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I tested Leica’s divisive M EV1 — it’s easier to the eye, but loses some of that rangefinder soul

3:33 pm | December 15, 2025

Leica M EV1: two-minute review

The Leica M EV1 concept is polarizing: strip out the optical rangefinder that Leica M cameras have been famed for for over 70 years, and replace it with an electronic viewfinder (EVF).

It's yet another example of Leica tweaking and evolving its tried and tested rangefinder series design, however, and another reason that the oldest active lens mount still in production today has many years of life still in it.

You'd think the whole experience of taking photos with the M EV1 would be wildly different – but in fact, for me, in many ways it isn't.

Technically speaking, the Leica M EV1 shares many similarities with the Leica M11 / M11-P and Leica Q3 / Q3 43) – all use Leica's 60MP full-frame sensor, which delivers the most detailed photos among full-frame cameras.

It's like a Leica Q3 / Q3 43 premium compact but with Leica's M mount, which felt pretty intuitive to me straight away, as I've used other Leica M series and Leica Q series cameras extensively.

Man holding the Leica M EV1 camera's viewfinder up to their eye, autumn leaf backdrop — (Image credit: Tim Coleman)

I can see the appeal for many Leica fans already in camp M EV1 – it has useful elements of Leica's Q series (minus autofocus, tilt screen and video recording), combined with the versatility of the Leica M mount and a wide choice of lenses. For some, that's the best of both worlds.

On the plus side, the EVF offers focus peaking, which is an extremely useful visual aid for manual focusing; trust me, it will increase your percentage of sharp shots compared to being guided by Leica's optical rangefinder, at least when you're manually focusing in the moment, rather than sticking to a set focus distance as some street photographers do. You lose a little of that old school rangefinder magic, but the EVF is way more practical in my experience.

Build-wise, there's greater similarity with the M11 – not just the M mount and interchangeable lenses, but also the control layout and fixed rear screen, although I'd rather have more Q3 attributes in the design.

Rear of the Leica M EV1 camera, on a wooden table with glass-panelled door backdrop — The EVF has a slightly different profile to the optical rangefinder in other Leica M cameras, but the 2.95-inch fixed screen is the same as the M11's (Image credit: Tim Coleman)

For me, the Q3’s tilt screen is super-useful – I generally find myself switching between the viewfinder and rear screen, and I enjoy waist-level shooting for street photography, for which a tilt screen is hugely useful.

That meant I used the 5.76m-dot viewfinder more often with the EV1, and thankfully it works a treat. Rangefinder-style cameras like the EV1 are fairly inconspicuous too, making them ideal for street photography.

There is of course the other camp, for whom the M EV1 is the worst of both worlds, for whom the M EV1 makes less sense as a package. Sure, it costs less than the M11, but it costs more than the Q3, which is much more camera, with its built-in lens, autofocus, tilt screen and video recording. It's a natural comparison when you take the optical rangefinder out of the equation.

Leica M EV1 camera on a wooden table with glass-panelled door backdrop — The Leica M EV1 with Leica 35mm f1.4 Summilux-M Asph lens attached (Image credit: Tim Coleman)

The M EV1 makes sense in some ways, especially if you already own multiple Leica lenses, but if you're starting out, or generally shoot with one or two lenses, it doesn't.

Nuts and bolts, the M EV1 makes less sense when I talk about it. However, I have to go with my gut, having used the camera extensively with the Leica 35mm f1.4 Summilux-M Asph lens for a week. I thoroughly enjoyed the experience. Yes, it feels slightly less organic than the M11, but if you don't mind an EVF then the EV1 feels like the new Leica M camera to go for.

Leica M EV1 camera in user's hands, autumn leaf backdrop — The M EV1 is a compact and discreet rangefinder-style camera, making it ideal for reportage photography. (Image credit: Tim Coleman)

Leica M EV1: price and release date

Costs $8,995 / £6,840 / AU$13,990 for the body only
Additional leatherette hand grip costs $460 / £340
Available from October 23, 2025

Price-wise, the Leica M EV1 sits in between the Leica M11 and Leica Q3, which makes sense because an EVF is cheaper to manufacture than an optical rangefinder.

Ultimately, the EV1's list price makes the Q3 / Q3 43 feel like much better value, especially if you're not going to be swapping lenses a lot. The Q3 is much the same camera, for less, with additional features – and you get a built-in lens.

With the EV1, you're paying for the luxury of being able to swap lenses, and every Leica lens costs in the thousands.

Personally, if I had a spare $14,000 / £12,000 for Leica camera gear, I'd rather pick up both the Leica Q3 and Leica Q3 43 over the EV1 with a lens such as the 35mm f/1.4 Summilux, which together cost the same as two Q3s.

The M EV1 is supplied with a black leather strap.

Price score: 3/5

Leica M EV1 camera in user's hands — There's no grip on the M EV1, but an additional leatherette hand grip is available separately (Image credit: Tim Coleman)

Leica M EV1: specs

Video	N/A
Photo	60MP full-frame
Lens mount	Leica M
Autofocus	N/A – manual focus only
Screen	2.95-inch fixed touchscreen, 2.3m-dot
Viewfinder	5.76m-dot EVF
Weight	17oz / 484g (body, including battery)
Battery	244 shots (Leica BP-SCL7)

Leica M EV1: Design

Compact rangefinder design
5.76m-dot EVF instead of an optical rangefinder
Modest-size 2.95-inch fixed touchscreen

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Leica M EV1 camera on a wooden table with glass-panelled door backdrop, no lens attached — Yes it's a Leica M... without the rangefinder! (Image credit: Tim Coleman)

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Rear screen of the Leica M EV1 camera on a wooden table with glass-panelled door backdrop — The control layout is super minimal (Image credit: Tim Coleman)

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Top plate of the Leica M EV1 camera, which is resting on a wooden table with glass-panelled door backdrop — There's no ISO dial, which you'll find in the top left of Leica M11 cameras (Image credit: Tim Coleman)

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Underside of the Leica M EV1 camera, on a wooden table with glass-panelled door backdrop — There's USB-C charging for the 1,900mAh capacity battery (Image credit: Tim Coleman)

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Right side profile of the Leica M EV1 camera

The right side of the camera (Image credit: Tim Coleman)

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Left side profile of the Leica M EV1 camera

The left side of the camera – there are no connections whatsoever (Image credit: Tim Coleman)

The obvious place to start when talking about the M EV1's design is its viewfinder, which is the same 5.76m-dot EVF found in the Leica Q3. It's also placed in the corner of the camera where the rangefinder traditionally sits, easily accessed with your right eye.

I was shooting with Leica's 35mm f/1.4 Summilux lens for this test, often wide open at f/1.4 where depth of field is really shallow, and getting sharp manual focus is historically a challenge with Leica M cameras. This changes somewhat with the M EV1.

Focus peaking is indeed supremely helpful for this manual focus-only camera, outlining the hard edges of your subject that's in focus – I had the camera set to red focus peaking, which in general is the color most easily seen. However, you shouldn't totally rely on the accuracy of focus peaking, especially with a shallow depth of field.

Focus magnification gives you a closer look, making it much easier to make fine adjustments and ensure sharp focusing where it matters, assuming you have time to use it. My ratio of in-focus shots has been much higher using the M EV1 than I would expect with a camera like the M11.

Leica M EV1 sample gallery: two people walking under an umbrella in London — Even with an EVF, a manual focus-only camera will keep you on your toes. Here my reactions weren't up to speed – a mirrorless camera with subject detection autofocus would have nailed this photo (Image credit: Tim Coleman)

As a rangefinder-style camera, the EV1 is really compact, plus the shutter action is dampened for minimal vibration and noise, making for discreet picture taking.

The 2.95-inch rear screen feels a little on the small side, and being fixed it's less useful that a moveable screen, say a tilt or vari-angle type. The quality and feel of the display is top-drawer, though – with 2.3m dots it's packed with detail, and touch response feels smooth.

With the screen being less useful than I would like – I prefer the Q3's tilt screen – I leaned more into using the viewfinder, which is a lovely experience, even if traditionalists will turn their nose up at such a digital display. Sure, you lose a little of the rangefinder magic, but the EV1 is a more practical not just for focusing but also composition.

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Closeup of the Leica M EV1 camera's viewfinder — (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's rear buttons — (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's control dial — (Image credit: Tim Coleman)

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Like all high-end Leica M cameras, the EV1 is made in Germany and the body is fully metal – both aluminum and magnesium, with a leatherette finish. This is a classy bit of gear.

The style, profile and control layout of the EV1 are largely familiar – this feels like an M11, save for the omission of an ISO dial (which is a real shame) and of course that new type of viewfinder. I'm a fan of minimalist design, and thoroughly enjoyed shooting with the EV1.

Design score: 4/5

Leica M EV1: Performance

Manual focus only
Poor battery life
Content credentials included
4.5fps for up to 15 RAWs

Battery life, I must say, is pretty poor by today's standards, rated up to 244 shots. It's little wonder given that the camera uses Leica's BP-SCL7 battery with its modest 1,800mAh capacity.

Still, the M EV1 isn't the kind of high-speed photography and video-making heavyweight with which users would quickly drain a battery. The photography process here is slow and considered, and as such I typically got through a whole day without needing to charge the battery (which is done via the USB-C port on the underside of the camera).

Burst-shooting top speeds are a modest 4.5fps. The buffer memory is rated to 3GB, which means you can shoot 15 full-size raw files or 100 JPEGs at that top speed before the camera slows up, assuming you're using a high-speed UHS-II SD card. Put simply, this is no high-speed shooter.

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Close up of the Leica M EV1 camera's battery door — I love the dual-lock design of the battery door, which is unlocked using the lever, and then fully released by pushing the battery back in a little. (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's battery door, battery removed and placed next to the camera — Battery capacity is pretty low by today's standards (Image credit: Tim Coleman)

Following the Leica M11-P, the EV1 is equipped with content credentials, which is the most widely adopted industry standard for authenticating the origin of digital images. It does so through a secure digital label, holding details such as names, dates, and any edits made to an image’s metadata.

GPS geotagging data can also be added to images via the Leica Fotos app, which is available on the Apple store and Google Play store for iPhone and Android devices. It's also possible to wirelessly transfer images to your device from the M EV1 through the app, as well as remotely control the camera.

I tested the EV1 before its official launch, which meant that it wasn't registered on the Leica Fotos app. However, I have plenty of experience with the app, such as with the screen-less M11-D, and it's one of the more reliable and pain-free app experiences from leading camera brands.

Performance score: 3.5 / 5

Leica M EV1: Image quality

Same 60MP sensor as the M11 and Q3, with digital crops
Manual focus only
No video recording

If you want a detail-rich full-frame camera there are none better than those that use this 60MP sensor, as Leica's current crop of M cameras do, along with the Sony A7R V.

Leica offers two digital crop modes: 1.3x and 1.8x, with a reduced 36MP and 18MP resolution respectively. With the 35mm lens I had for this review, those crops give a perspective equivalent to 45mm and 63mm lenses.

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Leica M EV1 sample gallery: busy Oxford Circus underground station entrance — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: street scene in London reflected in a puddle — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: inside a Joe the Juice cafe — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: outside a London pub at dusk — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: two red phone boxes in London — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: wait sign illuminated in London street — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: man leaning against pedestrian crossing wait light — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: noodle restaurant window — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: Regent Street Cineman London at dusk — (Image credit: Tim Coleman)

The ISO sensitivity range starts at ISO 64 and tops out at ISO 50,000, so images taken in good light with the base ISO are particularly clean and crisp.

Leica uses the widely adopted DNG raw format, with a 14-bit output and a limited number of color profiles to choose from – I mainly stuck to standard profile, and made color edits to raw files afterwards.

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Leica M EV1 sample gallery: close up of heather — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: mushrooms growing out of a fallen tree — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: portrait of main with autumn trees. in background — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: young girl gazing towards forest — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: M&M candy being passed around — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: large mushroom growing out of a dead tree — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: autumnal forest — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: girl giving grass to a horse — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: close up of a horses's mane — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: man partly in shade and light by window — (Image credit: Tim Coleman)

Sticking with the Leica M ethos, the EV1 doesn't shoot video at all. For video recording with a Leica, you'll need to look to the Leica Q series.

Would it have harmed Leica's reputation to add video recording to an M mount camera for the first time, in the same swoop as an EVF? No! I think the same video recording skills as a Q3 series camera could have been an excellent string to the M EV1's bow.

To conclude, assuming you nail focusing and are using one of Leica's high-quality M mount lenses, then photo quality is top drawer.

Image quality score: 4.5 / 5

Leica M EV1: testing scorecard

Leica M EV1
Attributes	Notes	Rating
Price	Less than an M11 bur pricier than the Q3, the M EV1's price was predictable	3.5/5
Design	All the premium hallmarks of Leica M, but with one new bold design change that makes sense for some	4/5
Performance	The EVF has a hit on battery life, while burst shooting speeds are slow	3.5/5
Image quality	There's no better full-frame sensor for outright image quality (backed up with Leica glass), but video recording is absent	4.5/5

Should I buy the Leica M EV1?

Buy it if...

You own Leica M mount lenses
No Leica lenses? The Q3 could be a better pick. But if you already own Leica lenses, the M EV1 could be the next step in your Leica journey.

It's time for a more practical Leica M
Perhaps your eyesight isn't what it once was, or you're simply wanting a Leica M that's easier to use – the EV1's EVF could make all the difference.

Don't buy it if...

You love the Leica M soul
Yes the hands-on experience with the M EV1 feels largely familiar to other Leica M cameras, but there's no denying it loses a little of the old school soul.

You expect a comprehensively modern digital camera
An EVF makes the M EV1 the modern Leica rangefinder, but it still lacks autofocus, video recording and a handy moveable screen.

