what it can recognize and avoid in its path. It did a very good job at following me as I ran across the open beach.

Putting it to the test, I attempted to have the drone autonomously follow me as I walked from our beach house down to the sand along a relatively narrow walkway. The Aqua did well until I walked past the gazebo to my left where it quickly collided and fell down. Thankfully, this thing is quite rugged and foam helped absorb its fall, but it proved that this drone is best for wide-open, obstacle-free spaces.

Shorter battery life

The Aqua is rated for up to 23 minutes of flight time. Once I factored in the time it takes to launch, flew out to my desired position, framed my shot, and safely head back with a comfortable battery reserve, I was realistically averaging only 15 to 18 minutes of actual flight time per battery.

While that was plenty of juice for me to get a few solid shots, it feels short because I have been completely spoiled by DJI. If you look at other standard sub-249g drones on the market, like the DJI Mini 4 Pro, I can routinely push past 30 minutes of real-world flight time on a single charge. The Aqua’s shorter endurance is the obvious tax you pay for its waterproofing and the extra aerodynamic drag of those foam pool noodles. The thing is, while you could increased flight time with extra batteries, you'll want to make sure you swap out after drying the drone off thoroughly so that you don't get water in the battery compartment.

HoverAir Aqua review: the bottom line

The HoverAir Aqua is easily one of the most unique, specialized drones on the market and one of the most exciting I've tested in a long time, solving a very specific problem: making aerial photography safe and accessible over water.

That said, if you don't actually need these waterproof capabilities, the higher price tag, the deafening flight noise, and the total lack of directional obstacle avoidance are major tradeoffs you'll need to weigh.

But if your primary goal is to find a drone that can effortlessly survive a splash, take off from a lake, or safely film water activities, there is absolutely nothing else like it. It is a rugged, buoyant, and genuinely grin-inducing piece of tech that brought a massive amount of fun to our family vacation. If you're big into water sports or spend your summers by the beach, the Aqua is worth the plunge.

Good becomes great, great becomes outstanding: this seems to be the trajectory Potensic is currently on. The Potensic Atom 3 retains its predecessor’s lightweight body but is built better and feels more robust. The Atom 2 is now capable of recording 4K video at 60fps and outputting RAW 50MP stills, all the while ensuring everything remains smooth and stable, thanks to its three-axis gimbal.

Accompanied by great AI subject tracking and class-leading flight time of up to 50 minutes, the Atom 3 feels like a competent and powerful content creation tool. The new RC PTD2 controller makes flying a walk in the park, too. But it isn’t perfect. It doesn’t feature any obstacle avoidance, and low-light performance in AI Night Mode can be described as mediocre at best.

To find out if this is the best drone for you, read my full Potensic Atom 3 review.

Potensic Atom 3 review: Specs

Potensic Atom 3 review: Price & availability

The Potensic Atom 3 is the fourth drone to join the Chinese brand’s growing lineup of quadcopters. Announced in June 2026, it succeeds the Potensic Atom 2 and receives a $100 price bump, retailing for $429 / £339 at Amazon.

Unfortunately, the Atom 3 is the latest victim of the ongoing ban on foreign-made drones in the U.S. It isn’t available to purchase officially through Potensic’s website, and, at the time of writing, there’s no news on whether it will receive F.C.C. clearance. You can, however, buy it through Amazon and other third-party sellers. We’ve also seen this happen with DJI’s latest drones, like the DJI Neo 2 ($319) which can’t be bought officially through the manufacturer but can be through third-party retailers.

But because Potensic hasn’t been cleared to support the Atom 3 in the U.S., you can’t get aftercare packages or repairs should your drone get damaged. I’ve reached out to Potensic’s marketing team to find out about U.S. availability and will update this review as and when I know more.

The Atom 3 is a strong alternative to the DJI Lito X1 (£369) as it boasts similar specs packaged into a sub-249g body. Other competitors include the DJI Flip ($439) which also features a 1/1.3-inch sensor, and the DJI Mini 4K ($299) but this drone is over two years old, making the Atom 3 the more up-to-date option.

Potensic Atom 3 review: Design

If you put the Potensic Atom 3 and the Potensic Atom 2 side-by-side, you wouldn’t be able to tell the difference between the two — at first glance, that is. Look closer and the differences become obvious. The Atom 3 is slightly bigger, measuring 9.29 x 6.61 x 2.48 inches when unfolded and without propellers, and it’s ever-so slightly heavier too. The Atom 3 weighs 8.78oz as opposed to its predecessor weighing 8.64oz. Its light weight means you don’t necessarily need to register it with F.C.C. in the U.S. or the C.A.A. in the U.K.

Potensic has made some small but substantial improvements to the design too. The Atom 3 feels more robust and like it’s built much better than the Atom 2. It doesn’t feel too plasticky, and it’s noticeably nicer to touch. In addition to that, the Atom 3’s propellers are larger than the Atom 2’s, which means the drone can push more air, resulting in more efficient operation.

The ports on the Atom 3 also feel more accessible. On the Atom 2, the battery eject button, annoyingly, covered the microSD card slot, so you had to remove the battery to then remove the microSD card. Not anymore. On the Atom 3, the USB-C port for charging and data transfer, and the microSD card slot sit side-by-side, unobstructed, giving you easy access to both.

Potensic Atom 3 review: Controls

The Potensic Atom 3 hosts just one button on its body: the power button, and it’s much better than the one on the Atom 2. The Atom 2 needed to be powered on and off by pressing the button on the drone’s underside. This meant that you needed to turn it on and then set it on the takeoff surface. On the Atom 3, the button is now located on the top which saves you a few seconds.

Alongside the Atom 3, Potensic has also unveiled its new controller: the RC PTD2. While you can still get the old controller which requires you to slot in your smartphone and use said phone as the controller’s screen, I’d recommend grabbing the RC PTD2 controller instead.

The RC PTD2 is sturdier and better built, and its 5.5-inch FHD touchscreen with 900 nits of brightness make flying more immersive and much easier. I’ve found the touchscreen extremely responsive in my testing, and I also like how bright it gets. I haven’t had any issues viewing it in direct sunlight and low-light environments.

Potensic Atom 3 review: Features

The Potensic Atom 3 has received meaningful updates to its sensor, making it one of the best beginner drones you can buy today. The drone has a maximum flight distance of 9.94 miles — up from 6.21 miles on the Atom 2. It also has a maximum takeoff altitude of 5,000m which is up from 4,000m on the Atom 2.

It’s important to note, though, that the Atom 3 doesn’t feature any built-in storage, just like its predecessor. This is disappointing given that the DJI Lito X1 boasts 42GB of internal storage, acting as a safety net if you forget to carry a microSD card with you. Potensic recommends using a V30 (or higher) microSD card with the Atom 3, like the Lexar E-Series 128GB (two for $64).

Sensor

One of the key differences between the Atom 3 and the Atom 2 is the sensor. The Atom 3 features a larger 1/1.3-inch sensor, as opposed to the Atom 2’s 1/2-inch CMOS sensor. It’s the same sensor you’ll find on the DJI Flip. It’s smaller than the 1-inch sensor on the DJI Mini 5 Pro (£689) but this drone also costs a lot more.

The aperture, however, has narrowed from f/1.8 on the Atom 2 to f/2.8 on the Atom 3 which, in theory, could mean a detrimental impact on low-light performance, and I’ll discuss this in detail shortly.

Improvements have been made to the maximum shutter speed, as the Atom 3 can be manually adjusted to shoot at 1/25,000s, as opposed to just 1/6,400s on the Atom 2. You can now capture blur-free footage when tracking fast-moving subjects, like cars or motorbikes.

Wind resistance

The Atom 3 retains its predecessor’s three-axis brushless gimbal design which helps the drone capture stable and smooth footage, even in mildly windy conditions. A three-axis gimbal is better than a two-axis one (like on the DJI Neo 2) and far more stable than a single-axis one (like on the OG DJI Neo).

Wind resistance remains the same across Potensic’s Atom lineup. The Atom 3 can withstand winds up to 10.7 m/s or 23.9mph (level 5). This is common in this price range, as it’s the same wind resistance you’ll find on the DJI Flip and the DJI Mini 4 Pro. If you want even better resistance, the DJI Mini 5 Pro is rated at 12 m/s or 26.84mph.

I mostly filmed on windless days as the U.K., where I’m based, was experiencing a heatwave during testing, but I was greeted to a few strong gusts every now and then. The Atom 3 remained stable throughout, and I even noticed that its heftier weight made it more resistant to getting knocked about.

Obstacle avoidance

Potensic still hasn’t fixed my biggest grievance with the Atom 2: the lack of obstacle avoidance. The Atom 3 doesn’t feature any form of collision avoidance which means you have to rely on your eyes and the controller’s screen to ensure the drone doesn’t run into anything.

While this wasn’t abnormal for the Atom 2’s price range, it’s disappointing given that the Atom 3 costs more. Even though the DJI Flip doesn’t feature omnidirectional obstacle avoidance, it at least features forward-facing avoidance, giving you some reassurance. The DJI Lito X1 takes things further with omnidirectional obstacle sensing. Heck, even the cheaper DJI Neo 2 has omnidirectional avoidance! What gives, Potensic?

Potensic Atom 3 review: Video quality

The Potensic Atom 3 doesn’t give you much to complain about when it comes to video work. It's capable of recording 4K video at 60fps (up from 30fps on the Atom 2). You also have the option to shoot in FHD at 60fps or 2.7K video (at 60fps again) in the 9x16 format for social media. In the video above, you can see a compilation of clips shot in 4K at 60fps. The movement is smooth and stable, even when I’m panning, and the colors look lovely. Greens are vivid while the blue sky appears rich.

Similar to the Atom 2, the Atom 3 can shoot in P-Log too, which preserves flat, raw footage for increased dynamic range, although you’ll need to grade the footage in post.. You can see what the unedited footage looks like in the video above.

The Atom 3 utilizes AI Tracking 2.0 to power its QuickShot short-form modes, such as follow, rocket, spiral, parallel tracking, and more. These modes use AI subject detection to lock onto a subject, and they work very well. They’re especially fun when you’re with a group of friends, and they’re great for creating content quickly for sharing on social media.

You can see a few examples of the QuickShot modes in the video above. To track a subject, all you need to do is draw a box around the building or person using the controller’s screen, and you’re good to go.

For getting close to subjects without physically moving your drone, the Atom 3 features a 2x digital zoom at 4K resolution, 3x digital zoom at 2.7K, and 4x at 1080P. Above, you can see what the 2x digital zoom looks like. The quality isn’t the best, as there’s a significant drop in the building’s sharpness. This is a limitation posed by the DJI Flip too, which features the same sensor size, so it isn’t a rare occurrence in this price range.

It’s important to note that the vertical video Atom 3 shoots isn’t true vertical — like on the DJI Mini 5 Pro where the gimbal rotates at a 90° angle. The Atom 3 captures standard horizontal footage and then digitally crops it to achieve a 9x16 aspect ratio. That’s no bad thing, though, and vertical footage looks nice and detailed enough for viewing on smartphones.

While the Atom 3 is capable of producing lovely footage during daytime, especially in sunny conditions, it falters in unfavorable lighting conditions — especially at night. The Atom 3 has a narrow f/2.8 aperture but a large 1/1.3-inch sensor. It’s also got an AI Night Mode which uses AI image processing to enhance visuals “without overexposure.”

There are a couple of reasons why I wouldn’t recommend flying the Atom 3 at night. Firstly, the low-light performance is quite poor. Watch the video above. The first clip was shot in normal mode while the second was captured with AI Night Mode active. I personally prefer the first clip as it looks more natural and the motion while panning or when cars are zooming past doesn’t appear jarring.

The AI Night Mode, on the other hand, makes the video look a little fake as it has added a strange blue hue to the sky by essentially increasing the exposure. There’s a lot of noise and grain in the dark areas, and while panning, you can see a fair amount of motion blur. That’s also because the Atom 3 drops the 4K frame rate down to just 25fps in AI Night Mode from 60fps in regular mode.

Secondly, because the Atom 3 doesn’t feature any form of obstacle avoidance, it’s difficult to fly the drone at night when you can’t always see it. For those two reasons, if you plan on using a drone for low-light videography, I’d recommend the DJI Flip with its f/1.7 aperture and life-like low-light capabilities. Even better is the DJI Mini 5 Pro, which is worth the extra spend for its large 1-inch f/1.8 sensor alone.

Potensic Atom 3 review: Image quality

The Potensic Atom 3 is capable of capturing 12MP images with its 1/1.3-inch sensor. For the first time on a Potensic drone, the Atom 3 can capture RAW photos too for more freedom in post-production. The photos in the gallery above are straight-out-of-camera JPEGs and as you can see, color reproduction is faithful and true to life. I especially love how the sunlight falls on the landscape in the first two slides.

If you want to capture more high-res images, the Atom 3 can take 50MP stills with a resolution of 8192 x 6144 in what Potensic calls it the drone’s 8K mode. The images in the gallery above were taken in the 8K mode and as you can see, they’re packed with detail. The colors are nothing short of stunning, and the buildings in the first shot especially are sharp and in focus.

Just like you do when shooting video, you get access to a 2x digital zoom when capturing 12MP stills. But similar to the zoomed-in video earlier, the Atom 3 struggles to reproduce sharp stills when the drone is zoomed in to its limits. The photo above was taken with the 2x digital zoom active and as you can see, the building looks fuzzy and low-res. 12MP doesn’t provide a ton of wiggle room either, and no digital zoom is available in the aforementioned 8K mode.

The Atom 3’s low-light performance when taking stills in dimly lit environments is decent too, as you can see in the gallery above. No AI Night Mode here, and I like that the images are fairly noise-free. I love the look of the sunlight peeking through the clouds as the sun sets over Bristol, U.K.

Potensic Atom 3 review: App

The Potensic Atom 3 is accompanied by the Potensic Eve app, available for free on iOS and Android. I thoroughly enjoyed using the app when it was first introduced with the Atom 2, so I’m happy to see it make a return. It sports a similar interface to the excellent DJI Fly app, so if you’re familiar with it or even if this is your first time using a drone app, you’ll have no issues getting to grips with it.

If you’re using the standard mobile controller with the Atom 3, you’ll be heavily relying on Potensic Eve. In addition to acting as your eyes, the app allows you to see low-res previews of videos and stills you’ve captured, update the drone’s firmware, view flight logs, and access Potensic Academy for tutorials and how-tos.

Potensic Atom 3 review: Battery life

The Potensic Atom 2’s flight time was already respectable, and the Potensic Atom 3 one-ups it with longer battery life. Using the standard Smart Battery, the Atom 3 is rated for 40 minutes, and this jumps up to 50 minutes with the Smart Battery Plus. Based on these figures alone, the Atom 3 trumps its competitors. For instance, the DJI Lito X1 is rated for 36 minutes while the DJI Flip can last just 31 minutes between charges or battery swaps.

Your mileage will naturally depend on the shooting settings and flying conditions. Flying in mostly windy conditions, I was able to squeeze 35 minutes out of the Atom 3’s Smart Battery — but I was also switching between modes, viewing the gallery, etc. between shots. It’s worth investing in one of the Fly More combos — either the RC PTD2 bundle ($679) or the standard Fly More bundle ($549) — if you want two additional batteries.

Unlike the Atom 2 whose charging hub used a proprietary cable for charging, the Atom 3’s hub sports a USB-C hub — now that’s more like it! The parallel charging hub charges all three batteries simultaneously in just under 90 minutes. If you’re using Smart Battery Plus, these require 135 minutes to go from zero to 100%.

Potensic Atom 3 review: Verdict

If you’re taking your first steps into the world of aerial photography, or are stepping up from a budget drone, the Potensic Atom 3 is an excellent choice. Easy to fly thanks to the new RC PTD2 controller, the Atom 3 is compact and lightweight, making it great for travel too. It captures 50MP stills in JPEG and RAW, giving you more freedom in post-production.

4K/60fps video is stunning and stable, thanks to the drone’s three-axis gimbal. AI subject tracking works excellently too, and the Atom 3’s QuickShot modes work well and are superb for creating short-form content for quick sharing to social media. However, the Atom 3 doesn’t feature any collision avoidance sensors and its low-light performance is far from best, so I wouldn’t recommend getting the drone solely for shooting at nighttime. Those drawbacks alone make the DJI Flip and the DJI Lito X1 more enticing.

For everything else, though? It’s almost perfect. The Atom 3 improves on its predecessor to deliver one of the best beginner drones yet.

The cat's out of the bag. After months of rumors and online speculation, DJI has finally unveiled the dual-camera sibling to the 5-star Osmo Pocket 4. The DJI Osmo Pocket 4P is here and it's very real — I've held it, shot footage on it, and I can tell you that it's a marvellous little camera.

I've just got back from spending a few days in Malta, where I recorded the sights and sounds of the Southern European country on the Osmo Pocket 4P. For those of you who may already have heard rumblings on the internet, you'll know that the Osmo Pocket 4P is designed to go toe-to-toe with the Insta360 Luna Ultra — Insta360's flagship dual-lens gimbal camera.

The Luna Ultra is already available to buy in the U.S. which gives it an upper-hand over the Osmo Pocket 4P. It's been a few months since the Osmo Pocket 4 came out and it still can't be bought in the U.S. due to the ongoing restrictions and tariffs on the brand's products by the U.S. government — so it's unlikely the Osmo Pocket 4P will become available across the pond at the same time as in Europe.

Should the camera become available in the U.S., though, it's certainly worth buying. I can't tell you much about the camera's specs but I can confirm that the Osmo Pocket 4P has two lenses, one of which is a 60mm medium-telephoto.

I can't discuss resolution or frame rates, but I can tell you that the Osmo Pocket 4P features D-Log2 support as well as a whopping 17 stops of dynamic range — giving you plenty of wiggle room in post-production. Design-wise, the Osmo Pocket 4P comes in black or white, and the latter is a first for DJI.

We don't know about pricing yet. Given that the Osmo Pocket 4 costs £429 in the U.K., and the Luna Ultra retails for $769 in the U.S., maybe the Osmo Pocket 4P would cost between $550 and $650.

DJI typically undercuts Insta360 (which always prices high) in all but the U.S. market, where tariffs have forced up DJI's pricing. I imagine DJI would want to undercut Insta360 here by pricing the Osmo Pocket 4P cheaper than the Luna Ultra. We've seen it with the Antigravity A1 which uses Insta360's 360° imaging tech. It came out long before the DJI Avata 360 and it carried an exorbitant price tag ($1,599!). DJI priced its first 360° drone far cheaper than the A1, which made the Avata 360 better value for money. This is all speculation, of course, and we won't know for certain until DJI releases this information.

The sights and sounds of Malta on the DJI Osmo Pocket 4P

Enough talk of specs and rumors. I've shot on the DJI Osmo Pocket 4P, so what does footage look like? Stunning, in one word. Above, I've compiled a vlog of the videos I recorded in Malta so you can feast your eyes. As you can see, stabilization is fantastic; the colors appear true to life and vibrant; and the dynamic range performance is excellent. There's plenty of detail to enjoy in dark shadows, and the highlights don't appear blown out either.

That's all I can really say, and all I'm allowed to tell you, without talking about specs. We will have a full review of the Osmo Pocket 4P in the near future. In the meantime, what do you think of the video quality and the camera in general? Let me know in the comments below!

What can I buy right now if not the DJI Osmo Pocket 4P?

Now that you've seen the footage I recorded in Malta, have I enticed you into buying the DJI Osmo Pocket 4P when it comes out? I apologize to my American comrades because I don't know whether the Osmo Pocket 4P will be available in U.S. at launch — but fret not, there are alternatives!

More from Tom's Guide

• I tested DJI’s new Osmo Pocket 4 — this is the only tool I'll recommend to content creators from now on
• Insta360's gimbal camera has just hit shelves, and there's one factor that has me lining up to purchase one stat
• The best cameras in 2026

With the Prime Day deals now into their third day, it could be a good time to pick up one of the best cameras at a very respectable price.

As is often the case with these kinda of sales events, the reductions on pricier mirrorless bodies are, for the most part, pretty poor. Canon is the only major player offering significant discounts, like $150 off the fantastic Canon EOS R50V at B&H. Lumix and Sony are offering only modest discounts, and typically on older models like the A7 III (currently $1,398 at B&H), while Nikon and Fuji are true to form and nowhere to be seen.

Interestingly, though, there are some awesome deals on action and vlogging cameras. My favorite deal is on the GoPro MAX2, one of my top 360 cameras, which is currently $200 off at Amazon.

I've waded through the river of crappy camera deals to find only the ones I'd recommend this Prime Day. Here they are.

Don't be fooled by the dodgy deals

There are a lot of deals out there, but not all of them are good. Take this, the Sony a6700, which is currently reduced from $1,599 to $1,399 at Amazon. Sounds great, right?

Well, let me clue you in on a little price tracking info: the a6700 sat at $1,399 from August 2024 to July 2025, then it got hiked up to $1,500. Back in March, it got hiked up in price again to $1,599. So sure, there are discounts on it right now, but it's only going back down to where it started.

Or how about the Lumix S5IIX, which is ostensibly reduced from $1,919 to $1,797 at Amazon. Well, that got hiked to $1,900 in April so it could look good now. I've seen that camera drop under the $1,500 mark in the past, which is where I'd expect to see it given it's nearly 3 years old.

There's a lot of that floating about right now. "Dynamic pricing" so to speak. I won't be including that kind of deal here. No sir-ee.

Quick list

• Instax mini 12 bundle: was $105 now $79 @ Amazon
• DJI Osmo Action 5 Pro: was $339 now $288 @ Amazon
• GoPro MAX2: was $499 now $299 at Amazon
• DJI Osmo Pocket 3 Drive bundle: was $496 now $375 @ Amazon
• Canon EOS R50 V: was $719 now $569 @ B&H
• Sony A7 III: was $1,998 now $1,398 @ B&H
• Lumix S1R II: was $3,299 now $2,997 @ Amazon

Editor-approved Prime Day camera deals

We're tracking all the best Prime Day deals

Leica continues to refine its SL-System of full frame mirrorless cameras and has now delivered its most comprehensive shooter yet. The Leica SL3-P joins the SL3 and the SL3-S, and it introduces handy upgrades that make it a capable hybrid camera. Its 44MP sensor captures beautiful images with plenty of detail, so you can easily create extreme crops. A new hybrid autofocus system and 40fps drive (fastest on a Leica camera yet) make the SL3-P great for wildlife and sports photography, too.

And that’s not all. For the first time, a Leica camera features 8K/30fps Open Gate video, and alongside that, you get up to 5-stops of IBIS, as well as strong dynamic range performance. If you can afford it, the SL3-P is one of the best mirrorless cameras you can buy.

To find out how I got on with the camera, read my full Leica SL3-P review.

Leica SL3-P review: Specs

Leica SL3-P review: Price & availability

Leica’s SL-System of full frame mirrorless cameras welcomed a new family member in June 2026. The Leica SL3-P joins the hybrid SL3 ($7,485) and the video-first SL3-S ($5,665). Though it carries a premium price tag, the SL3-P sits between both cameras with a retail price of $6,690 / £5,150.

As is the nature of Leica cameras and glass, you’ll need to splurge to get a functioning kit. For example, I tested the Vario-Elmarit-SL 28-70 f/2.8 ASPH lens which costs $2,190 at Adorama / £1,750 at Clifton Cameras. There are more expensive lenses available, but the 28-70 is a good starting point, as it’s priced similarly to many of the professional standard zoom lenses from Canon and Sony.

The SL3-P is a hybrid camera that can capture 44MP stills as well as 8K Open Gate video, so on specs alone, it competes with the likes of the Canon EOS R5 Mark II ($4,299) and the Canon EOS R6 Mark III ($2,799). You’ve also got other full frame wonders like the 50MP Sony A1 II ($6,499) which can also shoot 8K/30fps video. Price is a different matter, as the SL3-P is priced like a medium-format shooter, like the Hasselblad X2D II 100C ($7,400) or the Fujifilm GFX100RF ($4,899).

Leica SL3-P review: Design

All three Leica SL3 bodies share similar designed philosophies. The SL3-P, just like its siblings, is covered in a faux leather-like material that makes it look premium and like you’ve spent a lot of money on it (which you will have). Leica forgoes the classic red dot on the SL3-P, though, and the only branding you get is the brand’s name in big bold lettering above the sensor.

What the SL3-P does retain, though, is the ginormous sculpted grip which is spacious enough for you to wrap your fingers around. This makes the camera a joy to handle, whether you’re using it one-handed or with both.

The SL3-P’s body is slightly bigger than the base SL3 as it now measures 5.96 x 4.25 x 3.33 inches, but still weighs 1.69lbs (without cards and battery). The overall handling will naturally depend on the lens you use. The Vario-Elmarit-SL 28-70 lens I tested weighs 1.26lbs, so I didn’t find the kit too heavy or unwieldy to use.

Viewfinder

Another similarity between the SL3 and the SL3-P is the OLED EVF with a resolution of approximately 5.76 million dots. In my testing, I found it easy and reliable to look through and frame my subjects. You get a refresh rate of either 60Hz or 120Hz which can be changed via the camera’s menu system. 120Hz is more than sufficient for most kinds of photography, including tracking fast-moving subjects like birds or sportspersons — it will naturally have a detrimental effect on the battery life, though.

But I have the same complaint I had with the SL3: I wish the SL3-P’s viewfinder had a higher resolution, especially for the price. The SL3-P’s EVF resolution is the same as that of the Canon EOS R5 Mark II, the Hasselblad X2D II 100C, and the Fujifilm GFX100RF. However, the Sony A1 II and A7R VI have 9.44-million dot EVFs, which are phenomenal, and help make the most of their high-res sensors when focus checking.

The SL3-P is, essentially, another version of the SL3, so I can understand why Leica has kept the same viewfinder — perhaps we’ll see a better one on the next standalone camera, as and when it comes. SL4th time’s the charm?

Even though Leica has added 40fps burst shooting to the SL3-P — up from 15fps on the SL3 and 30fps on the SL3-S — the EVF isn’t blackout-free. This means that, when viewing and photographing subjects through the EVF, you get short black screens between shots. When you’re shooting at a blistering 40fps, you won’t always notice them, but this will certainly be an issue for professional wildlife and sports photographers. If you’re one of those people, you may want to grab the Sony A1 II or the Sony A7R VI ($4,499), both of which boast blackout-free sequential shooting.

Monitor / Displays

The SL3-P sports dual displays. You get a 3.2-inch backlit LED touchscreen monitor on the back, with a resolution of 2.33 million dots — almost as much as the Hasselblad X2D II 100C (2.36M dots) and higher than the Canon EOS R6 Mark III (1.6M dots). In most lighting conditions, I’ve found it plenty bright and easy to read, even in direct sunlight. Similar to the SL3, the SL3-P’s monitor features an anti-fingerprint and anti-scratch coating — reassuring given how much this camera costs.

Similar to the Hasselblad X2D II 100C’s monitor, the SL3-P’s rear display can be tilted up and down by 90°, enabling you to shoot at awkward angles, such as with the camera at your hip — great for street photography when you want to capture candid moments without drawing attention to yourself.

Then you’ve got a 1.28-inch top display, located next to the dials on the top plate’s right-hand corner. This screen shows your active settings: shutter speed, ISO, aperture, AF mode, and so on and so forth. Its trans-reflective monochrome design makes the display easy to read, especially outdoors. You’ll find a similar display on the Hasselblad X2D II 100C, too.

Ports

There are barely any differences, if any at all, between the ports on the SL3-P, SL3 and SL3-S. Located on the camera’s left edge, you’ll find HDMI 2.1 Type-A, USB-C for charging and data transfer, and 3.5mm audio output and input ports. All of these do their job as intended.

On the left edge, you’ll find slots for SD/SDHC/SDXC UHS-II/UHS-I as well as CFExpress Type-B cards. I shot on the Lexar 128GB Gold Series ($198) which boasts up to 1750MB/s read and 1500MB/s write speeds. CFExpress support is welcome, as these cards ensure faster read and write speeds versus SD cards, which is needed for the 44MP files as well as sustaining the 40fps drive. You can essentially shoot for longer before filling buffers.

Weather-sealing

Just like the SL3 and the SL3-S, the SL3-P is IP54-rated, which means it’s protected against dust, moisture and light rain. That’s thanks to an entirely sealed full-metal housing. This is similar weather-sealing you’ll find on the Canon EOS R5 Mark II and the Sony A1 II. Meanwhile, the Hasselblad X2D II 100C isn’t fully weather-sealed, so the SL3-P has the upper hand here.

Obviously, you'll need to ensure you're using a weather-sealed lens for any of that to matter. The Vario-Elmarit-SL 28-70 f/2.8 ASPH I tested is, in that regard, weatherproof.

Leica SL3-P review: Controls

The Leica SL3-P is basically the SL3 but more refined and well-rounded, and it sports practically the same control scheme you’ll find on the base model. By that I mean it’s stripped-back, keeping in line with Leica’s minimalist ethos.

I’ve loved using the SL3-P as much as I did the SL3. The buttons and dials feel well-placed and within easy reach, and they add to the sublime user experience. I’m happy to see the rubber-covered joystick make an appearance on the SL3-P too, as it feels comfortable to use for long periods of time. I’ve found it more enjoyable to use than the textured joysticks on the Canon EOS R5 Mark II and the Sony A1 II.

Leica’s menu system deserves a shoutout too, as it’s uncomplicated and effortless to navigate. The eight settings tiles can be customized to complement six customizable physical buttons, which makes the camera highly personalizable. And it doesn’t stop there. The SL3-P features six customizable profiles for photo and another six for video, making the camera ideal for hybrid shooters.

