There's been a buzz surrounding the PowerShot V1, principally because the compact V-series vlogging camera is like a bigger sibling to the trending (and dated) PowerShot G7X Mark III, with an all-new 1.4-inch sensor and 16-50mm lens.
Put the two cameras side by side and the design / control layout similarities are clear (see below) – these are pocketable compact cameras, with the PowerShot V1 being the bigger of the two, and both offer impressive suites of video features.
The PowerShot V1's most obvious rival is the Sony ZV1-II, while the DJI Osmo Pocket 3 is a gimbal-stabilized alternative, and in many regards the well-rounded PowerShot V1 is a clear winner, even if there's a strong case to be made for DJI's take on the format.
Headline features include that 22.3MP, 1.4-inch sensor. That's a rare sensor size – it's essentially the same as Micro Four Thirds, but in 3:2 aspect ratio rather than 4:3. It measures 18.4 x 12.3 mm – much bigger than the 1-inch type used in the aforementioned rivals, which measures 13.2mm x 8.8mm.
A bigger sensor size in general means better image quality, but there are caveats. The notable PowerShot V1 drawback for me is the f/2.8-4.5 maximum aperture of its 3.1x optical zoom lens. Compare that to the ZV-1 II's f/1.8-4, and the PowerShot G7X Mark III's 4.2x zoom with a f/1.8-2.8 maximum aperture, and the V1 comes up short for light-gathering capabilities, which in some respects counters the image-quality advantage of its larger sensor.
Still, it's the widest lens of the bunch, with a 16-50mm range that's ideal for vlogging. Even with digital image stabilization active and the consequent image-area crop applied, the framing is plenty wide enough for vlogging with the camera at arm's reach – that extra 2mm at the wide end goes a long way.
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Here's the Canon PowerShot V1 compact (left), alongside the PowerShot G7X Mark III (right) (Image credit: Tim Coleman)
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From left to right: Canon PowerShot V10, Canon PowerShot V1 and Canon PowerShot G7X Mark III. (Image credit: Tim Coleman)
The comprehensive suite of video features includes cooling vents and unlimited 4K 30fps video recording times, a built-in ND filter, Canon's best-ever autofocus for a PowerShot compact, plus mic and headphone ports.
Photographers are well catered for too, with a hotshoe accepting an external flash (but not 5-pin ones), and a rapid 15fps burst shooting speed that's doubled when using the electronic shutter, ably supported by that reliable subject-tracking autofocus.
Image stabilization is unavailable when shooting 4K video at 60fps, plus there's a 1.4x crop using this setting – I'm sure I'll discover a few more drawbacks when I have the camera back in for in-depth testing.
However, the PowerShot V1 makes a strong first impression. As a complete package with Sony-beating features and a relatively decent price, it looks set to be a vlogging star.
Canon PowerShot V1 specs
(Image credit: Tim Coleman)
Canon PowerShot V1: Price and availability
£959.99 (US and Australia pricing TBC)
Available from early April, exact date TBC
The Canon PowerShot V1 costs £959.99, with US and Australia pricing to be confirmed, and is due to hit the shelves in early April, with an exact release date also yet to be confirmed by Canon.
That starting price is less than what the older G7X Mark III currently goes for, with scalpers are capitalizing on the smaller model's popularity. However, the Sony ZV-1 II costs around 20% less than the V1, while the DJI Osmo Pocket 3 is about half the price.
Canon PowerShot V1: Design
16-50mm f/2.8-4.5 lens with customizable ring and 5EV optical stabilization
Similar design and control layout to the PowerShot G7X Mark III
Includes hotshoe, tally lamp, headphone and mic ports
Canon has created a well-rounded and solid compact camera with a focus on video, but which also packs a solid suite of photography features.
Its design and control layout are strikingly similar to the PowerShot G7X Mark III's (see below), but on a larger scale that has enabled extra features such as a hotshoe, vari-angle screen, plus of course that larger sensor.
The camera sits nicely in the hand thanks to a generous handgrip, and is adorned with a number of customizable buttons and controls, with special mention going to the lens ring, which is ideal for making quick changes to aperture or your desired setting.
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From left to right: Canon PowerShot V1, Canon PowerShot G7X Mark III (Image credit: Tim Coleman)
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From left to right: Canon PowerShot V1, Canon PowerShot G7X Mark III (Image credit: Tim Coleman)
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From left to right: Canon PowerShot V10, Canon PowerShot G7X Mark III, Canon PowerShot V1 (Image credit: Tim Coleman)
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From left to right: Canon PowerShot V10, Canon PowerShot G7X Mark III, Canon PowerShot V1, Canon EOS R50 V (Image credit: Tim Coleman)
With the camera off and the lens retracted, I'd call the PowerShot V1 pocketable, which is impressive given the decent-size 1.4-inch sensor within.
A vari-angle touchscreen is pretty much the norm in 2025 for video-focused cameras – it can be flipped out and tilted upwards for easy viewing from awkward angles when shooting horizontally, and flipped around for vlogging.
Another handy feature for vlogging is a tally lamp, which lights up red to confirm when you're recording. You can also opt for manual focus peaking and zebra display, plus timecode – again, all handy video features.
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Cooling vents are found on the top and left-hand side of the camera, and these effectively enable unlimited 4K video record times. This isn't the sort of feature I'd expect in a camera at this level and price point, so kudos to Canon for that.
There's a decent internal mic, and Canon provides a wind muff with the camera that slots into the hotshoe to be positioned over the mic for clearer audio on breezy days.
When using the internal mic, the wind muff feels like a must, even if it somewhat obstructs some of the camera controls, such as the on/ off switch.
Still, if you're a serious creator you'll be using an external mic instead, and these can be connected using the 3.5mm mic input, with sound monitoring possible through headphones and on-screen.
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The lens is equipped with optical image stabilization (OIS) that's rated up to 5EV. That's a decent performance for photography, though it's of little use for video. For that, there's digital (or electronic) image stabilization (DIS). There's a small crop of the image area with DIS active, and even more with the enhanced DIS option, and that's where the V1's wider-than-most 16mm wide focal length is particularly handy – you'll still be able to frame yourself nicely in the shot with stabilization active.
Canon PowerShot V1: Performance
Canon's best-ever autofocus for a PowerShot
Digital image stabilzation only for video
4K video 30fps, 4K 60fps with a 1.4x crop, Full HD 120fps
I haven't had enough time with the PowerShot V1 to run full tests, but during my two-day hands-on time I have been able to use the various video record modes, snap a few photos, check image stabilization performance and shoot a few short vlogs using the internal mic.
In the sample footage below, I cover 4K 30fps, 4K 60fps, image stabilization, and the 3.1x optical zoom among other things.
Overall, 4K video footage is crisp, and subject-tracking autofocus is reliable – and that's something that's not to be taken for granted. Canon says it has put its best-ever autofocus for a PowerShot compact in the V1, and it really does perform well.
Usually, the camera's exposure metering and color are linked to the focus area. When focus was locked onto me, exposure looked fine with the help of an auto ND filter, although I have seen shifts in the color of my skin in vlogs – some look spot on, others a little green, others too magenta. It's a good practice to set white balance manually, rather than rely on auto white balance.
4K 60fps video looks great too, although you'll lose out on the option for Digital Image Stabilization at this setting, while there is also a 1.4x crop of the image area.