Leica M EV1: also consider

Leica Q3

If you're considering the M EV1, then you're probably already okay with using an EVF. And unless you already have a bunch of pricey Leica lenses, the Q3 and / or Q3 43 premium compacts feel like a wiser pick overall – you get the same 60MP sensor but also a built-in lens, the ability to switch to autofocus, a versatile tilt screen, and video recording. Oh, and both Q3 models cost much less.

See my Leica Q3 reviewView Deal

Leica M11

Design-wise there are two key differences between the M11 and M EV1; the viewfinder type – the M11 has an optical rangefinder, while the M EV1 has a 5.76m-dot electronic viewfinder – and the M11 features a handy ISO dial that's missing on the EV1. Besides that, the user experience and image quality are effectively the same. The EV1 costs less than the M11, though.

See our Leica M11 reviewView Deal

How I tested the Leica M EV1

Leica loaned me the M EV1 for a week ahead of its launch
I had one lens to test it with – the Leica 35mm f1.4 Summilux-M Asph
I've used the M EV1 as an everyday camera, documenting the world around me

My experience with the Leica M EV1 was wonderfully simple. I had it close to hand for a whole week ahead of the global announcement, with the Leica 35mm f1.4 Summilux-M Asph lens attached to it the whole time.

I'm a fan of this lens for reportage photography, and naturally found myself documenting the world around me, mostly making use of the EVF and focus peaking to manually focus.

Of course, there's a decent range of Leica M lenses to choose from, making the most of the M EV1's design advantages over the Leica Q3 premium compact with its fixed lens.

First reviewed: October 2025
Read more about how we test

I’m a professional photographer and the Manfrotto One is the greatest tripod I’ve ever used

3:00 pm | December 10, 2025

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Manfrotto One hybrid tripod: two-minute review

As soon as you pull the Manfrotto One out of its box, you can tell this is a tripod unlike any other. I’ve used many professional tripods over the years, such as the 3 Legged Thing Punks Brian 2.0 and Gitzo tripod Traveler series 1, but this feels less like a support for your camera gear and more like the center point of an entire system. An extension of the photo kit itself.

If you plan to use the Manfrotto One to its maximum advantage, then you’re likely a serious content creator, working professionally and on demanding assignments. And for such people, everything about the legs is geared towards ultimate stability.

The weight alone will reveal it isn’t made with an entry-level mirrorless camera in mind, rather professional camera bodies and motion-centric gear, amongst the best full-frame cameras and best cameras for video in 2025. I used a range of models with the tripod, from an older pro-level mirrorless setup, via a Leica Rangefinder system, to a medium-format camera. In each case, the legs felt perfectly balanced.

The extra mass of the center column pulls the center of gravity back to the mid axis of the legs, so that even when using a bulky f/2.8 telephoto zoom lens, the setup never felt like it might topple forward, something I always have to be conscious of when using other Manfrotto aluminium and Gitzo carbon fiber travel tripods.

The Manfrotto One hybrid tripod outside — The Manfrotto ONE feels ideally balanced when using both heavy and lightweight camera systems. When using the former, it can easily support the weight, while it won't be easily blown over with the latter (Image credit: Future/ Peter Fenech)

Build quality is of the highest grade. There’s a solidity that is almost intimidating, and I wouldn’t advise leaving the Manfrotto One unsecured on the back seat of your car, for fear of the consequences should you firmly apply the brakes. Both aluminum and carbon fiber variants are available, although I only had time with the former.

During my tests the tripod was exposed to a wide range of weather conditions, from the dampness of a peat bog to the harsh salinity of the Tyne and Wear coastline. I was able to quickly and easily wipe the feet and legs clean with no sign of unexpected water or debris ingress. The same ruggedness applies to every knurled screw, flap, and locking mechanism.

Close up details of the Manfrotto ONE hybrid tripod outside — The aluminium version of the tripod was used during this review. The legs were easy to keep clean and felt hard-wearing during use in wet and salty conditions (Image credit: Future/ Peter Fenech)

The Manfrotto 500X Fluid tripod head in an outdoor setting — The 501PL sliding plate. As is visible in the image, if the plate is attached to a smaller camera in the recommended direction, it can be tricky to operate the lens controls (Image credit: Future/ Peter Fenech)

Unless you regularly inflict your tripods to 30m vertical drops, with the proper maintenance I can see the Manfrotto One outliving many of its owners.

Earlier, I mentioned the weight and while this does provide stability, it might prove challenging if you have to carry the tripod far, especially if you have the optionally bundled 500X Fluid Head attached. This alone weighs 1.22 kg, so it isn’t a system for the average holiday shoot. In fact, it may even be a challenge to transport it on-location along with a full system of camera bodies and lenses, if you work alone. I often do and found it necessary to set up for my shoot in two stages; firstly, I put up the legs and attached the head and handle, then I returned to the car to retrieve my camera.

However, if this sounds like a major deal-breaker, it’s important to remember that Manfrotto has designed this product to cater for both photographers and videographers, removing the need to carry two separate tripods for each function. This effectively streamlines the modern content creator’s gear bag and brilliantly plugs a gap in the market.

To that end, the Manfrotto One has a few exotic handling features. Starting with the Fast Leg Technology, the traditional clip or twist locks for leg extension are replaced with a single vertically flipping lever lock per leg. With one action, all three leg sections are unlocked so you can simply lift the head to the desired height and close the levers to fix the legs in place. This makes it exceptionally quick to raise and lower the head, in those moments where individually unlocking each section would cost you successful shots.

The downside is that you need to be able to support the weight of the tripod until you safely close each clip. Ideally, I’d recommend setting up the legs before attaching the head, which is made easy with the next clever innovation.

The XCHANGE quick-release system allows the 500X Fluid Head to be mounted directly onto the XCHANGE base of the center column, a bayonet-like fitting comprising multiple spring-loaded attachment points. To remove the head all the user has to do is rotate the locking ring anti-clockwise. This works almost instantaneously and is by far the most rapid head exchange system I’ve seen in a tripod. You’ll need an XCHANGE-ready head, of which there are not too many examples currently available, or you can adapt another using an XCHANGE base and plate adaptor setup.

The Q90 and modular column system is not new to the Manfrotto range – I was a fan of the design on my now ancient 190XPROB – but it’s great to see it put to use in a professional tripod of this level. By pressing the base of the center column the user can rotate it by 90 degrees, quickly positioning the camera for flat-lay shots, vertical-orientation panoramas, and dynamic video transitions.

Since the movement is rotational, you’ll still have to watch out for parallax error between panorama frames (where the relative distance between the subject and background changes between segments, introducing stitching challenges), but it’s helpful when speed is of paramount importance. Videographers, meanwhile, will enjoy spinning the camera around a fixed point to introduce movement to their footage. The best option for regular pano creators is to buy an L-bracket to minimize parallax further, or to use a shift lens.

The levelling column is a huge feature for the video-shooting audience. It’s mounted on a ball fixture, so that by flipping up a clamp that’s handily engraved with ‘LVL’, the whole assembly can be pivoted until the head is perfectly aligned with the horizon. On other, larger and heavier video tripods, the levelling process is often a multi-step one which is inevitably slower.

As a frequent landscape and macro photographer, probably my favourite feature is the split center column design, the lower section of which can be removed, again with a single action. This enables easy and rapid ground-level work, without having to laboriously screw off the bottom of the column and reattach it when you suddenly need to use the tripod at its maximum height.

Manfrotto One hybrid tripod: key specs

Maximum height:	181cm / 71.3 inches
Closed height:	81cm / 31.9 inches
Minimum height (low mode):	30.8cm / 12.1 inches
Materials:	Aluminium/ carbon fiber
Max payload:	33.1 lb / 15 kg (15.4 lbs / 7 kg in Q90 mode)
Leg sections:	Three
Head compatibility:	Manfrotto XCHANGE
Attachment points:	1x accessory thread, 1x weight hook
Weight:	4.77kg / 10.52lb (aluminium), 4.37kg / 9.63lb (carbon fiber)

Manfrotto One hybrid tripod price and availability

The Manfrotto One was released in June 2025 and is often bundled with the 500X Fluid Head, although it can be purchased as a legs-only option. The aluminium legs cost $499.99 / £375 / AU$900, while the 500X Fluid Head kit costs $679.99 / £519 / AU$ 1,200.

The Carbon Fiber model is also available in the above kits and costs $719.99 / £539 / AU$1,250 for the legs only, and $879.99 / £669 / AU$1,500 with the 500X head.

This represents a good price to buy the 500X Fluid Head, which costs approximately $219.99 / £164 / AU$389.95 alone. Meanwhile, the Manfrotto XCHANGE accessory can be purchased by itself for around $54.99 / £39 / AU$80, and the XCHANGE plate for $21.99 / £29 (AU$ price TBC), allowing other heads to be used with the Manfrotto One legs and vice versa.

Manfrotto One hybrid tripod: Also consider

Peak Design Pro Tripod

Peak Design's travel tripods have gained almost legendary status, and the Pro Tripod range employs the best elements of that series. A great build quality is combined with a portable, lightweight design across three variants. Furthermore, a unique non-tubular leg cross-section allows convenient storage when not in use, making the tripod easy to carry. It's a fairly expensive option, but it is significantly less heavy than both the carbon fiber and aluminium versions on the Manfrotto ONE.

Read our Peak Design Pro Tripod

Sachtler Ace M Mk II

If you shoot video almost exclusively, you may benefit more from a completely motion-content dedicated tripod. This one from Sachtler is currently the best video tripod available, for its balance of price, features, and ease of use. It's extremely stable and well-constructed, with a workable maximum payload of 4kg – ideal for mirrorless and compact video camera users.

My Sachtler Ace M Mk II review is currently in progress

Should I buy the Manfrotto One hybrid tripod?

Buy it if...

You shoot a variety of photo and video work
As suggested by the name, the Manfrotto One is designed specifically for creators who shoot both types of content. Where, before, you might have had to carry multiple tripods, now you can streamline your gear to a single camera support option.

You value speed of operation
The XTEND leg system and Q90 center column function make changing tripod configurations as rapid as possible. Manfrotto has introduced some seriously clever features here, so if you regularly worry about missing shots because your tripod wasn't set up optimally, the Manfrotto One is for you.

Don't buy it if...

You’re a beginner
For the casual shooter or novice creative, there may be too many features here for you to get to grips with. This is a professional tool meant for high-end assignments, and the many controls and functions take some getting used to.

You only occasionally shoot video
...and you're on a tight budget. It's worth the investment if you combine still and motion media, but otherwise you're not going to get the most from the legs if you mainly shoot photos. It's not cheap and it's quite heavy, so there are more easily manageable options.

How I tested the Manfrotto One hybrid tripod

I spent around a month with the aluminum version of the Manfrotto One
I tested its operational speed and efficiency, ease of use, build quality and stability
I tried the XTEND system and 500X head, and mounted various mirrorless cameras and lenses to it, including a bulky f/2.8 zoom

I spent around a month with the Manfrotto ONE, so I had a good amount of time to use it on a variety of shoots, in a mix of conditions. A local heathland is a regular haunt of mine, and this commonly leaves my tripod feet caked in peat-heavy mud. It's also exposed to the elements. The tripod certainly got wet on a few occasions. However, moisture and dirt were readily wiped off, and the feet showed no sign of excessive scratching after use.

The aluminium version I was using did get cold to the touch (a frequent challenge in winter operations), but the Manfrotto One's hard-wearing plastic components made carrying it more comfortable than directly touching the metal.

Shooting in woodland is always tricky for levelling a tripod head, but the XTEND system and ball-mounted center column made controlling the center of gravity straightforward. Using a range of camera systems, at no point was I concerned that it might topple when set up on a hillside.

Meanwhile, after a coastal shoot, I didn't find the legs prone to seizing, which can happen after exposure to salty air. The 500X head, along with the Q90 rotatable column, made switching to portrait orientation for panoramic photography quick and maintained the balance of the system well.

I shot a variety of exposure durations while waves washed over the feet to see how many vibrations were transferred to the head-mounted camera, and the Manfotto One performed well. At both closed and maximum leg heights, there was no more loss of critical image sharpness than one might expect, although I'd quite like to compare the aluminium and carbon fiber versions for this.

First reviewed December 2025

Forget bulky backpacks, this 9L crossbody bag is my top pick for lightweight camera gear – here’s why

4:00 pm | December 7, 2025

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: two-minute review

I increasingly find myself on days where I need just a small bag with quick access to camera gear, whether that's a day out with my compact or lightweight mirrorless camera, taking street photos, or work events where I'm shooting TikTok content with a smartphone, supported by wireless mics and portable lighting.

For such times, a backpack is excessive, and with which access to what's inside is typically slow and complicated. No, I need a small holder with quick access to gear, and that's where a bag like Ulanzi’s Camera Sling Bag (9L) is perfect and one of the best camera bags of its kind.

It takes the same crossbody bag form as the bags all the kids are wearing these days, but is also deeply practical (shh, don't tell them). It's larger than your average crossbody bag – aka a sling bag – meaning it's surprising just what can fit inside, without compromising on the advantages of such a bag type.

With it slung over one shoulder and resting on my midriff, right where I can easily unzip and switch gear, I can store a range of equipment. For a photography day, a couple of compact cameras / an enthusiast mirrorless camera with a short prime lens, wallet, phone, snacks, and a small drink (there's a stretch pocket on each side, but I struggled to find a drink container small enough to fit).

For content creation, a smartphone, wireless mic case, portable SmallRig mini LED Video Light 25W (I have two, and they are superb and worth a feature of their own - that's coming), mini selfie stick-cum-tripod / neck mount, phone clamp, mints, comb, the whole shebang. It all fits.

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Man wearing a blue jacket outside with a Ulanzi Camera Sling Bag over his shoulder and resting on his midriff — (Image credit: Future)

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I'm currently using a Xiaomi 15 Ultra for social media video work, and it fits vertically in the Ulanzi sling bag, as do the lights and mini selfie stick-cum-tripod, which means I can fit way more in than if I had to stash them horizontally.