Leica SL3-P review: Autofocus

One of the biggest upgrades to the Leica SL3-P comes in the form of a new autofocus system. In addition to utilizing a combination of phase-detection for speed and contrast-detection for accuracy, like the SL3, the SL3-P also uses depth mapping. It borrows depth mapping from the Leica Q3 43 ($7,380), and it basically builds a 3D digital map of subjects to instantly lock onto them, regardless of unpredictable movements.

The result is an intelligent AF system that quickly detects and locks onto birds, animals, and humans. You can choose from Single AF (AFs), Continuous AF (AFc) and Manual Focus, or you can select Intelligent AF where the camera will decide whether to use AFc or AFs — handy for when you’re photographing sports or wildlife, or when you know your subject’s movements can be unpredictable.

The SL3-P’s autofocus worked extremely well in my testing, regardless of the subject I was photographing or the lighting conditions. When subject detection is set to Human Eye/Body, the camera cycles through the subject’s different body parts. If it can’t find eyes, for instance, it’ll look for the face, then the whole body, in a similar way to AF systems from other manufacturers. It worked effectively when I photographed my friends at a birthday party. In the photos in the gallery above, the SL3-P was quick to lock onto their eyes and faces, and the resulting images are crisp and sharp.

Animal/bird detection works just as well, too, making the SL3-P a formidable wildlife camera. Whether I was capturing birds in flight, while they were diving, or when they were stationary, the camera never let me down. In the first photo in the gallery above, even though the moorhens were slightly obscured by the grass, the SL3-P quickly locked onto them.

The second photo of the duck was taken in burst mode (more on that shortly) and I’d been tracking it as it dove underwater and then broke the surface, and the SL3-P locked onto it as soon as it came back out. I was also impressed by the SL3-P locking onto the heron’s wing in the third slide, and I was able to capture an in-focus shot of the park’s resident elusive bird.

I found the SL3-P’s focus joystick extremely responsive in my testing too. Like I mentioned earlier, it’s comfortable, and it promptly registers your commands. I’ve used it plenty of times to reset focus points, or focus on particular subjects — like the second pigeon flapping its wings in the photo above.

Leica SL3-P review: Stabilization

The Leica SL3-P retains the SL3’s 5-axis in-body image stabilization (IBIS) and offers up to 5-stops, enabling you to capture images at slow shutter speeds and in low-light environments. The Vario-Elmarit-SL 28-70 lens I tested doesn’t feature stabilization so I had to rely on the camera’s IBIS when taking photos at slow shutter speeds.

In the gallery above, the first image was captured at 1s and it’s sharp and stable, with no blurry edges. Any slower than that, such as at 1.5s in the second slide, and the images came out blurry, impacted by camera shake. I’ve been satisfied with this performance. For a frame of reference, on a camera with up to 8.5-stops of IBIS, like the Canon EOS R6 Mark III, I’ve been able to shoot at speeds as slow as 4s.

Leica SL3-P review: Image quality

I can’t remember the last time I complained about a Leica’s imaging prowess — that’s because I’ve never done so. It’s really difficult to fault it, and the Leica SL3-P is no different. The camera packs a 44MP BSI CMOS full frame sensor. That’s down from 60.3MP on the SL3 (and up from 24.6MP on the SL3-S) but remember, the SL3-P introduces features like 8K Open Gate as a trade-off, which I’ll discuss in detail shortly.

Working in conjunction with the Leica Maestro IV processor, the photos the SL3-P captures are nothing short of spectacular. Colors are vibrant and bright without appearing oversaturated or too heavy in contrast, and they appear true to life. I love how much detail the SL3-P’s sensor captures, especially when you’re using a sharp lens like the Vario-Elmarit-SL 28-70 f/2.8 ASPH. with it. The water droplets on the swan’s head and the individual feathers in the first image, for instance, appear extremely sharp, adding depth and texture to the image.

The SL3-P’s 44MP sensor provides plenty of resolution, especially for making tight crops. In the gallery above, the first image is an extreme crop of the second, and the third of the fourth. As you can see, I’ve been able to crop in a lot without losing much detail. The pigeon’s feathers and face still look sharp, and the clock’s features and the bricks surrounding it appear detailed.

Similar to many other Leica cameras, the SL3-P features a few Leica Looks or color profiles, including Natural, Vivid, Monochrome, and Monochrome High Contrast. Monochrome High Contrast is my favorite, and I like it almost as much as Fujifilm’s Acros black-and-white film simulation. The first two photos in the gallery above were captured in this filter, and I love how cinematic the photos look with deep blacks. It’s the perfect color profile for portraits.

The third photo was captured in the Monochrome profile, and it appears more flat and balanced, making it great for architecture and street photography. The final photo of the fern leaves was shot in Vivid, and it made the greens look more saturated and high on contrast, and that’s given the image a three-dimensional effect.

Just like on the SL3-S, you get access to Multishot Mode on the SL3-P too. The camera uses pixel-shift technology to produce an image that’s four times larger than the sensor. Basically, it takes eight to 16 individual frames and stacks them to create a 176MP image. If you’re taking photos with the SL3-P mounted on a tripod, this is a fantastic feature to have, especially for portraits and product photography. Naturally, these files are massive, with a JPEG around 230MB, and due to website limitations, I unfortunately can’t show you how detailed they look.

High-speed drive

40fps high-speed drive is one of the SL3-P’s headline features, and as I mentioned earlier, it’s up from just 15fps on the SL3 and 30fps on the SL3-S. The 40fps sequential images are captured in 12-bit color depth, which means they comprise over 68 billion shades. If you want 14-bit color depth, you’ll need to drop the frame rate to 25fps.

Being able to capture 40 frames per second is enough for photographing most wildlife and sports, at least at an amateur or hobbyist level. Obviously, though, pros may need more than that, like the 120fps drive offered by the Sony A1 II or OM System OM-1 Mark II ($2,399). I found 40fps more than sufficient in my testing. The electronic shutter with its faster shutter speed of 1/16,000s gave me plenty of wiggle room too.

Thanks to 40fps sequential shooting and the reliable autofocus, I was able to capture many photos of birds in action, like the two photos of the seagulls fighting over a piece of bread. The camera was quick to focus and lock onto them. As the seagull on the right started to fly away, I started tracking it and the SL3-P, again, kept focused on the bird.

It’s important to note that unlike professional wildlife or sports cameras like the Canon EOS R5 Mark II, Sony A7R VI or the Sony A1 II, the SL3-P doesn’t feature pre-burst capture, where the camera starts buffering images when you half-press the shutter button. If you’re a professional, you may want to consider either of those cameras. For hobbyists, though, the SL3-P should suffice.

ISO performance

The SL3-P has an ISO range of 50 to 200,000, and the top-end of that range is double that of the SL3’s (100,000). Instead of capturing RAW files, the SL3-P captures DNGs alongside JPEGs, and these files are 15-20% smaller than RAW files. The difference is hardly noticeable though.

Images are as noise-free as you’d expect at ISO6400, so let’s talk about high ISO values instead. The images in the gallery above were shot at ISO12,500: the first is a JPEG export of the DNG file while the second is the straight-out-of-camera (SOOC) JPEG. As you can see, the DNG file is fairly noisy but the SL3-P has done a good job of reducing the grain, and there’s very little loss in sharpness either.

I then increased the ISO to 25,000 and the camera still did a decent job of smoothening out the noise in the SOOC JPEG (second slide). But you start to lose a little sharpness here, as can be seen in the bobblehead’s chin and the sculpted creases in its trousers. It’s still a usable image, though.

I wouldn’t really recommend pushing past ISO32,000 on the SL3-P. The images above were shot at ISO32,000, and as you can see in the SOOC JPEG (second slide), the edges of the bobblehead’s hair don’t look as sharp anymore. The book in the background is quite noisy too. This is similar to the Sony A1 II’s and the Canon EOS R5 Mark II’s high ISO performance.

Dynamic range

One of the things I was most impressed by when testing the SL3 was the camera’s dynamic range performance, and the SL3-P hasn’t let me down either. Offering up to 14+ stops at base ISO50, the SL3-P enables you to make extensive adjustments in post-production.

The first photo in the gallery above is the unedited version of the second. It was an extremely bright day and the flowers were backlit by the sun. I brought the highlights all the way down and lifted the shadows in Adobe Photoshop Lightroom, and as you can see in the second slide, the camera’s done a great job of retaining highlight detail. The clouds in the sky don’t appear blown out and reducing the highlights has revealed a spot of blue sky. I like that the flowers still look lovely and pink, even in the edited image.

The SL3-P keeps shadows noise-free too, as you can see in the gallery above. When I boosted the shadows and reduced the highlights, it revealed many details, such as the shrubs and bushes down the path, and leaves and branches in the tree closest to the camera.

Leica SL3-P review: Video

Striking a balance between the SL3 and the video-first SL3-S, the Leica SL3-P packs impressive video capabilities. You can shoot 8.1K/25fps Open Gate video in 3:2 format, HDMI RAW 8K Open Gate, and 8K/30fps using the full size of the sensor. There’s also 6K/60fps for smooth motion as well as 4K/120fps for slow-mo footage.

All of these resolutions and frame rates are recorded in 4:2:2 10-bit (in MOV) which means the camera can capture 1.07 billion individual hues. Leica has also added two new in-camera LUTs, Leica Pure and Leica Cinema, for the L-Log color space, giving you lots of freedom in post-production and color grading. An important distinction between the SL3-S and the SL3-P is that the former can shoot ProRes RAW, making it a strong choice for professional video work.

The compilation of clips above was shot in 4K at 60fps, and it looks beautiful. The colors look great; all the subjects are in focus thanks to the SL3-P’s excellent autofocus; and the video looks smooth throughout. I also like that even though the wind was blowing, there’s no noticeable buffeting, and the SL3-P’s built-in mic has done well to record the birds chirping or squawking.

I was also impressed with the SL3-P’s cooling system. I didn’t experience any severe overheating while recording at 4K/60fps outdoors. 8K Open Gate takes a toll on recording times, though, and Leica says the SL3-P can record for approximately 20 minutes at 77°F / 25°C. You may want to consider the Leica SL3-S instead if you’re a videographer, as it can typically expect 45 to 60 minutes of continuous 6K recording.

Leica SL3-P review: Battery life

Leica has made improvements to its SL-System’s battery life as the SL3-P is now CIPA-rated for 383 shots — up from 260 shots on the SL3. When using Leica’s adapted shooting cycle, the German manufacturer claims the camera’s BP-SCL6 battery pack can yield 1,431 stills.

In my testing, I was able to capture over 2,000 photos (including burst shots) and a few minutes of 4K/60fps video before needing to charge the camera. Your mileage will, of course, depend on your shooting settings, so it’s best to take the CIPA rating as the baseline.

The SL3-P’s CIPA-rated battery life puts it on a level playing field with the Canon EOS R5 Mark II (340 shots). The Sony A1 II and the Sony A7 V can still last longer, with 420 and 630 CIPA-rated batteries respectively. Meanwhile, the Hasselblad X2D II 100C is CIPA-rated for 466 frames, and we managed 246 shots (RAW + JPEG) from around 55% of battery in our testing.

Leica SL3-P review: Verdict

The Leica SL3-P is the most complete SL-System camera Leica has produced to date, and it successfully blends high-resolution photography with advanced video capabilities. Its 44MP full frame sensor captures stunning images while retaining plenty of detail, and there’s enough resolution for aggressive cropping, too. The new hybrid autofocus system and 40fps burst shooting make it more than capable for wildlife, sports and action photography.

In addition to all this, the SL3-P delivers strong dynamic range performance, dependable in-body image stabilization, and videographers will appreciate the 8K Open Gate capabilities. The premium build quality, intuitive controls, and the refined shooting experience reinforce the SL3-P’s appeal.

As is the nature of Leica cameras, the SL3-P doesn’t come cheap, but it’s priced similarly to pro snappers from Canon and Sony. Professional photographers may be put off by the lack of a blackout-free EVF, too. But if these are compromises you’re willing to make, the SL3-P’s strengths are far too many to be overlooked. It’s an exceptional camera and it finally puts Leica on a level playing field with Canon and Sony.

There’s something inherently sci-fi about fastening an accessory to my phone and suddenly getting Predator-vision. In the past couple of years, I’ve tested a bunch of smartphone-connected thermal dongles on the market, including the gear from Thermal Master.

It started with the budget-priced P1, followed by the micro-sized P2 that fits on my keychain, and finally the P3 that introduced thermal vision to my iPhone. With its latest release, the Thermal Master P4 steps up as an all-in-one model with dual lenses to deliver outstanding clarity and heat signature performance.

I’ve been using it around my home for the past few weeks now. From checking out what’s lurking outside while I’m shooting astrophotography, to finding gaps around windows and doors that are letting hot air inside my home, it shows me stuff I simply can’t see with my own eyes. And best of all, it’s $200 off right now for Prime Day.

Blends thermal vision and reality to undercover gaps

What really elevates the Thermal Master P4 over previous models I’ve tested is its brilliant dual-lens system. Traditional infrared attachments just show you a blob of heat without distinct edges to add detail to what you’re looking at.

The Thermal Master P4 solves this by layering a visible light camera over its thermal sensor. This unique, AI-assisted combination of thermal vision and reality allows me to uncover hidden gaps with surgical precision. When I scanned the baseboards and window frames of my home, I wasn't just looking at a generic blue blob of cold air—I could see the exact physical gap in the molding where the draft was coming through. It bridges the gap between digital data and the physical world perfectly.

Keep in mind, this feature is most effective when there’s ample light in the scene. While the P4 has no problem showing heat signatures in complete darkness, the real-world physical details fade away without ambient light, making it harder for the AI to blend the two images. You can see the difference with the shots in the gallery above compared to the ones from the previous gallery.

Doesn’t lag like other infrared cameras

Unlike other thermal sensors that painfully stutter and freeze every time you pan across a room, the P4 handles movement like a champ. It doesn’t lag like other infrared cameras. Instead, it delivers a smooth, high-frame-rate feed that tracks shifting temperatures and moving heat signatures in crisp, real-time fluidity. This is probably the biggest reason why I continue to favor Thermal Master's portable cameras over the ones that FLIR makes.

Portable size lets me carry it everywhere

Most professional thermal imagers are bulky, standalone tools that require their own dedicated carrying cases. The P4, by contrast, features a compact design that slides easily into my pocket — and its plug-and-play functionality makes it a breeze to operate.

Since it’s something I can carry everywhere, I’ve found myself using it in casual situations where I’d never bother hauling a traditional camera — like when I go for walks down by the beach, or bike riding on a path where I know foxes typically roam.

With the $200 instant discount going on right now for Prime Day, it’s an absolute steal for anyone wanting a high-performing thermal camera without the bulk or the heavy price tag. Its $499 normal cost is right about what you’d pay for a comparable handheld thermal camera from FLIR, but it’s way more valuable at its current $299 price point.

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When I'm not writing 10,000 words a week, I can usually be found playing video games, at a concert, planning my next tattoo... or out on a walk with a camera in hand. I've loved photography for as long as I can remember, and I'm very lucky that I get to bring my love of photography to my job.

As a reviews writer at Tom's Guide, I test the best mirrorless cameras, and last year alone, I reviewed nearly 30 cameras! And I'm showing no signs of stopping this year. For the last two weeks, I've been putting the Canon EOS R6 Mark III through its paces, and now that I've finished testing it, I can confirm that it's a phenomenal mid-range shooter.

Once I'd finished testing the EOS R6 Mark III, I took a look at how many photos I'd taken on it — and there were 6,569 stills for me to sift through. Many of them were throwaways or part of burst sequences (of which I only edited and finalized a few). I've been thoroughly impressed and delighted with the photos I've taken, so I thought I'd share my favorites with you. So please, enjoy!

Wildlife

Some of my favorite subjects to photograph are animals and birds, and the Canon EOS R6 Mark III is adept at wildlife photography. What I love about the EOS R6 Mark III is its rapid autofocus system featuring no fewer than a whopping 6,097 selectable points. In my testing, I found the EOS R6 Mark III was quick to lock onto the subjects I was photographing. It didn't falter even once.

All the images in the gallery above were captured with the AF set to Auto, and the camera was quick to recognize the subjects as birds, so it switched to Animal Detection.

When I wanted to capture birds in flight or in action, I took full advantage of the camera's 40fps sequential shooting or high-speed drive. The EOS R6 Mark III is capable of capturing 330 JPEGs and 150 RAW images with its electronic shutter. 40fps drive ensures you never miss a moment of action, and 0.5 seconds of pre-burst capture records 20 frames when you half-press the shutter button.

As soon as I spotted the two pairs of moorhens fighting with each other, I pointed the camera in their direction, and it locked onto them. I then fired off a burst (while 'Kung Fu Fighting' by Carl Douglas played in my head) and captured hundreds of images of the birds attacking one another with their feet and beaks. You can see a few of the sequential images in the gallery above.

Portraits

Alongside being a fast camera, the Canon EOS R6 Mark III is great for portraits, whether those are taken indoors or outdoors. The 32.5MP CMOS sensor captures plenty of detail, and there's enough room for making tight crops in post-production. Human subject detection and tracking is fantastic, and if the camera can't detect any eyes, it automatically and seamlessly switches to face and body detection, so the EOS R6 Mark III is very reliable.

There are a few in-camera filters to play with too, such as Vivid, Warm, Cool, and Monochrome, to name a few. The black and white color profile is adept at capturing dramatic portraits. I took a couple of photos of my colleagues in the Monochrome filter, as you can see above. Also, thanks to up to 8.5-stops of in-body image stabilization (IBIS), you can confidently shoot at slow shutter speeds when lighting isn't adequate.

The portraits I captured outdoors turned out just as lovely, even when the lighting was unpredictable and uncontrollable (unlike in a controlled studio environment). I adore the photos of my partner in the gallery above. The colors have come out beautifully, and I love the different shades of gray in the first slide.

Landscapes

The Canon EOS R6 Mark III is truly a jack of all trades, and if you pair it with a wide-angle lens, like the Canon RF 14mm f/1.4 L VCM, you've got a winning combination for landscape photography. You can capture a lot of the scene, as I did in the photos above.

Another feature that makes the EOS R6 Mark III an outstanding landscape snapper is its excellent dynamic range. The camera excels at retaining both shadow and highlight detail. This gives you more wiggle room in post-production as you can lift the shadows to reveal detail, and recover highlights by pulling them down. The result is a balanced image where highlights don't appear blown out, and dark areas remain noise-free.

The EOS R6 Mark III is fully weather-sealed too, and it's protected against dust and moisture, so you can shoot confidently in changing environmental conditions. As someone who lives in the U.K., where it can start raining out of nowhere, you have no idea what a boon this is.

Details

I'll be the first to admit that I'm not a massive fan of macro photography, but I've enjoyed capturing close-ups with the Canon EOS R6 Mark III. Well, the photos in the gallery above aren't exactly macros or close close-ups, but they're shots I've used to test the camera's ability to capture the finer details.

Thanks to the camera's 32.5MP CMOS full-frame sensor, the images are packed with detail, intricate textures, crisp edges, and fine gradations. As I mentioned earlier, you can crop a fair amount too to really highlight your subject — as I did with the photos of the bees on the flowers. The soft pastel shades of the flowers look gorgeous, too.

To sum up...

There's a lot more I can say about the camera, which is what my full, in-depth Canon EOS R6 Mark III review is there for, of course. For $2,799 at Adorama / £2,799 at London Camera Exchange, you're getting a camera that pulls out all the stops. 7K Open Gate video, CFExpress Type-B support, a 32.5MP sensor for beautiful photos, advanced autofocus, 8.5-stops of IBIS, and Canon's vaunted color science — all of these come together to deliver a powerful mid-range package.

Testing the EOS R6 Mark III has been a lot of fun, and if you're on the hunt for a camera that doesn't compromise on image quality and doesn't break the bank, few are better than this. Have you tried the EOS R6 Mark III yet, or would you like to? Let me know what you think in the comments below!

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• I’ve taken over 6,000 photos on the Canon EOS R6 Mark III — and this feature-packed camera is nothing short of a mid-range masterpiece
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• ‘Few wildlife cameras come close to this’: why the OM System OM-1 Mark II is perfect for photographing birds in flight and other animals

Canon is no stranger to making some of the best mirrorless cameras out there, and the EOS R6 Mark III is one of the finest mid-range shooters you can buy today. Sitting comfortably between enthusiast and pro-grade cameras, it improves on its predecessor by introducing a 32.5MP sensor, 7K Open Gate video, and CFExpress Type-B support. It retains 40fps burst shooting for wildlife and sports photographers, but brings with it more advanced tracking which powers its excellent autofocus system.

On paper, the EOS R6 Mark III sounds like a standout choice for practically any genre of photography. In practice, it’s even more impressive. It’s responsive, dependable, and it delivers sharp, vibrant images. And even though the price has crept up and the camera’s overheating limitations may be frustrating for some, these shortcomings do little to overshadow what is otherwise a well-rounded camera in its class.

To find out whether you should buy it, and how I got on during the two weeks I spent with it, read my full Canon EOS R6 Mark III review.

Canon EOS R6 Mark III review: Specs

Canon EOS R6 Mark III review: Price & availability

The Canon EOS R6 Mark III, as its name suggests, is the third iteration of the EOS R6 and the third model in the lineup — and there’s a fourth, if you count the Canon EOS R6 V. The EOS R6 Mark III succeeds the three-year-old EOS R6 Mark II and is a little pricier than its predecessor ($300 precisely).

Its body is available for $2,799 at Adorama / £2,799 at London Camera Exchange. There are two kits available too: one with the RF 24-105mm f/4-7.1 IS STM lens for $3,149 / £3,149, and another with the RF 24-105mm F4L IS USM lens for $4,049 / £3,899.

Given this price and the camera’s features, the EOS R6 Mark III finds itself competing against the likes of the Sony A7 V ($2,899) and the Fujifilm X-H2S ($2,499), with both cameras boasting fast high-speed drives: 30fps and 40fps respectively.

Canon EOS R6 Mark III review: Design

If you put the Canon EOS R6 Mark III next to its predecessor, you’d hardly be able to differentiate between the two. The EOS R6 Mark III features an almost identical physical body design, sculpted grip, and control layout. But if something ain’t broke, don’t fix it, and the EOS R6 Mark III is wonderful to handle.

Its protruding grip is spacious enough to wrap your fingers around and even use the camera one-handed comfortably — if you’ve got medium-sized hands like I do, at least. Dimensions remain fairly identical too, with the EOS R6 Mark III measuring 5.44 x 3.87 x 3.48 inches and weighs 1.54lbs with battery and memory cards. It doesn’t feel bulky or too heavy to carry around my neck or in my backpack.

The camera’s overall handling will naturally be affected by the lens you’re using. I tested the Canon RF 28-70mm F2L USM and the Canon RF 14mm F1.4L VCM lenses with it, and the former on its own weighs nearly 3.2lbs. The kit, then, weighs approximately 4.7lbs which sounds like a lot, but thanks to great weight distribution and the EOS R6 Mark III’s sculpted grip, I didn’t find it too unwieldy to handle.

Viewfinder

The EOS R6 Mark III’s 0.5-inch OLED electronic viewfinder (EVF) is spacious and comfortable to look through, and it’s plenty bright too. It has a resolution of approximately 3.69 million dots so you get a sharp, detailed and life-like representation of the scene you’re capturing, and this, in turn, helps you accurately frame and capture your subject.

This is the same resolution as the Sony A7 V and the Panasonic Lumix G9II ($1,899), but it’s a little lower than the similarly priced OM System OM-1 Mark II’s 5.76 million dots ($2,399). If you want a higher-res EVF, you’ll have to splurge on the likes of the Sony A1 II ($6,499) or the Sony A7R VI ($4,499), both of which pack 9.44 million dots each in their EVFs.

One thing I love about the EOS R6 Mark III’s viewfinder is its 120Hz refresh rate — which is the same as the OM System OM-1 Mark II and the pricier Canon EOS R5 Mark II ($4,299). The fast refresh rate ensures subjects you’re tracking remain free of motion blur, and the camera delivers smooth and realistic motion — great for fast-paced wildlife or sports photography.

It’s important to note that the EOS R6 Mark III doesn’t feature blackout-free shooting. That means in the EVF you get short bits of black screens between shots. They’re hardly noticeable by the naked eye, especially when shooting at 40fps, although this will obviously be an issue for sports or wildlife photographers, but those people should be looking at a high speed blackout-free camera like the Sony A1 II or A7R VI instead. Or, if you can sacrifice sensor real estate, the OM System OM-1 Mark II.

Monitor

The EOS R6 Mark III’s rear panel houses the 3-inch TFT LCD touchscreen which has a resolution of approximately 1.6 million dots. This is the same resolution as that on the OM System OM-1 Mark II and the Fujifilm X-H2S. It’s a little lower than on the Sony A7 V (2.09M) and the Canon EOS R5 Mark II (2.1M), but it’s still bright enough that I haven’t had trouble reading the screen even in direct sunlight.

In my testing, I found the EOS R6 Mark III’s touchscreen highly responsive as all of my taps and swipes were registered instantly. The vari-angle mechanism also meant that I could shoot at awkward angles with ease, like when I wanted to take a low-angle photo of a duck loafing on the ground, or of birds flying right overhead.

Ports

Canon hasn’t spared any expense when it comes to the EOS R6 Mark III’s ports, and the camera features better connectivity when compared to its predecessor. You’ll find the battery compartment on the bottom plate, and this houses an upgraded LP-E6P battery pack. Located next to this is a standard tripod mount thread.

All other ports are located on the camera’s left-hand edge, and they’re protected by dust- and water-resistant covers. The biggest upgrade, in terms of connectivity, is the presence of a full-size HDMI Type-A port on the EOS R6 Mark III (versus Micro HDMI Type-D on the EOS R6 Mark II). Next to the HDMI port is a USB-C 3.2 Gen 2 for charging, data transfer, and 4K/60fps UVC live-streaming functionality (a first for an EOS body). And as this is a hybrid stills and video camera, there are two 3.5mm jacks for a mic as well as headphones, and a 2.5mm remote control terminal.

Two memory card slots are located on the EOS R6 Mark III’s right-hand edge. While the EOS R6 Mark II featured dual UHS-II SD card slots, its successor has one SD/SDHC/SDXC UHS-II card slot and one CFExpress Type-B slot, supporting up to 8TB. The latter is there to match the camera’s higher resolution, accommodate 7K RAW files, and sustain the 40fps drive.

Weather-sealing

The EOS R6 Mark III features virtually identical weather-sealing to the EOS R6 Mark II — which means it’s resistant against sand, dust, moisture and rain. You should be able to use the camera in challenging conditions comfortably. I’ve tested it in light rain and haven’t had to worry about water getting inside or damaging the monitor.

Canon EOS R6 Mark III review: Controls

As I alluded to earlier, the Canon EOS R6 Mark III’s control layout is fairly similar to that of its predecessor’s. Though it’s cheaper, I’ve found the EOS R6 Mark III as easy to use (and get to grips with) as the pricier EOS R5 Mark II. All the buttons and dials are well-placed and within easy reach. There’s also a Lock switch located between the On and Off button which prevents accidental settings changes.

Many of the EOS R6 Mark III’s buttons are customizable via the settings menu. For those who photograph different genres, there are three Custom Shooting Modes — C1, C2 and C3 — located on the mode dial. You can tailor settings, such as autofocus modes, button layouts, and exposure parameters, and save entire custom setups to these.

I also like how thoughtfully-placed the customizable buttons are. For instance, the Rate button located in the top-left corner of the rear panel can be fully customized, and I found it easy to press with my left thumb. There’s a Multi-Function (M-Fn) button near the shutter button on the top plate which I customized to swap between drive modes.

The EOS R6 Mark III’s menu system is, as per, a joy to use. I’ve always enjoyed how well-designed Canon’s color-coded menus are, with everything easily understandable even by those who may be picking up a Canon for the first time.

Canon EOS R6 Mark III review: Autofocus

The EOS R6 Mark III utilizes Canon’s Dual Pixel CMOS AF II autofocus system to detect and lock on to humans, animals/birds, and vehicles. The EOS R6 Mark III features no fewer than 6,097 selectable points, which is a hell of a lot more than the Sony A7 V’s 759 points and the Fujifilm X-H2S’s 425 points.

Regardless of the subject I was photographing, I found the EOS R6 Mark III quick to focus. Similar to the Sony A1 II and Canon EOS R5 Mark II, the EOS R6 Mark III features Auto subject-detection, so when that’s selected, the camera automatically switches between human, animal and vehicle detection.

I found this extremely useful when going from photographing birds at the park to my partner, and then randomly jumping to a bicycle. Not once did the EOS R6 Mark III fail to detect the subject. If you want the camera to do even more thinking for you, you can toggle AI Focus, which is an intelligent autofocus setting that automatically changes between One Shot (for still subjects) and Servo (for tracking motion). This is handy for when you’re photographing birds and they suddenly fly away, as an example.

The photos in the gallery above were taken with the EOS R6 Mark III’s autofocus set to human detection. I love that the camera automatically switches between Eye, Face, Head and Body detection, thanks to its deep learning AF system. It searches for the eyes first and if it can’t find one, it seamlessly switches to finding other body parts. I appreciated not having to swap between these detection settings every time.