I don't mind the crop so much, as it effectively extends the lens for close-up B-roll. There's also a crop when you employ enhanced DIS (not available with 4K 60fps), but the V1's widest 16mm focal length gives a lot of scope for cropping into the image area for vlogging. Lens focal length might sound like a small thing, but Canon has been smart with its choice of 16mm focal length for the wide setting.
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General detail in this selfie is really sharp, plus subject-tracking autofocus has delivered pin-sharp focusing on the eyes (Image credit: Tim Coleman)
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Close focusing capabilities are impressive (Image credit: Tim Coleman)
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There's a trippy feeling to this image when the focal length is at the widest setting and the focusing is close-up. (Image credit: Tim Coleman)
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Taken at the 50mm focal length and maximum f/4.5 aperture, there's still a reasonable focus fall off here (Image credit: Tim Coleman)
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This close up at 50mm f/4.5 shows what the 1.4-inch sensor is capable of (Image credit: Tim Coleman)
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Here's the same subject but with the aperture set to f/11 – this depth of field is what you could expect from a standard smartphone. (Image credit: Tim Coleman)
Canon's 22.3MP 1.4-inch sensor is new, but we get Canon's familiar color science, and that's a good thing. Full-size photos look natural and are packed with detail – my skin and facial hair are super-crisp in the selfie above.
The PowerShot V1 also has decent close-focusing skills, so you can create photos and dynamic video cutaways for vlog footage – check out the flower closeups, again in the sample gallery above.
Would I have preferred a faster maximum aperture, say f/1.8-2.8? Yes, but that wouldn't be possible within the same compact lens dimensions. In any case, with the lens set to its maximum aperture (f/2.8-4.5) and when the focus distance is close, it's possible to get a lovely shallow depth of field.
I'll share more findings in my upcoming in-depth review.
How I tested the Canon PowerShot V1
Tested for two days, full production model
I shot various handheld video clips using a range of resolutions and frame rates, and with stabilization active and off.
I recorded vlogs using the in-camera mics only
I've not had long enough with the PowerShot V1 to give a definitive verdict. However, the two days over which I tested the compact vlogging camera gave me enough time to have a play with the various video modes on offer, including 4K and Full HD videos, and 60fps and 30fps frame rates, make short vlogs using the in-camera microphone, and shoot comparison videos with the stabilization active and turned off, to see how effective digital stabilization is for video. I've also made several photos in full quality.
Leica has taken the same product approach as other mirrorless camera makers, offering a high-resolution model in the 60MP Leica SL3 and a lower-resolution but more effective hybrid camera in the 24MP SL3-S.
Leica has had a long technology partnership with Panasonic, and the SL3-S has a lot (no, really, a lot) in common with the Lumix S5 IIx on a technical level. Physically, though, it’s very different. The SL3-S has a bigger, heavier body but with a super-streamlined control layout, with only three buttons on the rear having a specific labelled function.
It’s customizable to the nth degree, and it’s easy to assign new functions to the buttons as you go along, too. This approach does mean, however, that you'll need the patience to set it up to your liking in the first place, and a good memory for the functions you’ve assigned to the various buttons and dials.
It’s a nice camera to use, if heavy, and the info display panel on the top plate is a welcome feature when so many mirrorless camera makers don’t bother with these any more. The 5.76m-dot EVF may not have the very highest resolution on the market, but it’s clear and sharp and easily good enough. The rear screen is slightly disappointing. It has a tilt mechanism only, not a vari-angle pivot, and in our tests it just wasn’t bright enough for easy viewing outdoors, even with the brightness pushed up to maximum.
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I tested the SL3-S with the Leica Summilux-SL50mm f/1.4, and between them, the combo produced images of exceptional clarity and definition for a 24MP camera. The dynamic range seems about average for a camera of this type, but the JPEGs have very good tonal range from shadows to highlights, and at ISO 6400 (and beyond) noise levels are remarkably low.
The autofocus performance seemed pretty good when tracking humans and animals for video, though this isn't really a run-and-gun camera, and it's probably a little heavy for a gimbal too. It’s probably fair to consider this a filmmaking tool, not a vlogging camera.
The stabilization is only rated at five stops but seems to deliver its claimed maximum reliably, which you can’t always say for other cameras. This provides a very steady platform for handheld static shots, and can even cope with careful camera movements and walking-while-filming, though the results can soon get a little ‘choppy’.
Overall, the SL3-S is very expensive if you consider its specifications alone, but what you are also buying is quality – not just in the camera’s build and finish, but in the thought that’s gone into its control layout and interface. The results, too, are absolutely first rate. The Leica SL3-S is truly a class act in every sense.
Leica SL3-S: price and release date
Leica SL3-S body only: $5,295 / £4,500 / AU$8,990
Leica SL lenses start from around $2,195 / £1,850 / AU$3,490
On sale now
The Leica SL3-S is undeniably expensive, costing almost three times as much as the Panasonic Lumix S5 II / S5 IIx, which many would say it’s based on. Despite the technical similarities, however, this is a very different camera physically, with all the build quality and design finesse that you would expect for the brand. Also, this is by no means the most expensive full-frame mirrorless camera on the market; there are several which cost a good deal more, albeit with higher or more specialized specifications.
The overall cost of ownership of the SL system is perhaps not quite as high as many might expect, either. Leica’s own SL lenses are more expensive than similarly specced alternatives from other brands, but still in the same ballpark – and not as terrifyingly expensive as some M-mount optics, either. And you can, of course, use any Sigma or Panasonic L-mount optics – though anyone prepared to invest in the SL3-S would probably prefer to stick to Leica SL glassware.
Price score: 3/5
Leica SL3-S: specifications
Leica SL3-S: design and handling
All-metal magnesium and aluminum body, synthetic leather cover
IP54 weather sealing
Tilting rear screen
The Leica SL3-S's physical controls are minimalist in the extreme. Apart from three buttons on the back, none of the control dials or function buttons are labelled. You can make up your own control layout! (Image credit: Rod Lawton)
The menu system is superb. One press of the Menu button displays a quick settings screen and a second press displays the full menu system. Leica has a knack of making every camera feature quickly accessible (Image credit: Rod Lawton)
The first thing you notice about the Leica SL3-S is the simplicity of its external design and controls. On the back there are buttons marked Play, Fn and Menu, but beyond that every other control is unmarked, and can be set to any function you choose. These include two large control dials on the top, a thumb dial on the back and five function buttons on the front, top and back of the camera. There’s also a joystick for AF point selection, menu navigation and more.
Customization is super-easy. A long press on a function button brings up a menu where you can change the assigned function to something else. It’s a clever and efficient bit of interface design that’s typical of Leica, although it might not suit everyone. Some will prefer labelled buttons and dials that have a definite function, even if you can’t change them, to having to remember how you set the various buttons up.
Also, given that this is a hybrid camera where you need to be definite about whether you're in stills and video mode, wouldn’t it have been better to have a clearly labelled switch for that? An unmarked function button hardly seems adequate.
The tilting rear touchscreen is fine for indoor use, but can be hard to see outdoors, even with the brightness turned up to maximum (Image credit: Rod Lawton)
The status LCD on the top plate is a major bonus, allowing you to see key camera and exposure settings at a glance (Image credit: Rod Lawton)
The SL3-S offers two card slots, one for CFexpress Type B and one for SD UHS II cards (Image credit: Rod Lawton)
Another issue I had during testing was that I was constantly finding the focus point was somewhere other than where I left it – a common issue with touchscreens, of course – and on one occasion I found the focus area type had changed, and I don’t know why. I also found the zoom magnifier activating randomly while the shutter release was half-pressed, and I never could figure out what I was pressing to make that happen. All this is user error, of course, but it’s just a pity that the SL3-S design, beautiful as it is, leaves so many opportunities for such mistakes.