I was surprised to discover the Ulanzi sling bag is large enough to hold a regular tablet too (like a 10.9-inch iPad) – it's positively cavernous – while other nice touches include a hidden AirTag pocket.

Even with all of that gear inside, the Ulanzi sling bag is comfortable on a single shoulder, thanks to its padded strap and snug fit around the torso. It's designed to rest over the shoulder and at midriff height, with the main compartment accessed through the top zip, which runs across the entire width, for easy access.

The bag comes with an internal divider component. It can be laid flat to provide a firm underside and leave the main compartment completely open, or folded in on itself to create three separate compartments, dividing out gear to keep it protected from other items inside. It's great having the choice between open and divided, and that the divider can remain inside for either setup.

Build quality is particularly good - I'm expecting to get several years of use from the bag - the outer polyester material seems rugged. The main zip is weather-sealed and glides easily, too.

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The Ulanzi Camera Sling Bag on a wooden table, zip closeup — (Image credit: Future)

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Close up of the Ulanzi Camera Sling Bag with its zip being opened — (Image credit: Future)

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The Ulanzi Camera Sling Bag on a wooden table, front — (Image credit: Future)

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The Ulanzi Camera Sling Bag on a wooden table, back — (Image credit: Future)

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The Ulanzi Camera Sling Bag on a wooden table, underside — (Image credit: Future)

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The Ulanzi Camera Sling Bag's padded insert on a wooden table — (Image credit: Future)

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The Ulanzi Camera Sling Bag on a wooden table, main compartment open — (Image credit: Future)

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Ulanzi Camera Sling Bag on a window ledge — (Image credit: Future)

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There's no rain cover provided, but I wouldn't expect water ingress – it has easily withstood light showers. Just to be clear, though, I haven't used the bag outdoors in sustained inclement weather, so I can’t vouch for it in those conditions yet.

There are external straps to fix additional accessories to, such as a small tripod on the underside. Side straps are included less so for accessories but rather to provide a grip that makes zipping and unzipping the main compartment a breeze.

Elsewhere, there is a disguised external pocket with a particularly sticky and widespread velcro fastening frontage – ideal for thin items such as a wallet. The cover can be tucked away to expose the velcro, and Ulanzi sells velcro badges to customize the exterior, which is something I didn't do.

Put simply, every aspect of the bag functions as expected. I can't find a single fault with the Ulanzi Camera Sling 9L bag, functionally at least, and it's reasonably priced too. I've found it for $49.95 at Amazon US, and at the time of writing, there's an additional $10 off coupon. Bargain. The price is a little different on the Ulanzi site, but there's international shipping (see details below).

The only criticism I have is subjective - the bag’s appearance. Its plain black exterior won't win any style awards, and I'm not convinced that optional velcro badges help matters. No, this is function over aesthetics.

Looks aside, if you need a small sling bag for day trips with lightweight gear or mobile content creation setups, you can't go wrong with the Ulanzi 9L Camera Sling Bag with Tripod Holder B122, and it fully deserves my highest recommendation.

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: key specs

Type	Sling
Capacity	9L
Size	14.56 x 5.11 x 7.48in / 370 x 130 x 190mm
Weight	1.32lb / 600g
Tablet sleeve	Yes, up to 10.9-inch
Included	Bag, divider, shoulder pad (velcro badges optional)
Material	Polyester Fabric

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: Price and availability

I've found the Ulanzi camera sling bag (9L) on Ulanzi's own website for $61.79 or $67 with velcro badges (which converts to around £47 / AU$93), and international shipping is possible.

It's also available for less at Amazon in the US and Australia, where it costs $49.95 at Amazon US and AU$75 at the time of writing.

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: Also consider

Billingham Hadley Pro 2020

At the opposite end of style and cost is the Billingham Hadley Pro 2020 day bag. With classic looks and a premium price tag, it couldn't be any more different to the Ulanzi sling.

Read our Billingham Hadley Pro 2020 review

Should I buy the Ulanzi 9L Camera Sling Bag with Tripod Holder B122?

Buy it if...

You need quick access to gear

Sitting across the body positioned close to hand, and with one large zip easily opened to access the main compartment, gear will be in your hand in no time.

9L storage is sufficient for your gear

Larger than your regular crossbody bag but much smaller than most camera backpacks, the Ulanzi sling is ideal as a day bag, being able to hold a camera with lens, or mobile content creator gear.

Don't buy it if...

You want a stylish bag

I think it's fair to say that aesthetics are hardly the Ulanzi sling bag's strong suit.

You have bulky gear

Cavernous its 9L storage may be, the Ulanzi sling bag is for lightweight camera gear.

How I tested the Ulanzi 9L Camera Sling Bag with Tripod Holder B122

I tested it for several months
I stored various camera gear and tried various internal configurations
It has seen various weather conditions

The Ulanzi 9L Camera Sling Bag with Tripod Holder B122 has been my go-to day bag for months, for when I need to carry lightweight camera gear and want quick access to that gear, such as for street photography with a mirrorless camera or premium compact camera, to everything I need for filming TikTok content.

It's held everything from a mirrorless camera with a short prime lens to a vlogging camera and mics, portable LED lights, and more. The bag has kept my gear secure on hectic days and in short bursts of inclement weather.

First reviewed December 2025

I tested the Antigravity 360 drone – and only a sky-high price tag brings this unique DJI rival down to earth

5:00 pm | December 4, 2025

Author: admin | Category: Cameras Computers Drones Gadgets | Tags: DJI | Comments: Off

Antigravity A1: one-minute review

The idea of a 360-degree drone may sound like an impossibility, but the Antigravity A1 is exactly that. What’s more, it manages to implement this concept in a sub-250g drone that includes collision avoidance, and which is controlled via 360-degree FPV goggles and a motion controller. You’ll have to read on to discover whether it’s one of the best drones you can buy, but it’s undoubtedly one of the most interesting.

The idea of a 360-degree drone isn’t a new one, and the fact that Antigravity is an offshoot of Insta360 may shed a little light on its pedigree in this department. But this isn’t Insta360’s first experiment in this arena; first, there was an Insta360 / BetaFPV 360-degree collaboration with the SMO 360 camera for some FPV drones. Then there was the Insta360 Sphere, which was a 360-degree camera that attached to the DJI Air 2 and Air 2S.

Both were great ideas, but – no pun intended – they simply didn’t take off as hoped. The Insta360 Sphere was an interesting idea because it attached to a standard camera drone, but operation was fiddly, and it was tied to a drone model that would inevitably become obsolete.

The Antigravity A1 addresses this issue, as the 360-degree camera is built into the drone. You wear FPV goggles with head tracking that give you a 360-degree view during flight, while control is mostly via a motion controller with head tracking of the goggles. One thing I must stress at this point is that the A1 is not an FPV drone. It’s a 360-degree camera drone that uses goggles and a motion controller, rather than a standard controller and phone.

Antigravity A1 unfolded — (Image credit: James Abbott)

Antigravity A1: price and release date

Launched on December 4 2025
Expensive compared to standard camera drones
Three kits available

The Antigravity A1 was launched on December 4, 2025. The drone is more expensive than other sub-250g drones due to the high-quality goggles and motion controller that come with the three available kits. These certainly provide an immersive experience, but it would have been massively more affordable if the drone used a standard stick-based controller with a phone attached, or even a smart controller.

There are three kits available: the Standard Bundle, the Explorer Bundle and the Infinity Bundle. In a nutshell, the Standard Bundle includes the drone, motion controller, FPV goggles and one battery. The Explorer Bundle is all that, but it comes with three batteries, a battery charging hub, a shoulder bag, and spare propellers. The Infinity Bundle is the same as the Explorer, but it includes higher-capacity batteries for longer flight times.

The Standard Bundle costs $1,599 / £1,299 / AU$2,099, the Explorer Bundle costs $1,899 / £1,399 / AU$2,599 and the Infinity Bundle costs $1,999 / £1,499 / AU$2,799. To cut to the chase, you'll want to avoid the Standard Kit because one battery isn’t enough, as it doesn’t provide a long flight duration. The best-value package is the Explorer Bundle, while you can enjoy more flight time by paying a bit more for the Infinity Bundle, if you’re happy for the weight of the drone to exceed 250g.

Price score: 3/5

Antigravity A1: specs

Antigravity A1 specs
Camera:	Dual 1/1.28-inch sensors
Video resolution:	8K
Frame rates:	8K up to 30fps / 5.2K up to 60fps / 4K & 1080p up to 30fps / 4K & 1080p slow motion at 100fps
Video transmission range:	Up to 6.2 miles / 10km (Tested in FCC environments)
Flight modes:	Cinematic, Normal, Sport
Battery:	2360mAh, up to 24 minutes flight time / 4345mAh, up to 39 minutes flight time
Charger type:	USB-C / Battery Charging Hub
Weight:	8.78oz / 249g (10.26oz / 291g with the high-capacity flight battery)
Dimensions:	Folded: 5.56 x 3.79 x 3.20 inches / 141.3 x 96.2 x 81.4mm Unfolded (propellers extended): 12.15 x 15.05 x 3.51 inches / 308.6 x 382.3 x 89.2mm

Antigravity A1: Design

Standard folding mini drone design
Vision googles for a 360-degree camera view
Motion controller

The A1 sports a standard folding design that makes it look a lot like most sub-250g drones, but it also has an undeniably unique look. The two cameras that provide the 360-degree view to effectively make the drone invisible are on the top and bottom of the front section of the drone. This is dampened and has two forward-facing binocular vision sensors that look like cameras.

There's also a downward binocular vision system, alongside a 3D infrared sensor at the bottom of the drone. Without going into exact dimensions, the A1 is the same sort of size as all other sub-250g drones, but where it differs most notably is the retractable landing gear: two legs extend when the drone is switched on and when it’s landing, while they retract when it has taken off.

This functionality keeps the lower camera off the ground, helping to maintain the invisible drone aspect of the camera stitching for clean footage. Furthermore, when you use the Antigravity landing mat, it provides a precise Return to Home point if you choose to use this functionality to bring the drone back to you at the end of flights. It works surprisingly well, too, so no complaints here.

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Antigravity A1 folded — (Image credit: James Abbott)

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Antigravity A1 drone case with the A1 inside — (Image credit: James Abbott)

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Antigravity A1 battery charging hub — (Image credit: James Abbott)

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Antigravity A1 carry bag — (Image credit: James Abbott)

The overall design of the A1 makes it a camera drone, but rather than using a standard controller, the A1 uses a motion controller paired with FPV goggles. The motion controller is easy to use and intuitive, and when you first connect everything, you’re taken through a short and useful tutorial that familiarizes you with the controls.

The Vision Goggles provide the camera view on dual 1.03-inch Micro-OLED screens with a 2560 x 2560px resolution. Yes, that’s square, and quite different to the usual FPV goggle widescreen view, but it works well with a 360-degree drone. I was surprised because I’m much more familiar with FPV goggles offering a 16:9 ratio image, but I found this square view worked well for the A1. The battery for the goggles can be attached to an included and comfortable lanyard that you can conveniently wear around your neck – a well-thought-out and simple solution.

There are also diopters with a range of -5.0 D to +2.0 D, which is great if you wear glasses and need to correct the view to your prescription. Plus, there’s 30GB of internal storage and a microSD card slot for capturing goggle footage. The goggles are comfortable to wear and provide a clear image for flight, while the head tracking functionality provides intuitive control alongside the motion controller.

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Antigravity A1 goggles — (Image credit: James Abbott)

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Antigravity A1 goggle battery and lanyard — (Image credit: James Abbott)

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Antigravity A1 motion controller side view — (Image credit: James Abbott)

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Antigravity A1 motion controller main controls — (Image credit: James Abbott)

There’s also a screen on the front-left of the googles, so people can see the forward-facing camera view while you fly. The downside to a goggles-based approach is that you need a spotter to maintain visual line of sight of the drone while you fly. This makes it much less convenient than a standard camera drone, despite the A1’s immersive and fun flying experience.

The A1 features two battery options, with the 2360mAh option offering up to 24 minutes of flight time, and the 4345mAh option providing up to 39 minutes of flight time. The higher capacity takes the overall weight of the A1 over 250g, so bear this in mind if you plan to opt for the kit with these batteries.

I used standard batteries during testing, and these typically provided around 16 minutes of flight time before Return to Home was automatically initiated. One feature of the batteries that stands out is that you only have to touch the rear end of the batteries and the lights showing the charge level light up – this is rather than pressing a button, as on other drone batteries, and is a subtle yet neat feature.

Design score: 5/5

Antigravity A1: Features and performance

Intelligent flight modes
Solid flight performance
Subject tracking

The A1 flies incredibly well, while the FPV goggles and motion controller approach suit the system. But – and it’s a big but – this does add cost, and requires pilots to have an observer with them to remain safe and legal during flights. Both, you could argue, are a hassle. If Antigravity had taken a standard controller-and-phone approach it would have kept the price down and removed the need for an observer, without sacrificing much, if anything, in terms of flight performance.

You would lose the immersive flight experience, of course, and the two flight modes, FreeMotion Mode and FPV Mode, are enjoyable. The former requires you to point the controller target in the desired direction of flight, while head tracking on the goggles allows you to turn. You can also use a dial on the motion controller to do this. One point I must make is that you should read about how FPV Mode works before flying it, because it’s completely different to FreeMotion Mode, and the drone feels like it’s out of control if you try to use FreeMotion-style control.

FPV Mode isn’t true FPV, but it does allow for more sweeping and flowing drone movements where you simply tilt the motion controller left and right to turn. This was my favorite mode for flight, although I preferred FreeMotion when I needed more precision, such as when flying back to the take-off point to land.