Indoors, in a photo studio with bright lights, the camera was quick to lock onto my colleague’s eyes, as you can see in the first slide. Outdoors, I was impressed by the EOS R6 Mark III detecting and locking onto the person holding the umbrella, even though you can’t see their face and their body is obscured by the bridge’s railings. Similarly, it was quick to focus on my partner, too.

Animal/bird detection works just as well if not better. The EOS R6 Mark III quickly locked onto the swan in the first slide in the gallery above, and I could see on the monitor that it was focusing on the eyes — even though they aren’t that obvious. In the second shot, even though the moorhen chick was far away and small, the EOS R6 Mark III didn’t struggle to find it, and likewise, it was adept at focusing on the group of ducklings huddled together in the third shot.

I’ve enjoyed using the EOS R6 Mark III’s focus joystick too, as the omission of which I always miss when testing cameras like the Leica Q3 43 ($7,380). I’ve used it extensively to quickly reset focus points, and even used it to focus on a specific subject in a crowded area, like in the photo of the pigeon drinking water (above).

Canon EOS R6 Mark III review: Stabilization

Depending on the lens you use with it, the Canon EOS R6 Mark III is capable of delivering up to 8.5-stops of in-body image stabilization (IBIS). This means that you can shoot at slow shutter speeds handheld and in low-light conditions without worrying about blur from camera shake.

The RF 28-70mm F2L USM lens I tested doesn’t feature any stabilization (bizarre, I know) so for the two photos above, I relied entirely on the EOS R6 Mark III’s IBIS. The first image was shot at 1 second and the second at 2 seconds. As you can see, the first shot is clear and stable while the second has been impacted by camera shake — and I expected that, given the weight of the lens. But this is great as it shows the camera’s stabilization works excellently.

I then took a few photos at varying shutter speeds with the RF 14mm F1.4L VCM which, again, doesn’t feature an image stabilizer. But because the lens is much lighter than the RF 28-70mm F2L USM, my hands didn’t feel as unstable and I was able to shoot at even slower shutter speeds. The image above was captured at 4 seconds!

Canon EOS R6 Mark III review: Image quality

I’m yet to test a mirrorless camera from Canon that doesn’t produce stunning images. The EOS R6 Mark III is an imaging powerhouse, packing a 32.5MP full frame CMOS sensor. Boasting Canon’s vaunted color science, color reproduction is faithful and true to life, and different shades and hues look beautiful. You can see a few sample images in the gallery above. All the colors are well-balanced with none appearing oversaturated or light on contrast.

While the EOS R6 Mark III doesn’t feature a sensor as high-res as, say, the Canon EOS R5 Mark II with its 45MP Stacked CMOS or the Sony A7R VI with its 66.8MP Stacked CMOS, you still get enough resolution to create crops.

The first image in the gallery above is an extreme crop of the second, and the third of the fourth. That’s as far as I could crop in without losing detail. In the portrait of the pigeon, you can still make out its individual neck feathers, and you can still see the different skin texture in the photo of my partner.

Like many other cameras from Fujifilm and Sony, the EOS R6 Mark III comes with built-in picture styles and filters, such as Vivid, Monochrome, Cool, Warm, and so on. In the gallery above, the first photo was taken with Vivid, the second with Cool, and the third and fourth in Monochrome.

I love how the greens pop and look bright in the first shot, and the green water in the second shot appears muted and cinematic. Meanwhile, the shadows look deep and highlights look bright (but not too bright) in the grayscale images, making the Monochrome filter great for portraits.

High-speed drive

The EOS R6 Mark III utilizes Canon’s DIGIC X processor for 40fps sequential shooting with the electronic shutter, and the camera captures 330 JPEGs and 150 RAW images in this mode. Having 40fps drive at your disposal means you can capture every single moment of action, which makes the EOS R6 Mark III a strong choice for wildlife and sports. If you want an even higher drive, the OM System OM-1 Mark II boasts 120fps blackout-free sequential shooting, but you’d be sacrificing resolution for that.

I found 40fps to be more than sufficient for capturing birds in action, as you can see in the gallery above. With the camera set to High-speed Continuous Shooting+ via the Drive quick menu, I was able to photograph the pigeon landing on the stump, and the crow frantically hopping about with a berry in its mouth. The electronic shutter also has a shutter speed of 30s to 1/16,000s, giving you plenty of speed to capture blur-free images.

Thanks to the 40fps burst and best-in-class autofocus, I was able to capture a series of photos featuring two pairs of moorhens fighting with each other, and you can see four shots of that in the gallery above. I was limited by the RF 28-70mm F2L USM’s longest focal length which prevented me from getting really close-up shots, so imagine what you could do with a telephoto lens, like the RF 200-800mm F6.3-9 IS USM ($2,249).

Similar to many other high-speed Canon cameras, the EOS R6 Mark III supports pre-burst capture up to 0.5 seconds, and unlike its predecessor, you don’t need to enable the RAW Burst mode to do so. The EOS R6 Mark III records 20 frames when you half-press the shutter button and these are saved to your memory card when the button is fully pressed — handy for never missing a split-second moment.

ISO performance

The EOS R6 Mark III boasts good high ISO performance. It has a base ISO of 100 and it tops out at 102,400, just like the Sony A1 II, the Sony A7R VI, and the Canon EOS R5 Mark II. To see how it fared, I put the EOS R6 Mark III through an extreme ISO test indoors.

Images come out as you’d expect at ISO6400 so I’ll shift focus to high ISO values instead. The images above were shot at 12,800: the first is a JPEG export of the CR3 RAW file, and the second is the straight-out-of-camera (SOOC) JPEG. As you can see, the EOS R6 Mark III’s in-camera noise reduction has done well to reduce the noise or grain in the SOOC JPEG. There’s no loss in sharpness either as the legends on the scale are still discernible.

I then upped the ISO to 25,600. There’s a lot of noise in the JPEG export of the CR3 file (first slide above) but once again, the camera has done well to smoothing it out in the SOOC JPEG (second slide above). The blue background does appear a bit grainy but it’s far from ruinous. Again, there’s no drop in sharpness. This was also the case with the EOS R5 Mark II and the A1 II.

Finally, ISO 51,200, which is the limit I’d recommend pushing the EOS R6 Mark II — as a last resort, that is. As you can see in the SOOC JPEG (second slide above), the plant in the background has lost the sharpness around its leaves and it doesn’t look as detailed anymore. It has a watercolor effect which we’ve seen on micro four-thirds cameras, like the OM System OM-1 Mark II.

Dynamic range

The EOS R6 Mark III offers up to 14+ stops of dynamic range at base ISO100, so in theory, you can make extensive adjustments in post without negatively impacting image quality. To test this, I took a couple of photos outdoors and lifted the shadows and reduced the highlights in Adobe Photoshop Lightroom.

In the backlit photo of my partner above (the original of which you saw earlier), the camera’s done a great job of maintaining highlight detail while also exposing for the comparatively dim unlit face.

The EOS R6 Mark III keeps shadows relatively noise-free too. In the gallery above, I reduced the highlights and lifted the shadows and doing so revealed many leaves that I couldn’t see in the first unedited shot.

Canon EOS R6 Mark III review: Video

The Canon EOS R6 Mark III doesn’t skimp on video either. It’s a powerful hybrid camera capable of recording 7K/30fps Open Gate video where it utilizes its entire uncropped sensor and resolution, as well as 7K/60fps RAW video. The presence of a full-size port means you can shoot 7K RAW ProRes via HDMI too. Naturally, you can record 4K video at 120fps too. You can see a sample video, shot in 4K at 60fps, above. The video looks smooth and plenty of detail has been captured. The colors look lovely, too.

Alongside these resolutions and framerates, the EOS R6 Mark III is capable of recording in Canon Log 2 and Canon Log 3, where the latter captures a wide dynamic range of up to 13.3+ stops. C-Log is usually reserved for Canon’s Cinema lineup, so it’s good to see it on the EOS R6 Mark III as well as the EOS R5 Mark II mirrorless cameras too.

While the EOS R6 Mark III boasts solid video specs, it doesn’t feature a built-in cooling fan or system, so it can get very hot, and in turn, it doesn’t last very long. Canon says that the camera can record 7K/60fps RAW for only 23 minutes at 73°F / 23°C. This isn’t great news for hybrid shooters, but this is why the Canon EOS R6 V exists. The EOS R6 Mark III’s video-first sibling features an active cooling fan and airflow vents to prevent shutdowns caused by overheating (and it even packs the same 32.5MP sensor).

Canon EOS R6 Mark III review: Battery life

Like I said before, the Canon EOS R6 Mark III introduces and utilizes a new and upgraded LP-E6P battery pack. It’s also compatible with LP-E6NH and LP-E6N packs but not with the original LP-E6. The EOS R6 Mark III is CIPA-rated for 620 shots when using the LCD monitor or 390 shots when using the EVF.

Of course, CIPA-ratings are generally conservative as they’re determined using strict and usually single-shot testing parameters, so more often than not, your camera will last you longer in the field. In my testing, I took nearly 2,500 photos before charging the camera. Your mileage will heavily depend on your shooting settings and modes.

For the purposes of comparison, we’ll use the 620-shot LCD CIPA-rating. This is slightly lower than the Sony A7R VI’s 670-shot, the Sony A7 V’s 750-shot, and the Fujifilm X-H2S’ 720-shot battery life. The EOS R6 Mark III upstages the OM System OM-1 Mark II, though, which is rated for 520 shots. But like I said, the EOS R6 Mark III has lasted me comfortably for a full day’s worth of shooting, so you should get by just fine.

As for video, while the EOS R6 Mark III is capable of shooting 7K/30fps RAW and Open Gate, it’s worth noting that it doesn’t feature an active built-in fan or cooling system, so it has a tendency to overheat, as it did in my testing after about 20 minutes. It’s disappointing that the EOS R6 Mark III doesn’t cope well once it gets too hot (sounds like me during a heatwave), but like I said, that’s one of the reasons why the EOS R6 V, the lineup’s video-first camera, exists.

Canon EOS R6 Mark III review: Verdict

Canon’s EOS R6 lineup hasn’t failed to impress us so far. The EOS R6 Mark III delivers a genuinely well-rounded shooting experience. It feels at home capturing wildlife, sports, landscapes, studio portraits, travel, what-have-you. The combination of a sharp 32.5MP CMOS sensor, class-leading autofocus and stabilization, and 40fps burst shooting make the EOS R6 Mark III a remarkable creative tool. Throw Canon’s beautiful color science, intuitive controls and ergonomics into the mix and you’ve got a camera that’s easy to enjoy.

There are a few caveats, though. While the camera boasts 7K video capabilities, videographers will likely run into the camera’s thermal limits sooner than they’d like. Some rivals offer longer battery lives too.

But these compromises feel relatively minor when weighed against everything the EOS R6 Mark III offers. For photographers seeking a fast, versatile and dependable camera, this is one of the strongest options available today — and a worthy successor to the EOS R6 Mark II.

As a tech reviewer who also creates content, I rely heavily on my iPhone 17 Pro Max's camera capabilities when taking product photos and creating Instagram reels. That said, the latest camera in Insta360's arsenal has me reaching for my wallet — and it's not because it's a DJI Osmo Pocket 4 dupe.

The Insta360 Luna Ultra has been highly anticipated since its sneak peek at CES 2026, and it officially launched last week on June 11. However, in its short time on the market, the camera and its maker have already experienced a slate of criticism, including a legal battle instigated by DJI, but that doesn't mean the new gimbal should be dismissed by potential buyers completely.

In fact, it should be commended for the new features that make it a direct competitor to DJI's longstanding reign over gimbal cameras. While its lightweight, handheld compact design is, admittedly, very similar to its competitor, the Luna Ultra introduces a first-of-its-kind feature in the form of a completely detachable 2-inch OLED touchscreen for remote controlling of the device.

Gone are the days when creators (and photography newbs like myself) had to coordinate solo shots by using a timer, an app, or, in my case, using my Apple Watch to control the camera. Now, you can just as easily set up the Luna Ultra, take a few steps back (up to 20 metres) and still have total control over what the camera is filming (even if the subject is you), as you'll have the screen in your hands.

Better yet, the Luna Ultra also comes with a dual-camera system that can capture in 8K resolution, boasts Leica-powered Summicron lenses and filters, a 3-axis stabilisation system, precise subject tracking and up to 12x zoom, including 6x lossless zoom.

The only factor that might deter potential buyers a little is cost. The Luna Ultra is now available in Australia at select retailers, including the Insta360 Store, Amazon and JB Hi-Fi, for AU$1,229.99, in Cosmic Black and Stellar White. You can also purchase a creator bundle with additional accessories for AU$1,549.99.

Levelling up content creation

Content creation — whether it's rooted in a serious or playful nature — is challenging, so having the right tools is becoming more and more important. In my case, 'content creation' means putting together a fun highlight reel of my life, but for a plethora of other creators, it's literally their bread and butter.

The Insta360 Luna Ultra and other gimbal cameras have taken plenty of hassle out of the work that is content creation, and by no means is the social media boom going to slow down anytime soon. Even if there's a potential issue of patent infringement, there's no denying that whether you purchase the DJI Pocket Osmo 4 or the Insta360 Luna Ultra (or another gimbal device completely), your photos and videos will be vastly better than those taken on any type of smartphone.

I, for one, am eager to get my hands on the Luna Ultra, largely to check out what it can do to level up my social videos, as well as to take product pictures and footage for my reviews. While its pricing may be a hard pill to swallow, especially for those with tighter purse strings, sometimes investing in a passion project pays off in strides.

I’m a sucker for a cheap compact camera, and on the surface, the Yashica Tank ticks all the boxes. It’s fun, cute and easy to use, so could it be the best cheap camera for you? It’s a good option for anyone who wants a portable camera for taking quick snaps with friends without breaking the bank on a camera like the viral Canon PowerShot G7 X Mark III. Of course, you shouldn’t expect image quality like an expensive compact: it has more of a Y2K vibe. It also has a 180º flip screen to easily take selfies, and the controls are simple.

But it feels a little flimsy due to the low price point, and the lack of optical zoom means that if you want to zoom in, you have to sacrifice image resolution. The switch at the top of the camera for video and photos only lets you playback one format at a time, which is annoying, and occasionally, the shutter response is delayed.

That said, I still had a lot of fun with this camera, so to find out more about it, keep reading my full Yashica Tank review.

Yashica Tank review: Specs

Yashica Tank review: Price & availability

The Yashica Tank is available for purchase directly from the Yashica online store for $101 / £75. It’s available in four different colors, including Pink Marshmallow, Sky Blue, Black and Brown.

The camera very much resembles the Kodak PIXPRO C1, which costs $99. This camera has the same tiny style, a 12MP sensor, and you can use built-in digital filters, like on the Yashica. But if you want something for a similar price with superior zoom capabilities, you should check out the Kodak PIXPRO FZ45 ($99). This camera has optical zoom and digital zoom, whereas the Tank only has digital zoom, which decreases the quality of the image when zoomed in.

If you’re looking for a hobby camera to throw in your bag for taking fun pictures with friends, the Tank is fine. But, if you want something that can actually take good photos, then you’d need to spend more money and look at a camera like the Lumix ZS99 ($499). The ZS99 has more resolution, a 30x optical zoom to get great zoomed-in shots, and is still compact enough to take with you everywhere.

Or if you need something for adventurous trips that can withstand a little roughhousing, then check out the rugged 16MP Pentax WG-1000 ($196). It can withstand water submersion and drops from height. With that said, the Tank is good for hobby photography with friends.

Yashica Tank review: Design

You can’t deny it, the Yashica Tank is incredibly cute. It’s a compact camera, so, as that moniker implies, it’s very small. In fact, it’s smaller than my iPhone 17, measuring just 3.9 x 2.2 x 0.1 inches. This meant I could throw it in my bag and shove it in my pocket without worrying about it taking up too much space. It weighs just 3.7 ounces, which is lighter than the Kodak PIXPRO C1 (5.2 ounces).

Despite the “Tank” name, the Yashica feels delicate. As you might expect from the cheaper price point of this camera and its light weight, it feels a little flimsy. While it doesn’t feel like it’s going to break on you, it feels more like a toy than a camera. The Pentax WG-1000, for example, feels a lot sturdier and more reliable.

The front of the camera sports a faux leather finish made from silicone, which is very comfortable to hold, especially when using it in the selfie position. The flash is located at the top right of the camera, just above the lens. The base of the camera also has a tripod mount next to the battery compartment.

I have the camera in the light pink color, which can be found on the website labeled under ‘Pink Marshmallow.’ This name should tell you all you need to know about this camera — it’s just for fun. The pink color reminds me of the compact camera I had when I was six years old… and the results are pretty similar too.

Ports

The Yashica Tank only has a USB-C port for charging and data transfer. It’s great to have this universal port as I was able to plug it in to charge anywhere. The camera uses a microSD card and has no internal storage.

Monitor

If you want to use the Tank for vlogging or taking selfies, the handy 3-inch LCD screen flips up at a 180º angle. It’s important to note, though, that it has a 360 x 640 resolution and is very pixelated, so you won’t get a good idea of what the image looks like until you download the files.

The monitor itself looks exactly like the screen of the Kodak PIXPRO C1 and moves in the same way. This LCD screen is very bright, and even on the lowest brightness setting, it was hurting my eyes in low-light settings.

Weather-sealing

The Tank has no official durability rating, so be careful not to drop it or get it wet. For added protection, the camera comes with a small cloth bag that covers the lens and screen, but it won’t do much in adverse conditions. For a weather-sealed option, you should try the Pentax WG-1000, which can withstand drops from a height and is waterproof.

Yashica Tank review: Controls

The Yashica Tank’s controls are very easy to get the hang of. Most of the controls can be found on the back, just to the left of the screen. At the top, you’ll find a dial to zoom in and out, and below this, a thumbrest when using the camera one-handed. You turn the flash on or set it to auto by pushing the joystick upwards. This joystick is also easy to use when navigating through the menu settings. Below this, you’ll find buttons for the display, menu, gallery and bin.

The menu is easy to use, and you can change color filters here, which is particularly handy when shooting. During setup, I made sure to go into the menu first and make sure all of my settings suited how I use the camera. For me, that meant lowering screen brightness to conserve battery, altering the aspect ratio, and setting stabilization and focus settings.

At the top of the camera, you’ll find the shutter button on the far right, the power button in the middle, and a switch on the left. This switch toggles the camera between video and stills modes. To record with this camera, you have to switch to the video mode and then use the shutter button to start and stop recording.

You can also only view the videos you take when the switch is on video, and you can only view the pictures when the switch is on photo, which was confusing at first, since I was wondering where all of my photos had disappeared to.

Yashica Tank review: Lens

The Yashica Tank has a fixed focal length of 4.05mm. This is best suited to landscapes, group photos, and street photography, rather than close-up, detailed shots. The aperture of the camera is fixed at f/1.8, meaning a fairly shallow depth of field. The wide aperture is beneficial for low light, though. In my testing, it worked well across most lighting settings, apart from very extreme bright areas — here, it would’ve been useful to have a variable or narrower aperture to reduce overexposure.

You don’t get any optical zoom on the camera; instead having to make do with 8x digital zoom. Digital zoom essentially crops into an image to digitally enlarge it. The small 12MP sensor doesn’t give you much resolution in the first place, but you quickly lose a lot of those pixels the more you zoom in, resulting is a low-res image.

If you want a camera with a better zoom function, I would recommend a compact camera with an optical zoom as it retains the camera’s full sensor resolution at longer focal lengths. I’d suggest the Lumix ZS99, which boasts a whopping 30x optical zoom.

Yashica Tank review: Image quality

The Yashica Tank has a 12MP 1/2.8-inch CMOS sensor, which is just a little lower than the Kodak PIXPRO C1 and its 13MP sensor. For a compact with better quality, the Kodak PIXPRO WPZ2 ($179) has a 16MP sensor. The Tank can use built-in software to upscale (interpolate) internally to 24MP or 36MP, although this isn’t as good as having more actual pixels to begin with.

You can’t make any adjustments to the shutter speed of the camera. And on the note of the shutter, there’s a lot of lag between pressing the button and the shutter actually shutting. I often ended up with pictures of the floor due to this. To combat this, I manually turned on the shutter sound in settings and made sure to listen out for it — only moving the camera after I’d heard it.

Any adjustments to the ISO can be made in the camera’s menu. You can select between Auto, ISO 100, 200 and 400. In Auto, the ISO range is 110-6400, which is pretty fine for a camera like this and gives you some flexibility in lower light.

Image quality on a 12MP compact camera is never going to be the best. The Tank is no exception. Since compact cameras are making a huge comeback amongst younger generations as a bit of fun to capture a vintage, retro aesthetic, you don’t need much more than what you get from the Tank. Generally, the camera does a good job of keeping everything sharp.

When using the standard filter setting on the camera, the images felt pretty dull, as you can see in the gallery above, and I don’t think this reflected the color I was seeing in person very well.

As you can see from the pictures above, the camera gives you the option to use color filters that are kind of like film simulations. These include monotone, negative and lomo. Lomo (as seen in the images below) was my favorite option to use as it made all of the colors in the images a lot more saturated, which was perfect for taking pictures of the brightly colored streets of Porto.

The camera performs best in settings where the lighting is consistent. However, in scenes with a high dynamic range, where there are dark shadows as well as bright highlights, the camera struggles to capture detail across the full tonal spectrum.

In the image gallery below, the first image is straight out of the camera. In the shadows, some detail is lost to black, but some of this was recoverable in post-production, as visible in the second image — with the shadows brightened up, extra detail was revealed around the chairs on the left, although shadows were quite noisy. The highlights are also blown out in the brightest spots, on the tops of the umbrellas in the middle. However, for the price of the camera, this is reasonable, and I was expecting a lot worse.

In the images below, you can see how the Tank’s 8x digital zoom works. A lot of sharpness and clarity was lost as I zoomed into the church and the cloudy park behind, but it’s not the worst thing in the world. It won’t win any awards, but if you want a quick snap of some far-off scenery for yourself, then it’s good enough.

The minimum focusing distance is 10cm, so it’s not the best for getting close-up shots, and there’s no macro mode if you want to get really detailed shots. But again, it’s good enough for everyday photography, which is primarily what the Tank is about.

The autofocus on the Tank uses an AF assist lamp, which you can turn on or off. But at times, this lamp would be captured in the images, leaving me with a red hue over everything.

I found the autofocus to be good, and thanks to the camera’s flip-up screen, I was able to get my selfie positioning right for the focus to lock in.

Yashica Tank review: Video

While I mentioned earlier that you could use the Yashica Tank for video, I wouldn’t recommend it. The camera can shoot in 4K at 30fps which is actually very good for a camera of this size, but the electronic stabilization is shoddy at best, and it picks up on every little movement you make.

As you can see in the above video, it’s very hard to keep the camera steady as I pan around, and when zooming, this becomes even worse. Also, the wind buffeting in the microphone makes it virtually impossible to hear anything.

Yashica Tank review: Battery life

The Yashica Tank houses an 800mAh battery, which can capture 220 shots per charge. This would be passable… if it were true. My camera drained a lot faster than that. I had to charge the camera after about 50 shots. Granted, I was using the flash and also had the LCD screen on the highest brightness. When the brightness was turned down, the battery seemed to last a lot longer. You can get a lot more battery out of the Pentax WG-1000, which has enough power for 300 still images.

The camera can be charged via the USB-C port. It only took around an hour and a half to fully charge in my testing. There’s an indicator light to let you know when the Tank is charged.

Yashica Tank review: Verdict

The Yashica Tank is a fairly good choice for anyone looking to hop on the retro camera trend. It’s cheap enough that it’s not going to break the bank, and its compact style means it can easily be thrown in your bag or put in your pocket to take anywhere. The camera has a 180º flip screen, which is perfect for taking selfie-style photos, and the easy-to-use controls mean that anyone can pick up and use the camera. The image quality is fairly respectable, too, giving me good pictures of scenery and selfies, while the filters make stylized photos a piece of cake.

However, with the low price tag comes cheap build quality. The video to the camera switch on the top of the camera to view each format is annoying. The lack of optical zoom also means that it’s only really suited to wider scenes, as when using the 8x digital zoom, you’ll be sacrificing lots of resolution. You need to get a camera with optical zoom for better zoomed-in quality, like the Kodak PIXPRO WPZ2. I also found the Tank’s delayed shutter annoying at times.

But with that said, if you need a camera that’s cheap enough that you don’t need to worry about it getting damaged, and you just want to take fun photos on your travels and with friends, you can do worse than the Yashica Tank.

Over the last couple of years, I’ve seen phone makers dial down the optical zoom range of their telephoto cameras. The iPhone 17 Pro and 17 Pro Max are no exception to this radical change, as they ditch the 5x optical zoom of their predecessors for a 4x lens.

The average person will automatically think it’s a downgrade, but there’s more to it than just hardware zoom. That’s because the iPhone 17 Pro pairs that 4x optical zoom with a much larger 48MP sensor — up from the 12MP sensor on the previous iPhone 16 Pro. On top of that, the latest iPhones benefit heavily from new advancements in computational photography.

That’s why I wanted to see how the iPhone 17 Pro’s zoom performs against a modern mirrorless camera to see exactly which one delivers the best results. For this test, I’m specifically going to look at how the iPhone 17 Pro compares at 16x because it better illustrates the enhancements that Apple’s making. Here’s what I found.

What you need to know

First, let's talk about the $1,099 cost of the iPhone 17 Pro. That’s up $100 over its predecessor, but it’s one of the best camera phones around with good reason. Its triple-camera setup consists of a 48MP main sensor, a 48MP ultrawide, and a 48MP telephoto with 4x optical zoom.

By contrast, the Olympus E-M10 Mark IV I’m using packs a 20.3MP Four-Thirds sensor — but the ridiculous telephoto lens I’m pairing it with is what makes the setup just as versatile. I'm using the Olympus M.Zuiko Digital ED 12-200mm lens, which covers practically every focal length. While the E-M10 Mark IV is largely considered a budget model with a starting price of $799, the lens tacks on a whopping $1,099 to the bottom line. When you add them up, the Olympus kit comes out to $1,898 before any discounts — giving the iPhone 17 Pro a clear initial price advantage.

To ensure a fair comparison, I’ve adjusted the framing of the Olympus to align with the iPhone 17 Pro at 16x zoom. Because of the Olympus's 2x crop factor, this means setting the lens to a 200mm focal length to perfectly match the iPhone's field of view.

Finally, it’s important to mention their resolutions at this distance. The Olympus captures a full-sensor 20.3MP snapshot (5,184 x 3,888 pixels). Meanwhile, the iPhone 17 Pro relies on a 12MP crop on the center of the sensor (4,032 x 3,024 pixels) that uses computational photography to upscale the digital zoom back to size.

Test 1: Building under construction

If you’re looking at the comparison shots above on your phone, you’d be hard-pressed to see any major differences between them, apart from the warmer color temperature of the iPhone 17 Pro. There’s also slightly more contrast in the iPhone sample, but it's nothing I’d wager to be a deal-breaker — both are absolutely good enough to share on social media.

The true advantage for me emerges when I look closer at the details, like the individual bricks on the building. On the surface, it’s pretty clear that both cameras do a great job defining each brick. However, it becomes obvious that the Olympus draws out sharper details and more natural definition once you really inspect the textures.

Winner: Olympus E-M10 Mark IV

Test 2: Times Square

This matchup is fascinating because it showcases the power of the iPhone 17 Pro’s computational photography working heavily in the background. Looking at the two images at face value, it’s an overwhelming win for the iPhone — mainly due to how perfectly it balances the scene's complex exposure. From the rich blue sky to the darker, shadowed sections of the skyscrapers, it dials everything in just right.

The Olympus really struggles here, overexposing the entire frame in an attempt to compensate for the deep building shadows, which leaves the sky completely blown out. However, I’m still impressed by how well the iPhone 17 Pro matches the dedicated camera in pure definition — which is especially evident when you look closely at the wooden water tower in the lower-middle section of the frame.

Winner: iPhone 17 Pro

Test 3: Flower closeup

At the corner of Broadway and 42nd Street in New York City, there are several large flower beds, so I pointed both devices toward them from across the street. This time, there are distinct qualities I appreciate from both images.

For starters, the iPhone 17 Pro’s ability to deliver accurate colors and balance the exposure (IMG_1209.jpg) is downright impressive, especially with how well it preserves the finer details and red speckles on the yellow flower’s petals.

The Olympus (P5270184.jpg) again struggles to rein in the exposure, resulting in the slight highlight clipping you see on the main petals. However, its large sensor and glass lens pull through with a beautifully creamy, natural background blur that gives the entire shot a much more professional, artistic touch. Still, the Olympus blows out too many details.

Winner: iPhone 17 Pro

Test 4: Lefcourt Colonial Building

There are a lot of ornate details on the Lefcourt Colonial Building thanks to its Neo-Gothic architecture. While these 16x zoom samples look nearly identical at first glance, the matchup highlights the same processing differences I’ve noticed previously. This time, however, the Olympus E-M10 Mark IV nails the exposure on the stone facade a bit better.

That said, the iPhone 17 Pro’s shot holds up nicely because its deeper contrast delivers a much more dramatic look against the dark windows of the building behind it. You can’t really see the difference unless you crop in close, but the Olympus's true optical zoom proves to be far more effective at resolving the finest textures and sharpest lines in the architecture.

Winner: Olympus E-M10 Mark IV

Test 5: 40th Street Philosophers

Near my office, I often take photos of the 40th Street Philosophers nestled on the side of a building — with the iPhone’s shot getting my attention right away. That’s due to its warmer color temperature and the sharpening effect it applies. Side-by-side, it’s hard to tell which one has the stronger details.