The 5.76m-dot EVF is excellent, but the 2.33m-dot rear screen less so. Even at full brightness it’s not always easy to see clearly for outdoor shooting. For video, you might have to rely more on the EVF than you would like – though of course for any kind of serious filmmaking you would quite likely have the SL3-S rigged up with an external monitor anyway.
Design and handling score: 4/5
Leica SL3-S: performance
Superb stills quality
Great high-ISO performance
Excellent JPEGs
Highly effective stabilization
Good AF tracking, though not the best
The SL3-S's single-shot autofocus is fast and effective, even when shooting wide open at f/1.4 – the depth of field here was razor-thin (Image credit: Rod Lawton)
This image was shot at ISO 16,000 and the quality is holding up extremely well, with perfectly acceptable noise levels and good fine detail. A little lower down the ISO scale at ISO 6,400, the image quality is remarkable (Image credit: Rod Lawton)
Leica SL lenses are more expensive than Panasonic or Sigma L-mount alternatives, but all the ones I've tried have been optically superb. This was taken with the Leica Summilux-SL50mm f/1.4 supplied for this review (Image credit: Rod Lawton)
This image shows the kind of spatial depth you can achieve with a full-frame camera and a fast prime lens. I didn't need to shoot this scene at f/1.4, but doing so has separated the trees in the middle distance from a beautifully blurred foreground and background. (Image credit: Rod Lawton)
You might argue that the SL3-S is ‘only’ a 24MP camera, but it produces the crispest, clearest images you’re ever likely to see from a camera with this resolution. Part of the credit undoubtedly has to go to the 50mm f/1.4 Summilux lens Leica provided for this review – this is a massive lens for a 50mm f/1.4, but it’s spectacularly sharp and aberration-free, and from edge to edge too. This is a lens you can confidently use wide open at f/1.4 without any hesitation.
The JPEGs from the SL3-S are very nice indeed. The camera achieves an excellent tonal range right into darker areas without seeming to sacrifice any midtone contrast. You can get blown highlights in JPEGs from overexposed skies, but you can recover highlight detail from the raw files, of course – though the SL3-S’s raw dynamic range seems no better or worse than that of rival cameras.
High-ISO performance is excellent. I shot a series of low-light interiors at ISO 6,400 expecting to see some significant deterioration in image quality, but the images looked really, really good. I should have set the ISO a lot higher!
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I was impressed by the IBIS too. Leica only claims five stops of compensation, but I think you probably get all of this pretty reliably, so this is perhaps Leica just being conservative. I’ve used plenty of other brands that claim higher levels of shake compensation but simply don’t deliver it.
Some have remarked that the SL3-S's AF tracking isn't quite as good as that of the Lumix S5 II/S5 IIx, but I couldn’t see any obvious weaknesses in my testing with human face / eye tracking, and the animal tracking, even though it’s still only in beta, was extremely good at keeping up with my feisty young terrier on a beach walk. Of course, it’s one thing the AF system knowing what it should be focusing on, but it will also depend on your lenses having fast enough AF actuators to keep up.
I honestly think, though, that if you’re into fast and immersive POV filming, this isn’t the kind of camera you would choose; the SL3-S will be much more at home on a tripod for more staged video productions.
Performance score: 5/5
Leica SL3-S: testing scorecard
Should I buy the Leica SL3-S?
(Image credit: Rod Lawton)
Buy it if...
You're more concerned with quality than cost And by that I mean not just quality of output, but quality of design, construction and operation.View Deal
You're already invested in the Leica SL system If you're a Leica shooter looking for a more adaptable and versatile content tool than the SL3, this is it.View Deal
You have an SL2-S If you're struggling a little with the contrast AF tracking performance of the older Leica, upgrading to the SL3-S is a clear win.View Deal
Don't buy it if...
You primarily need the video capabilities The SL3-S is not a good buy if you’re not interested in Leica’s premium design aesthetics – the Lumix S5 II/S5 IIx will do a grand job for a lot lessView Deal
You’re going to use Sigma or Panasonic lenses The SL3-S makes the most sense with Leica’s own SL glassware, which is typically big and expensive, alas.View Deal
You’re going to shoot in hazardous conditions Yes, the SL3-S does have IP54 weather sealing but, frankly, its sheer cost makes it a slightly nerve-racking choice for extreme filming. Use something cheaper!View Deal
(Image credit: Rod Lawton)
How I tested the Leica SL3-S
I had a one week SL3-S loan from Leica
It was sent along with the Leica Summilux-SL 50mm f/1.4 ASPH lens
I made photos and videos of various subjects, including animals and landscapes
I was able to use the Leica SL3-S for a few days to shoot a variety of subjects. For one shoot I chose a country walk via a yachting marina, and for another I took the SL3-S to a country estate to check out its low-light capabilities for interior shots. I also took it on an urban architecture expedition to get an idea of its dynamic range and detail rendition.
I tested its video capabilities too, particularly its stabilization and autofocus tracking, with a dog-walk on a windy beach. The aim was to find out how well the stabilization worked for static handheld shots and also a walking run-and-gun style. My pet dog was a big help in testing the AF tracking performance, including Leica’s animal tracking AF system, which is still in beta.
In particular, I wanted to try the SL3-S in shooting conditions that required a variety of settings changes, often from one shot to the next, to get a proper idea of how the Leica’s innovative control system actually worked in the field.
Viltrox's first professional LAB lens gets the Z-mount treatment, and I've already had the chance to test the lens for several weeks, pairing it with my Nikon Z6 II for supreme shallow-depth-of-field portraits and more.
At $899 / £829 / around AU$1,500 (discounts are available on the Viltrox website too), it's half the price of the Sony lens, and just a third of the price of Nikon's Plena, which originally cost around $2,600 / £2,700 / AU$4,600. For Nikon Z users like me, that's clearly a huge difference.
135mm is an ideal focal length for portraits, but I also love the perspective for landscape photography, together with the excellent light-gathering capabilities of a fast f/1.8 aperture prime lens like this.
So what do I think of the Viltrox 135mm f/1.8 LAB now that I've tested it? It's a truly stunning lens, although it does have one significant drawback that has me thinking twice.
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Viltrox 135mm f/1.8 LAB specs
Viltrox 135mm f/1.8 LAB: Design
Premium design and build quality
Very heavy
Unique customizable LCD screen is a fun touch
It's clear that the Viltrox 135mm is built for pros. The build quality is top-drawer, from the weather-resistant metal barrel, front lens element and rear mount to the reassuringly secure connection to the camera – you'll need some muscle to click the lens into place – and the premium controls dotted around the exterior.
There's a smooth focus ring, a second ring that can be set to smooth or clicked and which by default is set to control aperture, plus custom buttons and a customizable top LCD.
It's possible to customize the welcome screen of the top LCD (seriously), which is a nice touch, even if I can't see myself creating my own welcome screen... yet. It's also possible to apply firmware updates easily through the USB-C port built into the rear mount.
Focus distances are marked precisely on the LCD, down to the centimeter, which is something you don't get with other lenses. There's also a AF / MF switch plus a focus-range limiter. These exterior controls cover all the bases for the scenarios in which I see myself using the lens.