Standard flight modes include Cinematic, Normal and Sport, although even Sport is quite pedestrian in terms of speed and agility. The A1 certainly lacks the excitement of the DJI Avata and Avata 2, but again this isn’t an FPV, drone despite the goggles and controller. This means that flight is fun, but not exciting. With a fly-first, frame-later approach, where you reframe photos and videos in software, you can increase speed here and make the drone appear to dive, flip and roll like an FPV drone to some degree.

I’ve reviewed many drones, and I’m not normally impressed with Quickshots-style automated flight patterns, but the A1’s equivalent, which are called Sky Genie, did impress me. Then there’s Sky Path, which is waypoints, where you can pre-program a flight path and someone else, a non-pilot, can wear the goggles and look around as the drone follows its course. With the goggles, you get a full 360-degree view as you turn around, look up and look down.

Sky Genie modes include Orbit, Spiral Ascend, Comet, Antigravity Line, Fly Away and Ascend. These allow you to achieve flight that’s not possible with the motion controller, which makes them invaluable, particularly in situations when you want to fly around a subject for visually interesting video reframing later.

There’s also a subject-tracking mode that works well once a moving subject is selected. The drone dutifully follows, and like with Sky Genie, the drone does all the work for you, focusing on the subject so you can reframe your video later. This uses Insta360's impressive Deep Track technology. And if you’re looking for a bit of fun, Virtual Cockpit in FPV mode provides an overlay that aims to inject augmented reality fun into flights. At the time of writing, you can fly with a dragon, and more skins will be added in the future. It’s a bit of a gimmick and not for me, but other people may enjoy it.

Performance score: 4/5

Antigravity A1: Image and video quality

Image quality on a par with 360-degree cameras
Fly-first, frame-later approach
Invisible drone technology

Antigravity A1 cameras close up — (Image credit: James Abbott)

If you’ve ever used an Insta360 camera, such as the X5, you’ll find the Antigravity A1 as easy and intuitive to use, since Antigravity is an offshoot of Insta360. What’s more, Antigravity Studio is a reskinned version of Insta360 Studio, so if you’re already familiar with it, you’ll be right at home. There is a learning curve if you’ve never used it, and it takes time to get to grips with the software, but it’s far from rocket science.

The software allows you to reframe the A1’s aerial photos and videos in the same way you can with a standard 360-degree camera. The only difference is that the drone is being flown rather than the camera being held, attached to a selfie stick or something else. This ultimately combines the advantages of 360-degree cameras with the aerial capabilities of a drone.

The dual cameras both feature a 1/1.28-inch sensor and an f/2.2 aperture. These create a 360-degree view where the drone is invisible, so you don’t have to edit it out – just like invisible selfie sticks with standard 360-degree cameras. Photos can be captured in INSP and DNG

formats at a resolution of 14MP (5248 x 2624) and 55MP (10486 x 5248). Shooting modes include Normal, HDR, Burst, AEB and Interval. You can reframe photos in various formats and even create animated photos.

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Photo taken with the Antigravity A1 360-degree drone — (Image credit: James Abbott)

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Video can be captured in 8K up to 30fps, 5.2K up to 60fps, 4K & 1080p up to 30fps and 4K & 1080p slow motion at 100fps. The maximum bitrate is 170Mbps and can be encoded in H.264 or H.265. Photo and video editing can take place in the Antigravity phone app or the Antigravity Studio Desktop app. The former has more templates for creating reframed videos, which is a shame because it would be great to see these available on the desktop app, where working with 8K footage makes more sense.

Reframed video

Image quality is great for a 360-degree camera – it’s what you’d expect, and capturing photos and videos in the highest resolutions possible allows you to maximize image quality. I shot in Auto mode when capturing both photos and videos, and found that the A1 did a great job in all light conditions; the exposure was balanced. The downside to this, compared to shooting in manual, of course, is that shutter speed can change during video capture.

Animated photo

Image quality isn’t, however, on par with standard camera drones – in the same way standard 360-degree cameras aren’t as good as standard action cameras. This has always been the case, and the trade-off for being able to capture an all-encompassing field of view at up to 8K. 8K, while it produces huge file sizes, isn’t as high-resolution as it sounds when you realize it’s the entire 360-degree view, as opposed to a 16:9 view at 4K or above with standard camera drones.

Image and video quality score: 4/5

Antigravity A1: testing scorecard

DJI Mini 5 Pro
Attributes	Notes	Rating
Price	The A1 is expensive as a result of the goggle-based approach.	3/5
Design	While the overall design is fairly standard, there are some innovative and unique aspects to the drone.	5/5
Performance	Excellent all-round performance, but flight feels quite pedestrian in terms of speed and agility.	4/5
Image and video quality	Great image quality in 360-degree terms, but not as good as a standard camera drone.	4/5

Should I buy the Antigravity A1?

Buy it if...

You'd like a 360-degree drone
It goes without saying that if you would like 360-degree photo and video capture in a drone, the A1 is the only option available.

You’d like an immersive flight experience
If you’d like an immersive flight experience without the speed and risk of FPV drones, the A1 blends camera drone flight with FPV goggles and the motion controller.

You appreciate innovation
The A1 is undoubtedly an innovative drone with some impressive features that could pave the way for future drone innovation.

Don't buy it if...

You’re on a budget
The A1 isn’t cheap, coming in at double the price, or more, of other sub-250g drones, so it’s far from being a budget option.

You'd like the best image quality
If you want the best image quality available in a sub-250g camera drone, the DJI Mini 5 Pro is a more suitable option.

You'd prefer simplicity
Since the A1 relies on FPV goggles for the camera view and some control of the drone, you’re going to need to have a spotter with you every time you fly.

Antigravity A1: also consider

DJI Mini 5 Pro

If you’d like a standard camera drone but the best sub-250g model ever made, then look no further than the DJI Mini 5 Pro. This compact drone somehow manages to pack in a rotating camera with a 1-inch sensor and some seriously impressive performance. This is a drone that beginners and professionals alike will love, thanks to its fantastic image quality, safety features and compact size.

See our DJI Mini 5 Pro reviewView Deal

DJI Neo 2

The DJI Neo 2 offers a huge upgrade on the original model released in 2024. It’s arguably not the best selfie drone, with the HoverAir X1 Pro and ProMax offering some serious competition in this area, but the Neo 2 is an impressive performer when it comes to subject tracking. What’s more, it offers obstacle avoidance and multiple controller options, including FPV.

See our DJI Neo 2 reviewView Deal

Antigravity A1 in flight — (Image credit: James Abbott)

How I tested the Antigravity A1

All flight modes tested
Photos and videos captured
Automated features tested

I tested the Antigravity A1 for a couple of months to experience all the features and functionality available, including FreeMotion and FPV mode. I captured photos and videos in the highest quality possible, and captured them in a range of conditions to assess overall camera performance.

I tested all Sky Genie Modes (Orbit, Spiral Ascend, Comet, Antigravity Line, Fly Away, and Ascend), alongside subject tracking and SkyPath functionality. I tested the motion controller and googles for usability, and tested the fly-first, frame-later reframing workflow extensively.

First reviewed: December 2025
Read more about how we test

I tested the new Sony A7 V, and now it’s my favorite Sony camera ever

5:01 pm | December 2, 2025

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AI, FE, ISO, LCD | Comments: Off

Sony A7 V: two-minute review

Some photographers, possibly even those working at Sony, see the A7 range of mirrorless cameras as the firm’s entry-level full-frame models. On paper alone, this may seem a reasonable suggestion when comparing the specifications to the most premium models. However, the Sony A7 IV, launched in October 2021, carries a 33-megapixel 36x24mm sensor, ISO50-204,800 sensitivity range, 5.5EV in-body image stabilization system, and a top continuous shooting rate of 10 frames per second. It’s by no means a slouch and this is all available for under $2500, so while it might be one of Sony’s more affordable E-mount bodies, it has been able to give pro-spec cameras a run for their money for several years.

On the face of it, the A7 V seems more of an iterative upgrade to its predecessor, rather than a revolution. However, once you dig deeper, there is a lot of exciting new technology to explore. Debuting the new partially-stacked sensor and new Bionz XR 2 processing engine, this camera represents a significant step forward for photography enthusiasts and semi-professionals. It’s more responsive than the A7 IV, both in focusing reaction time and accuracy, and delivers superior performance from the ground up.

Images are sharply detailed, and noise is well-controlled, especially for a model equipped with a 33MP resolution. It certainly matches or outperforms the current generation of competing cameras, such as the Canon EOS R6 Mark II or Panasonic Lumix S5 II, although I’ll be interested to see how low-light capabilities compare to the likes of the Canon EOS R6 Mark III when it inevitably comes to market, which is likely not too far in the future.

The Sony A7 V camera — (Image credit: Future/ Peter Fenech)

If you’ve used other Sony Alpha cameras, you’ll fall right into step with the A7 V. Some might call Sony’s conservative approach to design unimaginative, but it means that you can allow muscle memory to play its part on shoots where speed matters most. A few useful practical refinements notwithstanding, the A7 V is very similar to models that came before it, and on picking it up, you get a feeling of coming home, a comforting sensation when other stressful elements of a photoshoot come into play.

These days, I’m more likely to be blown away by enthusiast-level products than flagships, which rarely offer many surprises, as pro technology trickles down the rankings to more affordable offerings. The niche this camera inhabits has the potential to provide unbeatable value to the greatest range of photographers, and happily, the A7 V fulfills this promise. It’s an impressive upgrade to an already outstanding camera, serving up great responsiveness, useful features and exceptional image quality. I still wouldn’t call it revolutionary, and there are some quirks that I’d like to see refined, but if you’re an aspiring wildlife, event, or travel photographer, I’m confident you’ll fall in love with it, and that it will trouble TechRadar's best cameras and best mirrorless camera guides.

Sony A7 V specs

Sony A7 V Specs:
Type:	Mirrorless camera
Sensor:	Full-frame (36x24mm) semi-stacked CMOS
LCD:	3.2-inch, multi-articulated, 2.095m dots
Memory:	2x SDXC, 1x CFexpress Type A
Resolution:	33-megapixels
Video:	Up to 4K60p (4K120p in 1.5x crop mode)
ISO range:	ISO 50-204,800
Mechanical Shutter speeds:	30-1/8000sec
Electronic Shutter speeds:	30-1/16000sec
Viewfinder:	3.686m dot, OLED EVF, 0.78x
Processor:	Bionz XR 2
Connectivity:	AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio
Weight:	659g

Sony A7 V: Price and availability

Released December 2, 2025
Body only price of $2,899 / £2,799 (Australia TBC)
Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II

The Sony A7 V launched worldwide on December 2, 2025 priced $2,899 / £2,799 (body only, Australia TBC), alongside a new FE 28-70mm F3.5-5.6 OSS II kit lens. The lens costs $449.99 / £429 separately (Australia TBC) and will be available separately from February 2026.

Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.

This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).

Price score: 4.5/5

Sony A7 V: Design

Larger 3.2-inch rear LCD
Versatile multi-pivot articulated monitor
Hybrid memory card slot

Externally, I’d be very impressed if anyone could distinguish the A7 V from the A7 IV on looks alone. Apart from the name, discreetly emblazoned on the top plate, just to the left of the viewfinder, there isn’t much else to identify the latest iteration. However, a closer inspection reveals a redesigned handgrip. It’s very slight, with a tiny shift to the angle of the shutter button to account for the modest increase in weight from the Mark IV, but it makes a natural refinement to the ergonomics of the camera.

In terms of handling, the A7 V is supremely comfortable to hold, perhaps more so than most other Alpha bodies in the range. Logically, I know there is significant continuity between models, but something about the A7 V felt more balanced to me. I’ve always found Sony cameras to be too boxy for my tastes, especially when shooting for longer periods and when using larger lenses. The A7 V is unmistakably a Sony product, but it just fit my hands a lot better than I remember the A7 IV doing.

Shooting all day around London with the FE 24-50mm f/2.8 G lens, the setup was perfectly balanced, the center of gravity seemingly right where the optics meet the lens mount. This made shooting one-handed a breeze, even when holding the camera at arm's length over my head to shoot a street performer over the heads of a large crowd.

I appreciated that the playback and delete buttons are located on the same side of the camera body and immediately adjacent to each other on the back plate. This is a personal preference, of course, but I find this makes quickly making in-the-field quality control decisions quicker, rather than having to work two-handed and hunting for a control on the opposite side of the body to preview and delete obviously blurry shots.

Another excellent feature that seems unique to Sony cameras is dual-function card slots that fit both SD and CFexpress. As someone with more high-performance SD cards than I’d like to think about, I love this. Although I am gradually filling out my stock of CFexpress, I still like to have the choice, and a camera that supports both, while still allowing dual card functionality with either format is hugely thoughtful.

With a Canon EOS R5 Mark II, for example, you need to take a supply of both card types if you want the benefits of in-the-field backups, while the Canon EOS R6 Mark II requires two SD cards only, delaying investment in CFexpress until a future upgrade (which will no doubt be an expensive ordeal). On Sony cameras, there are no such compromises.

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It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.

Another excellent design flourish is the extra control wheel above the Auto Exposure Lock button, which by default is set up to adjust exposure compensation in P, A or S modes. I enjoy not having to hold down another button to change this, and the additional dial allows you to amend the aperture and image brightness with single controls each. Naturally, each dial can be reassigned a custom function from within the A7 V’s Operation Customize menu, found under Setup.

The build quality is of an exceptionally high standard. I didn’t have the opportunity to test the camera’s weather resistance – unusual for a British reviewer in November – but nevertheless, there are no obvious compromises in the integrity of the construction. Apart from the hollow battery and memory card bays, no other part of the body reverberates excessively when tapped, giving the sensation of it being milled from a single piece of metal.

All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.