However, zooming in again reveals the superior advantage of having a longer optical zoom because those fine details around the statue look more defined. That’s something most people will overlook if they just look at the general shot, but there’s a definitive winner the more I zoom into them.

Winner: Olympus E-M10 Mark IV

Test 6: Light Blue Pansy

The great thing about shooting with a long telephoto zoom is that it can sometimes mimic the tight framing of a macro shot. The images of the light blue pansy above are a perfect example of this, as both cameras do a nice job of isolating the flower from the background pavement. I’ll admit that the iPhone 17 Pro’s sample is better exposed, but to my eyes, it captures just as much raw detail and definition as its competitor.

I say this because zooming heavily into the pansy itself doesn't reveal any meaningful sharpness advantages for the Olympus. Plus, the dedicated camera's underexposure causes the surrounding green leaves to lose a noticeable amount of definition in the shadows.

Winner: iPhone 17 Pro

Test 7: A much closer shot of a building

So far, my previous skyscraper shots were taken from long distances, making them heavily affected by atmospheric distortion. For this next test, I captured the building from ground level looking straight up — eliminating all that extra air. This time, the results are pretty surprising because the iPhone 17 Pro does everything right, matching the Olymous' level of detail in the brickwork.

Meanwhile, the Olympus sample looks flat and again suffers from the same overexposure issues noticed in my earlier tests. The camera blows out the bright highlights, causing a significant amount of brick detail on the sunlit facade to be completely lost.

Winner: iPhone 17 Pro

Test 8: Perfume on a shelf

Moving indoors for this next test, I can easily make out the label on the perfume bottle in both shots, but a few key details give the Olympus the upper hand here. Not only is the Olympus significantly less noisy than the iPhone's, but the tiny fine print at the bottom of the bottle is much more legible. The dedicated camera also pulls off a slightly shallower depth of field, blurring the background bottles more effectively.

The iPhone 17 Pro’s snapshot is still adequate for casual use, but at this 16x digital stretch, it lacks the raw resolving power of the Olympus to sharpen that microscopic text without introducing heavy processing artifacts.

Winner: Olympus E-M10 Mark IV

Test 9: Co-worker portrait

While at the Tom’s Guide office, I captured a few portraits of my colleague Arif Bacchus — and they perfectly reinforce what I already know about these two setups. Immediately, I can see how the sharpness of the Olympus captures the finer, more natural details across his face, while its optical glass smoothly blurs out the background elements.

The iPhone 17 Pro’s shot is still decent, but it's overly warm and the finer details and overall definition are noticeably softer by comparison. Most people probably wouldn't spot the degradation if they only view the photo on a small phone screen, but the difference becomes glaringly obvious when you look at the samples on a larger monitor.

Winner: Olympus E-M10 Mark IV

Test 10: Moon shot

And finally, there’s the ultimate zoom test: a shot of the moon! This is a classic challenge for smartphone telephotos due to the reputation for how some phones digitally alter or enhance the scene. Because the moon is a glaringly bright speck against a pitch-black night sky, I had to rely heavily on manual touch-focusing and exposure sliders to pull out any usable detail. I ultimately had to drop the phone's exposure value all the way down, but the iPhone 17 Pro still managed a passable shot.

Meanwhile, I had to take similar steps with the Olympus because leaving it on automatic mode completely overexposed the moon into a featureless white blob. After switching over to full manual controls, I was able to dial back the exposure to cleanly capture the distinct craters and darker plains across the lunar surface. The mirrorless camera's sample is vastly more detailed, better exposed, and far more true-to-life.

Winner: Olympus E-M10 Mark IV

Bottom line

Am I surprised that the Olympus E-M10 Mark IV won more rounds than the iPhone 17 Pro? Not really. But then again, that dedicated camera setup demands a hefty $1,900 investment — which isn’t cheap by any means. The iPhone is still hundreds of dollars cheaper and proves how Apple’s years of refinement in computational photography allow it to consistently deliver better-exposed scenes.

When I look at all these comparison photos at face value, it’s incredibly impressive how far smartphone zoom technology has come. The phone's internal hardware is doing a fraction of the work, while software and image processing algorithims handle the heavy lifting.

While it ultimately lacks the sheer resolving power of the Olympus and its dedicated optical glass, the iPhone 17 Pro’s telephoto zoom performance is still absolutely worthy of sharing on social platforms.

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Nothing relaxes me more than a nighttime astrophotography session in my backyard. Since the start of the year, I’ve been testing a new smart telescope: the Seestar S30 Pro. While it looks almost identical to the Seestar S30 I used last year, the nebulas, galaxies, and star clusters I’ve captured look far more polished thanks to the upgraded hardware.

It all stems from the Sony IMX585 (STARVIS 2) sensor in its telephoto lens. Unlike the standard S30, it delivers full 4K resolution and vastly superior dynamic range. At the same time, the larger sensor yields a much wider field of view, allowing it to capture larger deep-space objects — like the Horsehead and Flame nebulas — in their entirety.

But the coolest part isn’t just that it shoots better astrophotography than my phone, it also captures some of the most epic nighttime timelapse clips I’ve ever recorded. Honestly, it’s a machine built to capture time in the most amazing way possible.

Movement of the moon and sun

You would think that by now I'd be tired of imaging the same things in the night sky. Because really, how many times do I need another shot of the moon? Most of the best camera phones on the market can pull off impressive lunar shots, capturing small details like craters and darker maria. But no matter how much phone manufacturers try to convince me otherwise, the Seestar S30 Pro proves why smart telescopes are lightyears ahead in terms of quality.

Just look at the shots I captured straight out of the telescope, without any additional enhancements or editing. The details are rich and plentiful, and even when I apply a digital zoom through the app, it still produces a true-to-life image that phones simply can’t match. But the coolest part is using the Seestar S30 Pro to record a timelapse.

A timelapse reveals how the moon subtly changes position and phase over a couple of hours — movements you can only appreciate when time is sped up. It’s a similar story with the sun once I install the included solar filter. Not only does the S30 Pro expose crisp sunspots on its surface, but a timelapse reveals how they shift across the solar disk due to the sun's rotation.

Unmatched performance

Don’t get me wrong, smartphones have come a long way, and so has their astrophotography performance. Over the last six months, I’ve used the Galaxy S26 Ultra, Pixel 10 Pro XL, and iPhone 17 Pro to shoot the night sky. While they do a decent job of capturing those twinkling stars, they simply lack the telephoto reach to resolve distant galaxies and nebulas.

The Seestar S30 Pro can turn any beginner into an expert after just a few sessions because you just select a target through the companion app, and the telescope takes care of the rest. There is simply no comparison to the images it produces. The beauty of the S30 Pro's wider field of view is its ability to easily handle massive deep-sky targets. For instance, I love that I can capture the Horsehead and Flame nebulas together in a single, perfectly framed shot.

Other smart telescopes, like the Unistellar Odyssey Pro and Seestar S50, feature longer focal lengths that allow them to zoom in much closer — but they struggle with expansive targets like the Andromeda Galaxy. Thanks to the S30 Pro's broader view, some of my favorite captures over the past three months include the Rosette Nebula (NGC 2244), the Needle Galaxy (NGC 4565), the Pinwheel Galaxy (M101), and the stunning Whirlpool Galaxy (M51).

Astrophotography timelapse

All of this brings me to why I’ve fallen in love with the Seestar S30 Pro: its remarkable timelapse ability. Because it stays completely stationary on its tripod, I can switch over to the secondary 4K wide-angle camera. Armed with a Sony IMX586 sensor and a wide 63-degree field of view, it keeps the horizon locked while capturing the mesmerizing sweep of the night sky.

The results are breathtaking. Most of the clips above are 15 to 30 seconds long, but I’ve sped them up and converted them into gif animations. It’s genuinely fascinating to see what happens to the sky over a few hours — and I’m not just talking about the stars. In fact, some of my favorite timelapses show fast-moving clouds rolling across the frame, dramatically parting to reveal the vibrant constellations hidden behind them.

Even though competitors like the Dwarf Mini are slightly more compact, the Seestar S30 Pro’s sheer performance and versatility remain unmatched. While I might have a tough time deciding which smart telescope to pack for a quick road trip, the Seestar is easily the better-equipped machine for tracking deep-sky objects and producing jaw-dropping nightscape timelapses.

Ultimately, the Seestar S30 Pro lives up to its promise as one of the coolest gadgets I've tested so far in 2026. It bridges the gap between casual smartphone photography and complex, traditional astrophotography rigs. By packing a crisp 4K telephoto sensor, advanced tracking, and a stellar wide-angle timelapse mode into a single portable package, it doesn't just look at the universe — it captures time itself.

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A few years ago, I put an action camera on my cat — the Insta360 GO 3 — to see what he saw as he roamed around our yard. Since then, Insta360 has come out with a newer version of its thumb-sized camera, so I wanted to see how it would perform.

The Insta360 GO 3S has an upgraded 4K camera, as well as a wide-angle lens so you can capture more of your surroundings. But what I really like about the camera — especially if you're going to send it out in the wild — is that it has Apple FindMy built in, so that if it somehow fell off my cat's collar, I'd be able to find it more easily.

When I first did this experiment, I put the Insta360 on what was then our younger cat, who was then about six or seven. Since then, we've adopted a younger cat, who's about a year and a half old, so he's a bit more inclined to run around.

Well guess what? Regardless of age, cats spend a lot of their time just sitting and looking at stuff, so much of the footage I captured was less than what you would call cinematic.

Another thing to bear in mind is that, although the Insta360 Go 3S can take 4K video, its battery is still pretty small. If you set the camera to continuously record, you'll end up with less than half an hour of footage.

When I set the camera to 2.7k/30 fps, I ended up with roughly 34 minutes of video; I then set the resolution to 1080p/30 fps, and was able to eke out nearly 37 minutes. The latter figure is close to the advertised runtime of 38 minutes; the older Go 3 can last a little longer, up to 45 minutes.

Probably the best video I (or he) took was when he was playing around with a small aluminum foil ball. He discovered early on that he could pick up the ball with his mouth and carry it to a spot where he could more easily bat it with his paws.

Of course, this is all dependent on your cat's willingness to wear the camera. The Go 3S comes with what the company calls an "Easy clip," which you can hook onto a traditional collar. My cat didn't mind it hooked to his collar too much, but he was often so active that he would remove the collar. The camera pod itself weighs a scant 3.4 ounces, so it's pretty unobtrusive.

So, for the second go-around, I used the Insta360 Pet Harness, which comes in both small and medium sizes. It has two mounting points for the camera, one above and behind the shoulders, and one below the chin.

There was some initial resistance when I first put the harness on the cat, but he stopped fussing pretty quickly.

Apart from capturing your pet's exploits, the Insta360 GO 3S is a pretty capable action camera. When attached to its action pod, it has a flip-up touchscreen, and it has other niceties like a six-axis gyroscope for motion stabilization.

In our Insta360 GO3S review, my colleague Peter Wolinski gave it a 4.5-star rating, and even named it one of the best action cams if you're looking for a small, compact device, and don't need a high-end camera for cinema-like experiences. As much as my cat is a diva, he doesn't need the star treatment, so a lower-res video is just fine for him.

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If you're wondering what the GoPro Mission 1 Pro and its siblings (the Mission 1 and Mission 1 ILC) are, there's both a simple answer and a complicated one.

The simple answer is that these action cameras are designed entirely with pros and hardcore creators in mind. When I say pros, I mean literal professional video producers: whether that's action sports filmmakers shooting The North Face's next YouTube documentary up in some Himalayan death zone; jobbing videographers filming anything from weddings to commercial client work; or even full-scale Hollywood movie producers.

When I say hardcore creators, I mean experienced content creators producing high-end stuff for YouTube. GoPro designed this camera not for beginners shooting TikToks, but to instead capture content creators further down their experience pipeline, when they start to get really serious. In both respects, the Mission 1 family is designed to be a portable alternative — perhaps replacement — to traditional full-sized mirrorless cameras and/or cine gear.

The complicated answer is, well... complicated. GoPro's struggles and share price are no secret, and in my opinion, it needed to innovate and pitch away from chasing mass consumer market share — it hasn't got much hope there globally, due to DJI cornering the market with its low prices. That's one for another article, though.

So, how is the Mission 1 Pro camera? And who should buy it? Find out in my full GoPro Mission 1 Pro review.

GoPro Mission 1 Pro review: Specs

GoPro Mission 1 Pro review: Price & availability

The GoPro Mission 1 Pro’s only real con is its price. At $699 / £599, it’s eye-wateringly expensive. You can shrink that to $599 / £509 with a GoPro subscription, while the lower-spec Mission 1 costs $599 / £529 (or $499 / £439 with a GoPro sub). Still not particularly appealing to general consumers.

There’s also the $699 / £599 Mission 1 Pro ILS, ($599 / £509 with a GoPro sub) which has a mirrorless interchangeable lens mount to fit manual focus M43 lenses. This makes it unique in the market and worth the spend if you want to do some creative filmmaking with your GoPro and M43 lenses.

But let me just return to that “not particularly appealing to general customers” bit. See, as I mentioned up top, the M1/M1 Pro aren’t really intended to be. The GoPro Hero13 Black is still on sale, and GoPro has confirmed to me that the Hero line isn’t dead. Those are for general consumers and casual creators.

Like I said, the M1 Pro is designed to be a professional alternative to a mirrorless and/or cine camera. Instead of trying to cram an A7S III or FX3 into a tight space, GoPro wants you to use the M1 Pro instead. And it's spec'd to give the kind of person who would own one of those other cameras what they need. In that light, to its target audience, the M1 Pro is actually an affordable alternative to extremely expensive pro gear.

GoPro Mission 1 Pro review: Design & controls

At a casual glance, the Mission 1 Pro looks very much like a Hero13 Black with a large lens hood. But put ’em side by side and these are very different cameras. For starters, the M1 Pro is enormous (for an action camera). The Hero line weren’t the sveltest flagship action cameras on the market anyway — in recent years, DJI’s Osmo Action line has always been a little leaner — but the M1 Pro is an unashamed chonk. Measuring 3.15 x 2.05 x 1.74 inches and weighing over 7 ounces, this is not the best option if you’re looking for something to mount on a chin or helmet. Mainly, the size is to accommodate the new 1-inch sensor, so it figures.

The larger design has resulted in a bigger screen, which has implications for controlling the camera, as I’ll discuss below. GoPro still hasn’t managed to remove the screen bezel though. The DJI Osmo Action 6’s smaller bezels look much nicer. Still, the M1 Pro’s rear screen is an OLED (finally, GoPro!), which is not only much crisper and nicer to look at, but brighter and easier to use in direct sunlight than the Hero 13 Black’s LCD. The OA6 also features an OLED.

Mounting

Making a return are GoPro’s trademark built-in mounting fingers, which remove the need for an adapter when mounting the camera to accessories with fork fingers — this being the vast majority of third-party accessories.

There’s also a magnetic quick release system, which is super handy for swapping accessories quickly, and is now de rigueur on flagship action cameras from GoPro, DJI and Insta360.

Controls

The Mission 1 Pro is the first GoPro I’ve ever tried that I didn’t dislike using. Partly, this is down to the increased screen size, finally giving the menu system the space it deserves. Secondly, there’s the menu system itself, which has been refined over the Hero 13 Black and GoPro MAX 2.

There’s still a highly detailed pull-down menu, but the touchscreen hosts (customizable) controls during live view, which have been spaced out, making them easy to hit. It’s not a revolution of GoPro’s historically cluttered menu, but a well-implemented evolution. It makes the camera so much easier to use than any GoPro before, even in tricky conditions and wearing gloves.

The Q/Power and Record buttons are now super chunky, too, and give very assured feedback when pressed. Again, I love to see it — operating an action camera in the heat of the moment, wearing thick mountaineering or motorcycling gloves, is easier said than done. This is another small quality of life feature that makes a big difference to the camera’s daily user-friendliness.

Connectivity

The Mission 1 Pro’s connectivity features are fairly run-of-the-mill. There’s the usual USB-C port, positioned annoyingly behind the battery door. That means your battery could fall out if you want to run a USB accessory. The door is also liable to getting jammed by longer fork mount screws, if you’re using one that happens to thread from the battery hatch side.

GoPro announced the M1 Pro alongside its own wireless microphone system, which will offer wireless connectivity to the camera. Obviously, this is an attempt to rival DJI’s camera/microphone ecosystem, and its versatility for content creators.

Unlike the Osmo Action 5 Pro and 6, there’s no built-in storage, which is a bit of a letdown. The OA6’s 107GB of built in storage gives much needed headroom when recording, and also allows faster transfer speeds — important when offloading 8K footage. However, if GoPro had added internal storage, the camera would've become even larger, so on balance, I don't mind seeing it left out.

The GoPro has a MicroSD slot, though, of course.

Waterproofing

In order to challenge DJI’s dominance over waterproofing, GoPro has managed to waterproof the M1 and M1 Pro down to 66 feet (20m) — one foot more than the OA6. This is a big step up over the Hero13 Black, which only manages 33 feet (10m).

GoPro Mission 1 Pro review: Stabilization

Unsurprisingly, the M1 Pro runs GoPro’s HyperSmooth stabilization system. No bad thing — it’s great. For a while, GoPro’s stabilization was unassailable by rivals. That’s no longer true, but it’s a level playing field now and GoPro isn’t on the back foot.

The M1 Pro’s HyperSmooth works perfectly. In most footage, even jerky walking videos, bumps are ironed out completely. It occasionally had issues with high frequency juddering, as in the motorcycle footage above, where one set of yellow painted lines on the road caused camera shake. But issues like that are rare and, for the most part, HyperSmooth does the job.

In the footage above, I was holding the camera without any accessories and crouching while walking. It was a very shaky affair, but the M1 Pro stabilized things extremely well, especially given this was shot at the widest field of view.

GoPro Mission 1 Pro review: Video

The Mission 1 Pro’s video looks, well, like classic GoPro footage: professional. 4K looks gorgeous out of camera. Blues and greens in particular are lovely and vivid, in both the standard and vivid color profiles. There’s an expected level of barrel distortion from the lens, but corners remain fairly sharp even at the wide and super-wide fields of view.

Dynamic range has been dramatically increased over the Hero13 Black, too, thanks to the new larger sensor and GP3 processor. GoPro claims 14 stops. It's noticeable when editing, with plenty of details in shadows and fairly good control over bright highlights (there were still a few blown highlights in the footage below, though). As action cameras go, this sensor is delivering the best imaging on the market right now.

If you’re shooting at 4K, there’s really not a whole lot of difference between the M1 Pro and the Hero13 Black, which also shoots lovely-looking footage. What separates the M1 Pro and marks it as a professional tool is its super versatile roster of features.

The M1 Pro shoots at up to 8K/60fps, giving it an edge over the 8K/30fps top-end of the DJI Osmo Action 6. Shooting in 8K allows for extra flexibility when editing, letting users crop into frame while maintaining a decent resolution, and allowing for oversampled 4K. The M1 Pro’s higher 60fps rate allows for smoother 8K than on the 30fps-capped OA6. That means you can still benefit from shooting first and cropping to 4K later, without sacrificing frame rate. Important in a professional action camera.

The M1 Pro shoots open gate (where it uses the entire uncropped sensor and resolution) at up to 8K/30fps in a 4:3 aspect ratio. Open gate means you can shoot first, frame later in the different aspect ratios you'll need for different platforms. The same recording can be cropped to 16:9 for YouTube and 9:16 for social with less risk of having to crop out important elements. Crucially, the M1 Pro’s open gate isn’t 8K/30fps locked. If you want to shoot 4:3 in 4K/60fps to reduce the file sizes, you’re still getting open gate — the camera is recording with the entire sensor then binning pixels down to 4K for extra sharp 4K out of camera.

GoPro has given slow motion some attention, too. At 4K the M1 Pro can shoot at 240fps, while at 1080p it’ll shoot at 480fps. You’ll only get a few seconds of recording at those frame rates, though, so slow motion is there for judicious use.

But the pro features keep coming! There’s live metering, meaning real-time on-screen readouts for WB, EV, ISO and shutter; 10-bit color; high bit rate capture up to 240Mbps (or 300Mbps via Labs); HLG HDR recording and GP-Log2 with an included LUT bank for grades; and timecode sync for lining up clips to separately recorded audio in post.

And, of course, there’s GoPro Labs compatibility. Labs is an open-source, online bank of custom firmware that can be loaded onto the M1 Pro to accommodate bespoke professional requirements. Need motion detection recording for wildlife camera traps, or to run a custom settings menu? Labs is the answer.

Low light

The M1 Pro features a 1-inch sensor, which is larger than any other action camera on the market (including the OA6) and comparable to bigger cameras like the DJI Osmo Pocket 4. A larger sensor usually means cleaner low-light footage thanks to bigger light-sensitive photosites (which translate to pixels in a digital image). To help further, the M1 Pro also features GoPro's latest GP3 image processor, for increased dynamic range and more efficient noise processing.

The result is fairly clean low light footage. As you can see in the still above and the video below, there's a noticeable loss of sharpness thanks to the GP3's noise suppression smoothing out any grain. But the processor has done a good job at the noise reduction, with very clean shadows. As action cameras go, I'd say this is as good as it gets in low light.

Remember, a 1-inch sensor isn’t gonna give an APS-C or full frame mirrorless camera a run for its money, but the M1 Pro’s low light footage is still as clean as it comes for action cameras. And remember too that this camera is designed to replace a larger traditional body where other factors are more important (like space or waterproofing) to filmmakers — the M1 Pro's low light performance is designed to make a more palatable trade off in those situations versus a typical action camera like the Hero13 Black or Osmo Action 6.

GoPro Mission 1 Pro review: Audio

Listening back to motorcycling footage shot on the M1 Pro for the first time, I was seriously impressed. As action cameras go, the four-mic array and wind reduction system in this camera are the best in the biz.

Motorcycling is a serious challenge for microphones, thanks to the wind buffeting and loud engine noises. The clip above was shot using the camera’s automatic wind reduction mode, which tailors the noise reduction so you’re getting the best balance of sound quality and noise cancellation (which can make audio sound compressed). The wind is audible, but not too distracting, and the bike’s engine noise has been well- preserved.

The only camera I’ve tested with better sound is the Insta360 X5 360 camera. But the M1 Pro’s mics beat other standard action cams pretty confidently.

In an attempt to play DJI at its own game, GoPro is also releasing a wireless microphone system that’ll hook up to the M1 Pro seamlessly, like DJI’s mics do with its cameras. Again, it's a direct attack on the upper-end of the content creator market. I’ve yet to test these, so I can’t comment on performance yet, but it's good to see GoPro building out an ecosystem for ease of use — that's a big selling point for full-time creators.

GoPro Mission 1 Pro review: App

I’m a big fan of GoPro’s Quik app. These days, it’s reliable (even in the beta version I tested), polished, and easy to use. Hooking up your phone and M1 Pro is super simple, and there are no regular Wi-Fi connectivity bugs as is always the case with DJI gear and their companion Mimo app.

Quik offers quick offloading of files to mobile, plus some basic editing features, including trimming, exposure editing, and applying basic filters or effects. Great for cutting together a few clips for a quick social video.

I really like the GPS/accelerometer-based stickers, such as the speedometer and G-counter. But I love the maps tracker, which lets you show the route of your footage in a box — so cool, especially for motovlogging videos. There’s also an altitude widget, which will be fun for any mountaineering content creators.

It’s a shame GoPro has canned the desktop version of Quik, but any pros using the M1 Pro will be editing in other software anyway, while using Quik for snappy social videos or client previews.

GoPro Mission 1 Pro review: Battery life & thermals

GoPro has redeveloped its Enduro battery for the M1 Pro, resulting in the Enduro 2. And combined with the more efficient GP3 processor, Enduro 2 works wonders. The M1 Pro has the best battery life in the market, by a decent margin, too. In my standardized testing at 4K/60p, indoors, the M1 Pro achieved 133 mins. That’s a full 13 minutes longer than the Osmo Action 6.

I run my tests at 4K/60fps, as this is the resolution/frame rate most users will want to shoot action footage at, and what most cameras these days are capable of.

Importantly, the M1 Pro suffered no overheating whatsoever in that test, which was thoroughly impressive (especially as I tested the camera during a heatwave here in the U.K., where indoor temperatures were exceedingly high). The OA6 overheated twice during the same test, although in much cooler ambient conditions. GoPro's data in the table below shows overheating at 4K/30fps after 188 minutes, so at common resolutions/frame rate you have to push this camera very hard to get it to stop.

The M1 Pro is backwards compatible with the original Enduro battery, so any existing GoPro shooters can use their existing power cells. The new Enduro 2 is compatible with the Hero13 Black, but not older cameras (and not the MAX 2). Of course, the Enduro 2 will perform better than the Enduro 1 in the Hero13 Black, but the older processor means the gains won't match the M1 Pro's life.

Likewise, the Enduro 1 won’t last as long as the Enduro 2 when fitted in the M1 Pro, but you'll still see a battery life gain thanks to the new camera's efficient GP3 processor. To test this, I ran my standardized test at 4K/60fps with the M1 Pro and an Enduro 1 battery from my Hero13 Black. It managed 116 minutes — a whole 36 minutes longer than the same battery lasted in the Hero13 Black during the same test. The M1 Pro + Enduro 1 didn't overheat at all either, while the Hero13 Black + Enduro 1 overheated after 54 minutes. Really excellent progress!

GoPro Mission 1 Pro review: Verdict

I’ve been very pleasantly surprised by the M1 Pro. It’s a demonstration of exactly what GoPro needed to do right now — push the boat a bit! The M1 Pro's core video and audio performance is excellent, but crucially, this is a camera that gives professionals a level of versatility otherwise unseen in the action camera market. The camera is designed to be a replacement for pro gear where situations demand for a small, high-powered camera with rugged credentials.

It’s pricey, sure, but if you’re a professional, it’s worth the spend to add a versatile little camera to your kit — and besides, it's cheaper than adding a second mirrorless or cine cam.

Well done, GoPro.

GoPro Mission 1 Pro review: M1 models compared

It’s a cliché for good reason, but the best camera is the one you have on you. The GoPro Mission 1 Pro launches in a couple of days, and this $599 action camera on steroids intends to shake things up. Now, as much as it’s a video-first camera in my opinion, I’m eager to see how it handles photography against the camera that’s always on me: the iPhone 17 Pro.

That’s why over this past weekend, I captured the same set of photos with both the GoPro Mission 1 Pro and iPhone 17 Pro to see which delivers the better results. Action cameras have never won me over with their still-shot performance, but the Mission 1 Pro’s 50MP 1-inch sensor isn't ordinary.

In order to make this photo shootout as fair as possible, I’m going to compare its shots against the 48MP ultrawide camera of the iPhone 17 Pro — simply because it's the lens that best matches the GoPro's sweeping perspective. However, the iPhone 17 Pro’s ultrawide shooter has a 120-degree field of view, which is narrower than the GoPro's native 159-degree view. Despite this, the iPhone 17 Pro holds an inherent utility advantage thanks to its triple-camera setup.

After pixel-peeping the results side-by-side on a monitor, I've broken down exactly how they differ — and which one I'd trust for photography.

Backyard tree

My go-to shot for testing just about everything is this tree in my backyard, simply because of the contrast in the scene. Right away, I’m drawn to the GoPro Mission 1 Pro’s superior dynamic range — mainly due to how it boosts the shadows to balance out the exposure across the entire shot. In comparison, those same shadow areas look underexposed on the iPhone 17 Pro.

Upon closer inspection, neither one has the sharp details to win over my attention, but the iPhone 17 Pro’s 24MP sample still manages to have better definition.

Winner: GoPro Mission 1 Pro

Luxury EV

Under direct sunlight, the GoPro’s expansive field of view captures much more of the sky with the Cadillac Optiq framed in the center. This round is tougher to judge because both devices do an excellent job capturing the EV’s finer details, from the texture of the front grille to the branding on the Continental tires.

While the iPhone 17 Pro skews a bit warmer with its color temperature, the Mission 1 Pro’s dynamic range wins out by doing a better job of boosting the shadows under the car, around the wheel wells, and the branches of the trees in the background.

Winner: GoPro Mission 1 Pro

Indoor brewery

Inside a brewery, you would think the larger 1-inch sensor of the Mission 1 Pro would outclass its competitor, but I’m shocked by the results. The GoPro’s shot is noticeably softer and lacks definition compared to the phone.

The iPhone 17 Pro easily gains my vote thanks to its stronger contrast and superior clarity. I’m particularly impressed by how the overhead Edison lights and the graphic wall to the right both remain in sharp focus.

Winner: iPhone 17 Pro

Alternate Ending

Again, I can’t stress enough the huge disparity between these two brewery shots. The iPhone 17 Pro delivers a moodier image that perfectly captures the atmosphere, specifically because it mitigates the strong light sources before they can overpower the frame. As a result, the yellow Alternate Ending sign is properly exposed, and the textures of the wooden siding are much sharper.

The Mission 1 Pro tries to balance the exposure throughout the entire shot, but the details on the building look incredibly soft, and it completely overexposes the highlights.

Winner: iPhone 17 Pro

Selfie

While the ultrawide camera would probably be the last lens I’d use for a selfie on the iPhone 17 Pro, it still does a better job than the Mission 1 Pro. That’s because when I zoom in on my face and shirt, the iPhone captures far more detail and definition.