Autofocus is smooth and essentially silent. Viltrox says focus speeds are "150% faster", although I'm not sure what that's in comparison to, and I wouldn't say this is the fastest-focusing lens I've used, even if it is smooth. I'll touch on why I think so in a bit.
In the box is a decent-sized lens hood and a soft lens pouch for packing the lens away safely. So, all in all, the Viltrox 135mm F1.8 sounds great, right? And it is, but for one thing.
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As I mentioned in my verdict at the start of this review, this lens is heavy – very heavy. It's the first thing you notice as you take it out of the box. How heavy? 43.6oz / 1,235g, without the lens hood. Ouch.
To be clear, quality 135mm f/1.8 lenses like this are heavy, but the Viltrox is another level; it's about 25% heavier than the Sony and Nikon lenses I've mentioned.
I wish the Viltrox was lighter, at least for using it with my Z6 II. The balance is so front-heavy that this is a lens that's best used in short bursts, which is a shame because I could see myself using a lens like this for event photography, and those jobs are long hours.
If you shoot with a larger camera such as the Nikon Z8, or more so the Nikon Z9, the balance of the Viltrox lens will be much better.
Still, there's also a very good reason why this lens is so heavy – its supreme optical quality.
Viltrox 135mm f/1.8 LAB: Performance
135mm focal length ideal for isolating subjects
Virtually flawless optical quality
Precise and smooth autofocus, but not the fastest
The optical quality of the Viltrox 135mm f/1.8 LAB lens is virtually flawless, much like the Nikon Plena lens, and the MTF charts shared by Viltrox back this up.
Detail is sharp from center to edges, even when using the maximum f/1.8 aperture. There's not a huge amount of vignetting either – it's hardly noticeable if you stop the aperture down to f/2.8, while at f/1.8 it's easily corrected if you don't want those darker corners that help your subject stand out all the more.
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A portrait taken with the aperture set to f/1.8 (Image credit: Tim Coleman)
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The same portrait, but at f/2.8 (Image credit: Tim Coleman)
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With aperture set to f/1.8, bokeh is smooth, big and round (Image credit: Tim Coleman)
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Even at f/2.8, bokeh quality is lovely. (Image credit: Tim Coleman)
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I tried my hardest to induce lens flare, and even then the quality of shots is top drawer (Image credit: Tim Coleman)
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Another lens flare attempt (Image credit: Tim Coleman)
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135mm is an excellent focal length for isolating subjects, and focus fall-off at f/1.8 is smooth. (Image credit: Tim Coleman)
I purposefully pushed the lens in tricky scenarios, such as backlit portraits at golden hour, and it handled flare admirably. It also focused precisely, no mean feat when its VCM motors are working hard to shift those weighty lens elements, of which there are 14 in nine groups, although focusing is slightly snappier with Sony's and Nikon's lenses in my experience.
Most photographers splashing the cash on a lens like this do so for its ability to produce attractive bokeh, and the Viltrox lens impresses on this front, especially for the price.
The 11-blade circular aperture delivers buttery smooth and circular bokeh in out-of-focus areas of dappled light, as you can see in the sample images. This kind of bokeh quality is the holy grail for pro portrait photographers, and it's now available in a lens that costs a fraction of the price of Nikon and Sony's own lenses.
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f/1.8 (Image credit: Tim Coleman)
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f/2.8 (Image credit: Tim Coleman)
The top-drawer optical quality, especially for the competitive price, cannot be overstated, and Viltrox has really given me something to think about. Would I buy this lens? Absolutely. I'll just hit the gym first, or upgrade my gear with the chunkier Z8 for better balance, or – more cost-effectively – the Z6 II battery grip.
Its weight and slightly sluggish autofocus are the only drawbacks to an otherwise flawless lens.
Should you buy the Viltrox 135mm f/1.8 LAB?
Buy it if...
You want a long portrait lens
The telephoto 135mm focal length is ideal for head-and-shoulder portraits and for isolating subjects.
You want top-drawer optical quality
Supreme sharpness, buttery smooth bokeh, excellent control of flare and lens distortions… optically this lens is essentially flawless.
You want a well-made lens
Build quality and handling (aside from the weight) are excellent – this is a lens that's built to last and which offers you all the controls you need.
Don't buy it if...
You want a lightweight lens for long shoots
Weight is the lens's Achilles heel – at 45.6oz / 1,235g, you'll only want to use it in short bursts.
You want class-leading autofocus performance
Autofocus speeds are slightly on the sluggish side, even if the end results are precise and reliable.
You like to include surroundings in your portraits
The 135mm focal length is designed to isolate a subject, with little room for including surroundings unless you're shooting from some distance.
How I tested the Viltrox 135mm f/1.8 LAB
Tested intermittently for a few weeks
Paired with a Nikon Z6 II
Used in a range of scenarios and at different times of day
I received the Viltrox 135mm f/1.8 LAB lens for Nikon Z-mount a few weeks ahead of its official unveiling on March 19, 2025. It's already available for Sony E-mount.
I've paired the lens with a Nikon Z6 II body, and used it in a range of challenging scenarios to test its optical quality. These situations included backlit portraits during golden hours, with the light dancing around the sun included in some photos.
I haven't yet had the opportunity to test the lens during inclement weather yet, so I can't comment on its weather-resistance credentials.
The Fulaim X5M is yet another option in what has become a boom area of content-creation tech: the miniature wireless digital microphone. Designed for vloggers, podcasters and the like, this set is a competitor to the likes of the DJI Mic 2 and Rode Wireless Micro, with clip-on transmitters wirelessly beaming an audio signal to a receiver that can be connected to a smartphone, computer or camera.
Perhaps the main selling point of the X5M is its budget-friendly price, which undercuts premium rivals like DJI, Rode and Sennheiser by a wide margin. That makes it a tempting purchase for newbie content creators who are just getting started, particularly given the flexibility offered by its adapters, along with the ability to record directly onto the transmitter's own 4GB of internal storage.
I'd expect some concessions to be made with any budget product, and with the X5M I'd say the main ones are its rather cheap-feeling build quality, and the fact that its audio quality tops out at 16-bit where premium rivals offer 24-bit and even 32-bit float options. The display on the receiver could do with some tweaks to make it a little more readable too, but none of the above are what I'd call deal-breakers.
If more premium mics are out of your reach, and you want something a little more flexible than the smartphone-only Boya Mini, the Fulaim X5M is well worth a look.
The core Fulaim X5M set with two transmitters, the receiver and charging case (Image credit: Future | Sam Kieldsen)
Fulaim X5M: price and release date
List price is $199 / £150 / AU$310 for dual TX set
Cheaper non-recording edition available
Sold only as a set
Dual-transmitter kits with a charging case don’t come much cheaper than the Fulaim X5M. Its list price is $199 / £150 / AU$311, but I’ve found it for far less at many online stores including Amazon US for around $90 / Amazon UK for around £100, so you’ll be paying a lot less than you would for the likes of the DJI Mic Mini or Rode Wireless Micro.
That’s the price for the version of the X5M I was sent for review, which includes built-in recording on the transmitters. An even cheaper version lacking that feature is also available, for around $30 / £22 / AU$35 less.
Both sets are available to buy now from a range of online stores, but it’s worth noting that you can only get the X5M in a full package that also includes two transmitters, one receiver, a charging case, USB-C / Lightning / 3.5mm adapters, two furry windscreens and a USB-C cable; aside from replacement bits like the adapters and magnets, the elements of this kit aren’t available for individual purchase, at least as far as I could tell.