We also can’t talk about the design of the camera without mentioning the versatile dual-hinged main LCD. Sony has gone back and forth with its approach to screen articulation over the years, and as far back as the A99 II DSLR camera, the multi-point design has allowed the user to both tilt and swivel the LCD. Some photographers prefer the vertical tilt format, while others like myself appreciate a full swivel function.

Users of the A7 V don’t have to choose – unlike with the A7 IV which is single-axis vari-angle only – which I found useful when shooting ground-level street photos of graffiti artists under Waterloo Station. It’s a clever strategy also found in recent Lumix cameras, and which I’d like to see more brands adopting.

Design score:4.5/5

Sony A7 V: Performance

New Bionz XR 2 processor
No dedicated AI autofocus processing engine
Long 750-shot battery life

Speaking of LCD screens, the model featured on the A7 V is both larger and more detailed than its predecessor. It measures 3.2 inches, up from 3 inches on the A7 IV, while resolution has doubled the 1,036,800 dots previously available. I found it to be very crisp, and colors look natural. This is a attribute of camera screens that isn’t talked about enough. Monitors might be super contrasty and saturated as standard, but this won’t always give the most useful preview of the images about to be captured.

The touch sensitivity is just right, and I found it to be more responsive than both the Mark IV and the A7R V, demonstrating the difference that three years can make. It’s not that those cameras were particularly unresponsive, but this latest monitor gave me no sense that it was standing between me and the settings I wanted to access.

I especially liked the reaction time for touch focus; with a single tap the camera activates the AF and immediately snaps to the object selected. I don’t always use touch focus features, but combined with the versatile LCD pivot points, I found myself using them frequently during my testing of the A7 V.

Autofocus itself is smooth and super-fast. Built around a new system of 759 Phase Detection AF points that cover 90% of the frame, the A7 V can focus in lighting as low as -4EV. Although the camera did slow down as ambient lighting dropped, with the rate of focus hunting increasing, it still did a sterling job of finding and tracking the subject. It’s also incredibly precise.

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Image captured with the Sony A7 V Mirrorless camera in London — Changing the AF subject recognition mode to Animals, the A7 V could easily keep track of this squirrel's eye (Image credit: Future/ Peter Fenech)

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Interestingly, the A7 V doesn’t feature a dedicated AI processor, as found on the Sony A1 II. This might surprise many industry observers, in an age where AI is king and excluding such features might seem a retrograde step. However, the new Bionz XR 2 moves all AF computations on-chip, instead of dividing the workload between two units.

Sony says the up-specced processor brings the same benefits of a separate AI engine, namely better AF target recognition, but with the added advantage of reduced heat emissions, superior speed, and improved battery life. After all, powering one chip is better than supplying two.

I didn’t have an A1 II body available to test the cameras side-by-side, but rarely did the A7 V struggle to locate my subject. There are plenty of options to customize subject recognition, and the camera coped well with human figures, cars, and airplanes, in the chaos of Central London and at Heathrow Airport.

Also new to the A7 V are the options to change AF responsiveness and to select an extra small or large AF point. While I didn’t find much need to alter these settings during my test, I could see where this might be of huge benefit. Turning down AF responsiveness if it’s likely that other objects will pass between the camera and the subject, like when shooting across a busy road or players on a football field, will help keep the focus sticky on your subject.

I can also vouch for the stated 750-shot battery capacity. After 300 frames, in the relative chill of a winter afternoon, I still had 75% charge, and by 650 shots, this sat around the 40% mark. This excellent, rival-beating performance included shooting both long still exposures and video.

In terms of shooting speed, the A7 V is one quick camera in operation. Startup is near instantaneous, and exposure assessment is now done at twice the number of calculations per second compared to the A7 IV.

Using the electronic shutter, it’s now possible to capture images at up to 30fps, up from 10fps on the previous camera. Pre-capture is also possible up to a user-selectable 30fps, meaning the camera is always ready and able to cover the action in the briefest of moments. Without wanting to sound like an advert for Sony (remember, this review is completely independent), there were times when I felt I was having to keep up with the camera. This isn’t something I encounter often, and it kept me on my toes.

It’s a very minor point, but I found the shutter release to be just a little too sensitive for my liking. There were a few occasions when I was simply trying out a composition and accidentally fired off a burst of shots – a bit of a laborious situation when the camera makes 30 frames every second! I’d definitely recommend re-assigning focussing to the AF-ON button to work around this.

Performance score: 5/5

Sony A7 V: Image quality

Excellent Dynamic Range
Superior high-ISO performance
Ultra-effective IBIS system

One of the headline features of the A7 V that is certain to get people talking is the new semi-stacked sensor. This CMOS design has developed somewhat of a bad rep because of its deployment in other cameras with limited success, such as the Nikon Z6 III. There is a risk of significant trade-offs in dynamic range for the additional readout speed a semi-stacked (or partially-stacked) sensor provides. Sony is confident enough, however, to claim a DR of up to 16-stops with the A7 V – that's an additional stop versus the A7 IV – so I couldn’t wait to see how the camera performed in the real world.

I’m not entirely convinced by the 16EV claim, as there were times when there was less highlight texture than I had anticipated, and clipped shadows where I hadn’t expected. However, the results were still impressive. In the majority of shots, there was recoverable detail across the range. From memory alone (and not having yet taken the A7 V into the lab for testing, that’s all I have to work on), I would place the dynamic range on an even footing with models like the 24MP Canon EOS R6 Mark II and Nikon Z6 III. Clearly, Sony deserves some applause for this, as it’s a clear indicator that the A7 V is a next-gen competitor.

Now let’s talk about color. Traditionally, this hasn’t been my favorite aspect of Sony cameras. I’ve always felt that, compared to Canon and Fujifilm models, Sony color science was a bit sterile. Accurate, maybe, but lacking warmth and ‘flavor’. These traits are present in the A7 V, as is to be expected, but I noticed colors seemed more organic than I’ve seen from its stablemates.

The auto White Balance system hardly ever missed a trick, even when shooting wall art comprising overlapping primary colors in mixed natural and artificial lighting: quite possibly a condition that cameras have nightmares about. The A7 V handled the situation beautifully. I could wax lyrical here for three more paragraphs, but I’ll summarize with this: if the camera could cope this well under these conditions, it could cope anywhere.

Images captured in London with the Sony A7 V — Dynamic range might not quite manage 16-stops in every image, but matches lower resolution cameras from competing brands (Image credit: Future/ Peter Fenech)

I don’t always believe rumors, but in this case the suggestion that Composite RAW capability was to be included on the A7 V has turned out to be true. Previously seen on the Sony A9 III, this mode captures a sequence of RAW files that are then combined to produce a higher-resolution file with reduced noise. It works nicely and does what it says on the tin – if you shoot landscapes or in the studio, this is a great feature for squeezing every oodle of quality out of the sensor.

Of course, it works less well with moving subjects, even when shooting at a high frame rate, so I chose not to use it for street photography. If you can support the camera, it would also be beneficial for capturing poorly-lit interiors at higher sensitivities.

Even without Composite RAW active, the signal-to-noise ratio will put a smile on your face. I spent most of my shoot at ISO 6400 and above, and the camera delivered a commendable balance of sharpness and grain. I wasn’t blown away by the in-camera treatment of JPGs though, and as low as ISO 800, there was smudging of detail through quite aggressive noise reduction. Weirdly, this didn’t seem to get much worse up to ISO 3200.

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Further proof that the dynamic range is noteworthy is highlight retention at the extended low ISO settings. At ISO 50, which is essentially an overexposed image with the exposure digitally reduced, there was still data present at the right side of the histogram.

One of my favorite features of the A7 V is the IBIS system. Compensating for up to 7.5EV of shake in the center of the frame and 6.5EV at the edges, up from 5.5-stops on the A7 IV, the stabilisation enables hand-held shots at ridiculously slow shutter speeds. I was able to capture usable images at exposures of around one second – unthinkable just a few years ago. This enabled me to capture the movement of objects within the frame while rendering static areas sharp. It’s one of my go-to street and urban photography techniques.

It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.

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Images captured in London with the Sony A7 V camera — (Image credit: Future/ Peter Fenech)

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Image quality score: 4.5/5

Sony A7 V: testing scorecard

Sony A7 V
Attributes	Notes	Rating
Price	The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money	4.5/5
Design	There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?	4.5/5
Performance	The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.	5/5
Image quality	Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.	4.5/5

Should I buy the Sony A7 V?

Buy it if...

You want an affordable full-frame camera

It might not be the cheapest camera with a full-frame sensor on the market, but you get a lot of camera for your buck. The A7 V has everything an enthusiast photographer could hope for or need.View Deal

You shoot both stills and video

Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal

Don't buy it if...

You are a beginner

There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal

You just bought an A7 IV

Let's be clear, the A7 V is a significant upgrade to its predecessor, but with a similar resolution, equal sensor size, and advanced features, the A7 IV is a great camera on its own merits. I wouldn't suggest there's enough difference between the two for an upgrade just yet.View Deal

Also consider

Canon EOS R6 Mark II

The EOS R6 Mark III builds on the 24MP Canon EOS R6 Mark II with improved resolution that matches the A7 V, now 33MP. Sony and Canon take different priorities; the A7 V has the partially stacked sensor and video recording up to 4K 60p, while the EOS R6 Mark III's sensor isn't stacked at all, but there's open gate 7K video recording. Both feature incredibly powerful IBIS and autofocus performance. This is a close call. Note, at the time of writing we're still working on our EOS R6 Mark III review.

Nikon Z6 III

Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the A7 V.

Read our in-depth Nikon Z6 III review

How I tested the Sony A7 V

I tested a full production model
The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range

I always like to push a camera to the edges of its capabilities and, to that end, I shot using the extremes of the ISO range. In bright light, I set the camera to the extended low ISO of 50, and then explored several low-light locations to test the camera all the way up to the expanded high setting of 204,800. I left the White Balance set to auto throughout the review to see how the camera responded to different lighting conditions. I also shot in RAW+JPG mode, so I had unprocessed files and compressed images for the sake of comparison.

First reviewed December 2025

I tested the new Sony A7 V, and now it’s my favorite Sony camera ever

5:01 pm |

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AI, FE, ISO, LCD | Comments: Off

Sony A7 V: two-minute review

Sony A7 V specs

Sony A7 V Specs:
Type:	Mirrorless camera
Sensor:	Full-frame (36x24mm) semi-stacked CMOS
LCD:	3.2-inch, multi-articulated, 2.095m dots
Memory:	2x SDXC, 1x CFexpress Type A
Resolution:	33-megapixels
Video:	Up to 4K60p (4K120p in 1.5x crop mode)
ISO range:	ISO 50-204,800
Mechanical Shutter speeds:	30-1/8000sec
Electronic Shutter speeds:	30-1/16000sec
Viewfinder:	3.686m dot, OLED EVF, 0.78x
Processor:	Bionz XR 2
Connectivity:	AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio
Weight:	659g

Sony A7 V: Price and availability

Released December 2, 2025
Body only price of $2,899 / £2,799 (Australia TBC)
Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II

Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.

This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).

Price score: 4.5/5

Sony A7 V: Design

Larger 3.2-inch rear LCD
Versatile multi-pivot articulated monitor
Hybrid memory card slot

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It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.

All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.

Design score:4.5/5

Sony A7 V: Performance

New Bionz XR 2 processor
No dedicated AI autofocus processing engine
Long 750-shot battery life

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Performance score: 5/5

Sony A7 V: Image quality

Excellent Dynamic Range
Superior high-ISO performance
Ultra-effective IBIS system

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It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.

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Image quality score: 4.5/5

Sony A7 V: testing scorecard

Sony A7 V
Attributes	Notes	Rating
Price	The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money	4.5/5
Design	There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?	4.5/5
Performance	The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.	5/5
Image quality	Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.	4.5/5

Should I buy the Sony A7 V?

Buy it if...

You want an affordable full-frame camera

You shoot both stills and video

Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal

Don't buy it if...

You are a beginner

There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal

You just bought an A7 IV

Also consider

Canon EOS R6 Mark II

Nikon Z6 III

Read our in-depth Nikon Z6 III review

How I tested the Sony A7 V

I tested a full production model
The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range

First reviewed December 2025

I was blown away by the zoom on the Panasonic HC-X1200 – it almost makes the case for a full camcorder comeback

4:00 pm | November 29, 2025

Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: XLR | Comments: Off

Panasonic HC-X1200: two-minute review

I’ve been testing camcorders for over five years, to which you might respond, "Aren’t camcorders a relic from a former era?" And in some ways you'd be right. But there's still plenty of life in the product category, and filmmakers who like the traditional handling and built-in zoom of a camcorder will find much to enjoy in Panasonic's HC-X1200.

Even for a seasoned reviewer like myself, though, the HC-X1200's appeal isn't immediately clear. This relatively new and lightweight Panasonic model targets the serious creator or event videographer who needs rock-solid reliability and modern specs without jumping into the $2,000 / £1,500 price bracket.

There are few real video 'features', apart from basic face tracking. And without mod cons like Wi-Fi, this isn't the tool for fast-paced content creators. I like a simple workflow, and the HC-X1200 is certainly easy to pick up and use in full auto mode, with the option to work in manual for more advanced users.

A core strength here is, thankfully, image quality. I was fairly impressed that the camcorder offers 4K recording at 60 frames per second (4K/60p) with 10-bit internal recording, especially since similarly-priced models max out at 4K 30p.

This combination smooths out action footage with enough color latitude for grading later on, although it's nothing like as fast as you'll get from a top-tier action camera.

The main draw of camcorders, as I say, is their built-in zoom range. Sure enough, the HC-X1200’s built-in 24x optical zoom is something you won't get from a mirrorless camera without spending a fortune on lenses that are likely very heavy, too.