I’ll give the Mission 1 Pro credit for once again delivering better dynamic range—safeguarding the exposure in the shadowed tree branches overhead—but it ultimately falters when it comes to rendering sharp facial features.

Winner: iPhone 17 Pro

Cloudy New York

You might have trouble telling it was a cloudy day in the iPhone 17 Pro's shot because of the exposure boost it receives, but this is a prime example of Apple’s image processing working in the background to brighten the scene. Sure, the sky ends up overexposed as a result, but the brighter tone of the surrounding buildings does a much better job of grabbing my attention.

In comparison, the GoPro Mission 1 Pro’s image looks flat due to the lack of any meaningful exposure boost. Even though it's technically more representative of reality, its subdued look and softer details don't make it nearly as impressive.

Winner: iPhone 17 Pro

Nighttime backyard tree

Finally, I’m back to the tree in my backyard—but this time at night under almost pitch-black conditions. Neither shot is something I’d be proud to put in a picture frame, seeing as they’re both severely underexposed due to the lack of ambient light.

Between them, however, I’m giving the nod to the GoPro Mission 1 Pro mainly because it's a tiny bit better exposed. The green grass is more noticeable in the GoPro’s shot, whereas it's completely blacked out with the iPhone 17 Pro.

Winner: GoPro Mission 1 Pro

Bottom line

When it comes to handling challenging, high-contrast scenes, the GoPro Mission 1 Pro's superior dynamic range consistently pulls excellent detail out of harsh shadows — even beating the iPhone 17 Pro in broad daylight. However, its still photography leaves a bit to be desired, as it clearly lacks the crisp definition and fine detail that I crave.

That’s why the iPhone 17 Pro remains my go-to for everyday photography, especially since it's the camera that's always on me. Not only does Apple’s flagship offer a far more versatile triple-camera setup, but it’s clear that a massive amount of computational work goes into its image processing—resulting in better contrast, truer color balance, and superior detail capture.

Needless to say, I’d lean on my iPhone 17 Pro way more than the Mission 1 Pro when it comes to stills — but video is a totally different beast. Based on my time with the new GoPro so far, its video quality is already putting some of the best camera phones on the market to shame.

Looking ahead, I’m most excited about the Mission 1 Pro ILS when it drops later this fall. Featuring an interchangeable Micro Four Thirds mount, it has the potential to truly be the one camera that can do everything.

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It's been quite an eventful few week for cameras. Insta360 launched a Go 3S Retro Bundle, we saw the GoPro Mission 1 lineup, and on Wednesday May 13th, Sony and Canon dropped a camera each — what a time to be alive! Sony and Canon's announcements came out of the blue, with teasers posted on their respective social channels either a week or just a few days prior to the launches.

Canon has expanded its V-series lineup of video-first cameras with the new EOS R6 V, while the Sony A7R VI succeeds the four-years-old A7R V. Sony's offering sounds like the ultimate hybrid that builds on its predecessor's success, while Canon's latest camera looks like it could be the best mirrorless camera for video.

Needless to say, I'm excited and thrilled. As someone who reviews cameras for a living and loves photographing her surroundings, I'm intrigued by both cameras. But is there one I'm excited about more than the other? Well, that's what we're here to find out.

A quick rundown of specs

Who are the Canon EOS R6 V and Sony A7R VI for?

Both the Canon EOS R6 V and the Sony A7R VI have different target audiences — but with some overlap. The A7R VI sets a new gold standard for high-resolution full frame cameras with its 66.8MP sensor and 30fps RAW burst capabilities, which make it great for all genres of photography, including wildlife, sports, and portrait. It also features 8K/30fps video so it sounds like a fantastic all-rounder.

Bolstering the A7R VI's position as a powerful hybrid camera is its OLED viewfinder with a 120fps refresh rate and 9.44M-dot resolution. You also get a 3.2-inch 4-axis LCD monitor with a 2.1M-dot resolution. Oh, and 8.5-stops of in-body image stabilization (IBIS) which means you can shoot at very slow shutter speeds and still walk away with a usable photo.

And what about the EOS R6 V? It's the second R-V body Canon has introduced, and it joins the excellent Canon EOS R50 V. The 'V' version of the EOS R6 is also the fourth EOS R6 body in existence — and as the 'V' suggests, it's a video-first take on Canon's hybrid camera. There's no viewfinder so you must rely on the camera's 3-inch vari-angle screen and its 1.62M-dot resolution. The EOS R6 V offers 7K/60fps RAW and 7K/30fps Open Gate video capabilities, both of which make it ideal for content creation.

In addition to that, you get 40fps continuous shooting which is... surprising, and something I wasn't really expecting in a video-first camera. While this camera sounds like it would be peerless for video, I'm sure it will be ideal for capturing photos of birds in flight too with its 32.5MP CMOS sensor and best-in-class Dual Pixel CMOS II autofocus system. And did I mention it packs up to 8.5-stops of IBIS, just like the A7R VI? Yep, it's almost got it all.

The one I'm most excited for (and why)

I'd be lying if I said I wasn't intrigued by the Canon EOS R6 V. It features the same 32.5MP sensor as the Canon EOS R6 Mark III. As a video-first iteration of the series, it packs an active cooling fan — which you'll most certainly need if you're shooting 7K/30fps Open Gate... or even 4K/60fps, really, especially outdoors.

With the EOS R6 Mark III and its predecessors, battery life while recording video was always a sticking point, but this time around, Canon's going for the "best battery life" crown. The company claims the EOS R6 V can record for two hours or more as long as the built-in fan is toggled on, the overheat limit is set to high, and the camera's on a tripod.

While all of this sounds great (and I'm looking forward to test the camera for my full review), the EOS R6 V isn't the one I'm most excited about — it's the Sony A7R VI. The A7R VI packs a newly developed 66.8MP sensor and enables you to shoot RAW photos at 30fps. This will certainly be a boon for wildlife photographers such as myself.

I loved the Sony A1 II when I tested it and it's the one camera I've thought about buying myself time and again. I captured some of my best photos on it, and being able to make extreme crops was a walk in the park thanks to the 50MP resolution. But 66.8MP sounds even better, and the sensor's stacked nature delivers faster readout speeds and minimizes rolling shutter distortion. Then you've got the new BIONZ XR2 processor for 30fps blackout-free bursts, so you don't lose track of your subject because of, well, black screens between shots.

The A7R VI also borrows Auto subject detection mode from the A1 II, so you don't need to manually change the subject you're photographing — handy for anyone who captures a variety of subject. I loved this on the A1 II as I photograph birds, animals and (occasionally) humans and I can't wait to see how it holds up on the A7R VI.

A new trick up its sleeve

In addition to all the goodies the Sony A7R VI offers, it also features a new battery pack: the 2,670mAh NP-SA100. Sony says that with this battery pack, the A7R VI is CIPA-rated for 600 shots with the viewfinder or 710 shots with the monitor. Its predecessor, the A7R V, is CIPA-rated for 440 shots, so Sony's made some strides.

CIPA testing is done under strict conditions and the number is often conservative, so it'll be interesting to see how the battery holds up in real-world use.

I think it's going to be interesting to see how both the A7R VI and the Canon EOS R6 V perform in practice as, in theory, they both sound great in their own right. I'm obviously not pitting both cameras against one another. That would be unfair as they have different target audiences (and there's quite a bit of a price difference). Needless to say, though, it's an exciting time for photographers and camera enthusiasts. I can't wait to get my hands on both cameras and put them through their paces!

More from Tom's Guide

• I tested the Sony A1 II for 2 weeks — and its autofocus results blew my mind
• I just tested the Canon EOS R5 Mark II to photograph wildlife — and this one feature has changed how I take photos forever
• ‘Few wildlife cameras come close to this’: why the OM System OM-1 Mark II is perfect for photographing birds in flight and other animals

If you've read any of my articles on the original Camp Snap or the Camp Snap CS-Pro, you'll know that I'm a sucker for a gimmicky camera. I enjoy the fact that they're cheap enough that you don't really have to worry about damaging them, and because of that, I can pass them around to my friends. I'm never worried about them hitting the wrong buttons or messing around with settings.

That's why I always make sure that when I'm out and about with friends, I have a digital camera with me — and a cheap one at that. It may not give the same level of quality as your phone or your Canon G7X Mark III, but it means you can put your phone away, switch off from all notifications, and be present in the moment.

So, when I saw the Kodak Charmera on my social media feed, I knew I needed one. It's a point-and-shoot that's small enough to fit on your keychain — it's so convenient, there's literally no excuse for leaving it at home.

Camera quality

I know what you're probably thinking. Why would you use a 1.6MP camera over, say, the 24MP from the front camera of your iPhone? Because it's fun, of course!

I'm not claiming that the Kodak Charmera is going to give you crisp and clear images, because it's not. But what I am claiming is that you and your friends are going to have buckets of fun using it.

As you can see from the images, they are lo-fi, and the camera struggles with the highlights of the image. So not the best choice for a professional photo shoot. But that's not the point.

I went out to grab some pizza with friends and took the camera with me, attached to my keys. We passed it around the table, snapping a bunch of pictures while we waited for our food. It turned out to be loads of fun!

Because the controls are so easy to use, everybody can have a go. You just look through the tiny viewfinder or on the digital screen and hit the big button on top to take the picture — so simple.

It's a mystery!

The main reason this camera went viral is that it's a total mystery which color you're going to get. The camera comes in a blind box, so you don't know which of the seven different colors you're going to receive until you open the box.

This concept adds to the idea that the camera is nothing more than a toy. And in truth, that's how I'm treating it. It put the whimsy back into taking pictures.

Sure, it looks cute hanging on your keys or dangling on the outside of your bag, but ultimately, it's there so you can enjoy snapping silly pictures.

I think most people are in desperate need of less screen time, and if a gimmicky camera is the way to do that and be more present, then I think everybody needs a Kodak Charmera.

More from Tom's Guide

• ‘A $30 camera meant for fun, not serious photography’: Kodak Charmera review
• I’ve been taking this screen-free digital camera everywhere with me — here’s why I prefer it to my phone
• My favorite retro compact camera just got a major glow-up — but should you buy the original or the new model?

Insta360 has just introduced a special edition of its thumb-sized Go 3S camera, and its blend of modern 4K tech with nostalgic style is intriguing.

Dubbed the Insta360 Go 3S Retro Bundle, the new edition brings the nostalgic film aesthetic into 4K video. This new bundle arrives two years after the original Go 3S launched in June 2024. In our review, we gave the Go 3S a tidy 4.5 stars, and found it packed outstanding features — namely 4K video recording, superb battery life, and cool new functions accessible via its smartphone app.

The biggest differences (so far) between the Go 3S and Go 3S Retro are the new add-ons that come with the tiny cam. The most obvious is the new Retro viewfinder, which pairs with the standalone camera to create a handheld shooting experience. The waist-level viewfinder lets you frame shots without looking at the screen and comes with a built-in mirror for quick selfies.

The camera also has new vintage-inspired filters and accessories for hands-free capturing. As with the Go 3S, the camera itself is magnetic, allowing you to mount it easily to many Insta360 mounts (like the included strap and magnet pendant in the bundle). You can also pair it with the accompanying smartphone app for easy editing and remote control of the camera.

Pricewise, the bundle is very similar to the Go 3S, costing $300 / £279 / AU$469.99 for 64GB and $320 / £299 / AU$499.99 for 128GB. The bundles are available now in Canvas White and Classic Red on Amazon and Insta360. If you already own the Go 3S and want to nab the viewfinder, you can pick it up separately for $48 / £46 / AU$80.

Revival of retro-inspired cameras

The new vintage-inspired Insta360 Go 3S joins a long line of other cameras revisiting the retro aesthetic. From the Polaroid Go range to the screen-free Camp Snap and every cute camera in between, the retro aesthetic shots are back, and I'm all for it.

After picking up the Kodak Charmera earlier this year and documenting so much of my everyday life on it, I'm super keen to get my hands on the Insta360 Go 3S Retro. Sure, the specs aren't that different from the original model, but it's a fun new take on the already impressively teeny camera.

Are you hopping on the retro-cam bandwagon? Let me know in the comments below.

I've loved cameras for as long as I can remember, so I'm very lucky that I now get to test them day in and day out. As someone who reviews the best cameras, I'm well aware of how (most) brands love releasing at least two or three new snappers per year. I'm also well aware that not every "upgrade" is really worth "upgrading" to. Because if you have, say, the Sony A7 IV and it works perfectly fine, why would you need to get the Sony A7 V?

Of course, if you can afford to upgrade your camera every year, good for you. But for those who can't due to budget constraints, you don't need to do that. Or if you're new to the world of photography and are overwhelmed by the many expensive choices around you, don't fret: I'm here to tell you that older cameras do the job just fine.

Whether you're looking for a casual camera for vlogging or a fast camera for capturing wildlife and sports, you're spoilt for choice. I've handpicked my 5 favorite and somewhat-older cameras that have either been succeeded by new models or are rumored to be soon. There's certainly some truth in the old saying: old is gold.

More from Tom's Guide

• I test compact and film cameras for a living, and here are my top 12 recommendations for the summer
• I’ve been using my Fujifilm camera for almost a year and these are the time-saving photography hacks I swear by
• ‘Few wildlife cameras come close to this’: why the OM System OM-1 Mark II is perfect for photographing birds in flight and other animals

As a photographer, few things make me happier than using an outstanding camera that takes stunning photos. And as a journalist here at Tom's Guide, I review a lot of consumer tech, including the best mirrorless cameras. That means I get to play with the latest and greatest cameras, capturing stunning sights, and call it work. It's a fantastic job.

For the last two weeks, I've been testing one such camera, and that's the Leica SL3-S. The SL3-S is the Leica SL3's sibling, and both cameras share the same body, autofocus system, and L-mount. The SL3-S, however, is aimed at hybrid content creators who work with both stills and video, and it boasts faster burst shooting (up to 30fps) and 6K Open Gate video. And it's cheaper!

The SL3-S is one of the most beautiful cameras I've had the pleasure of using or testing. It handles sublimely thanks to its stripped back controls and straightforward menu system. It takes gorgeous photos with its 24MP BSI CMOS sensor, and there's 30fps burst shooting too, for anyone partaking in high-speed photography.

There are plenty of things to love about the SL3-S but equally so, there's one thing I dislike and can't look past. Without further ado, here are three things I like about the SL3-S, and one I don't.

What I like

Sublime handling and controls

One of the things I've always appreciated about Leica cameras is their build quality and handling. The Leica SL3-S is no different. It bears striking resemblance to the SL3: it's the same body and the same controls, and I have no complaints there. It measures 5.55 x 4.25 x 3.33 inches and the body weighs 1.69lbs (without battery, SD card and camera bayonet cover).

Though it's a little heavy with a lens attached, it isn't unwieldy to handle. The chunky grip on the right-hand side protrudes quite a bit, and it's perfect for my medium-sized hand to wrap around. The OLED EVF with its resolution of 5.76M dots and refresh rate of 60Hz/120Hz is bright and comfortable to look through too. In addition to that, I love the dual displays: a 3.2-inch rear monitor with a resolution of 2.33M dots, and a 1.28-inch LCD which quickly shows you the active settings.

I also appreciate how rugged and robust the SL3-S is. Its body is IP54-rated, which means it's protected from dust ingress and water spray from any direction. Having shot with the SL3-S in the rain (typical British weather for you), I can confirm that the SL3-S is indeed waterproof, making it a fantastic choice for landscape photographers or anyone who shoots outdoors, really.

Keeping in line with Leica's luxurious philosophy, controls on the SL3-S are stripped back and well-laid out as well, as there aren't too many overwhelming buttons and dials. Similarly, the user interface and menu system is extremely clean and well-signposted. If you want a detailed breakdown of the controls and design, check out my Leica SL3 review — like I said, both the SL3 and SL3-S are visually identical.

Sharp image quality

Unlike the Leica SL3 which utilizes a 60.3MP sensor, the Leica SL3-S settles for a 24MP BSI CMOS sensor to prioritize speed (30fps burst up from 15fps) and improved video capabilities. Even so, the 24MP images the SL3-S captures are gorgeous, and they still pack plenty of detail. While they aren't suited for large format printing or extreme crops, they're ideal for online use, portfolios and making small prints.

I've always been a fan of Leica's colors, and you can see just how beautiful the different shades look in the galleries above (shot in the Standard color profile) and below. The purples and blues appear deep and rich, while the pinks pop, and the camera has captured the pastel pink shades well too. The images are very sharp, as you can see every seed head on the dandelion in the third slide, and the red flower's stigma in the fifth slide above.

Just like on its other cameras, Leica offers users access to a few color profiles on the SL3-S: Standard, Vivid, Natural, Monochrome, and Monochrome High Contrast. The photos in the gallery above were shot with the Vivid color profile toggled. I love how deep the greens appear in the first and second slides, with just the right amount of depth to contrast against the bright pink flowers.

In terms of the camera's shooting settings, the electronic shutter has a shutter speed of 60s to 1/16000s, while the mechanical shutter has a speed of 30m to 1/8000s. The SL3-S has an ISO range of 50-200,000, up from 100,000 on the SL3. There's 5-axis in-body image stabilization (IBIS) at play too, providing up to 5.5 stops of compensation, enabling you to shoot at slow shutter speeds.

Alongside this, the SL3-S boasts an accurate and fast hybrid autofocus system which uses 315 contrast AF and 779 phase detection AF points to quickly lock on to animals/birds and humans. As someone who loves photographing wildlife and taking portraits of my partner, I thoroughly appreciated the SL3-S' autofocus. In the gallery above, it was quick to focus on the pigeons outdoors, and my partner in low-light conditions indoors.

The photo of my partner was shot in the Monochrome High Contrast color profile which has remained a constant favorite of mine every time I've tested a Leica camera. The portrait exudes drama and the inky blacks look stunning. Overall, the SL3-S is a brilliant and capable snapper, and the image quality doesn't give you much to complain about.

6K video is simply stunning

While the Leica SL3-S is a capable stills shooter, it's a video-first camera, which is what distinguishes it from the SL3. The SL3-S is capable of recording 6K video at 30fps, 4K at 60fps, and FHD at 120fps. There's also internal 5.8K ProRes capture, as well as 10-bit color depth, which means the camera is capable of capturing over a billion individual hues and shades.

One of the SL3-S' biggest selling points is that it records Open Gate video in 6K, which means the camera is recording the entire sensor area (3:2), rather than cropping to 16:9. This gives you more freedom to reframe in post-production. Theoretically, it enables users to create 4K videos in both horizontal and vertical formats, fit for social and long-form video.

Video footage captured on the SL3-S is stupendously good-looking. I captured the footage above in 6K Open Gate and reframed it to 16:9 in post. As you can see, the movement of the flowers is smooth and fluid, the colors are gorgeous, and the clips have lovely background bokeh which looks pleasing to the eye. I relied on the monitor to shoot these clips, and I was able to see the screen even in direct sunlight.

Audio quality isn't too shabby either, with the sounds of birds tweeting and the breeze brushing against the leaves sounding clean. Wind buffeting is a slight problem so if you're serious about video work, I'd recommend hooking up one of the best microphones via the 3.5mm audio input jack.

What I don't like

Battery life remains Leica's biggest hurdle

The Leica SL3-S, the Leica Q3 43, the Leica M EV1, and the Leica SL3 all have one thing in common — and it ain't the high price points. I've tested my fair share of Leica cameras, and one things that's been a common denominator amongst most of the models is the short battery life. If we're going based on CIPA ratings alone (done under strict testing conditions), Leica lags behind its rivals from Fujifilm, Sony and Canon.

For instance, the Q3 43 is CIPA-rated for 350 shots; the M EV1 for 244 shots; the SL3 for 260 shots; and the SL3-S for 315 shots. That's... not a lot. But like I said, CIPA battery tests are conducted under very strict conditions, so you'll probably get more shots in real-world use anyway, depending on the camera's settings. In my testing, I was able to achieve approximately 330 shots between charges — and I was shooting in JPEG and DNG, and utilizing both the viewfinder and the monitor for framing/previewing images.

Even though that's 15 shots more than the CIPA-rated battery life, it's still not great, and if you throw video into the mix, it might get even worse. That's why it's recommended to carry an additional BP-SCL6 ($240) battery pack. But that really shouldn't be a requirement, in my opinion, when you're already spending nearly $6,000 on a camera. If and when Leica decides to introduce a successor to the SL3 and the SL3-S, I hope there's a big bump to battery life. I'll stop complaining then.

Looking ahead...

Although mediocre battery life remains a sticking point for the Leica SL3-S, it's something I'm willing to overlook because of everything else the camera offers. Just like the Leica SL3, its hybrid counterpart is a joy to handle. Buttons and dials are sensibly laid out and they never feel overwhelming. The stripped back menu is a pleasure to navigate as all the settings are easy to find.

But it's the SL3-S' video and photo capabilities that are its biggest sell. 6K Open Gate video means you're recording using the entire camera sensor area at 6K resolution, rather than cropping to 16:9. The video quality is drool-worthy, as are the 24MP images the SL3-S captures.

I've thoroughly enjoyed my time with the SL3-S, and though I'd personally prefer the SL3's 60.3MP sensor as a stills-first photographer, there really isn't much else I can complain about. And if you don't mind dropping to a lower-res sensor, the SL3-S comes in cheaper than the SL3 too, with the body retailing for $5,665 at B&H Photo / £4,489 at Clifton Cameras. If I win the lottery, I won't tell anyone, but there will be signs.

More from Tom's Guide

• I’ve been testing the Leica SL3 — here’s my honest verdict on whether it’s worth $7,500
• I’ve been testing the Leica SL3 — it’s the only camera that’s made me want to ditch my Fujifilm
• I tested and loved the controversial Leica M EV1, but I’d choose this 4.5-star camera instead

I’ve tested my fair share of the best photo books available, so I can say with complete certainty that the Blurb photo book isn’t one of them. After slaving away to create a photo book, you want a result that you’re happy and proud to share with friends and family when they come to visit. You may even want to get a book as a gift for someone. But the Blurb isn’t one I’d be happy to gift someone.

Color replication is dull and lackluster, while black and white images suffer from overly dark blacks, losing all shadow detail and dynamic range. After only flipping through the book a couple of times, the front cover started to crack, which was a letdown. And there was an issue with ink transfer across the pages inside.

But if you want to see what I didn’t like about this book and what you should try instead, keep reading this full Blurb photo book review.

Blurb Photo Book review: Specs

Blurb Photo Book review: Price & availability

The Blurb photo book is available to purchase starting from $12 at the Blurb website. The $12 price is for the cheapest option, which is the softcover, but I tested out the hardcover option, which is a lot more sturdy. This option starts from $32 on the Blurb website. I opted for this as the hardcover should last a lot longer (more on this later), which is what you want when preserving memories.

I created a 12 x 12-inch ImageWrap Hardcover photo book with 20 pages and the matte standard paper. This cost $83, and I also got a PDF of the photo book. You can make further upgrades to the photo book, like more premium paper options for additional cost.

While Blurb was easy to create, I much prefer the results I achieved with Popsa, which was only three dollars more at $86 for a similar style book. Blurb offers a convenient photo book creation process, but is let down majorly in the quality department. The Popsa results are so much better for the same price, so it’s hard to justify spending on Blurb.

If you’re not fussed about having the premium feel of Popsa and don’t want to spend so much, Chatbooks offers a lot of customization, and I got a 10x10-inch book for $50. Alternatively, if you want something more premium-looking to display on your coffee table, you can look at the Printique photo book service, which would cost around $110 for a similar-sized book that has excellent color and contrast replication.

Blurb Photo Book review: Software & production

Creating the Blurb photo book felt quite limited when designing. After testing out services like Popsa and Mixbook, which both have easy-to-navigate interfaces, Blurb felt pretty clunky. Sure, I got the hang of it after much trail and error, and then it was fairly easy to use, but it was tricky at first. The service uses BookWright Online, which is a book design software that can be used in your desktop browser, so there’s no need to download any software.

Unfortunately, this software isn’t compatible with mobile devices, so you need to use a computer for it to work. It took a while for me to get to grips with all of the tools on the site, and the layout options are pretty limited, which made me feel like I couldn’t be very creative.

I first uploaded the images I wanted to use to the site and could drag images from the bank to where I wanted them in the book. However, I had to have a frame for the image set out first, or I couldn’t place the image. I found it best to choose a frame from the layout section and customize the existing layout styles, but this was quite time-consuming.

Options for decoration are also limited. You can change the background color and add some text, but there aren’t any decorative elements. This obviously depends on the style of book you’re going for, but I enjoy adding a little whimsy to my books.

For the easiest experience, especially for beginners, I would recommend using Popsa, but if you’re someone who wants to add your own creative flair to the book, then Mixbook is certainly the way to go.

Blurb Photo Book review: Print quality

Having tested a bunch of other photo book services, I was very disappointed with the results from Blurb. I’m someone who loves to see the vibrancy of the colors in my photos and the pages, and I didn’t get that result here — not even close. Everything felt very washed out, making the pages feel flat rather than full of life.

The book also struggles with dynamic range and contrast in black and white images. The blacks look too black, meaning that any shadow detail in the darker portions of the image is completely lost. However, the highlights are well presented and not blown out.

After flipping through the book a couple of times, I noticed that the cover on the front started to crack. I wasn’t putting any extra strain on the pages, but where the book was folding was cracking from repeatedly opening and closing the book. This is especially disappointing given I paid for the more expensive hardback precisely for longevity.

I also noticed an issue with some color from the pages transferring over to the opposite pages. I only picked up on this because, on my first look through the book, some of the pages were stuck together from where the book had been closed without fully drying. This meant ink was removed from some pages and transferred to the other side, making the whole thing look a little messy and, honestly, cheap.

There are also visible pixels on all of the images. I haven’t experienced this with any other photo book when using the exact same images at the same size. Overall, while the photobook looks nice at a glance, closer inspection shows countless flaws that make it hard to recommend this service.

Blurb Photo Book review: Verdict

The Blurb photo book service is hard to recommend. While it’s easy to create the book once you get the hang of the software and there are some cheaper options to choose from, it’s just not worth the money spent.

Firstly, the design software is desktop-only, and I find it so much easier to use mobile software from other photo book services like Popsa. And the book itself feels cheaply made. After only flipping through a handful of times, the hardcover began to crack. On the inside of the book, there were also issues with ink transfer, poor color replication and contrast issues in black and white images.

If you hadn’t already guessed, I really don’t recommend Blurb.

If you’re in any doubt as to the DJI Osmo Pocket 4’s significance to today’s content creator market, let me clear things up with an anecdote of sorts. I go to a lot of press events for cameras, and by far the most common camera I see being used by my fellow mediafolk is the DJI Osmo Pocket 3.

YouTubers, vloggers, social media creators, journalists — all rely on the Pocket 3. Why? Because it’s absolutely fantastic. It wraps up everything you need for video content creation into a slick, high-performing package. So… why did DJI need to make the Osmo Pocket 4? It didn’t, to be honest. But it went ahead and did so anyway.

I’ll get this out of the way early. The Osmo Pocket 4 (OP4) is very much an evolution, not a revolution, to the chagrin of many interested parties, I’m sure. Before its launch, there were spy shots showing multiple lenses — people believed them precisely because the Osmo Pocket 3 (OP3) was so good at its job, the thought being that any new model would have to be radical to justify its own existence.

Alas, it isn’t radical, but there are a number of key upgrades under the hood. An improved 1-inch sensor and image processing, 4K/240fps slow motion, and film simulation profiles for in-camera grades, to name a few. So is this the new best camera for vloggers? Find out in my full DJI Osmo Pocket 4 review.

DJI Osmo Pocket 4 review: Specs

DJI Osmo Pocket 4 review: Price & availability

Unfortunately, it doesn’t look like the Osmo Pocket 4 will be coming to the U.S. just yet. DJI has had a rocky time with the U.S. government in recent years, facing a ban on its drones, and having been slapped with hefty tariffs on its other imports.

For many camera products, like the DJI Osmo Action 6 ($369) and DJI Osmo 360 ($549), this has meant no “official” support — so no first-party availability through DJI’s website and no aftercare plans. But you can still buy those products (at a mark up) from third party suppliers like Amazon. Alas, the Pocket 4 doesn’t fit that trend, and DJI has confirmed it won’t be coming to the U.S. at all… yet!

From DJI: “We do not have U.S. pricing. The Osmo Pocket 4 will not be available in the U.S. market as the application for authorization is still pending.” If you’re American, you’ll need to buy the +2-year-old DJI Osmo Pocket 3 instead for now, which remains steeply priced in the U.S. at $499 thanks to those tariffs.

The Osmo Pocket 4 is available everywhere else though, and in the U.K. it starts at £429 from Amazon. That’s actually a drop in launch price from the Pocket 3, which launched at £489, although you can pick up a Pocket 3 at the time of writing for £385.

DJI Osmo Pocket 4 review: Design & controls

The DJI Osmo Pocket 4 looks identical to its predecessor, with similar general proportions. And if it weren’t for some slightly different ridge patterning on either model, you’d struggle to tell the two apart. That’s no bad thing, though — it means the Pocket 4 is just as lightweight, pocketable and easy to use as its older sibling. Of course, build quality is typical DJI: second to none.

The controls are again very similar, with a gimbal joystick and record button at the front, plus a swivelling display that reveals two more buttons when in its horizontal position. These buttons are new — one is a dedicated quick zoom button and the other is a custom button for mapping your three most commonly-used functions via single, double and triple presses.

The custom button is super handy in theory, although the assignable options are quite limited. I regularly need to switch between gimbal modes, which is a bit fiddly in real time — being able to assign this to the custom button would’ve been ideal, but no such luck (not even via the C1/C2 custom modes, as these don’t save gimbal modes).