The charging case with two transmitters, the receiver and all three adapters inserted (Image credit: Future | Sam Kieldsen)
Fulaim X5M: specs
The receiver with its three adapters for Lightning, USB-C and 3.5mm devices. (Image credit: Future | Sam Kieldsen)
Fulaim X5M: Design
Most elements slot into charging case for transport
Entire package weighs 8.5oz / 240g
Adapters for USB-C, Lightning and 3.5mm included
The X5M, like many wireless mic packages, comprises two wearable transmitters, a receiver that can be connected to smartphones, tablets, computers and cameras, and a case that not only holds them but recharges their internal batteries. The case also has space for three connector adapters for the receiver (USB-C, Lightning and 3.5mm), a USB-C port for charging, and four LEDs on the front to give you a quick indication of its own battery life.
The whole kit will fit easily in your coat pocket, making the X5M wonderfully portable. I would have liked some kind of pouch or carrying bag to be included in the set though, as there’s nothing to stop the case flipping open in your bag and disgorging its contents. Also, there’s no room in the charging case for included accessories like the two furry windscreens or USB-C cable, so having a bag to hold everything would have made a lot of difference.
I found the general build quality to be okay, if a little cheap and plasticky. Pricier mic sets like the DJI Mic 2, Sennheiser Profile Wireless and Saramonic Ultra are all much sturdier than this – but that’s one reason you have to pay more for them, I suppose. There’s also no waterproofing on any of the elements here – at least nothing mentioned by Fulaim – so if you want to record outdoors in inclement weather you’ll need to exercise caution.
A Fulaim X5M transmitter with its furry windshield attached. (Image credit: Future | Sam Kieldsen)
The transmitters are small and lightweight, and can be attached to clothing via a clip or magnet. The clip is nice and strong, but I found the magnet pull to be a little weak, and I wouldn’t want to risk using it on any garment thicker than a lightweight T-shirt, lest it fall off.
Each transmitter has a USB-C port for charging and data transfer, as well as two buttons: one to switch power on/off and another that can be tapped to engage noise reduction tech and held down to start recording. It also has a 3.5mm input, enabling users to attach a third-party lavalier mic.
The receiver has a USB-C port for charging, plus an interface on the back that can accept one of the adapters, allowing it to be connected directly to products with Lightning, USB-C or 3.5mm ports. I tried it on my iPhone 13 and Panasonic GH6 II camera (with the Lightning and 3.5mm ports respectively) and found it to be a secure and fairly low-profile fit.
It also has a small non-touchscreen display that indicates battery life, recording mode, connection status and audio gain. This is a little hard to see from a distance at times, due to the choice of font and icons and its tiny size, but better to have than to not, I suppose.
The receiver also has two hardware buttons: one for power and one to toggle through five levels of gain adjustment.
Fulaim X5M: Performance
16-bit audio quality with noise reduction
Stereo, mono and safety recording modes
Transmitter can be used solo
There’s no sign of 24-bit or 32-bit audio here. The X5M, as befits its budget status, sticks with 16-bit audio – and I think that’s fine for a cheap wireless mic. Having tested the recording quality both indoors and outdoors on a blustery day, I’m more than happy with it – and I strongly suspect anyone who’s upgrading from a built-in mic on their phone or camera will feel the same. The sound is so much richer and fuller from a dedicated mic, while the furry windshield succeeds in cutting out wind noise when you're recording outdoors.
There’s even a noise reduction mode that, while I wouldn’t rely on it in truly challenging conditions, is very effective at reducing background hums – the likes of fans, air conditioners and road noise.
The X5M can record in three different modes: mono (which uses a single transmitter), stereo (where both transmitters record in tandem to create a single recording) and safety (where the second transmitter records at a slight gain reduction, as a backup track in case of the primary track experiencing a sudden loud noise or similar).
Each transmitter can be used for solo recording too, so you can ditch the rest of the set if you’re traveling really light. With 4GB of internal storage, it can record around nine hours of audio.
The X5M's receiver attached to an Apple iPhone 13 via its Lightning port. (Image credit: Future | Sam Kieldsen)
Battery life runs closer to six hours, however, with two full-recharge cycles being held in the charging case. In theory, with the charging case in your pocket you can get 18 hours of use out of the X5M before having to track down a wall socket or power bank, which is about average for a wireless mic set.
As for wireless range, Fulaim claims the X5M can work up to a range of about 650ft / 200m – that is, the distance between the transmitter and receiver. That’s in perfect conditions, of course, and I would expect the real-world figure to be a lot lower, although for the vast majority of users range is never going to be an issue. I certainly had no problems with connectivity or transmission during my review period.
Should I buy the Fulaim X5M?
Buy it if…
You want a versatile wireless mic on a budget
With its trio of adapters for connecting to all types of smartphone plus laptops and cameras, plus solo recording, this is a cheap package that isn’t restricted to a single mode of audio capture.
You’re a beginner content creator
The 16-bit audio recorded by the X5M is so much crisper, weightier, and richer than the sound you’d get from a smartphone or camera’s built-in mic, making it a cheap and simple way to elevate vlog audio.
Don’t buy it if…
You want to record in pro-quality audio formats
The X5M sticks with ‘good enough’ 16-bit audio recording, so demanding professionals who require 24-bit or even 32-bit float recording should look elsewhere – and be willing to spend more money.
You want super-tough build quality
The plasticky build quality, lack of weatherproofing, and lack of a carrying case or bag make this a mic set that needs to be handled with a little care. It’s not necessarily designed for the rough and tumble of frequent outdoor use.
Fulaim X5M: also consider
Boya Mini
This ultra-cheap, ultra-compact and ultra-lightweight wireless microphone is designed to work only with smartphones, meaning you can’t connect it to a camera. Like the Fulaim X5M, it records at 16-bit quality rather than the 24-bit offered by some pricier alternatives.
DJI Mic Mini A premium and versatile alternative that’s currently quite a bit pricier than the Fulaim X5M, the Mic Mini features 24-bit audio and Bluetooth connectivity, meaning you can bypass the receiver altogether. Its transmitters are quite a bit smaller than the Fulaim X5M’s too, which is handy if you want something a little more discreet.
I used it solo, and paired with iPhone 13 and Panasonic Lumix GH6 II
In order to see how it fared in different environments I tested the Fulaim X5M in a range of scenarios, from the quiet and relatively controlled environment of my home office to the windy coast of southeast England.
I also recorded with it in several different ways: using the transmitter’s built-in recording capability; with the receiver connected to my Apple iPhone 13 using a Lightning adapter; and with the receiver connected to my Panasonic Lumix GH6 II mirrorless camera via its 3.5mm analog adapter.
Every lens comes with some kind of compromise, but Sony’s done well to disguise it on the FE 16mm F1.8 G. Yes, it lacks the versatility of a wide-angle zoom like the FE 16-35mm F2.8 GM II. But if you’re in the market for a super wide-angle prime with plenty of creative potential, it’s a real box-ticker.
You’ve got the 16mm focal length favored by architecture and landscape fans, plus a fast f/1.8 aperture to satisfy night-sky enthusiasts. You’ve got speedy autofocus and a good set of manual controls. Then you’ve got the dimensions: Sony has cleverly packaged the FE 16mm F1.8 G to make it a lens that’s easy to travel with. All at a price that’s firmly in the reasonable bracket.