It's also worth noting that the HC-X1200's rivals max out at 20x zoom. If you’re an event or documentary shooter, or a wildlife enthusiast as I am, this is the best video camera for zooming in exceedingly far with clarity, stability, and speed. In 35mm terms, it's the equivalent of having lenses ranging from a 25mm wide-angle all the way to a 600mm telephoto in your bag.

The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop — (Image credit: Future)

The HC-X1200's design also incorporates three steps of built-in ND filter, and the excellent 5-axis Hybrid OIS. is impressive for static handheld shots and walking scenes.

I didn't get the chance to shoot a wedding during my review loan period with the camcorder. Still, I think I’d be happy to use it for long events like weddings or conferences without worrying about the battery dying or the unit overheating, not least since the heat-dissipating design kept it totally cool while shooting long testing clips.

The HC-X1200 is a relatively affordable camcorder, and that’s because it makes some obvious compromises. Without a proper electronic viewfinder (EVF), it’s not always easy to see settings and frame up scenes in bright sunlight, especially since a lot of data on the screen is printed in tiny writing.

Good video requires good audio, but there are no professional XLR audio inputs. Instead, there’s one 3.5mm mic jack, which means relying on external recorders or less high-end microphones if you’re working on projects where audio is critical. If you're shooting primarily for home or family videos, though, the audio is just fine.

The HC-X1200 is a good-value portable camcorder. Whether you’re new to filmmaking and want something with a long zoom, or you like the traditional handling, the HC-X1200 is a reliable option for long-form capture. Just be prepared to manage audio externally, and work primarily in well-lit conditions.

The Panasonic HC-X1200 camcorder being taken out of the box — (Image credit: Future)

Panasonic HC-X1200: price and availability

Priced at $1,299.99 / £1,099 / AU$2,399
Lens hood included
Announced in January 2025

The Panasonic HC-X1200 was announced in January 2025 alongside two new 4K camcorders, the HC-X1600 and HC-X2100. It costs around $1,299.99 / £1,099 / AU$2,399.

The HC-X1200 is the entry-level model among these three Panasonic camcorders, without a viewfinder, handle unit, or XLR mic ports. It also lacks Wi-Fi, which feels like a misstep given that this comes as standard on cheaper rival camcorders and creator video cameras.

By my maths, the HC-X1200 is one of the most affordable camcorders for shooting 4K at 60 frames per second. The built-in ND filters also add a lot of flexibility for controlling exposure in bright light. Competing models priced near or below it (the Canon HF G70 or Sony AX43) are typically limited to 4K/30p, and both of those max out at 20x optical zoom power.

Panasonic HC-X1200 specs

Panasonic HC-X1200 specs
Sensor:	1/2.5-type (inch) MOS
Effective pixels:	8.29MP
Optical zoom:	24x
F Value:	f/1.8-f/4
Stabilization:	5-axis hybrid OIS
Memory card:	SDHC/SDXC (Up to 512GB)
Recording formats:	MP4, AVCHD
Maximum recording quality:	100 Mbps for 4K 59.94p/50p
Dimensions:	3.7 x 5.1 x 8.2 inches / 893 x 129 x 209mm (H x W x D)
Weight:	1.76lbs / 800g

Panasonic HC-X1200: Design

Light at just 800g, but not ultra-compact
Heat-dispersing design for continual recording
Two manual control rings

The Panasonic HC-X1200’s form resembles a classic camcorder. Made from matte black plastic, the body is long and barrel-shaped, and there’s an adjustable padded strap to aid stable handheld use (right-handed functionality only, though), with a pull-out, articulating LCD screen on the left of the body.

The HC-X1200 looks and feels similar to the Panasonic HC-X1500, which I’ve also tested, but comes in at a lighter weight of 1.76lbs / 800g. Some of the HC-X1500’s added weight comes from the viewfinder and eyecup, and the HC-X1200 is designed as a compact, body-only model, doing without the XLR-equipped handle unit found on its siblings (the HC-X1600 and X2100).

Panasonic calls it a “lightweight 4K 60p palm-style" camcorder, and while isn’t heavy, it might feel cumbersome to use at first if you’ve come from a vlogging-style camera. You’ll need a long padded bag to carry it, too. But the benefit of a camcorder like this is that everything is in the one unit, so you can forget carrying (and swapping out) extra lenses.

On the top is a chunky raised zoom rocker, which I found responsive, but not as naturally placed as on some camcorders. My index and middle fingers had to curve around slightly to reach it, but your mileage may vary.

The HC-X1200 is aimed at prosumers rather than total beginners, so there’s a good array of physical buttons on the camcorder body. There are no fewer than five customizable user buttons on the top, too, which can be set via the menu for controlling functions like face detection and enabling image stabilization.

Several of these are already preset, making them optional, but it’s a good thing to be able to customize the handling for your own preferences, especially since it’s harder to find these buttons in low light.

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Before you even pull out the LCD screen, there are more buttons underneath on the left-hand side, including for the menu, iris, gain, shutter, and a toggle to switch between auto and manual exposure mode. The Menu button is the one you’ll likely use the most, and I would have liked to have felt it raised more than the others to make it easier to find without looking. Small things, though.

Fold out the LCD and there’s the on/off button (presumably positioned as such to stop you pressing it accidentally when the LCD is stowed away), a playback button, a toggle for displaying more or less info on the screen, and, as with most camcorders around this price point, dual memory card slots covered by a slide across a plastic window. A light illuminates to indicate which of the two SD cards is actively recording, which is a nice touch.

The 3.5-inch touch-sensitive LCD monitor is bright, detailed, and fully articulated, which means you can shoot pieces to camera or at low angles easily. As a more compact model, the Panasonic HC-X1200 notably skips an electronic viewfinder, but for this class of camera the generous touchscreen compensates.

My main complaint is the responsiveness of said screen and the layout of the menus, which at times felt slow, confusing, and outdated to a modern user. It’s a shame Panasonic couldn't spend time coming up with a more user-friendly experience, but it’s not a dealbreaker.

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At the rear of the camcorder is the raised recording button (easy to find without looking), plus a full HDMI port, USB-C power port, and single 3.5mm stereo mini jack for external audio input. In some ways, it’s a shame that professional XLR inputs are reserved for the X1600/X2100 handle. However, for a camcorder of this size, it keeps the profile sleek. Underneath, there’s also a standard tripod thread, and it’s a great bonus to be able to check the battery’s capacity with a quick press of the “check button”.

The highlight for me when using the HC-X1200 were the dual manual rings on the lens barrel, which are both smooth and very tactile to use, thanks to the notched markings all the way around them. The ring closest to the lens controls focus, and the other zooms, meaning you can precisely pull focus through a shot, or just get up-close subjects really sharp.

I found it easy to make smooth and on-the-fly adjustments without taking my eye off the action, and the manual rings are also in a more natural place for your hands than the zoom rocker. Just behind the closest ring is a dedicated three-stage ND filter switch (Clear, 1/4, 1/16, 1/64) placed right where my fingers expected it, and I found this essential for managing exposure in bright outdoor settings, even though I’ve not really used this function on other camcorders.

Close-up of Panasonic HC-X1200 camcorder showing lens — (Image credit: Future)

A big lens hood is supplied with the camcorder, both to protect the lens and shelter it from bright, direct sunlight. There’s a physical toggle to open and close the lens hood, which mirrorless users might take a while to get used to. I do wonder if modern mirrorless users will, like I did a few times, even with years of testing, forget to close the opening once you’ve finished shooting.

The HC-X1200’s design doesn’t try anything new, but that’s okay. It took me a few days to really get to grips with everything – both metaphorically and literally, since the strap needs tightening often – but it balances portability with some core manual controls. It’s an effective, comfortable choice for filmmakers who don’t want to carry around a colossal camcorder.

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Panasonic HC-X1200: Performance

Mediocre low-light performance from the small sensor
Impressively shake-free footage even at the full 24x zoom
Versatile f/1.8-f/4 iris opening allows some bokeh

The XC-H1200 is a good video all-rounder, without any of the fancy AI features or autofocus options often marketed at content creators to make filming 'easy'. If you’re looking for a fully automatic workflow, though, the XC-H1200 delivers generally well-exposed and balanced 4K footage.

The 24x zoom range is quite incredible, and you can see in the sample clips how close I was able to get to a grey heron from the other side of a large pond. The zoom action is very smooth, and I like that it can be fine-tuned using the lens rings – great for up-close scenes, or if you want some creative pull-focus shots.

There aren’t any metering modes to choose from, though, and I often found that the exposure, while good overall, would overexpose very bright areas, such as the white feathers of a bird, at the mid-to-far end of the zoom. However, the camcorder’s built-in ND filters became exceptionally helpful on sunny days, as well as a creative tool if I wanted a darker look.

I found white balance to be very accurate on frosty mornings and sunny days, but in artificial light I ended up setting the tone manually. This is Panasonic's prosumer camcorder, so the fact that it lacks color grading isn’t a surprise, and there aren’t options to match colors with other cameras – a feature I’ve previously used with the Canon lineup.

Colors are well rendered, if a little on the dull side, but I found some leeway to boost the vibrancy in post-production without scenes looking artificial or losing detail. With 10-bit color depth set I didn’t notice any banding in bright skies either, as I have with cheaper camcorders and action cameras.

There are several video options to choose from, but only once you’ve stumbled upon the right place in the confusing, unintuitive menu. You can shoot in either UHD 4K or 1080p resolution, and two frequency modes (59.94 Hz for NTSC regions and 50.00 Hz for PAL regions) dictate the available frame rates, all at a maximum bitrate of 200Mbps.

Various encoding options will help those with more experience balance file size and quality, but if you’re new to moviemaking Panasonic doesn’t helpfully explain any of the options, so a bit of research might be needed in order to get the most from them.

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The menu screens on the Panasonic HC-X1200 — (Image credit: Future)

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Although it isn’t obvious, the HC-X1200 has the option for smooth slow-motion capture at up to 120fps, but only in HD (1920 x 1080). The idea is to help keep fast-moving subjects in focus, but while the results are definitely usable, the autofocus is the more limiting factor for ultra-fast and erratic subjects. In short, don’t buy this camera expecting to shoot a lot of crisp action.

The HC-X1200’s autofocus isn’t mind-blowing, and Panasonic doesn’t give a lot of detail regarding the mechanics of how it works. There’s nothing like the eye-detection precision of my Canon EOS R6 Mark II, but that’s to be expected at this price point.

Face tracking is easily turned on or off with a button on the body. It’s great for keeping you sharp during vlogging pieces to camera or documentary work, since the camcorder also adjusts the exposure automatically to keep the main face balanced in changing light. If you’re in shifting lighting conditions, this process takes a few seconds to recalibrate, but for interviews in a continuous or evenly lit room, it will cope well.

I was worried about low-light performance, due to the size of the camcorder’s sensor (1/2.5-inch) – usually a recipe for grainy, muddy footage. Out of the camera, the footage I shot at night was a little noisy, but far more usable than other camcorders I’ve tested with the same sensor size. The best results come from shooting at the camcorder’s highest bit rate, and then eking out the mileage with some creative grading.

If you work with dark footage rather than trying to brighten the shadows, the low-light footage is surprisingly usable. Setting the f/1.8 maximum aperture manually also helps. The HC-X1200 is also capable of capturing the invisible infrared spectrum for nighttime footage, but you need to buy an external infrared light source for this, so I didn’t test it.

With the dual SD card slots, you can set up two cards for relay recording (using one as an overflow when the first fills up), or simultaneous recording, so you have a backup. I only used one fast SD card when testing, but I often found the camera would be writing and processing footage for a long time after hitting the button to end recording. On a few random occasions, the camcorder froze, and I had to leave it alone for five minutes or so before, which isn’t ideal if you’ve got limited time with a subject or need to capture a particular moment.

On the plus side, it’s fully possible to record footage for as long as either your memory card(s) or the battery allows, since the heat-dissipating design genuinely delivers unlimited recording times, as Panasonic promises. I accidentally left the camcorder recording in my bag one day, and found I had several hours before the battery had run out.

Panasonic says you’ll get five hours of battery when recording 4K at 30p, and I got at least four and a half hours from one full charge, making this an excellent all-day companion if you have a few spare batteries in your arsenal.

Obviously, image quality is only half of the equation with video, and the HC-X1200’s audio quality falls somewhat short. If you’re a few steps from the camcorder, and ideally facing towards it in a wind or traffic-free zone, your voice is picked up clearly. Outside this ideal scenario – for example, if you’re walking and talking, or near a road – the built-in mic is less capable at picking out individual audio sources.

There are no clever AI algorithms working in the background to help suppress wind noise, as found on action cameras like the DJI Osmo Nano. So the onus is on you as the user to carefully choose the shooting location – in a sheltered spot away from the wind – or add an external mic with a furry wind shield using the 3.5mm jack input.

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Should you buy the Panasonic HC-X1200?

Buy it if...

You mostly shoot in controlled or good lighting

The HC-X1200 isn't great at adapting to changing light in auto mode, and tends to get grainy in low light.

You don't need XLR inputs

There's a standard 3.5mm stereo mic input. You may need an external audio recorder for pro-grade quality.

Don't buy it if...

You want the flexibility of Wi-Fi

Without built-in Wi-Fi, you can't use a phone or tablet for remote control or livestreaming.

You like using an electronic viewfinder (EVF)

You've only got the LCD for changing settings and framing scenes. The screen is generous, but it can be hard to view in bright sunlight.

Also consider

Canon EOS R10

Keen for a hybrid camera you can shoot stills on, too? Our favourite entry-level mirrorless also offers 4K/60p video, but it's heavily cropped. Low-light performance is better than the HC-X1200 thanks to a bigger sensor, and with the standard kit lens it's about the same price, but of course you don't get that mega camcorder zoom.