Most settings control is done via the touchscreen though, and it’s gorgeous. It’s bright, detailed and spacious enough for in-depth control of DJI’s intuitive and feature-packed menu system. I’m very familiar with DJI’s menu and find it easy to use in the heat of the moment, but if you aren’t, the learning curve isn’t too steep.

On the back of the gimbal is an electronic connector, allowing you to hook up an accessory — namely the clip-on vlogging fill light (available with the £549 Creator Combo).

The Pocket 4 is not an action camera, so it isn’t waterproof. But that’s to be expected.

Connectivity

The Osmo Pocket 4 boasts the same wealth of connectivity options as its predecessor. It has a USB-C slot which enables the addition of an additional battery pack (very useful, pictured above). You can hook up wirelessly to your smartphone, and to Bluetooth accessories — and of course, connecting to DJI microphones via OsmoAudio (Bluetooth) is a mere screen-tap away.

Making a return is the electronic accessory connector on the back of the gimbal, too, for hooking up a vlogging light. In short, there’s everything you need for high-tier content creation on the go.

There’s 107GB internal storage, up from nothing at all in the Pocket 3. This is the most generous internal storage DJI has yet fitted to one of its handheld cameras, and is more than double the 50GB found in its flagship action camera, the Osmo Action 6. DJI is championing internal storage these days, and I love it. It’s so reassuring to know you have extra space if your card fills or, worst case scenario, corrupts — you can still get the footage you need.

Naturally, there’s a MicroSD slot for expanding storage if needed, but with 107GB of storage on offer, I haven’t needed to yet. And besides, with internal storage, transfer speeds are faster (up to 800Mb/s).

DJI Osmo Pocket 4 review: Stabilization

The DJI Osmo Pocket 4 uses the same 3-axis gimbal design as its predecessor, although there have been some internal tweaks to the algorithms, vastly improving stabilization, according to DJI. Honestly, the Pocket 3’s stabilization was excellent to begin with, so I’ve struggled to tell the difference. But hey, they’re both absolutely fantastic.

As you can see in the footage throughout this review, it’s super easy to shoot long, smooth pans and tilts. The stabilization also works wonders to iron out the bumpiness of walking. If you’re going to be vlogging on the move, especially when walking, there’s no better and more compact way to get ultra-smooth, professional footage than the Pocket 4.

There are three different gimbal modes to allow you to customize the behavior of the stabilization. I mainly stick to the default 'Follow' and 'Tilt Locked' (horizon locked) as these are great for everyday use, mostly minimizing drift but allowing some natural movement. There’s also an 'FPV-' mode, though, where the gimbal always matches the direction the screen is facing, until you use the joystick. It’s kinda like a manual mode, and I found it very useful for restricting the gimbal movement when I didn’t want drift or tracking.

DJI Osmo Pocket 4 review: Autofocus

The DJI Osmo Pocket 4 brings back a couple of handy autofocus modes from the Pocket 3. There’s Spotlight Follow, which prioritizes registered subjects in frame. You add subjects and the camera tracks them over other stuff the Dynamic Active Tracking (i.e. automatic subject detection) detects.

Spotlight Follow sticks to the first-detected subject in any scene until that subject leaves the frame. It’s ideal for solo vlogging, although if you have multiple people in frame at different distances from the lens, you might end up with one out of focus as the camera prioritizes the first subject in frame.

There’s also a Dynamic Framing frame which allows you to set the focus area from 9 central points. It’s a helpful bit of manual control for when you need to lock focus.

Honestly, though, I just left the camera out of these modes most of the time and in its basic autofocus and Dynamic Active Tracking (automatic subject detection and tracking) mode, which works really well. It prioritizes faces, which is what you’d want, but can recognize wider shots, prioritizing deeper focal range — switch to closer subjects if faces come into frame. It’s perfect for vlogging, though, and I never recorded a clip where my face was out of focus when talking to camera.

DJI Osmo Pocket 4 review: Video quality

The OP4’s 4K footage looks beautiful and sharp, with bold, vibrant colors… although it’s not like the older OP3’s video looked bad. The lens gives a nice, wide field of view that doesn’t suffer from too much ugly barrel distortion, making it perfect for vlogging. There are two zoom levels, 2x and 4x, which are “lossless,” according to DJI — although I’m not really sure what that means, as you can see the resolution taking a big hit at the increased zoom levels in the vlogging clip below.

In normal video mode, the Pocket 4 shoots 4K at up to 60fps in 16x9 landscape orientation, and 3K at up to 60fps in 9x16 vertical orientation — the same as the Pocket 3. However, slow motion has received a big boost, with the OP3 able to shoot up to 4K/240fps (versus 4K/120fps), for twice as slow footage. Check out the vlogging video in this section to see an example.

Perhaps the main change to the core imaging gear is a revamped 1-inch sensor, which delivers super clean images with lots of detail, vibrant color, and increased dynamic range (up to 14 stops from 12 on the OP3). I was impressed with the dynamic range: standing in a shaded area on a bright day, the camera rendered both detailed shadows and bright highlights in the same frame.

There’s 10-bit color for over a billion individual tones, delivering more natural colors and smoother color transitions. 10-bit also provides more editing flexibility thanks to the greater amount of tonal data recorded.

DJI has done away with D-Log M, its historic “log” profile, which technically wasn’t a log profile but just a desaturated color profile. Now there’s D-Log Pro, which is legitimately a logarithmic gamma correction curve, and delivers wider dynamic range capture (the trade-off being it needs grading in post). DJI has also binned HLG HDR, which makes sense — this is primarily used by the broadcast media industry, so it always felt a bit redundant on vlogging cameras, like the Osmo Pocket line.

If you want to apply some in-camera grades, the Pocket 4 has color filters, akin to the color filters on DJI’s action cameras. These are nothing special — no Fuji-level film-sim color science — but nice to have for some quick creative looks. I love DJI’s default color profile, which produces vibrant blues and greens on sunny days, so I mostly left the camera in that aside from testing.

There are also some new beauty filters, to smooth out skin tones and generally pep up appearance on vlogging. I’m not personally a fan of this type of thing, but if you are, they’re there for you to use.

Low light

The new 1-inch sensor, with its increased dynamic range, delivers cleaner shadows than the OP3, making the OP4 a better tool for low light footage. In moderately low light, the Low Light mode (capped at 4K/30fps) does a great job at brightening footage, and noise was barely perceptible (see the walking clip in the Stabilization section, which was shot in the Low Light mode).

In very dark conditions, as in the video above, the Pocket 4’s image sharpness takes a noticeable hit, with a watercolor effect on the background from the smoothing of in-camera noise reduction. However, this is a very challenging scenario, and I think the footage and smoothing looks pretty good, all things considered.

My Pocket 4’s auto exposure had a little bit of trouble in certain low light conditions, flickering constantly as it tried to balance exposure. This happened mostly in medium-dark situations, where there was a little bit of light entering the frame. It was solved by locking the exposure. I've reached out to DJI to establish why this might be, and if there's a fix in the works.

DJI Osmo Pocket 4 review: Audio quality

I’ll be honest here and say that if you’re not looking to use the DJI Osmo Pocket 4 with a DJI microphone, you won’t be using it properly. This camera is designed to be used with the DJI Mic 2, Mic 3 or Mic Mini, and doing so will give you excellent, YouTube-quality audio, with clean vocals and strong ambient noise reduction — as you can hear in the walking vlog above.

Using OsmoAudio — i.e. pairing the camera via Bluetooth with one of DJI’s Mics — gives you access to four audio channel recording, spatial audio and audio zoom, where the audio direction matches the zoom area.

That said, if you can’t stretch to a standalone mic just yet, or one of the creator combos that bundles a mic, the OP4 will still do the trick. Like the OP3, there are 3 internal microphones, plus wind reduction and voice priority modes. You can hear in the clip above how the internal mics sound in quiet and noisy conditions, with both those settings on. The result? Fine, and passable, but nothing like the quality you’ll get when hooking up a DJI mic.

DJI Osmo Pocket 4 review: App

I’m a big fan of the DJI Mimo app, which has come a long way in the last few years. It’s now slick, feature-packed and fairly reliable (I still experience the odd issue connecting devices over Wi-Fi on my iPhone 17 Pro Max). The Mimo app is your central point of control for the Pocket 4, and used for registering your device, updating it, live camera control and editing.

I really like the editing functionality in particular. I roughly spliced together the vlogging video above in around an hour between meetings. I was able to cut and arrange clips, apply effects, animations and music, and generally put out a decent looking short video in very little time. Sure, it’s a bit clunkier to use than desktop editing software, but for creators editing on the go, it’s very good.

DJI Osmo Pocket 4 review: Battery life & overheating

DJI rates the OP4 for 240 minutes, up from 166 minutes on the OP3. The caveat there, though, is that those figures are at 1080p. At 4K/60fps, which is where we test all our cameras (if they shoot at 60fps), you can expect less. Realistically, that’s where most people will want to shoot.

In real world testing at a mixture of 4K/60fps, 4K/30fps and 4K/240fps, I shot for around 80 minutes, recording around 40 short clips. The battery only dropped to around 50%, suggesting 160 minutes of runtime.

In my lab testing at 4K/60fps, the camera lasted for around 140 minutes, which is very impressive. What’s even more impressive is the thermal performance — the lab test is conducted indoors away from the cooling effects of wind and cold ambient temperatures. The OP4 got a little warm, but not hot, and didn’t overheat at all, recording in 4K/60fps continuously until the battery died.

DJI Osmo Pocket 4 review: Verdict

If you’re a vlogger, influencer or other content creator, especially one who records out and about regularly, there really is no better all-in-one package than the DJI Osmo Pocket 4. If you want beautiful, professional-looking video, with solid audio and a wealth of connectivity options, it’s the camera for you.

Sure, it’s a refinement of the Pocket 3 rather than a wholesale revamp, but as I mentioned in my intro, the Pocket 3 was already the content creator’s default tool for a reason: it was fantastically good at its job, so there wasn’t much that needed changing.

The Pocket 4 upgrades all the right things. Changes to the sensor, stabilization and battery life, plus the shedding of some unnecessary features to make way for more genuinely useful ones. DJI has knocked it out of the park… again.

GoPro just revealed pricing for its new Mission 1 action cameras and micro four thirds camera makers should be scared.

If you haven't seen the new Mission 1 lineup, GoPro describes the series as lightweight cinema cameras. They feature 50MP 1-inch sensors, a new processor, making them faster than even some of the best camera phones and a good number of point-and-shoots.

Of course, being GoPro, these cameras are video forward capable of filming up to 8K resolution footage. And it comes with a reasonable price tag.

• Mission 1 - $599.99
• Mission 1 Pro - $699.99
• Mission 1 Pro ILS - $699.99

All three cameras come with $100 off discounts for existing GoPro subscribers and purchase through GoPro.com

The Mission 1 Pro is heralded as the flagship model in the new lineup, while the Mission 1 Pro ILS features a micro four thirds mount that can be used to attached different lens to achieve a cinematic look much like dedicated cinema cameras that cost thousands of dollars.

There's added versatility in these pocket cinema cameras because of the myriad of accessories that GoPro has designed with them, like a body cage where users can attach different accessories such as cold shoe mounts or a Wireless Mic kit.

The Mission 1, Mission 1 Pro, Mission, and the Mission 1 Pro Grip Edition are all available for pre-order starting today. Those cameras will start arriving on May 28, 2026.

The other two creator editions and the ILS model won't be available until Q3 of 2026, which would pin it somewhere between July and September this summer.

A good argument to move on from your point-and-shoot

In early April, my colleague John Velasco got a chance to check out the Mission 1 cameras and came away quite impressed. At the time, he suggested that the Mission 1 would be competitive if it was priced around $500, which GoPro pretty much hits.

Even the high-end Pro and ILS models, make for compelling alternatives for traditional point-and-shoot cameras. This level of utility has neve been achieved by an action camera, which certainly would make buyers think harder about their next purchase. Not only do they record at 8K resolution, but they also offer insane 960 fps slow motion. For vloggers, it's an attractive pocketable camera that GoPro says will offer outstanding stabilization and low light performance.

"After seeing the GoPro Mission1 Pro ILS in particular, I’m convinced I could ditch my micro four thirds camera altogether. In fact, the Mission1 makes a compelling argument that the traditional point-and-shoot is finally obsolete," Velasco wrote.

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Last night, April 16th, Sony announced the winners and shortlist of its 2026 World Photography Awards. Now into their 19th year, Sony’s World Photography Awards (WPA) celebrate and award existing and new photographic talent, giving its winners an international platform to showcase their work (not to mention cash prizes and a sack of Sony imaging gear).

This year, the WPAs received over 430,000 entrants from 200 countries across the world, making this one of (if not the) largest photography competition around.

The flagship award — the equivalent of ‘Best Actor / Actress’ at the Oscars, if you like — is Photographer of the Year. This year is has been scooped up by Citlali Fabián, a London-based visual artist originally from the Yalalteca Indigenous community, Mexico, whose work explores the intersections of identity with territory, migration and community.

The 2026 ‘Outstanding Contribution to Photography’ award — a lifetime achievement kinda deal — goes to legendary American street/documentary photographer Joel Meyerowitz. A pioneer of color photography, Joel was at Ground Zero to document the aftermath of the World Trade Center attacks on 9/11 — a visceral and haunting collection that simultaneously highlights the heroism and humanistic elements of the tragedy and cleanup.

The WPAs award a further 10 professional categories, though, each with a winner and two runners up. Not only that, but Sony and the WPA also foster the next generation of photographic talent through student and youth categories, plus an open category for anyone to enter.

I've included some of my favorite shots from this year's finalists and winners, but a full gallery of all the competition images are all visible on the World Photography Awards website.

London exhibition

If, like me, you’re lucky enough to be in London in mid-April, you can also check out the World Photography Awards exhibition, which runs from April 17 to May 4 2026 at Somerset House, London (tickets available via the link).

The exhibition will showcase over 300 entries from this year’s awards. I was given early access to the exhibition to see the entries, and it’s a fantastic showcase. The talent on display is phenomenal. My favorite series is by Seungho Kim, winner of the Perspectives category. His work documents his and his wife's lives after having an unexpected child, with a particular focus on how the family dog adjusted, and finally made friends with the baby.

I’ve interviewed many photographers in my time as a journalist, seen many exhibitions, and obviously gazed intently at many photos. I know full well that many photographers shoot deliberately with a final printed product in mind. There’s nothing like looking at an image in large printed format, in precisely the way the artist wanted it to be seen. It always beats digital in my book.

No Sony? No problem

If you’re inspired by this year’s awards — either the online gallery or physical exhibition — you can get involved in 2027’s competition, which will open on June 1 2026.

Importantly, while Sony hosts the WPA, there’s absolutely no stipulation for entries to be shot on a Sony camera. You don’t need to be rocking the latest, greatest Sony A7V to enter next year’s competition — maybe you’re rocking a humble Canon EOS R100 or, like me, a several-year-old Fujifilm X-E4. In fact, I talked to lots of the entrants in this year's awards, and even many of the pros shoot with other brands. Will Burrard-Lucas, winner of the Wildlife & Nature category, shoots on whatever old DSLRs he can find to jerry rig into traps or mobile recording devices (he literally straps cameras to RC cars to get close up wide-angle photos of hyenas!)

And that’s cool: it means you don’t need expensive gear to take part in the event. Remember, great imagery has more to do with the photographer than the camera.

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I own all sorts of cameras for different circumstances, but over the last year, I’ve been trying to follow a "less is more" philosophy. That’s why I’ve stopped carrying a full-frame mirrorless camera to work, opting instead for my compact Panasonic Lumix GX850 micro four thirds camera — though I still keep my phone and GoPro Hero Lit on me.

This is exactly why I’m so stoked for GoPro's new Mission1 lineup. It represents a dramatic shift, catering to serious enthusiasts who crave better performance and utility than what’s offered by the current action cam market.

After seeing the GoPro Mission1 Pro ILS in particular, I’m convinced I could ditch my micro four thirds camera altogether. In fact, the Mission1 makes a compelling argument that the traditional point-and-shoot is finally obsolete. Here’s why.

A 1-inch sensor is a big deal than you think

If you look at the current market for point-and-shoot cameras, many effectively use smartphone-sized sensors — and the Panasonic Lumix ZS99 is a perfect example. It actually has a smaller sensor than what’s found in the best camera phone around, the Galaxy S26 Ultra, which utilizes a 1/1.3-inch main sensor.

That’s why the GoPro Mission 1 lineup's move to a 50MP 1-inch sensor is such a significant shift. By using a larger sensor, the camera is able to accumulate more light, resulting in sharper images and vastly improved low-light performance. Most flagship phones now excel at shooting in the dark, but they still require long exposure times. Since the Mission 1 models all feature 1-inch sensors, they can gather the same amount of light in a fraction of the time required by standard phones or point-and-shoots.

However, the GoPro Mission1 is clearly positioned as a video camera first — which makes that 1-inch sensor even more valuable. If you’ve ever shot video with a point-and-shoot or a phone in dim lighting, you know how noisy and muddy the footage can look. With the Mission 1, that should no longer be the case.

Size does matter

Micro four thirds systems are some of the lightest mirrorless cameras around, but even my Panasonic Lumix GX850 looks bulky next to the GoPro Mission 1. In a side-by-side comparison, it's unbelieveable to see the size difference between them. The beauty here is that GoPro has taken the iconic design of its Hero 13 Black and made it ever so slightly larger to house everything necessary to make the Mission 1 the ultimate all-purpose camera.

Thanks to its rugged construction and small footprint, it’s far easier to position in tight areas where traditional cameras simply won’t fit — like on my car's dashboard. Crucially, it offers significantly better protection than any point-and-shoot camera, complete with every mounting option imaginable: the standard 1/4-20 tripod mount, classic folding fingers, and my personal favorite, the Magnetic Latch Mount.

Even with its diminutive size, GoPro claims the Mission 1 offers impressive endurance thanks to the new Enduro 2 battery, which is rated for three hours of 4K 30fps recording.

A truly pocketable cinema cam

I never imagined that a GoPro-sized camera could deliver the same level of cinematic quality as full-frame cameras like my Lumix S5. GoPro’s answer to that skepticism is the Mission 1 Pro ILS, which features a Micro Four Thirds mount that allows you to attach professional cinema glass directly to the body. While it shares the same 50MP 1-inch sensor as the other two models, the video specs are in a league of their own — we're talking 8K 60fps, 4K 120fps, and beyond.

While there's roughly a 3x crop factor with this system that narrows the field of view, the fact that it’s an interchangeable lens system still means I have total control over the compression and aesthetic of my shots. I’m especially excited about its 960 fps slow motion mode at 1080p, which rivals dedicated high-speed cameras costing tens of thousands of dollars. Imagine the cinematic possibilities when pairing a lens with a shallow depth of field with that level of frame rate.

Time wouldn't just slow down, it would practically stand still.

Forget point-and-shoots

All of this has me incredibly excited for the GoPro Mission 1 lineup. You’ll have to consider what matters most to your workflow because there are three options: the entry-level Mission 1, the flagship Mission 1 Pro, and the interchangeable Mission 1 Pro ILS.

GoPro hasn’t announced official pricing yet, but pre-orders begin on May 21, 2026. I’ve been considering an aftermarket compact micro four thirds camera similar to my Lumix GX850, or even a bridge point-and-shoot, but the insane prices I’m seeing on the used market make it impossible to pull the trigger.

That’s why GoPro can’t afford to overprice this lineup. If I had to guess, a competitive price point for the Standard Mission 1 would be around $500 — especially since the GoPro Hero13 Black currently retails for $429. As for the Mission 1 Pro and Mission 1 Pro ILS, I’m hoping the latter stays under $899 to keep it a more attractive option than a traditional mirrorless setup.

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DJI has faced a ban on importing and selling drones in the United States since December 2025, but the company may have slipped one final drone under the wire. Between leaks, official announcements and FCC filings DJI may have one more drone for American enthusiasts to enjoy.

Today, DJI posted a teaser video for the new Lito drone, which could be the last DJI model to receive FCC certification, pending the outcomes of various legal battles. The teaser promised an official reveal on April 23.

Based on FCC filings, it appears DJI was able to get the Lito approved before the December 22, 2025, cutoff for the FCC ban. This means the new drone is "grandfathered" into the US market and can be sold in the US.

What is DJI Lito?

DJI's official teaser only highlighted the name and official launch date. However, some previous leaks revealed images that purported to be the new compact drone.

Earlier this month, "tech detective" Igor Bogdanov showed photos that look like marketing materials and not just CAD renders or dummy models. He also posted some packaging images. Today, in light of the announcement, he posted some zoomed in looks at the drone.

A separate leak on Reddit appears to reveal some specs of the Lito drone. According to the poster, the Lito has a top speed of 18m/s and an apparent incompatibility with current controllers.

Based solely on Igor's images, the Lito looks a lot like the DJI Mini 5 Pro, if perhaps a bit sleeker. It's not clear where it will fit in the DJI lineup. My speculation is that the Lito is a slightly less feature-rich version of the Mini.

How we got here

As mentioned, the FCC implemented a ban on foreign-made drones in December of last year, specifically targeting Chinese manufacturers. DJI has been fighting the ban since at least 2023 and sued the FCC in February claiming the agency "exceeded its statutory authority" in an attempt to overturn the ban.

You can still buy DJI-made drones in the US, especially grandfathered in ones that were made before the December deadline. Everything else has been or will be added to the FCC's "Covered List" or its list of banned devices.

Technically, DJI could possibly release more drones in the US after passing "rigorous cyber and hardware assessments," according to the NSD FCC Covered List Waiver 0126. However, it's not clear what those assessments include and if they'll be made difficult just to keep drones on the Covered List.

The legal battles are ongoing, so it may be some time before this is totally cleared up. But for now, the Lito is coming and could be the last new DJI drone we see for a while.

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I adore photography. Whenever I go to a new place, or even when I'm out and about with my family or partner, I love photographing the landscapes, wildlife, and taking portraits. For almost a year, I've been using the Fujifilm X-T50, and I've taken some beautiful photos with it — in the U.K., in Iceland, and everywhere else I've been since owning it.

One of the greatest things about the best mirrorless cameras is that they can simplify your workflow and make it easier to take photos. The X-T50, like many of Fuji's latest cameras, boasts time-saving features which you may or may not already know of. When you're photographing a crucial moment, say, a bird in flight, you might not want to bother with diving into the in-depth menu settings.

Luckily, many modern Fuji cameras — and other brands — offer quick and easy solutions. From creating your own custom film recipes to adjusting shooting settings on the fly, here are my time-saving tips and tricks as someone who reviews cameras for a living. Hopefully you'll find some of these helpful, and if there are any that you use and I haven't included, do share them in the comments below!

1. Creating custom film recipes

Film simulation dials are a staple on Fuji's latest cameras, but it was first introduced on the Fujifilm X-T50. While some people may disagree, I absolutely love the film sim dial and think it's a big time-saver. The film sim dial gives you access to eight of Fuji's most popular recipes, as well as three customizable slots and a 'C' position for menu-based selection — so 20 in total.

The film sim dial basically lets you apply filters so that images are ready to go for either printing or sharing on social media without you having to edit them in post-production. Customizing your own recipes is super easy too, by diving into the image quality settings menu and editing custom settings. You can then adjust values like Grain Effect, Color Chrome Effect, White Balance, ISO, Sharpness, Exposure Compensation, and more.

It's worth taking your time and playing with the settings to get to the look you like most — or you can copy settings from recipes available on Google and online forums, like Reddit. After that, it's a matter of assigning them to either the three custom slots or menu-based selection.

2. Assigning personal shortcuts

We've all been there. You want to change one setting in a camera's menu settings but you have to navigate through several sub-menus that aren't relevant to you in that moment. The Fujifilm X-T50, for one, offers a simple solution: My Menu. The last tab in the main menu settings is empty by default, but you can add up to 10 items you use most (but aren't assigned to physical buttons).

Once you've assigned your desired items to My Menu and it's all set up, the camera will default to this tab every time you press the Menu button. This saves you a lot of time as you negate having to scroll through sections like Image Quality.

3. Quickly resetting the focus point

The Fujifilm X-T50, like many other Fuji cameras, features a focus joystick, located on the back panel and next to the monitor. While you can use the joystick to change focus points, did you know that pressing it resets and recenters the focus point? This is something most photographers will be familiar with, but I don't think you should overlook its importance.

I find myself pressing the focus joystick to recenter the focus point nearly every time I pick up my camera. It's quick and easy and saves you the time you'd otherwise spend on manually bringing the focus point back to the center of the screen.

4. Zooming into the focus point

One of my favorite dials on the Fujifilm X-T50 is the rear command dial, or the thumb wheel, located right above the focus joystick and navigation buttons. If you use it as a scroll wheel, you can adjust the ISO — or the shutter speed and other settings, depending on what you've programmed it to. Clicking it, however, makes the electronic viewfinder (EVF) and the LDC screen show a 10x zoom on your focus point.

It's a quick way of checking if your subject is in focus, especially if you're using manual focus or single AF. To zoom out, simply press it again. If you're shooting through the viewfinder, as I usually do, you can verify sharpness without taking your eye off the EVF.

5. Remapping gestures/buttons on the fly

The rear panel of the Fujifilm X-T50 houses a few different buttons which help you navigate the camera's settings and gallery. But did you know that the Disp/Back button isn't just for, well, exiting menus? If you hold the Disp/Back button for two seconds, it instantly opens the Function (Fn) Setting menu, which allows you to remap any physical buttons and touch gestures on the fly.

Using the Disp/Back button saves you a lot of time you'd otherwise spend diving into detailed menus. It's important to note that touchscreen gestures are disabled by default, so remember to enable them via the menu if you want to use swipes on the screen to access settings like internal mic adjustment, histogram, and so on.

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It's not news anymore that Gen Z and the younger generations love "retro" tech. MP3 players, vinyl, film cameras, and flip phones have all had a resurgence. Add to that list compact cameras like the much-talked-about Fujifilm X100VI, Ricoh GR IV, and Canon PowerShot G7X Mark III. These three are the usual suspects and the darlings of TikTok. Look up any article, video or short on the best compact cameras, and you'll see one or more of these cameras guaranteed. There's just one problem: you can't find them anywhere new.

The hype around them is just too much for manufacturers and retailers, making it impossible for the average person to buy one at retail value. But, they're not the only game in town. Older cameras like the Panasonic GX1 and GX85 are well-known, reasonably priced cameras that produce great images. And they're easy enough to find, so I got one of each… for less than half the cost of a Fujifilm X100VI.

Though Lumix shooters are well aware of these two pocket rockets, Gen Z photographers aren't clamoring for them like they are the Canon PowerShot Elph 360 HS A. I believe they should.

Smaller sensors need love too

The bigger the sensor, the better the image quality. You get better low-light performance and less noise thanks to larger and more sensitive photosites (the analog light sensors that become digital pixels). You get a shallower depth of field, and there's less crop as the sensor size goes up — 35mm full-frame sensors don't have any crop because thanks to the legacy of 35mm film, it sets the standard. But, despite what YouTubers say, bigger isn't always better.

The advantage of a smaller sensor is a smaller camera body. That's why the three aforementioned Fuji, Canon and Ricoh point-and-shoot compacts all feature APS-C sensors instead of full-frame sensors. At roughly 2/3 the size of a full-frame sensor, APS-C sensors are small, but they're not the smallest.

The Micro Four Thirds format is twice as small as full-frame, with a 4:3 aspect ratio, hence the name. This system used by Olympus and Panasonic has produced some of the smallest digital cameras to date, like the legendary Panasonic Lumix GM1 (an absolute powerhouse of a compact camera). While the size and sensor help it stand out, it's the choice of lenses on such a small body that makes it so sought-after.

M43 compacts give you options

The point-and-shoot experience is simultaneously freeing and limiting. The fixed lenses on these cameras are great and allow you to keep your kit small when going on a shoot. The Fujifilm X100VI has a 23mm lens, which gives a field of view equivalent to a 35mm lens on a full frame camera — a classic all-purpose field of view. You can't go wrong with it. After a while, though, the convenience becomes a setback. If you want to shoot landscape, portraits, or sports photography, you're out of luck. That's not an issue with an interchangeable lens compact camera like the GX85 and GX1.

On a trip home to South Texas a few years back, I brought my recently purchased Lumix GX85 and the kit lens it came with. This cheap, plastic 12-32mm, f/3.5-5.6 lens turned out to be all I needed. I snapped a ton of great images of my family, and I got to see the city I once lived in and knew so well in a whole new light with this dinky little lens. And due to the collapsible design of the lens, the entire kit was still small enough to fit in my Wandrd D1 crossbody sling. When I want to travel light but am unsure of what I'll be shooting, this lens is a no brainer.

Another lens I've grown to love is the Lumix 14mm f/2.5 pancake lens that came bundled with my used Lumix GX1. This stubby lens is a community favorite because of its small size and unique 28mm equivalent shooting experience that’s great for street photography. The wider aperture, while not incredible for low-light shooting, is fine for most dusk and indoor shots — the built-in flash on the camera is a lifesaver here.

But if you want options and you're on a budget, spare a thought to the Lumix 14-140mm f/4-5.8 lens. Since this ends up being a 28-280mm equivalent lens, it's great for sports photography, street, landscapes, and portraits all at once. It's the biggest lens I own, and it's even bigger when I max out the focal length. Though it looks ridiculous on a smaller body like the GX1, it's worth the additional size and weight. I've taken it to several MLS matches, where I've captured my Rapids up-close as if I was standing on the sidelines. Most sports venues won't let you bring a telephoto lens inside, but if you can, this is the one.