Sony might be marketing its 16mm prime at your traditional wide-angle users, but that list makes it a compelling proposition for anyone keen to experiment with a wider field of view. So where’s the catch?
In the minor category, there are a couple of marks against the FE 16mm F1.8 G. To achieve its low weight and matching price, Sony has used a fair amount of plastic in the build. And while it’s a moisture-resistant lens, it doesn’t have full weather seals. But this isn’t a G Master lens. For the money, neither one of those factors should be a dealbreaker.
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What could be is the barrel distortion. While prime optics mean the FE 16mm F1.8 G can shoot sharp in the center at its widest aperture, detail drops off to softness in the corners. This is because of how much correction is taking place at the very edges of the frame. Shoot in RAW and you’ll need to compensate quite heavily, costing you sharpness in the stretched pixels.
While this reliance on lens corrections might not sit well with purists, Sony is not alone in leaving software to address optical imperfections. Nor is it an issue which only affects prime glass. It’s a growing trend among wide-angle lenses as a whole, as we found in our review of the Canon RF 15-35mm F2.8L IS USM. Sony’s own FE 16-35mm F2.8 GM II is guilty of it, too.
In reality, if you’re willing to live with some corner softness, the FE 16mm F1.8 G is an excellent super wide-angle prime for the price. Shooting at f/1.8 not only lets you make the most of the available light, but also allows you to play with defocused backgrounds when your subject is close to the lens.
It’s true that videographers and travel photographers will probably be better served by a 16-35mm zoom, even if that means accepting a slower maximum aperture. The Sony FE 16-35mm F2.8 GM II has the versatility to cover both wide angles and tighter 35mm street shots with edge-to-edge detail. For those who want get creative at 16mm, though, the FE 16mm F1.8 G isn’t far off the sweet spot.
Sony FE 16mm F1.8 G specs
Sony FE 16mm F1.8 G: Design
Compact and lightweight for a wide-angle prime
Protected against dust and moisture
Tactile focus and aperture control rings
It’s not a pancake prime, but Sony’s done some very clever packaging to keep the FE 16mm F1.8 G compact. By super wide-angle standards, this is about as small as they come with an f/1.8 aperture. It weighs in at a very manageable 10.7oz / 304g and measures just 73.8 x 75 mm (or roughly 3 inches on each axis). That makes it almost 10mm shorter than the Sony FE 20mm F1.8G.
Its lean build is achieved in part by use of plastic in the construction. The result is a barrel that doesn’t feel especially premium, but Sony hasn’t done a cheap job either. There’s no sense that corners have been cut here: the body is creak-free and the controls are nicely tactile. While you don’t get the weather seals of the G Master series, resistance against dust and moisture also adds to the sense of robustness.
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The overall impression is one of functionality. That extends to the controls, most of which are thoughtfully placed within a finger’s reach. This is an easy lens to feel your way around one-handed. A few touches help to elevate the user experience above that of a basic prime, too: you’ve got a switch which gives you the option of clicked or smooth aperture ring rotation, for example, plus a programmable function button.
Some users might like a little more weight to the manual focus ring, but the resistance of the aperture ring feels perfectly judged. Together with switches for focus mode and Iris Lock, the FE 16mm F1.8 G is a lovely lens to use. It paired neatly with a Sony A7C II body in testing for a convenient wide-angle shooting setup.
Sony FE 16mm F1.8 G: Performance
Fixed ultra-wide 16mm focal length
Fast f/1.8 maximum aperture
Rapid autofocus with two linear motors
Frame up with the FE 16mm F1.8 G and you’ll instantly see just how wide a 16mm focal length really is. Whether you’re shooting buildings, interiors or landscapes, this is a lens designed to give you dramatic perspectives. And thanks to its wide maximum aperture, you can shoot those perspectives in a range of scenarios.
At f/1.8, this is pretty fast glass. Fast enough to capture sharp results in low lighting, whether that’s an evening street scene or a starry sky. Sony reckons the FE 16mm F1.8 G is a good option for astrophotography. Paired with a full-frame Sony E-mount camera, the 16mm’s light-gathering abilities certainly mean you can make the most of any available lumens.
The wide aperture also means you can play with a very shallow depth of field. The effect is strongest when shooting close-ups: with the right composition, you can draw a near subject into clear focus against a striking defocused background. This impression is enhanced by the fact that the wide field of view includes more of the backdrop than a standard macro lens.
Bokeh could be smoother and we did encounter some false color in blurred backgrounds. All the same, its close-focusing abilities add an additional string to the bow of Sony’s super wide-angle prime. It’s not a macro lens, but with a minimum focus distance of just 0.15m, the FE 16mm F1.8 G lets you get very close.
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It helps that the autofocus system is rapid in all conditions. Driven by dual linear motors, focusing response is pretty much instant. That’s just as true up close and in low light as it is when shooting big subjects in broad daylight. Paired with a Sony A7C II, the lens demonstrated a commendable hit rate, giving no reason to doubt that it would find its target.
All of that translates to video, too. It’s easy to see why Sony touts the FE 16mm F1.8 G as a lens with vlogging potential. Its ultra-wide focal length and close-focusing abilities are both well-suited to self-shot videography, allowing users to comfortably record themselves at arm’s length. The proportions of the lens itself also make it easy to wield when paired with a vlogging-first camera like the Sony ZV-E1.
Focus breathing is kept to a minimum: shift focus while recording and the field of view stays consistent enough for most eyes. If you have a compatible Sony body, you can use the breathing compensation function to eradicate it entirely by applying a slight crop. Shooting video with a 16:9 aspect ratio also crops out any softness in the corners from the application of distortion correction (see below).
Sony FE 16mm F1.8 G: sample images
Images shot with the Sony FE 16mm F1.8 G are broadly superb. As with most prime lenses, there’s a sweet spot in the aperture range that nets you edge-to-edge sharpness with no vignetting. That’s exactly what you’ll find at f/4.
Wide open at f/1.8, the story is a little bit different. There’s some minor vignetting evident in RAW stills, which can be addressed in post or reduced significantly by stopping down to f/2.8. That’s unless you want the effect to complement the wide-angle look, leading the eye to the center of the frame.
More problematic is barrel distortion. This isn’t a surprise for such a wide-angle prime, but the result is a loss of detail where correction stretches pixels in the corners. Whether this is applied in-camera to JPEG stills or in the edit for RAW files, the result is the same: softness at the far reaches of the frame.
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How much this loss of corner clarity is an issue will often come down to the composition. Naturally, the results of distortion correction are less noticeable when the area is defocused. In any case, you still get excellent center sharpness at f/1.8 and resolution remains decent across the frame up to f/11. Venture beyond that and you’ll find that sharpness drops off significantly, particularly as you approach f/22.
In stills captured facing into the sun, the FE 16mm F1.8 G displays a strong ability to deal with backlighting. There can be some washout at the widest apertures, but contrast is retained at f/4. The lens also keeps flaring under tight control and renders soft but attractive sunstars at narrower apertures.
Should you buy the Sony FE 16mm F1.8 G?
Buy it if...
You want to shoot wide angles in different lights
Thanks to its fast maximum aperture, Sony’s super-wide prime has the light-gathering abilities to shoot sharp in dim conditions. It can handle the bright stuff too, with attractive sunstars and decent flaring control.