Read our Canon EOS R10 review

A female filmmaker holding the Canon XA65

Canon XA65

I've tested the Canon XA65 for our sister title Digital Camera World, and think it's a great filmmaking camcorder if you're willing to pay a little more. The 20x optical is smaller than the HC-X1200, but it's incredibly versatile. Prosumers should get good use of the detachable handle, which helps with low angles and lets you add two external microphones via the XLR ports.

A female photographer holding the Panasonic HC-X1200 in an autumnal scene — (Image credit: Future)

How I tested the Panasonic HC-X1200

I tested it for two weeks
I shot in full Manual and Auto mode
I used it for video, day and night

Panasonic loaned me the HC-X1200 for two weeks, and although it was raining almost the whole time (welcome to winter in the UK), I did take it with me on a few outdoor adventures, dog walks, and day trips, and I used it as an everyday companion for mainly handheld shooting.

I made direct comparisons with many other camcorders I've tested, as well as video on my now similarly-priced Canon EOS R6 DSLR and iPhone 15 Pro.

I shot videos using different iris settings and zoom lengths, in both fully automatic and manual modes, to compare the ease of use and quality of results from both.

First reviewed November 2025

I tested Caira, the first Nano Banana AI camera – now I’m cancelling my Lightroom subscription

4:00 pm | November 19, 2025

Author: admin | Category: AI Platforms & Assistants Cameras Computers Gadgets | Tags: ISO | Comments: Off

Caira camera: one-minute review

TechRadar AI Week 2025

(Image credit: Future)

This article is part of TechRadar's AI Week 2025. Covering the basics of artificial intelligence, we'll show you how to get the most from the likes of ChatGPT, Gemini, or Claude, alongside in-depth features, news, and the main talking points in the world of AI.

The Caira snaps onto your iPhone using MagSafe, turns your phone into the control hub, and sets out to merge mirrorless camera-quality with smartphone ease.

The hardware is the real deal: a Micro Four Thirds mount and (Sony) sensor, a CNC’d aluminium chassis. It accepts proper lenses from Panasonic, Olympus, Sigma, and Leica - so this isn’t a toy pretending to be a camera. Its in a similar mold to the open source Alice Camera – a previous project from the makers of Caira.

Inside, Qualcomm’s Snapdragon chip and Google’s Edge TPU AI processor run three flagship tricks: voice control, smart styles and generative editing.

With voice control you can say “take a photo” and Caira actually does. Smart Styles are six tasteful AI-trained color profiles that make your footage look deliberate. Generative Editing – the headline feature – uses natural language prompts to restyle photos instantly, no laptop required.

Caira camera on a grid mat — (Image credit: Rashid Ahmad)

Yes, the real party trick is Google’s ‘Nano Banana’ generative AI – which sounds like a smoothie but is actually a powerful on-device editor. You can tell the camera to “turn this daylight shot into night” or “make my blazer burgundy,” and it’ll do it in seconds. It’s astonishing. It’s the first time I’ve seen Lightroom sulk because it’s now redundant.

The result is a camera designed to skip the “import - edit - export - scream” routine. Some will say that skipping that part also skips the soul of photography. I’m not one of them. I’m in favor of anything that lets you spend more time shooting and less time staring at a progress bar – I’ll leave the hand-wringing to other creators.

But before you start packing your MacBook away forever, that magical AI is only available if you pay $7 a month for the ‘Caira Pro’ plan (about £6 / AU$11). Because nothing screams modern camera like a monthly sub.

However, for every tinfoil hat wearing critic out there screaming for the days of old and terrified of AI, go back to shooting on film and paying $35 a month for every roll you develop. My Lightroom subscription costs a lot more than Caira Pro, and I will use it a lot less.

Caira camera: price and availability

Priced at $995 (£760 / AU$1,500 approx)
Available to early crowdfunding backers for $695 (£529 / AU$1,070 approx)
First deliveries expected from January 2026

Caira camera on a grid mat alongside classic cameras — (Image credit: Rashid Ahmad)

Caira is available through Camera Intelligence's Kickstarter campaign, which runs from November 4 to November 30. As always, back crowdfunding campaigns at your own risk!

The campaign lists the camera (body only) price for $995 (around £760 / AU$1,500), while optimistic Super Early Bird backers can bag one for $695 (about £529 / AU$1,070).

According to its makers, the Caira delivery window is January to February 2026, (assuming no global crises intervene).

To get the most out of Caira's AI skills, you'll want the Caira pro subscription, which costs $7 per month. Backers get six months free, nine if funding hits its goals.

Caira camera specs

Caira camera specs
Sensor:	11MP Micro Four Thirds, quad-bayer HDR and dual ISO
Mount:	Micro Four Thirds
Processor:	Qualcomm Snapdragon with 8 - core CPU, GPU, DSP
AI Chip:	Google Edge TPU
Video:	4K 30fps & 1080p 60fps
Battery:	5,000 mAh
Storage:	Internal 64GB + SSD External storage via USB-C, straight onto Apple photos
Connectivity:	iPhone MagSafe connector, WiFi
Dimensions:	112.5mm (W) x 85mm (H) x 21.5mm (D). Handle depth is 42.5mm
Weight:	10.2oz / 290g (w/out lens)

Caira camera: Design

No screen – you MagSafe your iPhone instead
Premium CNC-milled aluminum body
64GB internal memory

Caira camera on a grid mate alongside Alice Camera — Caira alongside the Alice Camera, designed by the same makers (Image credit: Rashid Ahmad)

Imagine if Leica built a GoPro after a long lunch - that’s the Caira. There's Sigma BF vibes, too. A sleek, screen-less slab of CNC-milled metal that looks premium and feels it too.

The design strips away almost all buttons, because the company says creators are “overwhelmed by controls.” Fair. Now you’ll be overwhelmed by menus instead.

The MFT mount opens a vast lens ecosystem, from affordable pancakes to glass that costs more than your phone. And the 5,000 mAh battery means you can actually use it all day.

Best of all, there are no memory cards. You shoot, and the files appear in your iPhone’s Photos app almost instantly. It’s dangerously convenient.

Cair camera: Performance

11MP Four Thirds sensor with dual base ISO
Basic video specs – 4K video up to 30fps
Really effective Nano Banana voice control and generative edits

The Caira behaves like two products; a legitimate camera, and an unashamed AI experiment.

The camera hardware delivers – the 11MP Sony sensor combined with proper MFT glass (I used several of my Lumix lenses, including the 12-60mm f/2.8-4 lens) is an obvious leap from a smartphone, particularly in low light. Depth, sharpness, and texture all feel natural. The AI-tuned colour profile leans a little toward “Instagram - ready,” but never offensively so.

Caira's Smart Styles are surprisingly tasteful presets, that make you look more competent than you are. You can get a feel in the examples in the gallery below.

Image 1 of 3

Caira camera user interface with a photo of a lady in a red dress — An original photo taken with Caira (Image credit: Future / Rashid Ahmad)

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Caira camera user interface with a photo of a lady in a red dress, image processing — Turn the dress black (Image credit: Future / Rashid Ahmad)

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Caira camera user interface with a photo of a lady in a red dress now changed to lady in a black dress — About 20 seconds later, the new image appears. (Image credit: Future / Rashid Ahmad)

The Caira's show piece is its AI features. Voice Control is genuinely handy when both hands are busy, or sticky with espresso, but Generative Editing is the main event.

Prompts like “make it nighttime” or “change his navy blazer to burgundy” return results in seconds – clean, convincing, a bit spooky.

Generative Editing is the feature that flattens the learning curve and streamlines the creative workflow. It’s powerful, fast, and feels like magic.

To its credit, the company has guardrails in place: no altering skin tone or facial features. I tried. It refused, nicely.

The Caira is a bold step. It’s a bet that the next generation of creators values AI-powered speed and flexibility as much as – or perhaps more than – traditional photographic purity. And based on what I’ve seen, it’s a bet they just might win.

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Lady in a red dress — The original photo, using one of the more vibrant color profiles Caira has (Image credit: Future / Rashid Ahmad)

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Lady in a black dress, photo taken with the Caira camera — Now with the generative prompt 'turn the dress black', which returned results way quicker than an outfit change. (Image credit: Future / Rashid Ahmad)

The Caira feels like a product born out of collective exhaustion. Someone, somewhere, finally admitted that no one actually enjoys editing - they just enjoy pretending they do. It’s bold, a little absurd, and far more capable than it has any right to be.

It won’t replace your main camera, and it won’t replace your phone either - but it might just replace your willpower to open Lightroom ever again.

It’s the perfect tool for those of us who still like the idea of photography - the ritual, the gear, the illusion of artistry - but who secretly just want the photo to look brilliant the moment we take it.

And truthfully? That’s probably the entire modern photographer.

Should you buy the Caira camera?

Buy it if...

You want a seamless shoot and edit experience, through your smartphone

Other cameras add way too many steps to the shoot - upload - edit - share process. Caira simplifies the whole process.

You want powerful edits in seconds, without the need for expensive editing software

Caira churns out the sorts of edits that used to take way more time with pricey software, and it does so directly on your phone.

Don't buy it if...

You want high-resolution photos

Just 11MP is pretty low by today's standards.

You're unsure about crowdfunding campaigns

To be fair, Caira's makers delivered with a previous project, the Alice Camera, but back at your own risk (or wait).

Caira camera on a grid mat alongside Lumix lenses — Caira accepts Micro Four Thirds lenses, like these two Lumix ones (Image credit: Rashid Ahmad)

How I tested the Caira camera

I tested Caira for two weeks
I paired it with Lumix lenses, including the 12–60mm f/2.8-4 lens
I connected my iPhone and made use of the various Nano Banana features

Camera Intelligence sent me one of just 50 pre-production units for a two week trial. I used it mostly to photograph things that didn’t deserve this much computing power.

It locks to the iPhone via MagSafe and connects over Wi-Fi through the Caira iOS app. Setup takes seconds, and then you’re in. I paired it with a Lumix 12–60mm f/2.8-4 – a brilliant lens that I immediately wasted on photographing coffee cups, pool balls, and other cameras.

First reviewed November 2025

I tested Caira, the first Nano Banana AI camera – now I’m cancelling my Lightroom subscription

4:00 pm |

Author: admin | Category: AI Platforms & Assistants Cameras Computers Gadgets | Tags: ISO | Comments: Off

Caira camera: one-minute review

TechRadar AI Week 2025

(Image credit: Future)

Caira camera: price and availability

Priced at $995 (£760 / AU$1,500 approx)
Available to early crowdfunding backers for $695 (£529 / AU$1,070 approx)
First deliveries expected from January 2026

Caira is available through Camera Intelligence's Kickstarter campaign, which runs from November 4 to November 30. As always, back crowdfunding campaigns at your own risk!

The campaign lists the camera (body only) price for $995 (around £760 / AU$1,500), while optimistic Super Early Bird backers can bag one for $695 (about £529 / AU$1,070).

According to its makers, the Caira delivery window is January to February 2026, (assuming no global crises intervene).

To get the most out of Caira's AI skills, you'll want the Caira pro subscription, which costs $7 per month. Backers get six months free, nine if funding hits its goals.

Caira camera specs

Caira camera specs
Sensor:	11MP Micro Four Thirds, quad-bayer HDR and dual ISO
Mount:	Micro Four Thirds
Processor:	Qualcomm Snapdragon with 8 - core CPU, GPU, DSP
AI Chip:	Google Edge TPU
Video:	4K 30fps & 1080p 60fps
Battery:	5,000 mAh
Storage:	Internal 64GB + SSD External storage via USB-C, straight onto Apple photos
Connectivity:	iPhone MagSafe connector, WiFi
Dimensions:	112.5mm (W) x 85mm (H) x 21.5mm (D). Handle depth is 42.5mm
Weight:	10.2oz / 290g (w/out lens)

Caira camera: Design

No screen – you MagSafe your iPhone instead
Premium CNC-milled aluminum body
64GB internal memory

Cair camera: Performance

11MP Four Thirds sensor with dual base ISO
Basic video specs – 4K video up to 30fps
Really effective Nano Banana voice control and generative edits

The Caira behaves like two products; a legitimate camera, and an unashamed AI experiment.

Caira's Smart Styles are surprisingly tasteful presets, that make you look more competent than you are. You can get a feel in the examples in the gallery below.

Image 1 of 3

Image 2 of 3

Image 3 of 3

The Caira's show piece is its AI features. Voice Control is genuinely handy when both hands are busy, or sticky with espresso, but Generative Editing is the main event.

Image 1 of 2

Image 2 of 2

Should you buy the Caira camera?

Buy it if...

You want a seamless shoot and edit experience, through your smartphone

Other cameras add way too many steps to the shoot - upload - edit - share process. Caira simplifies the whole process.

You want powerful edits in seconds, without the need for expensive editing software

Caira churns out the sorts of edits that used to take way more time with pricey software, and it does so directly on your phone.

Don't buy it if...

You want high-resolution photos

Just 11MP is pretty low by today's standards.

You're unsure about crowdfunding campaigns

To be fair, Caira's makers delivered with a previous project, the Alice Camera, but back at your own risk (or wait).

How I tested the Caira camera

I tested Caira for two weeks
I paired it with Lumix lenses, including the 12–60mm f/2.8-4 lens
I connected my iPhone and made use of the various Nano Banana features

First reviewed November 2025

I tested the DJI Osmo Action 6, and it’s faster, brighter, and hot on GoPro’s heels

3:00 pm | November 18, 2025

Author: admin | Category: Action Cameras Cameras Computers Gadgets | Tags: DJI, LCD, US | Comments: Off

DJI Osmo Action 6: two-minute review

When you think of action cameras, GoPro will likely spring to mind before DJI. While it wasn’t a complete surprise that the latter company, best known for its drones, made the move into the action cam market, it's had to do a lot of work over the past few years to catch up, and offer something that stands out from the competition.