You don’t get that versatility with a fixed-lens compact.

Access to Leica glass

Panasonic and Leica have a longstanding partnership that goes back to the early days of digital photography, when the two brands worked on the Lecia Digilux 1. Since then, Leica has been making glass for Panasonic in formats like Four Thirds, Micro Four Thirds, and L-Mount — the latter is a partnership between the two and Sigma to create full-frame L-Mount lenses. That means Micro Four Thirds shooters are spoiled for choice when it comes to quality lenses.

One of those lenses is my all-time favorite, the Leica Summilux 25mm f/1.4 lens. This 50mm equivalent lens is my go-to when shooting at night or indoors. It's a must-have for concert photography, which is where I've taken some personal favorite shots. Despite having to shoot manual because of loud and slow focus, this is also my top choice for shooting video due to the superior image quality. It's basically glued on to my Lumix GH5 these days, which I use any time I'm headed out the door on the weekends.

A lens I got recently and have been using a lot is the Leica 45mm f.2.8. It's a prime macro lens great for shooting detail up-close, though I've mostly used it to scan 35mm film at home. That said, it has a lot of potential as a portrait lens since it offers a field of view equivalent to 90mm on full frame. If you're shooting product photography or videography, this is one lens you need in your kit for close-up shots and b-roll.

Get more value for your money

The Micro Four Thirds system is alive and well — the Lumix GH7 is a heck of a video camera with the option for Arric LogC3. But the M43 cameras and lenses I've mentioned have been around for a while. You can pick them up for relatively cheap on the used market.

The Lumix GX1 goes for about $200, while the Lumix GX85 tends to fetch a higher price of roughly $400-500. I got lucky when I purchased mine, finding it a local used camera shop for $350. It came bundled with the kit lens, charger, three batteries, and a half-cage. All in, that’s $700 max for my two cameras — less than half the asking price of a new (if you can find one) Fujifilm X100VI ($1,799).

Lenses aren't expensive, either. The trusty Lumix G 14mm pancake lens goes for about $120-$200, and the 12-32mm kit lens sells for $125-$175. The Leica lenses are a bit pricier used, but it's nothing outrageous. My favorite Leica Summilux 25mm is in the neighborhood of $300-$400. Seeing as how this lens has made me many times what it costs through client work, I don't regret purchasing it.

Leave the hype to the influencers

The compact point-and-shoots that everyone is hyped about are great cameras. They're not so good that they're worth paying way above retail value or waiting years until they become available. Let the influencers do that. If you care more about creating images than the status of owning one of these cameras, then there are other options out there.

Micro Four Thirds are near and dear to my heart because they offer a ton of value for not a lot of money. Their compact size, modern features, and lens selection make them more viable for just about any type of shooting you're planning to do. And you don't have to wait years to get one.

More from Tom's Guide

• Seven years later, the Canon PowerShot G7 X Mark III is still TikTok’s favorite compact camera — here’s how it holds up in 2026
• I swapped out my modern mirrorless for this 20-year-old DSLR and I've never felt more creative
• I bought this 5-year-old Fujifilm and it proves newer isn't always better

When I say, "drones really don't get much better than this," I'm obviously talking about the brand new DJI Avata 360. DJI has been teasing its latest and first-ever 360° drone for a couple of weeks now, and that's not even the first we've heard of it. Since the tail-end of 2025, online rumors and leaks have been speculating the Avata 360's launch, specs and price, and finally, finally, the drone has landed — and it's made a splash.

I'll be the first to admit that drones have been... a little boring of late. The same specs recycled and stuffed into the same sub-250g / sub-8.78oz bodies, the drone industry feels like it has plateaued in the last few years. As someone who tests the best drones, I've been wanting someone to shake things up. Make a bang. Make me go, "Wow, they can do that?!" That finally happened when the Antigravity A1 came out in November 2025, and while it impressed me, the premium price left a sour taste in my mouth. Enter DJI.

The Avata 360 is, in true DJI fashion, a fine drone. It's not only the best 360° drone, it's one of the best drones in general, period. DJI has managed to pack twin lenses that capture 8K/60fps footage and 120MP stills, omnidirectional obstacle avoidance, and next-gen features like Intelligent Tracking into a body that doesn't break the bank. And it certainly gives the Antigravity A1 a run for its money.

Chock-full of goodies

While you can read all about the drone's specs in my full DJI Avata 360 review, I'd like to give you a quick overview of what we're being treated to here. The Avata 360 is fitted with twin lenses that record 4K record a 180° FoV (field of view) each in 4K, and the frames are then stitched together by the camera. What this means is that you get +8K resolution before stitching and when the clips are stitched together, you get 360° footage at true 8K resolution.

In addition to this, you can capture 120MP stills too, as the twin lenses snap 64MP images each and then stitch them together. The best part is that you can't see any stitching lines, neither in videos nor in stills. Also, if you want to quickly share clips on social media and don't have time for post-production (you'll need to reframe the footage a fair bit in post to make it usable), you can do that and create 'tiny planet' effects by manipulating the two top dials on the RC-2 controller.

Speaking of, there are two ways of flying the Avata 360: you can do so with either the RC-2 controller (or any other recent DJI controller, really) or the DJI Goggles N3 and the RC Motion 3 controller. Compared to the Antigravity A1 which can be flown only with a headset and motion controller, the dual ways of flying make the Avata 360 far more versatile. Having tested both, you can take my word for it when I say both work extremely well.

No qualms about the build

As is always the case with DJI's drones, the DJI Avata 360 is built extremely well and designed just as nicely. Looking like the lovechild of the DJI Avata 2 and the DJI Neo 2, the Avata 360 is wrapped in dark grey colors which lend it a premium edge. The drone features propeller guards which not only make the drone safe for flying indoors or near people, but also protect the propellers if the drone runs into a wall, tree or other obstacle.

One important thing to note about the Avata 360 is that it weighs 1lb or 455g, which means that you’ll need to register it with the F.A.A. in the U.S. and the C.A.A. in the U.K., or any other governing authority depending on where you live. More restrictions may apply too, so I highly recommend doing your research before taking to the skies. In my opinion, don't let the weight put you off — it's well-worth it. Because it's a little heavy, the Avata 360 doesn't get knocked by sudden gusts of wind either, ensuring you always get smooth and stable footage.

Alongside the brand's trademark RockSteady technology, the drone also features a single-axis mechanical gimbal which provides further stabilization. None of the footage I captured appeared shaky or unsteady, and even if it does, you can digitally stabilize it via DJI Studio when you're back at your desk.

So... it's perfect?

Yeah, it kinda is. Look, my job is to analyze tech and put products through their paces, and I've struggled to find any real flaws with the DJI Avata 360. Okay, it weighs more than 8.78oz, but does that matter in the grand scheme of things, when you're getting such a solid drone? U.S. consumers have to wait a while too as the drone is currently available for pre-order only, but again, that's not a flaw. It will come.

Other than that, no, there isn't anything wrong with the Avata 360, and you can rest assured that you're getting bang for your buck. It's some of the most fun I've had flying and testing a drone recently, and the creative possibilities are truly limitless. It's worth every cent.

Wondering which 360° drone is right for you? Check out my DJI Avata 360 versus Antigravity A1 face-off!

More from Tom's Guide

• DJI Avata 360 review: The undisputed king of 360-degree drones
• I've flown both the DJI Avata 360 and the Antigravity A1 360-degree drones — and there's a clear winner
• I tested the DJI Goggles N3 for a month — and I don’t want to fly a drone without an FPV headset ever again

I’ve been on a mission to find the best photo book service, and after a lot of trial and error, I think I’ve finally found a worthy contender. Popsa is the easiest way to create a photo book and get premium results. Customization is super simple, and the layflat binding option means wear and tear is minimized.

While color replication is generally impressive, blues can sometimes appear oversaturated. It’s also on the expensive side when compared to some budget counterparts — but I think the premium price is worth it for the book’s quality.

You can find out more about my experience with the photo book service by reading this full Popsa review.

Popsa Photo Book review: Specs

Popsa Photo Book review: Price & availability

You can purchase Popsa photo books directly from the Popsa website with prices starting at $44 for a hardback book. If you’d rather try out something cheaper, Popsa also offers a softcover book starting at $34, but I would recommend the hardback book for the best quality and longevity.

When creating the photo book I tested, I added a gloss finish to the pages, silver foil on lettering and layflat binding, and the book came to $86. These features come at an extra cost, but in my opinion, they made the photobook feel incredibly premium. If you’re looking for something that will look good on display as well as when you’re flicking through photos with friends and family, Popsa is a great option, thanks to all its features.

The minimum number of pages you need to order the book is 20, and you can add up to 130 extra pages, which would take the book to a maximum number of pages of 150. While I think this is more than enough pages to make a great photo book, Chatbooks allows up to 366 pages.

The Printique photo book service starts around the same price for $45, but its superior quality makes it more of a coffee table book, and something to display. Although the Popsa book feels of premium quality, it also looks less expensive, and is more comfortable to use for casually looking through pictures.

Photo book newbies may want to try something a little more friendly on the bank account first time around, so Mixbook would be a good option as it starts from just $14 and offers a wide range of customization options.

Popsa Photo Book review: Software & production

With the premium results, you’d be forgiven for thinking that designing a photo book with Popsa would be a complicated process. But you’d be wrong. I used the free mobile app and tried out Popsa’s AI software.

This process is super simple. I just had to upload all of the pictures I wanted in the book from my camera roll and into the app. The software then analyzed the photos and organized them. I think it did a pretty good job at suggesting designs, but I was able to manually resize some pictures to ensure the best layout.

I also tested out the background colors. You can have a different color on each page if you’d like, but I opted for a light purple color on all the pages. It’s easy to add text to the pages too. The software feels basic, but I like that because everything is laid out in a satisfying way that feels relaxing to process — totally stress-free.

Making the book was very straightforward, and the software makes the whole process feel accessible to even the most inexperienced photo book curator. If you’re looking to have more creative control over the book, I would recommend Mixbook, which is user-friendly but offers a very wide variety of customization tools.

Popsa Photo Book review: Print quality

The quality of print you get with Popsa is totally worth the money you spend on it. The 200gsm paper is a lot thicker than the paper you get with other photo books like Chatbooks, Mixbook or Vistaprint, and feels almost like card. This means that the pages don’t bend or fold, and the pictures always look perfect.

Colors in the images are well presented throughout the book, although blue tones sometimes appear oversaturated compared to the originals. However, this isn’t an issue for me, as I love my images to be as bright as possible, and I think it lends well to water images, adding an extra dose of vibrancy.

Despite the tendency to oversaturate blues, the Popsa deals with colors that are already oversaturated extremely well. In other photobooks like Vistaprint, bright colors look blown out, but this isn’t an issue with Popsa.

However, I think that black and white images are slightly sepia-toned. This isn’t something that my colleague Erin noticed, but when I looked at all of the photobooks I have tested side by side, this was clear.

The glossy finish of the pages makes the book feel more authentic, like a printed photo. And the layflat binding is a great way to minimise any damage to the book from bending or folding pages, and you can use the entire margin of the book for photos.

The binding also makes the book feel a little thicker because of the way it’s put together, but it’s worth it. The front cover of the hardback book is nicely padded and has a luxurious, glossy finish. I think the silver foil lettering on the cover also lends to the premium look and feel.

It feels like a lot of care has gone into making this book, which is what you want when you’re creating something to help you look back at memories.

Popsa Photo Book review: Verdict

Popsa’s photo book service offers a quick and easy way to put all of your favorite photos in one place, and I found the whole process extremely straightforward. There was no fussing with different settings and sizing, and I could even use AI software to take care of all the fiddly bits like choosing layouts and resizing photos for me.

The book can easily be upgraded with additions such as glossy pages and silver foil lettering to make it feel premium, but still have an accessible look. Blue tones are sometimes oversaturated, which I don’t mind, but it won’t be for everyone.

Popsa is a little more expensive than other budget services like Mixbook and Vistaprint, but I think paying a little extra to get something that feels so high-quality is definitely worth it.

In November of 2025, there was a seismic shift in the drone world: a new brand threatened DJI's position as the king of the skies. Antigravity, a brand "incubated" by Insta360 (yes, the 360° cameras giant), launched its first drone, and the world's first-ever 360° drone, called the Antigravity A1.

At the time, DJI didn't have its own 360° drone which meant that Antigravity had carved a niche of its own and the A1 remained the undisputed best 360° drone... until now.

Four months later, in March 2026, DJI launched its first-ever 360° drone (and the world's second), the long-rumored DJI Avata 360. Since there are only two 360° drones in existence, at the time of writing, and both come from two of the biggest names in the realm of action cameras and drones, I naturally had to pit them against one another.

While I initially thought there weren't many differences between the two, I have since been proven wrong. Both the Avata 360 and the Antigravity A1 shoot 8K 360° video which can be edited in post, and since every single angle is captured, you can focus on and enjoy flying first and think about framing later. Battery lives are fairly similar too... so are there any substantial differences? And is there a clear winner? Yes and yes.

Here's how it went when I tested the DJI Avata 360 versus the Antigravity A1.

DJI Avata 360 vs Antigravity A1: Specs compared

DJI Avata 360 vs Antigravity A1: Price & availability

The Antigravity A1 is a sub-brand of Insta360 — yes, the action and 360° cameras giant — and it officially launched in November 2025. Four months later, the DJI Avata 360 was announced, becoming the world's second-ever 360° drone (and the Chinese giant's first). I'll start off by talking about the elephant in the room that's desperately wanting to be addressed: the price difference between the DJI Avata 360 and the Antigravity A1.

There's a massive price difference between the two, and I wish I was exaggerating but I'm really not. The Avata 360 starts at ~$549 / £409 for just the drone, and this is the perfect deal for those who already own a DJI controller, like the RC-N3 or the RC-2, or a pair of DJI Goggles N3 and a DJI RC Motion 3 controller. There are three additional bundles available: with the RC-2 controller (~$859 / £639), an RC-2 Fly More Combo (~$1,199 / £829), and a Motion Combo (~$1,199 / £829).

In comparison, the Antigravity A1 starts at $1,599 / £1,219, while its Explorer bundle costs $1,899 / £1,399, and the Infinity bundle retails for a whopping $1,999 / £1,499. It's staggering, and the fact that the Avata 360's most expensive bundle still costs a lot less than the Antigravity A1's cheapest bundle blows my mind.

Winner: DJI Avata 360

DJI Avata 360 vs Antigravity A1: Design

Both the DJI Avata 360 and the Antigravity A1 look very different from one another. The Avata 360 retains the DJI Avata 2's design and borrows styling cues from the DJI Neo 2. It's fitted with propeller guards which means that not only can you fly it indoors, but that its propellers are protected if your drone crashes into a tree or another obstacle. On the other hand, the Antigravity A1 looks similar to drones like the DJI Mini 5 Pro, with its propellers exposed, limiting its indoor usage.

The two drones are fairly compact in size, with the Avata 360 measuring 9.69 x 7.83 x 2.19 inches and the Antigravity A1 measuring 12.15 × 15.05 × 3.51 inches (unfolded, with propellers). Both come with shoulder bags for easy transport.

The biggest difference lies in their weight. The Avata 360 weighs 1lb while the Antigravity A1 weighs 8.78oz. Because the latter weighs so little, you don't need to necessarily register it with the F.A.A. in the U.S. or the C.A.A. in the U.K., or any other governing authority depending on where you live.

Because the Avata 360 weighs so much, more flight restrictions apply, such as staying under a certain height limit, avoiding flying over groups of people, etc. I'd recommend reading up on the different rules and restrictions depending on where you live or where you're planning on flying the drone.

Due to the added restrictions, the Antigravity A1 takes the crown when it comes to design and portability — although the Avata 360 won't give you anything to complain about in terms of build quality.

Winner: Antigravity A1

DJI Avata 360 vs Antigravity A1: Features & app

There's no dearth of features on both the DJI Avata 360 and the Antigravity A1. Both drones feature omnidirectional obstacle avoidance, and return-to-home where the drones fly to their last known take-off positions either manually or automatically when battery is low. Both drones also feature internal storage, with the Antigravity A1 packing 20GB of it and the Avata 360 packing 42GB of it, making the latter the winner.

As is the nature of 360° footage where every single angle is captured, you need to edit footage in post-production to make it usable or professional-looking. Up until recently, DJI's companion software for editing action camera footage was fairly lackluser, but the brand has made massive strides with the Avata 360. DJI Studio on macOS/Windows is the easiest way to edit your footage, and in a similar vein, so is Antigravity Studio. Both drones are also accompanied by clean-looking, user-friendly mobile apps for on-the-fly editing.

The biggest difference, and the deciding factor of this round, lies in the drones' straight-out-of-camera footage — and this is also related to how the drones are controlled/flown. The Avata 360 can be used with either the RC-2 or the RC-N3 controller, and you can use these controllers to create Tiny Planet videos that can be shared online without editing. Since the Antigravity A1 uses a screen-less Grip motion controller, the same isn't possible, therefore handing over the win to the Avata 360.

Also aiding the Avata 360's win in this round is its 42GB of internal storage (compared to just 20GB on the Antigravity A1). In addition to this, the Avata 360's omnidirectional obstacle avoidance, in my opinion, works just a little better than the Antigravity A1's, as seen in my testing.

Winner: DJI Avata 360

DJI Avata 360 vs Antigravity A1: Photo & video quality

Both the DJI Avata 360 and the Antigravity A1 are fantastic, competent drones, capable of capturing 8K 360° footage. The Avata 360 does so at 60fps, while the Antigravity A1 does so at 30fps. The Avata 360 is in fact the only 360° device (action cameras and drones included) to record 8K/60fps footage, so it signals a new age for 360° devices.

Regardless, both drones capture stable and steady footage but the Avata 360's footage is more stabilized thanks to a single-axis mechanical gimbal working in conjunction with DJI's RockSteady tech.

8K video shot on both drones gives you enough headroom in post-production to reframe at up to 4K in a 16:9 aspect ratio — the default ratio for YouTube and TV. Twin lenses on each drone basically capture 4K videos which are then stitched together. On the Avata 360, the resolution you get is true 8K and therefore true 4K, and there are no stitching lines visible — in fact, you can't see stitching lines in the footage captured with the Antigravity A1 either.

The video above was shot on the Antigravity A1, and reframed in post. You can add many effects and adjust every single angle in post-production, and it's like having unlimited A and B cams. The video is smooth and stable, and the colors appear true-to-life too.

Above is a video shot on the Avata 360, in comparison. Because of the 60fps frame rate, the footage appears smoother and the motion looks more realistic. Personally, I prefer the look of the Avata 360's footage because the colors look more vibrant and the finer details (like the patterns in the clay) look more hi-res when compared to the Antigravity A1.

Alongside shooting video, the Antigravity A1 and the Avata 360 are excellent for capturing aerial stills too. The Antigravity A1 shoots 55MP photos with its 1/1.28-inch sensor while the Avata 360 shoots 120MP photos with its 1/1.1-inch sensor. The 120MP photos are achieved by stitching two 64MP photos together, although there are again no signs or stitching lines in the final results. The Avata 360 also gives you more freedom in terms of cropping when compared to the Antigravity A1 — although 55MP stills are still outstanding.

The images in the gallery above were shot on the Antigravity A1. They look good, and the drone has captured enough detail in the building in the distance, but some of the finer detail, like the edges of the window panes, has been lost.

In comparison, the images in the gallery above were shot on the Avata 360, and again, they look better, in my opinion. The colors are more pleasing to look at, and the images themselves are quite detailed. At the end of the day, the Avata 360 is the drone to get if you want best-in-class image and video quality, and so, it wins this round.

DJI Avata 360 vs Antigravity A1: Battery life

Neither the DJI Avata 360 nor the Antigravity A1 will give you much room to complain about when it comes to battery life. The Avata 360 is rated for 23 minutes between charges, while the Antigravity A1 is rated for 24 minutes. You can also use High-Capacity flight batteries with the Antigravity A1, and using one bumps the flight time up to 39 minutes, but it's worth noting that this pushes the drone's weight over 8.78oz, which means more restrictions apply.

Both drones are also accompanied by three-way charging hubs — if you buy the respective bundles. These charge three batteries in just under/over an hour each. At the time of writing, it isn't confirmed whether more advanced battery packs will be available for the Avata 360, so the Antigravity A1 is the winner in this department by a very narrow margin.

Winner: Antigravity A1

DJI Avata 360 vs Antigravity A1: Verdict

Both the Antigravity A1 and the DJI Avata 360 usher in a new age for drones: the era of 360° drones has begun. They're feats of engineering in their own rights, with both drones boasting incredible 8K video capabilities. But having spent weeks testing both drones, the winner couldn't be more obvious. When it comes to sheer value for money, the Avata 360 takes the cake as its most expensive Fly More Combo costs less than the Antigravity A1's cheapest one.

But that's not all. The Avata 360 is more intuitive to fly with either a controller or a pair of goggles, and it enables you to create good-looking straight-out-of-camera footage. Furthermore, it packs 8K/60fps video capabilities while the Antigravity A1's caps at 8K/30fps. Not only is the Avata 360 an Antigravity A1 killer, but this could potentially mean that DJI will start packing 8K/60fps into its action cameras, which wouldn't be good news for Insta360.

Combine that with 120MP stills, user-friendly editing software, and sublime build quality, and you've got a drone that will stay on top for a long, long time. The Avata 360 is clearly the king of 360° drones, and I can't picture it being dethroned anytime soon.

DJI Avata 360 vs Antigravity A1: Ratings scorecard

More from Tom's Guide

• 'The best 360-degree drone, maybe ever' — I tested the DJI Avata 360 for 3 weeks and it's the new gold standard
• I’ve been testing the Antigravity A1 and the world’s first-ever 360° drone confirms one thing: DJI has some serious competition
• “What if drones became an extension of our senses?”: I spoke with the Antigravity A1’s product lead about the brand’s inspirations, hopes and challenges

For a few years now, it has felt like the evolution of drones has plateaued, with the same specs being fitted into practically every quadcopter out there. That all changed with the introduction of 360° drones in 2025, and DJI has staked its claim as the best 360° drone with the Avata 360. The Chinese giant’s first 360° drone is a winner, and it upstages the Antigravity A1 (rival Insta360’s drone) in more ways than one.

Capable of recording 8K/60fps footage, the Avata 360 captures every angle possible with its twin lenses, and gives you plenty of headroom to maintain 4K resolution when cropping to 16:9 in post. Intuitive to fly with either the standard controller or a pair of goggles and a motion controller, the straight-out-of-camera footage can even be used without any work in post-production. It captures hi-res 120MP stills too, and the best part? It’s affordable!

To find out if this is the best drone for you, read my full DJI Avata 360 review.

DJI Avata 360 review: Specs

DJI Avata 360 review: Cheat sheet

• What is it? DJI’s first-ever 360° drone and the latest addition to the Avata lineup
• Who is it for? For content creators and anyone who wants to capture every angle, as well as first-person view (FPV) enthusiasts
• How much does it cost? The DJI Avata 360 starts at ~$549 / £409 and goes all the way up to ~$1,119 / £829
• What do we like? The build quality, 360° 8K/60fps video, 120MP stills, dual ways to fly, and detailed companion software
• What don’t we like? The heavy weight

DJI Avata 360 review: Price & availability

Launched on 26 March 2026, the DJI Avata 360 is the Chinese manufacturer’s first-ever 360° drone, and the latest addition to the Avata lineup. At the time of writing, it’s only the second drone to feature 360° technology, and so, it competes directly with the Antigravity A1 ($1,599) which first came out in November 2025.

The Antigravity A1 uses the same technology found in Insta360’s 360° cameras, and this is also the case with the Avata 360. DJI’s drone builds on the imaging tech used in the DJI Osmo 360 camera ($549), and I’ll discuss that more in detail soon. The Avata 360 massively undercuts its primary rival, the Antigravity A1, as it costs a lot less. The drone on its own costs ~$549 / £409 and is perfect for those who already own a DJI controller. If you want the DJI RC-2 controller, it’ll cost you ~$859 / £639, while both the RC-2 Fly More Combo and the Motion Combo (including the DJI Goggles N3 and the DJI RC Motion 3 controller) retail for ~$1,199 / £829 each. U.S. pricing is yet to be confirmed.

That’s right: the Avata 360’s most expensive bundle costs much less than the Antigravity A1’s cheapest one ($1,599 / £1,219). This, alone, makes the Avata 360 a much better investment, and when you add all the goodies it offers to the equation, there’s no question about which drone offers better value for money.

However, as with all other recent DJI launches, the Avata 360’s U.S. availability is dicey. That’s due to the restrictions on foreign-made drones by the F.C.C. While drones that were registered with the F.C.C. prior to the 23 December 2025 ruling can be sold in the American market — and there are very strong rumors that the Avata 360 was one of them — it’s difficult to ascertain how it will impact the Avata 360’s launch. We also don’t know if DJI Care Refresh will be available for the Avata 360 yet, but I have reached out to a DJI representative to get a clearer picture.

DJI Avata 360 review: Design

The DJI Avata 360, like every other DJI drone I’ve tested, is exceptionally built and designed. As part of the Avata lineup, it borrows design cues from the DJI Avata 2 ($409) as well as the DJI Neo 2 ($319) — it looks like the lovechild of the two. Twin lenses sit on the top and bottom of the gimbal unit to capture a 360° view which can later be edited in post-production via the companion software (more on that soon).

Similar to the Neo 2, the Avata 360 is wrapped in dark grey colors which lend it a premium edge and make it look more high-quality than, say, the DJI Neo ($199) or the DJI Mini 4 Pro ($759), in my opinion. Just like on the Neo 2 and the Avata 2, bumpers protect the Avata 360’s four propeller guards, which not only make the drone safe for flying indoors or near people, but also protect the propellers if the drone runs into a wall, tree or other obstacle. Bumper guards are absent on the Antigravity A1, in comparison, which gives the Avata 360 a leg-up — more safety features are always welcome!

The Avata 360 weighs 1lb or 455g, and it measures 9.69 x 7.83 x 2.19 inches. Though it isn’t as small as, say, the DJI Neo 2, the Avata 360 is still easy to travel with, especially in the included shoulder bag. As the drone weighs more than 8.78oz, you’ll need to register it with the F.A.A. in the U.S. and the C.A.A. in the U.K., or any other governing authority depending on where you live. The Avata 360’s heavy weight comes as no surprise, given that the DJI Avata 2 weighs 13.3oz or 377g.

As with most 360° cameras, the Avata 360’s lenses are easily replaceable by users, which is good news as the lower lens can be liable to impacts during landing. This is simple enough to do, as all you need to do is unscrew and pop out the damaged lens with the tools provided in the replacement kit, and screw on the new one.

We’ve also seen the inclusion of interchangeable lenses with the Antigravity A1, so it’s great that DJI has implemented this feature too. To ensure that the lenses don’t get damaged, the Avata 360’s gimbal rotates in a way that the lenses are only exposed when the drone is turned on. When you’re landing the drone, the gimbal rotates and tucks what would be the lower lens to the back, so that it doesn’t come in contact with the ground.

Build quality remains sublime as usual, and the Avata 360 doesn’t feel low-quality. Tapping it with my fingernails didn’t reveal any hollow parts or pinging, so you’re getting bang for your buck.

DJI Avata 360 review: Controls

When you buy the Antigravity A1, you get Vision goggles and a Grip motion controller in the bundle, and that’s what you use to fly the drone — similar to the DJI Goggles N3 and the DJI RC Motion 3 controller ($229 + $99). The DJI Avata 360 is a more versatile drone in that regard, as you can fly it with either the Goggles N3 and the RC Motion 3, or with a DJI RC-2 controller.

I’ve covered the RC-2 controller extensively as I’ve used it with the DJI Mini 5 Pro ($759) and other drones, but with the Avata 360, the interface is a little different. For instance, when using the RC-2 with the Avata 360, the top left dial lets you adjust the 360° Virtual Gimbal’s tilt and roll angle while the top right dial zooms in and out to help you capture each and every angle. When you’re doing this while flying the drone, it feels a little trippy and disorienting, but it’s extremely fun.

One of the advantages of buying the Avata 360 over the Antigravity A1 is the RC-2 controller — it can even be flown with an RC-N3 controller — as it enables you to view the footage you’ve just shot. You don’t need to wait until you’ve offloaded the footage to your phone or when you’re back at your desk. You can view a low-res preview of the video you’ve just filmed, and you can even use your finger to change the on-screen viewing angles.

Then you’ve got the Goggles N3 and the RC Motion 3, which I also tested with the Avata 360. If you want a more immersive flying experience, I’d highly recommend grabbing that bundle instead, as it makes you feel like you’re sitting on top of the drone, and it gives you a proper bird’s eye view of the world. You can see all around you by simply moving your head. Look down and you’ll see what’s under the drone. Look to the right and you’ll see what’s to the right of the Avata 360. This is also how the Antigravity A1’s Vision goggles and Grip controller work. Both the Avata 360 and the Antigravity A1 are very similar in this regard.

The RC Motion 3 works just as well, and gives you a lot of control over the Avata 360’s movements. It enables you to make minute adjustments to your drone’s position and direction, so you can turn tight corners with ease. To find out more about how FPV flying works, read my full DJI Goggles N3 review.