You want a wide-angle that’s easy to wield
Courtesy of a polycarbonate construction, the 16mm weighs in at a relatively light 304g. It’s also compact for a super wide-angle prime, making it a tidy choice for shooting both travel stills and video.
You want to experiment with soft backgrounds
Blurred backgrounds aren’t a speciality for wide-angle lenses, but its wide aperture and short minimum focus distance mean the FE 16mm F1.8 G can produce strikingly soft backdrops when shooting close to a subject.
Don't buy it if...
You need total sharpness across the frame
Center sharpness is good on the whole and strong at the center of the frame, but drops off heavily in the corners when shooting at wide apertures, resulting in softness and a loss of detail.
You want perfection out of the camera
Substantial barrel distortion is the trade-off for a compact design. In-camera correction takes care of this for JPEGs, but it needs to be fixed in post for RAW files, along with noticeable vignetting.
You want the versatility of a zoom
Prime optics might be brighter, but a fixed focal length is less versatile. Many users will find the Sony FE 16-35mm F2.8 GM II zoom lens a more flexible choice for travel and video.
How I tested the Sony FE 16mm F1.8 G
Tested comprehensively for a week
Paired with a Sony A7C II body
Used in a range of conditions
Sony was only able to loan the FE 16mm F1.8 G to me for a seven-day period, during which time I shot with it extensively. Thankfully the weather was good during my time with it, so I was able to fully assess how it handles different lighting conditions, from bright backlighting to dimmer evening scenes.
As a 16mm would traditionally be considered a lens for shooting landscapes and architecture, I did both of those. But because Sony’s super wide-angle prime also boasts the defocusing potential of a fast maximum aperture, I also made sure to shoot up close with a range of subjects.
I used the lens with a Sony A7C II body. By shooting with it heavily over the course of a week, I was able to get a good understanding of the build quality and usability of the lens, particularly the feel of its focus and aperture rings.
Closer is better when it comes to wildlife photography, and that’s where Sony’s super-telephoto zoom delivers in spades: with a reach of 400-800mm, it’s the longest lens of its kind in Sony’s E-mount lens lineup. Trumping the 200-600mm F5.6-6.3 G OSS by a full 200mm at the telephoto end, it sacrifices wide-angle flexibility to give you a significantly tighter shot of distant subjects.
Comparable in many respects to Canon’s RF 200-800mm F6.3-9 IS USM, Sony’s super-telephoto is a win for capturing wild and winged creatures. It's less effective in the sports arena though: a slow f/6.3-8 maximum aperture makes it harder to work at the kinds of shutter speeds needed to freeze fast-moving subjects, especially in low-light scenarios, and also limits your scope for blurring busy backgrounds.
Still, in bright conditions, the 400-800mm excels. You don’t get the absolute pin-sharp detail of a telephoto prime, but it’s still sharp both throughout the zoom range and across the frame. Effective image stabilization also helps to keep things crisp when shooting handheld, with motion blur only becoming noticeable at the long end. Chromatic aberrations are kept under tight control, too.
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Tipping the scales at the best part of 2.5kg, this is not a lightweight lens. Nor is it small by anyone’s standards, especially with the lens hood attached. Yet Sony has made it a surprisingly manageable telephoto zoom to shoot with. For starters, internal zoom keeps the weight balance relatively centered over the tripod foot, which usefully doubles up as a handle.
Then you’ve got the tactile, accessible controls. With well-judged resistance, the focus ring makes manual adjustments a joy. Similarly, the short throw and smooth action of the zoom ring mean it’s swift and easy to shift through the full spectrum of focal lengths. Add a trio of programmable focus hold buttons, and the 400-800mm becomes a super-telephoto that’s easy to handle.
It’s also a lens with superb focusing skills. This isn’t G Master glass, but you wouldn’t know it from the responsiveness of the autofocus: driven by two precision linear motors, it moves fast and very rarely misses, and only when shooting busy scenes at a serious distance will you need to consider manual fine-tuning. At the wide end of the range, it also has the versatility to focus on subjects just 1.7m away.
This isn’t a perfect lens. Professional wildlife photographers will get better fine detail from a premium telephoto prime, while serious sports coverage requires the faster maximum aperture of something like the Sigma 150-600mm F5-6.3 DG DN OS Sports. But compromise is inevitable with a lens that's designed to cover several bases, and if you want a super-telephoto zoom that gets you closer than any other Sony E-mount glass, the trade-offs here are more than palatable.
Sony FE 400-800mm F6.3-8 G OSS specs
Sony FE 400-800mm F6.3-8 G OSS: Design
Heavy but well-balanced lens
Robust build with weather seals
Internal zoom with smooth ring rotation
There’s no escaping the fact that the Sony FE 400-800mm F6.3-8 G OSS is a hefty lens. At the best part of 2.5kg, you’ll feel its weight when wielding it. That said, it’s not too much bigger than the 200-600mm: it's 358g heavier, 29mm longer and just 8.3mm wider. Those don’t feel like huge trade-offs for the extra reach at the long end, although you will need to invest in costly 105mm front filters.
It helps that Sony has done a good job of balancing the lens. Rather than telescoping out in front, the zoom mechanism is all packaged internally. That keeps the weight distribution fairly consistent, whether you’re shooting handheld or on a tripod. It also means that the zoom control ring only requires a light touch, which contributes to the sense that this is a manageable lens.
So does the tripod foot, which sits pretty squarely beneath the lens and body’s center of gravity. Its collar isn’t removable, but you’ll likely find the foot useful to have more often than not. The design isn’t exactly ergonomic, but the foot makes for a natural handle, both when carrying and framing. The collar can be easily rotated, with markers for landscape and vertical orientation.
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While this isn’t a pro-grade lens, it’s more than robust enough to survive a lifetime of shoots in the wild. Besides its general weightiness, everything feels well-assembled: the barrel is solid, the control rings turn smoothly, and the switches have a nice, affirmative action. Weather seals are there to keep dust and moisture out, too.
Despite its size, Sony has tried to make the 400-800mm an accessible lens. The hood, for example, attaches with a simple button release, and features a sliding window, so you can make filter adjustments without removing it. Around the barrel, three focus-hold buttons sit at 90-degree intervals, and each can be programmed with custom functions. Then you have its stack of five focus and stabilization switches. As heavyweight telephoto zoom lenses go, this is one of the most user-friendly.
Sony FE 400-800mm F6.3-8 G OSS: Performance
Fast autofocus with two linear motors
Relatively slow f/6.3-8 maximum aperture
1.7m minimum focus distance at 400mm
When it comes to focusing performance, the 400-800mm impresses. Driven by a pair of high-speed linear motors, autofocus is both rapid and reliable, with zero delay between button press and motor response. According to Sony, the telephoto zoom can handle the 120fps maximum burst speeds of the A9 III. We didn’t have Sony’s sports star to hand during testing, but our chosen body – the A1 II – is no slouch, and the 400-800mm had no trouble keeping up.
It’s not immune from the odd miss, particularly when shooting over significant distances, but two features help here. The first is the focus limiter switch, which lets you give the 400-800mm a helping hand. By switching from the full range to one of two restricted modes, based on your distance from the subject, the lens has to hunt around less to find focus.
The second is full-time direct manual focus, which allows you to manually fine-tune focus in any mode by twisting the control ring. There aren’t many occasions where you’ll need to do this, but if the autofocus is having trouble with branches, for example, you’ll find the focus ring has just the right amount of resistance to let you make careful adjustments.