The GoPro Hero 13 Black is arguably the action camera all others will currently be judged against, so DJI’s latest model in the Osmo series, the Osmo Action 6, has a lot to prove. That said, the quality of its predecessors, most notably the Osmo Action 5 Pro, has been hard to ignore, and based on my experience with that camera I had great expectations going into this review.

Fresh from reviewing the entry-level GoPro Lit Hero and Insta360 X4 Air, I was immediately impressed by the Osmo Action 6’s user-friendliness; the menus are easy to navigate, and the screens are a breeze to work with. Images and video also look amazing on these high-quality monitors, so reviewing the fruits of my shooting sessions was a pleasure.

Image quality is superb, benefiting from a larger 1/1.1-inch sensor, which produces excellent detail and color rendition in good lighting and stand-out noise performance as ambient light levels fall. I’d happily use the Osmo Action 6 as my main carry-everywhere camera, or as a backup to a mirrorless system for capturing unique perspectives from places those larger cameras simply can’t go.

The DJI Osmo Action 6 action camera — The DJI Osmo Action 6 is a similar size to earlier models, despite featuring a larger sensor inside (Image credit: Future/Peter Fenech)

I thoroughly enjoyed using the additional accessories, such as the Macro Lens, ND Filter Set, and FOV Boost Lens, which make the whole system feel pro-grade and versatile. If you're a fan of the GoPro mods, you’ll be happy to see DJI making efforts to expand the modular compatibility of its action cameras. Once you add in the streamlined compatibility with the wireless DJI microphones, I see the Osmo Action 6 as an indicator of great things to come.

DJI Osmo Action 6 specs

DJI Osmo Action 6 Specs:
Type:	Action camera
Sensor:	1/1.1-inch CMOS
LCDs:	OLED, Front: 1.46-inch/ Rear: 2.5-inch
Memory:	50GB internal/ MicroSD
Lens:	155-degree FOV, f/2 - f/4
Video:	Up to 4K/120p, FHD/240p
Photo:	38MP
Dimensions:	72.8 x 47.2 x 33.1mm
Weight:	5.3oz / 149g

DJI Osmo Action 6: Price and availability

Released November 18; not available in US at launch
Osmo Action 6 Standard Combo costs £329 / AU$669
Osmo Action 6 Adventure Combo costs for £415 / AU$839

DJI's Osmo Action 6 is available now, priced at £329 / AU$669 for the Standard Combo, while the prices rises to £415 / AU$839 for the Adventure Combo which adds two batteries, an extra quick-release mount and locking screw, battery case and 1.5m extension rod to the standard bundle.

Like recent DJI products, it's not available in the US at launch. A DJI spokesperson gave us the following statement:

"The DJI Osmo Action 6 will not be officially available in the US market through official websites following the global launch on 18th November. DJI remains committed to the U.S. market and is optimizing our strategy to best serve our customers amidst evolving local conditions."

Price score: 4.5/5

DJI Osmo Action 6: Design

Larger 2.5-inch rear LCD
IP68-rated weather and waterproofing
Waterproof to 20m

If you’ve used the Osmo Action 6’s predecessors, such as the DJI Osmo Action 3 DJI Osmo Action 4, or DJI Osmo Action 5 Pro, there aren’t any drastic surprises in store for you design-wise. The body is a little bit larger, most notably in its width, measuring 72.8 x 47.2 x 33.1mm to the Osmo Action 5 Pro’s 70.5 x 44.2 x 32.8mm. It might be noticeable if you hold both cameras side-by-side, but in real-world terms it won’t make a huge difference to the handling experience.

The Osmo Action 6 remains super portable and lightweight, despite the inclusion of a larger sensor, which is impressive. As you’d expect from an action camera, it can be fitted into a coat pocket for easy transport or use on the move. However, fresh from testing the tiny GoPro Lit Hero, the Osmo Action 6 did feel quite chunky by comparison. This is a much higher-end product, however, featuring a larger CMOS unit, a lens aperture that's both adjustable and brighter, and a front LCD, all of which are missing from the entry-level GoPro.

I was immediately drawn to the 2.5-inch main LCD screen, which feels much bigger in use than the rival GoPro Hero 13 Black’s 2.27-inch monitor. Although this is still too small to get a truely precise idea of sharpness, it’s much nicer to look at than the screens on earlier models, and matches those on cameras like the Insta360 Ace Pro 2, which we ranked as the best premium action camera.

The screen itself was highly responsive in my tests, and I found it easy to access settings and navigate menus, even when the camera was wet or covered in a dusting of ground coffee (see the sample video below for context). I reckon I’d find it more practical to work with the Osmo Action 6 in cold weather than the native-portrait-orientation Insta360 X5 or Insta360 X4 Air.

Both the front and rear LCDs are crisp and easy to read in brighter light too. While smaller and lower-resolution, the front screen (1.46-inch, 342 x 342 pixels) is still useful, and doesn’t feel like an extra gimmicky feature that DJI threw in but which is ultimately pointless. I remember feeling that the front LCD on the GoPro Hero 9 Black was so laggy that there were times it was barely worth being there, for example.

The large shutter release is easy to locate without looking, speeding up operation. Also, I like DJI’s choice to place the microSD card slot in the battery bay, rather than alongside the USB-C port, something which proved fiddly and frustrating on the GoPro Lit Hero. I always appreciate integrated storage in a camera too, of which the Osmo Action 6 provides plenty at 50GB.

Design score:4.5/5

DJI Osmo Action 6: Performance

Impressive four-hour battery life
Effective RockSteady 3 and 3+ stabilization with reduced cropping
Excellent connectivity with external DJI mics

DJI claims a battery life of 240 minutes for the Osmo Action 6, similar to the Action 5 Pro. Shooting inside and out, I found that a single charge lasted about four hours using a mix of 1080p and 4K resolutions, across the various modes. This is impressive, although as the temperature dropped, so too did the battery life, so if you plan to work away from a power source for any length of time I’d still advise taking a few extra batteries.

The RockSteady image stabilization system also has an impact on battery longevity, although in my tests, this wasn’t anything major. The system itself is effective. While not a replacement for a gimbal, I found I could create commendable tracking shots free from micro vibrations. The same was true with POV walking shots.

The Osmo Action 6 continued to perform well after being submerged in water, with the screen remaining responsive. Once it was removed from the water the lens quickly repelled remaining droplets, as did the body, making the camera easy to dry off.

Image 1 of 2

Image 2 of 2

The camera features voice control, which is either ideal or an irritation depending on the environment. When it worked, being able to give the Osmo Action 6 a voice command such as “start recording” helped free up my hands, while reducing the amount of footage I had to trim as I positioned the camera for my shots. On several occasions, it didn’t respond, or I didn’t realise it hadn’t stopped recording after a command at the end of the shot. If the microphone is obscured in any way, it produces mixed results.

Speaking of sound, I was surprised by the quality of the internal microphone. While an external mic like the DJI Mic Mini gives you more versatility, as well as depth of audio, the built-in mic didn’t have the thin sound common to similar mics on other small cameras.

If you own the Mic Mini or DJI Mic 2, connecting them to the Osmo Action 6 couldn’t be easier. Simply pressing and holding the link button on the mics themselves until the indicator light flashes blue is all it takes to get audio recording off-camera, giving video that extra professional edge.

Performance score: 4.5/5

DJI Osmo Action 6: Image quality

Larger sensor enables better low-light performance than Osmo Action 5 Pro
10-bit and D-Log M modes enable pro-level grading
Slightly aggressive default in-camera noise reduction/sharpening

Along with smartphones, I think that action cameras best demonstrate how far sensor and processor technology have come over the past decade or so. By mirrorless camera standards, the 1/1.1-type sensor housed in the Osmo Action 6 is small, at around 14mm on the diagonal, yet in my testing it produced better results than a high-end compact camera from circa 2014.

The Osmo Action 6 sees a big jump in sensor size from the 1/1.3-type CMOS of the Action 5 Pro, but uses a similar resolution of 38MP for still images.. This allows for greater pixel pitch (the distance from the center of one pixel to its neighbors), which benefits light-gathering capacity; the pixel size is 2.4 micrometers. An image measuring 7168 x 5376 is still quite a lot of pixels for this sensor format, but while I wasn’t amazed by the camera’s low-light performance, nor did I find it especially problematic.

Detail in stills becomes a little smudged from around ISO 800 and above, shooting in gloomy indoor lighting, but outdoors, or in direct artificial light, noise levels are kept at respectable levels for an action camera. Colors are also still quite punchy.

Video footage, meanwhile, is excellent in moderate low light. There is noise visible, but the grain size looks very fine, meaning it’s easier to ignore in areas of the image containing flat tones. I thought in-camera processing coped well, minimizing noise without obliterating texture.

A woodland scene captured on the DJI Osmo Action 6 camera — The auto White Balance system is fairly accurate, even when faced with strong fall colors (Image credit: Future)

I did notice that some quite excessive sharpening is applied in some circumstances, no doubt to counteract any noise-reduction related degradation. It isn’t a deal-breaker, but you might want to turn down the default sharpening (known as Texture in the Image Adjustment menu) for a more organic look.

The SuperNight mode is designed to produce a brighter image in low-light conditions by increasing the exposure digitally, then applying AI noise-reduction processes to minimize grain. This produces footage with significantly less texture, so I wouldn’t recommend it if your video is likely to be viewed on a larger screen, where this effect will be far more noticeable. In everyday shooting scenarios, or for social media, however, it captures brighter shadows, so it's useful for shooting around cities. There's a lot less distracting noise, too.

I enjoyed using the Slow Motion mode as a means of capturing share-ready footage in-camera; however, for professional uses, I’d recommend switching to a higher frame rate, shooting your footage, and manually applying the Slow Mo effect in editing.

I really appreciated the Color Recovery feature when shooting in D-Log M, which allows you to preview how the footage would look with a profile applied. This doesn’t bake in any edit settings, but merely gives you an idea of the final image after grading.

All of the shooting conditions mentioned above would be challenging for any camera, and once you take the DJI Osmo Action 6 out into bright daylight, the quality is superb. Combined with the flexibility of the Log mode, it’s possible to capture excellent levels of detail and natural colors.

GoPro Hero 13 Black users might bemoan the ‘limited’ 4K resolution here, in favor of the 5.3K available on that model, but 4K is fine in all but the most specific of situations. I still shoot in Full HD as standard when creating content for social platforms, unless I know that for some reason I’ll need to crop or recompose my frame in DaVinci Resolve. The workflow is faster, and viewers are unlikely to perceive a difference in Instagram Reels or YouTube Shorts, for instance.

Image quality score: 4.5/5

DJI Osmo Action 6: testing scorecard

Insta360 X4 Air
Attributes	Notes	Rating
Price	Considering it's technically an upgrade to the X4, the X4 Air is significantly cheaper, which is welcome. There is the matter of the DJI Osmo 360, though.	4.5/5
Design	Everything is logically placed and the controls are easy to access. It's a proven design that continues to work well for DJI.	4.5/5
Performance	The LCDs are responsive and attractive, while the RockSteady stabilization system is highly effective.	4.5/5
Image quality	Yes, there may be no 8K, but 4K and FHD footage is sharp, clean, and punchy. The larger sensor is doing its job, and the Osmo Action 6 is a great competitor to the GoPro Hero 13 Black.	4.5/5

Should I buy the DJI Osmo Action 6?

Buy it if...

You aren't married to GoPro

While it makes sense to stick to GoPro if you already own plenty of mods, the Osmo Action 6 represents the direction DJI is heading with its action cameras, and there's plenty to like. View Deal

You want high-end imagery

There are a lot of features and functions to play with, so a pro user will find something for every shooting occasion. Make the most of the low-light performance and slo-mo functions for advanced projects.View Deal

Don't buy it if...

You want a simple camera

The camera is designed for experienced videographers, so all of those features and functions might prove to be intimidating if you haven't used them before. There might be too much here if you want a point-and-shoot model.View Deal

You have lots of GoPro accessories

DJI is hoping to build its own follower base, so it you already own and frequently use GoPro mods, across an advanced system, you might not want to start from scratch with an incompatible camera. There are currently fewer accessories in the DJI ecosystem too, which is worth bearing in mind if you need something specific.View Deal

Also consider

Insta360 X5

The top-of-the-range model in the Insta360 family, the X5 is larger but more powerful. It enables recording up to 5.7K at 60fps, and features dual 1/1.28-inch sensors with larger pixels and greater light-gathering capacity. It also features the newer PureVideo mode that's missing on the X4 and X4 Air, providing superior performance under poor lighting. The build quality and control layout are familiar, but with the added benefit of a larger LCD. If you want to shoot 360-degree video as well as shooting in extreme conditions, this is the best option.

Read our in-depth Insta360 X5 review

GoPro Hero 13 Black

While it may have only been an iterative upgrade to its predecessor, the Hero 13 Black is built on an expansive system of accessories. You'll find a mod for every occasion, plus there's a higher-resolution 5.3K video option, while the Osmo Action 6 is limited to 4K. This is the enthusiast's go-to action camera.

Read our in-depth GoPro Hero 13 Blackreview

How I tested the DJI Osmo Action 6

I tested a full production model running release firmware over several days
I mounted the camera on the bundled 1.5-meter extension Rod or Dual-Direction Battery Handle
I recorded videos in varying lighting conditions, both indoors and outside

To ensure I was able to get a true sense of the Osmo Action 6's capabilities, I shot in a range of lighting conditions. My indoor tests involved a vlog-style shoot, testing the sensor's high-ISO performance and the camera's temperature and water resistance (I placed the camera in a freezer and poured cold water over it for a unique POV). I then took the camera out into the countryside, where I filmed close to and underwater. These shoots also gave me the opportunity to use the optional macro lens and FOV Boost lens. All audio was captured using the in-camera mic. Footage was edited in DaVinci Resolve 20.

First reviewed November 2025