If you don’t want to spend nearly a grand on the Motion combo, the standard RC-2 bundle will be enough for you. 360° footage needs to be edited in post-production to make it usable and the RC-2 controller captures every angle anyway, so you don’t necessarily need the most expensive bundle.

DJI Avata 360 review: Features

There’s no dearth of features on the DJI Avata 360. Alongside its 8K 360° video capabilities, you also get solid wind resistance, omnidirectional obstacle avoidance, and other safety features. For a retail price much less than the Antigravity A1, I’d say the Avata 360 trumps Insta360 in the features department.

The Avata 360 has a flight distance of 8.38 miles, which is a little more than the Antigravity A1’s 8-mile distance when you’re using a standard flight battery. On the Antigravity A1, this doubles with a High-Capacity battery. On the right edge of the drone, you’ll find a microSD card slot. While you get 42GB of internal storage (versus just 20GB on the Antigravity A1), I’d highly recommend investing in a microSD card, such as the Lexar 256GB V60 ($134). If you’re constantly shooting 8K/60fps video, the Avata 360’s internal storage will fill up extremely quickly — any drone’s or camera’s would.

Wind resistance

The Avata 360 features great wind resistance, capable of withstanding level 5 winds (10.7 m/s or 24mph). This is the same as the Antigravity A1 and the DJI Avata 2. I flew on a couple of windy days when the speed was over 20mph, according to my phone, and the drone didn’t falter. Because it weighs 1lb as well, it isn’t susceptible to gusts of wind — something that is an issue with sub-250g drones, like the Antigravity A1.

Obstacle avoidance

The Avata 360 features fantastic obstacle avoidance too. Its omnidirectional obstacle avoidance means it can brake or bypass objects in its way, depending on your settings. This is one of the most important features you can have in an FPV drone, and it comes in handy especially when flying the Avata 360 through the Goggles N3 and using the RC Motion 3. It gives you a lot more confidence when navigating tight spaces.

It will continue detecting and avoiding obstacles even when you hit the return-to-home button. This prompts the drone to fly back to its last known takeoff position, and is automatically toggled when the Avata 360 is low on battery.

DJI Avata 360 review: Video quality

The DJI Avata 360 is an incredible 360° drone, capable of recording 8K video at 60fps, which gives it a leg-up over the Antigravity A1 whose frame rate tops out at 30fps. While the Avata 360 borrows much of its core technology from the DJI Osmo 360, it’s important to note that the action camera’s 8K video is limited to 50fps (which is also outstanding, by the way) or 5K at 60fps. It does, however, feature the same 1/1.1-inch Square CMOS sensor.

Just like on the action camera, the Avata 360’s twin lenses record a 180° FoV (field of view) each in 4K, and the frames are then stitched together by the camera. What this means is that you get +8K resoltuion before stitching and when the clips are stitched together, you get 360° footage at true 8K resolution. This is how the twin lenses on the Antigravity A1 work too. I couldn’t see any stitching lines between the clips either, even after I zoomed in and analyzed the clips (and stills).

8K/60fps is extremely smooth and stable, and gives you a lot of freedom in post-production. You’ll be relying on companion software for editing these files in post (more on that soon), and 8K resolution basically gives you enough headroom in post-production to facilitate reframing (cropping into that full 8K image) at up to 4K in a 16:9 aspect ratio, depending on how wide the field of view is of your final frame.

But the Avata 360 has an ace up its sleeve. You see, when you’re shooting video on the Antigravity A1, you can’t really zoom out and change the pitch angle much, so you need to heavily edit files in post to make them watchable and usable. On the Avata 360? Even without editing, you can create ‘tiny planet’ effects by manipulating the two top dials on the RC-2 controller, as you can see above. I haven’t edited the footage (except for trimming the beginning and the end) and it still looks fantastic, giving the viewer a bird’s eye view of the world.

I think this massively adds to the Avata 360’s appeal. 360° editing software can take a while to get to grips with and might not be everyone’s cup of tea, and if a novice can create footage that’s instantly usable and shareable, it’s a win.

But editing 360° footage via companion software is necessary if you want longer clips that aren’t simply using effects. It can be a lot of fun, and I’ll discuss the software in detail soon. I edited the video above to add a few different effects, such as Asteroid, Ultra Wide and more, and adjusted the FoV, pan, tilt and roll angles to create a trippy video.

Similar to Deep Track on the Antigravity A1, the Avata 360 features Intelligent Tracking where you can draw a box around a subject in post-production, and the drone will automatically track it and highlight it as the primary subject. As you can see in the video above, I drew a box around a pillar in the distance on two separate occasions, and the software did an excellent job of tracking it even as the Avata 360 was moving.

Since the Avata 360 records every single angle, you can swap between different FoVs — forward, behind, above, below, and so on — which essentially gives you unlimited A and B cams. It increases creative capabilities by enabling you to capture otherworldly angles which isn’t necessarily possible on non-360° drones. You also get access to DJI’s range of QuickShot Intelligent Flight modes, such as Dronie, Rocket, Follow, etc.

Like DJI’s action cameras, the Avata 360’s footage is stabilized using the brand’s trademark RockSteady technology, so every clip turns out smooth, as you’ve seen in all the footage above. Alongside this, the drone also features a single-axis mechanical gimbal which provides some degree of stabilization. Using both together, the Avata 360’s footage never flickers or appears unsteady.

DJI Avata 360 review: Image quality

Alongside stellar video quality and capabilities, the DJI Avata 360 is exceptional at capturing stills too. Each lens on the Avata 360 captures 64MP stills which are then digitally stitched together to deliver a 120MP 360° photo (15520×7760). I couldn’t see any visible stitching lines in the photos I’d captured for the purposes of this review. The 360° photo means you can edit it as you wish, and view every single angle if you share it with another person as an interactive 360° photo.

If you’re short on space and don’t want massive 120MP files clogging up your internal storage or microSD card, you can drop the resolution down to 30MP. You won’t capture as much detail, of course, but it’s a good idea if you’re in a pinch.

The 1/1.1-inch sensor captures plenty of detail with faithful color reproduction, as you can see in the gallery above. The highlights and shadows are well-balanced while the images themselves are highly detailed, and you can zoom in and not lose too much detail either.

These were taken in Auto mode but you can shoot manually too, as the Avata 360 has an adjustable shutter speed of 1/30s to 1/8,000s and ISO range of 100-6400 when shooting stills. This is the same ISO range you’ll find on the Antigravity A1, and should be just enough to shoot in low-light conditions, such as at dusk or dawn.

DJI Avata 360 review: App & software

The DJI Avata 360 saves 360° files in the OSV format which must be opened in either DJI Fly on your smartphone or DJI Studio on your macOS or Windows machine. Both apps are extremely easy to use and I’ll discuss both, starting off with DJI Studio. Full disclosure: this was my first time using DJI Studio, and as a newbie, I thoroughly enjoyed using the software thanks to its user-friendly interface.

DJI Studio gives you quick tutorials on how to edit 360° footage, so even if you’re a newcomer like myself, you won’t have any trouble getting a hang of it. It might take a while to understand keyframes and effects but once you wrap your head around them, editing the Avata 360’s footage is a walk in the park. Within DJI Studio, you can adjust pan, tilt, roll angles, FoVs, add effects like Asteroid, and lots more. You can also color grade your footage in the app itself, if you’ve shot it in D-Log M. If you shoot in MP4, you can adjust the contrast, brightness, color temperature, etc. Easy as pie.

There are a few handy editing features for smoother or creative results too, such as Chromatic Aberration Control, Stitching Optimization, Distortion Optimization, and Motion Blur. You get a fair bit of control over the motion blur which can help convey a sense of high speed if you so wish.

Then you’ve got DJI Fly on Android and iOS, which serves as the central hub for all your DJI drones. As with other DJI drones, you can use this app to quickly offload footage (useful if you’re running out of space), see nearby fly spots, and update the drone’s firmware.

In addition to all of this, you can also edit your 360° footage, and I especially love the One Tap Edit feature, which utilizes AI to trim your selected clips and add effects and music to them, as you can see in the video above. You get several templates to add your clips, text and music to too, and it’s all you need to create quick footage to share instantly on social media.

DJI Avata 360 review: Battery life

The DJI Avata 360 has respectable battery life, at least by drone standards. On a single charge, the Avata 360 can fly for 23 minutes, which is the same as the DJI Avata 2. The Antigravity A1, in comparison, can fly for 24 minutes using a standard battery pack or 39 minutes when using a High-Capacity battery.

Of course, the battery life will depend on the usage and flying conditions. I flew the Avata 360 for approximately 22 minutes while shooting 8K/60fps video before the drone had to automatically return-to-home due to low battery. This is fantastic, in my opinion, but also worth noting that it’s entirely subjective, as I was flying in windless conditions and in Neutral mode.

The Avata 360 comes with a three-way charging hub and two extra batteries if you buy the Fly More combo. All three batteries, in my testing, took just over an hour to go from zero to 100% charge.

DJI Avata 360 review: Verdict

If you’re a fan of aerial photography and want to capture every angle possible, there’s no better 360° drone better than the DJI Avata 360. It’s super easy and intuitive to fly with either the DJI Goggles N3 or a standard DJI RC-2 / RC-N3 controller. Since it captures every angle, you can focus on and enjoy flying and think about framing later. Both the DJI Studio and DJI Fly apps are easy to use and enable you to create stunning (and even trippy) footage.

The Avata 360 captures beautiful, stable 8K/60fps footage and highly detailed 120MP stills. With good battery life, excellent stabilization, and a premium build that doesn’t get knocked about by gusts of wind, the Avata 360 is all you need to get creative and create professional-looking footage. And the best part is that the drone is extremely affordable, and none of the bundles break the bank. It’s the undisputed king of 360° drones.

Photo books are a great way to tell a story with some of your favorite memories. But for beginners, this can seem pretty overwhelming at first, as there’s software to get to grips with and design aspects to wrap your head around. I’ve been testing the Vistaprint photo book service, but is it one of the best photo book options out there?

Vistaprint is a great place to start for those who want a basic and affordable option and it’s ideal for experimentation. But I wouldn’t recommend this service to anyone who wants a polished product since it suffers in areas with color and high contrast.

To find out more about the photo book service, read my full Vistaprint review.

Vistaprint photo book review: Specs

Vistaprint photo book review: Price & availability

Vistaprint photo books are available directly from the Vistaprint website starting from $13. As you increase the size of the photo book and add more detail with the finish of the cover, the binding of the book and the number of pages, the price of the book naturally increases.

We paid $45 for an extra-large square book with standard binding, a standard glossy cover with a photo, and 24 pages. This falls in the same price range as Chatbooks, which costs $50 for similar specs, but Chatbooks' finish is much more polished.

For the sake of quality, you’ll want to spend a little extra on something with a more premium finish, like Mixbook. The Mixbook photo book with similar specs costs $89, but the print quality is far superior.

However, if you want a photo book that doubles as premium decor, you can look at Printique, which offers more of a “coffee table book” look — something to display around your home. The smallest size from Printique starts at $45, so the expenditure can ramp up fast. So if it’s your first toe-dip into the world of photo books, it’s a good idea to try out cheaper options first, like Vistaprint or Chatbooks.

Vistaprint photo book review: Software & production

Producing the photo book with Vistaprint software is very simple. There’s a lot of scope for customization. You can choose from templates you’d like to use, or start with a blank canvas. I went for the blank canvas to test the entire process.

There are no bells and whistles with the Vistaprint software, but that’s what makes it a decent option for beginners who don’t want too much fuss. The general editing tools are also very basic, which makes it easy to get the hang of.

I experienced no issues with lag on the site — everything moves smoothly. I uploaded all of the images I wanted to use so I could view them all in the sidebar, which naturally took a little time. This was also a handy way to know what pictures I had already used, as you get a little number denoting the number of times it’s featured in the book in the corner.

There are background options, frames for images, stickers for decorations and masks for images too. With everything provided for you, it’s easy to get creative. All of the elements are simple to find, and there’s a drop-down search function to help you locate exactly what you're looking for. You’re not limited to movement across pages or spreads either. You can simply drag and drop elements and images anywhere.

While I like the Vistaprint software, it’s very basic. For more control and creativity in a similar price range, I’d recommend looking at Mixbook. The software on Mixbook is much more user-friendly as it’s far easier to be creative, and all the controls are simple to manage.

Alternatively, Chatbooks sits in the same price range but offers much more limited customization. In Chatbooks, for instance, you can’t stretch an image over a double-page spread, but with Vistaprint, this isn’t an issue.

Vistaprint photo book review: Print quality

The Vistaprint photo book looked good when I first got it out of the box. The glossy cover made the image of the robin appear extremely vibrant. But it’s when I opened the book that the cracks started to show.

The first thing I noticed was on the pages with the block blue background. There were streaks going across the pages that looked like the printer had been jammed or started to run out of ink. I was shocked to see this. This wasn’t an issue with the similarly priced Mixbook photo book, either, so it’s not a sacrifice you need to make to save money.

Colors are well-replicated and rich on the page, but some colors appear very oversaturated. In the picture of the pink pansy flower, the pink colors appear to bleed into each other. This results in loss of detail, compounded by blown-out highlights throughout the book.

I also noticed pixelation, which typically occurs when a low-res image is blown too large, but the image where it was most noticeable was taken from the Sony A1 II, which is a 50.1 MP camera. I have tested this same image file across other photo books, and pixelation hasn’t been an issue anywhere else. This also appears worse on darker colors.

It’s also worth noting that black and white images lack depth and appear washed out. There’s minimal contrast in these images, and they look very flat, making this photo book feel like it has far less depth than the other photo books.

However, the paper of the photo book feels very high quality and thick enough that you can’t see through the pages. I also appreciate that not much of the page is lost in the seam of the binding. But of course, this will differ depending on the number of pages you have in the book.

Another thing worth mentioning is that when I received the photo book, some of the pages were stuck together and needed to be carefully pried apart. This is another big letdown.

Vistaprint photo book review: Verdict

Vistaprint is a viable option for anyone who wants to experiment with photo books for the first time on a budget. It’s ideal for beginners thanks to its easy-to-use software and straightforward design elements.

The paper quality is top-notch, but the print quality… not so much. Bright colors, including reds and pinks, are oversaturated, making them bleed into other parts of the image. The highlights are also blown out, so pretty much everything feels washed out, and the lack of contrast in black and white images is very disappointing.

For a first-time photo book creator, basic software is a good thing. It means you can focus on the main elements you want in the book. But anyone with creative flair is going to be let down by the limited elements in Vistaprint, not to mention the serious quality issues.

There are cameras I use professionally. Then, there are ones I use for fun. The Panasonic Lumix S5II and the GH5 are of the former variety, while the Olympus E-PM2 falls in the latter category. That's because bringing a professional camera to a soccer match or event can be too much. I need a smaller, older, less expensive camera to bring on the weekend because I'm not scared to drop or lose it. If either happens, it doesn't affect my bottom line.

I'm constantly looking for a new, fun camera, of which there are too many. It seems like every time I get on YouTube shorts there's a creator telling me about a digital camera from the 2000s that I've never heard of. That's how I heard of the Lumix L1 (shout out to snappiness), a beautiful rangefinder-style Panasonic DSLR from 2006.

The Lumix L1's aesthetics alone are reason enough to get this camera. It looks like a Leica on steroids, sporting a magnesium body that makes the camera super durable and lightweight, considering its size. Being a DSLR, the L1 is bulky. Built like a tank is how I'd put it, and it behaves like one too: tactile, slow, and durable. Two hours after I saw it, it was on its way to me. It's been a refreshing, albeit humbling, experience that's made me appreciate the joy of shooting photography.

A slower-paced, analog-like shooting experience

Shooting with the L1 feels like going back to basics. It feels analog. There's a button for almost everything, and that tactility makes me feel more familiar with the camera. The grip is comfortable, and most functions can be done with the right hand.

The area around the shutter dial alone has a combination of six dials, switches, and buttons, and I can reach an additional 14 functions with my right thumb. There's so much happening on the body, there's not much need to visit the menu often — a good thing, as the menu is shockingly minimal compared to modern Lumix cameras.

Coming from a modern system, it’s surprising not to see a mode dial, especially since there are so many functions available. The shutter dial lets you set the shutter to ‘auto’, but there are no shutter priority or aperture modes. While you can shoot in a fully automatic way by setting all aspects of the exposure triangle to ‘auto’, it's not an intuitive or quick process. The lack of a mode dial snatches away the training wheels. With few aids to fall back on, I have to be more comfortable with the exposure triangle and slow down to double-check the exposure meter, even when shooting with an automatic shutter or aperture. This level of constraint, while slow, is also freeing.

Why freeing? Because I feel at the peak of my creativity when there are constraints. Give me too many options, too many settings, and I feel overwhelmed. But take something away, and now I have to adapt and get creative to get a shot I'm happy with. For example, instead of switching to aperture priority when shooting indoors, which isn't possible on the L1, I have to really slow down to tweak the ISO, shutter, or aperture to find the right exposure. Yes, it takes time, and it can lead to missing a shot altogether, but slowing down gives me time to compose the image to my liking in the moment rather than spraying and praying.

It's like Kodak Tri-X straight out of camera

Fuji may have the market cornered when it comes to film recipes, but the L1's film modes are low-key great. These modes are accessible through the camera menu or via one of the function buttons. The options are sparse, with just seven to choose from. Four are color, and three are black and white. The black and white modes leave the color ones in the dust, and are the main reason I got this camera in the first place.

There's just something about this LiveMOS sensor that makes black and white images look so good, especially when shooting in the contrast-heavy ‘Dynamic’ black and white mode. I'm no expert on the minutiae of sensor technology, but Olympus' LiveMOS sensors bridge the gap between the beloved CCD sensors and modern CMOS sensors, which dominate the industry today. You get the image quality of the CCD sensor with the low power consumption of a CMOS sensor. The result is a level of contrast and tonality in these images that I've only experienced when shooting Kodak Tri-X film stock.

After a day of shooting, I don't have to go into the editing bay to squeeze some juice out of the L1’s images, because they’re already the finished product. They look great to me straight out of the camera, aside from some cropping. It's why I leave the camera on the Dynamic black and white mode all the time. The best part is that if I want the image in color in addition to black and white, I still have the RAW file to mess around with, which is in color.

A surprisingly modern... 20-year-old camera

A camera old enough to drink won't have the modern trappings you're used to — the aforementioned mode dial being one. But things like stacked sensors, 100 FPS burst modes, and 5-axis IBIS are out of the question, too. That doesn't mean the camera is a dinosaur, though. The Lumix L1 included some features that were ahead of its time, which makes it feel at home in 2026.

One of those features is the Live View, something we take for granted these days. Yet, back in 2006, this was cutting-edge on a DSLR, making it possible to see what the sensor was seeing on the rear display. What was a game-changer then is par for the course now, and it's part of why the camera doesn't feel ancient. Using Live View is loud and slow, as the camera has to shift the mirror aside every time you half-press the shutter to focus, but it's very usable.

Autofocus is another modern feature. Although AF wasn't groundbreaking in the mid-aughts, it was far from perfect. The autofocus on this system was super reliable when I used it. I didn't feel the need to switch to manual focus often. The only times when it was necessary were in dimly lit conditions or when focusing on something far away. Other than that, autofocus worked well for me.

One thing I have to mention is the flash system on the L1. Hardly anyone in the history of camera reviews has been excited about an onboard flash, but this one is different. The pop-up flash works very similarly to the flash on the Lumix GX1 and GX85 (GX80 in the UK and Europe). You press the button, and it pops out to face the subject. But if you lightly press the button, the flash pops out to face upward. Pointing it upward lets you bounce the reflection off the ceiling, which is less harsh than a full flash to the face. It's incredibly clever and, I believe, a one-of-a-kind flash design that I'd like to see more of in modern cameras.

In addition to all these features, you also get a hotshoe compatible with the excellent Godox iT30 Pro flash, an SD card slot, and the ability to shoot in RAW. These last two features work naturally with modern workflows. There's no need for an SD card adapter or relying on JPEG files that give you little flexibility.

It's not for beginners

The Lumix L1 is a great weekend camera. I feel closer to the craft of photography while using it, but it's not the camera I'd hand a friend to shoot pictures with. It's just not intuitive, and the lack of modes, like shutter or aperture priority, can be frustrating for someone who just wants to point and shoot. This camera is clunky, heavy, and slow. Using Live View, which would appeal to someone with modern sensibilities, is sluggish and loud. The shutter is equally noisy, so it's not an ideal camera for stealthy street photography. The rear display is another setback. It has low resolution, lacks touch capability, and it's fixed to the camera — you can't tilt or rotate it at all.

Functionality aside, the L1 is not an easy camera to find or purchase. Looking on used camera sites like MPB or KEH will get you nowhere, so eBay is the best place to find it, where it sells for between $300-$400 for the body alone. The L1 body I bought cost $300 and came with a third-party battery and charger.

Lenses are even harder to find since every time you look for "Four Thirds lenses," you get served with Micro Four Thirds lenses instead, which are not backward compatible with this system. I got lucky and found a 14-54mm kit lens on KEH for $80. However, if you want the nice Panasonic lenses made in collaboration with Leica, you'll have a harder time finding those, and they're not cheap. The good news is that, with an adapter, you can use older Four Thirds glass on the Micro Four Thirds systems, so the investment is worth it if you own cameras from both systems, as I do.

The legacy of Four Thirds lives on

You don't need to buy a Lumix L1 to experience the joys of shooting on a 4/3"-size sensor. Cameras like the Lumix L1 and the Olympus E-330 walked so that the Micro Four Thirds system could run. You can purchase a new Micro Four Thirds camera right now, like the video-focused Panasonic Lumix GH7; the photography-focused Lumix G9 II; a retro film body like the OM System OM-3; or the compact entry-level OM System E-M10 Mark IV.

These cameras are more compact than full-frame ones, and have a huge selection of quality first-party glass that can be found for cheap on used sites. Even older, used M43 cameras like the GX1 are great ultracompact pocket rockets perfect for weekend photography, and they're way more affordable than the point-and-shoots popular on TikTok.

But, if you want a shooting experience that's tactile, feels analog, and has enough obstacles to slow you down, the Lumix L1 deserves a serious look.

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TikTok is responsible for a lot of things. Making retro games go viral. Fantastic edits of your favorite TV show characters. "Influencing" you into buying a product that has been (sometimes) wrongfully romanticized. The last bit is very true, as I often see videos of content creators sharing their favorite tech that, as a tech journalist and reviewer, I don't agree with.

Recently, we've seen this with the Canon PowerShot G7 X Mark III which first came out in 2019 but has since exploded on TikTok and received cult-like status. The demand for decade-old cameras that are near-impossible to buy new has skyrocketed since, and it has claimed another victim: the Canon PowerShot Elph 360 HS A / IXUS 285 HS A. In fact, this camera originally came out in 2016 but ever since Kendall Jenner was spotted using it, it became so popular that Canon decided to re-release it in 2025 with an "A" at the end of its name.

Well, I'm here to "de-influence" you, which is another TikTok trend where people talk you out of buying either overpriced or overhyped products. Look, the PowerShot Elph 360 HS A / IXUS 285 HS A is a good camera — I've even taken some of my best pics on a compact on it so far — but is it worth nearly $400 when there are so many other value-for-money options available? Let's find out.

What's good about it?

The Canon PowerShot Elph 360 HS A (as it's known in the U.S.) or the IXUS 285 HS A (as it's known in other parts of the world) features a 20.2MP 1/2.3-inch CMOS sensor and it can record FHD/30fps video. It's extremely easy to use thanks to its well-placed buttons and straightforward menu system, and it packs a few creative modes which make it a versatile snapper. One of its biggest selling points is its 12x optical zoom which lets you zoom in to subjects without losing much image quality and sharpness to digital processing.

I've tested many compact cameras and not all of them boast sharp image quality — but the PowerShot Elph 360 HS A does. You can see a few sample photos in the gallery above, and these are some of the best photos I've taken on a compact camera yet. Canon's color science has always been excellent and it has rarely given me much to complain about. As you can see in the gallery, the reds are popping while the greens are vivid. There's a good amount of contrast in the images too and the images look neither too dark nor too bright.

One of my favorite features is the Hybrid Auto mode which records a short video clip when you press the shutter button, so it shows the lead-up to the image. You can see what this looks like in the video above. This is a great feature to have for those who like to share behind-the-scenes footage on their social media accounts, or even those who just like capturing candid moments. It's like a live photo on a smartphone but better.

Okay, sounds great, so what's wrong?

There are... a few things up with the Canon PowerShot Elph 360 HS A. It isn't the strongest camera when it comes to battery life, as it's CIPA-rated for just 180 shots. This means that if you're taking the camera to a day-long festival, for instance, it won't necessarily last a full day of capturing stills or recording video. In my testing, the camera lasted me just over 190 photos, which isn't great.

That isn't even my biggest issue with the camera, though. The PowerShot Elph 360 HS A is fitted a USB-B port for data transfer, which means it doesn't feature in-camera charging. To charge the camera, you need to remove the battery pack and insert it into the included external charger — which uses a proprietary cable, so it isn't like you can use a USB-C cable to charge it either. My issue with this is that the camera originally came out in 2016, and for that time period, the USB-B port was fine, but for 2026? It's a no-go.

Then you've got the lackluster build quality. It feels plasticky and fragile, especially the sliding cover that protects the battery pack and the microSD card. It honestly feels like it could snap into two if you used just a bit of excessive force. Oh, and speaking of, Canon has replaced the SD card on the 2016 version with a microSD card. It isn't a massive drawback, but SD cards are simply faster and are better for heat dissipation.

What are my options?

All of this for a camera that costs $379 / £379 is simply not good enough, in my opinion. But there are other options out there, and you've come to the right place if you want a compact camera that's powerful and doesn't break the bank.

More from Tom's Guide

• Kendall Jenner and Dua Lipa made this 10-year-old Canon compact go viral so I tested it to find out if it’s worth the hype — here’s how it went
• Seven years later, the Canon PowerShot G7 X Mark III is still TikTok’s favorite compact camera — here’s how it holds up in 2026
• I took 200 photos on the Leica Leitzphone and the Google Pixel 10 Pro XL to see which is better — and it’s not even close

Recently I’ve been on a push to take more filmic, cinematic photos. I love the look of old movies and wanted to recreate that (or at least try to) — the desaturated pallets; soft highlights and deep, inky shadows; the massive white balance hues to convey mood.

When making your images more filmic, a lot of the work can be done before you even lift your camera: choosing the right light, subject and framing in the first place. Yet more can be done in-camera without any extra kit: custom film simulations (especially if you’re a Fujifilm shooter like me), shifting white balance tone and tweaking shadow and highlight tones, for example. And even more can be done in mere seconds when you get to post, by cropping to an ultra-wide aspect ratio, for instance.

Having done all that, though, one thing was missing from my photos: bloom. In old cinema using classic film stock and vintage lenses, light was often a lot softer and hazier, bleeding into the surrounding areas to create a dreamlike glow. That's bloom. Without it, light sources just look that bit too sharp and well-defined. You can add bloom in post (to some extent) but a simpler way is just screw on a mist filter!

So I got to looking for some mist filters to use, and of course, the internet told me I needed to spend hundreds on premium quality filters. "Really?" I thought. I get spending more on other filters, where you want images to remain as sharp as possible. But mist filters deliberately make things hazy and soft anyway, so why not use an affordable one?

To see how cheaper filters perform, I got myself a couple! I bought a $20 Neewer 1/8 Black Diffusion Mist filter from Amazon, while K&F CONCEPT was kind enough to send me its equally affordable 1/4 Black Mist Filter. Here’s how I got on.

The before…

Before we get started, what did my photos look like without a mist filter? Well, I could still achieve a cinematic effect and a bit of bloom with all the techniques I mentioned up top, shooting on my Fujifilm X-E4.

Bloom is a pretty easy effect to add in Adobe Lightroom: using a mask, simply bring up blacks around light sources and add some minus dehaze (A.K.A haze), and you get a pretty good effect. As you can see in the images above, where there are very bright light sources, I’ve been able to add that hazy glow. Notice the light bleeding around the two lamps in the first image, and the yellow haze around the sunlight in the second image.

I also added some haze around the bright light in the background of the images above, particularly noticeable on the stem of the floor lamp in the background of the first shot.

And in the restaurant shots below, I’ve also added a teensy bit of bloom around the strip lighting at the top of the images, plus the light-heavy sections of images, like windows, lit faces and white objects.

The thing is, this method takes more effort than I like (I prefer to spend as little time in post as I can) and is much, much easier to overdo — whiting out areas of the image, which looks unnatural. Hence I've had to keep things fairly pared back and, honestly, not that bloomy at all. They're also lacking that image-wide haze you get from a mist filter, as adding haze globally in post is risky and tends to just make everything look white.

The after...

By comparison, here is the bloom using Neewer’s 1/8 Black Mist Filter (from $20). Without doing any bloom tweaking at all in post, the lights running through the middle of the image looked super soft, with the whole image in general having that light haze.

The light bleed feels more natural, too. When I’m applying bloom in post, it’ll end up wherever my mask is — which might not be perfectly even all around my light source. That’s probably not noticeable to others, but I notice it.

With a mist filter, bloom is uniformly applied around light sources, as you can see in the image of the pizza sign below. Again, combined with that overall haze applied to the entirety of the frame, the filmic look is simply much more cohesive.

I’m really happy with how these images turned out, especially the bloom around the bright light and bokeh in the image of the lanterns below. Best of all, I love how little work I had to do in post to get there (just some tweaks to white balance, shadows and highlights).