Close focusing is another key selling point of the 400-800mm, with a minimum distance of 1.7m at the wide end. In practice, that lets you get the shot even when your subject is relatively close. 400mm is probably too tight to practically shoot from the sidelines of a sports event, but that distance does mean you can capture small creatures that are near the end of the lens.
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Of course, it’s the super-telephoto number that grabs the headlines – and for good reason: 800mm is a long way in. Compared to a barrel that maxes out at 600mm the extra reach gets you significantly tighter in on your subject, and whether you’re shooting a kingfisher or a kickabout the difference is dramatic.
Almost as important as the range itself is the short throw of the zoom ring, which is optimized for quick shifts in focal length, and has a wonderfully smooth action; the internal zoom mechanism helps here, because the control ring isn’t responsible for telescoping elements. The net result is that it's pretty effortless to move through the full 400-800mm range, and together with the swift autofocus it enables you to readily switch between subjects near and far.
What does hold the 400-800mm back in some scenarios is the slow f/6.3-8 maximum aperture. This isn’t an issue in good light, where the lens performs well (see the sample images below). Under darker skies, though, it can struggle to keep up with rapid action, and at the shutter speeds required to freeze movement you’ll need to crank up the ISO setting or risk underexposed stills.
As a result, this isn’t a lens for shooting sports, especially not indoors. Even in the dimmer conditions of undergrowth, it can be a challenge to capture blur-free animal motion.
That slower maximum aperture also makes the lens less effective at blurring backgrounds. It’s not a major issue with leafy scenes or distant backdrops, but it does demand more care when composing against busy settings. At f/5.6-6.3, the 200-600mm has better light-gathering abilities and enables a tighter depth of field.
Sony FE 400-800mm F6.3-8 G OSS: sample images
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Optically, there’s a lot going on inside the 400-800mm. There are 27 elements in 19 groups, six of which are extra-low dispersion, which translates into sharp stills which are pretty much free from chromatic aberrations.
At a pixel level, you’ll get finer results from a telephoto prime, but for a super-telephoto zoom, the 400-800mm exhibits decent sharpness. Detail is crisp at both the center and the edge of the frame, across the full zoom range. Again, the lens delivers its best results in good lighting, where you can work at shutter speeds fast enough to eliminate motion blur.
SteadyShot stabilization helps to keep things sharp. Sony hasn’t published the official rating of its OIS system, but with a trio of modes covering static and panning shots, as well as active subjects shot using the viewfinder, we found it pretty effective at counteracting hand shake. Blur did become noticeable at the extreme end, but panning handheld at 800mm is never going to bag you the sharpest stills.
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(Image credit: Chris Rowlands)
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Chromatic aberrations are tightly controlled, with just a hint of purple fringing creeping in at super-telephoto focal lengths. Pincushion distortion is minimal, too, leaving you with very little to fix in raw images. The 11-blade aperture diaphragm also produces bokeh smooth enough to satisfy most enthusiasts.
Should you buy the Sony FE 400-800mm F6.3-8 G OSS?
Buy it if...
You’re a bird or wildlife photographer
The spec sheet of the 400-800mm reads like a wish list for bird and wildlife photographers, with rapid autofocus, a long reach, and internal zoom, plus short minimum focus distances at the wide end.
You need maximum telephoto reach
Sony’s longest telephoto zoom to date gets you closer than any other E-mount zoom lens. It has an additional 200mm on Sony’s next-longest telephoto, which gets you significantly closer to the action.
You want easy zooming and focusing
Internal zoom contributes to a smooth control ring action, while a relatively short rotational range lets you move easily through focal lengths. Full-time direct manual focusing means precision adjustments are slick and quick, too.
Don't buy it if...
You’re a sports photographer
With a slow f/6.3-8 maximum aperture, the 400-800mm F6.3-8 G OSS struggles to keep up with action on dull days. Indoors or in low lighting, it’s simply not fast enough for sports.
You’re happy with a shorter reach
If you shoot relatively close to your subjects or simply don’t need the extra reach at the telephoto end, you’ll find better value in the Sony FE 200-600mm F5.6-6.3 G OSS.
You don’t want an unwieldy lens
Its zoom range might be unrivalled, but there’s no escaping the fact that the 400-800mm is a large and weighty lens. Internal zoom makes it easier to handle, but 2.5kg is still a lot to carry.
How I tested the Sony FE 400-800mm F6.3-8 G OSS
I used the lens extensively for a week
I paired it with the Sony A1 II
I tested it in a range of scenarios
Sony only made the FE 400-800mm F6.3-8 G OSS available for a short loan period, so I made the most of my week with it. I was blessed with a several days of clear skies and winter sun, allowing me to test the telephoto zoom in ideal conditions.
Given the lens's wildlife credentials, animals were obviously a focus of my test shots. That said, I also made sure to assess its capabilities as a sports lens, shooting on-track action at the Goodwood motorsports circuit near my home in the UK. To be thorough, I also shot architectural details, flowers, and a handful of portraits.
Paired with a Sony A1 II, I took the FE 400-800mm F6.3-8 G OSS on several walks to get a good understanding of how easy it was to move and shoot with the lens handheld, taking into account not just its weight, but also its full complement of controls, as well as the collar.
There are typically two types of outdoor backpacks for photographers: those that follow a traditional photography backpack design and those that are based on hiking backpacks and feature a modular ICU (internal camera unit) design where you can customize the camera storage within the bag. The f-stop Tilopa 50L DuraDiamond is a high-end modular bag that fits into the latter camp and is designed specifically for outdoor photographers like me, for whom it's one of the best camera bags available.
The f-stop Tilopa 50L DuraDiamond has been available for a few years and is a newer, tougher version of the original Tilopa. It's a large bag with a 50-liter capacity, and this can be paired with large ICUs for carrying mostly camera gear alongside other items in the additional compartments, or with a smaller ICU for less photo gear and lots of outdoor kit including camping equipment for a one- or two-night wild camping trip.
This cavernous bag is built to an incredibly high standard and it's versatile too – as well as offering compatibility with f-stop ICUs, there are lots of pockets and compartments to store your essentials, including space for a three-liter hydration bladder and up to a 16-inch laptop. The bag also features an internal frame like traditional hiking backpacks alongside being made of tough waterproof material.
I've been an outdoors photographer for more years than I can count, exploring tough terrains in inclement weather, and the f-stop Tilopa 50L DuraDiamond has been a reliable and versatile backpack throughout. It might cost a lot, but for me its decent value given the years of service.
(Image credit: James Abbott)
f-stop Tilopa 50L DuraDiamond: price and availability
Several kit options
Available in three colors
Available direct and from third parties
The f-stop Tilopa 50L DuraDiamond has been available for years directly from the f-stop website, Amazon and other online retailers. Pricing on the f-stop website is in US Dollars and Euros, with the bag coming in three colors: Anthracite Black, Cypress Green and Magma Red. You can purchase the pack/bag only, which is ideal if you already own f-stop ICUs, or in three bundles which include Essentials, Elite and Master. You can, alternatively, buy the pack/bag only and purchase the desired ICU separately.
The pack Only costs $399.99 / €399.99, while the Essentials bundle costs $499.99 / €499.99 and also includes a Pro Large ICU, Gatekeeper Straps and Large Rain Cover. Step up from Essentials to the Elite bundle ($579.99 / €579.99) and you'll also get a Shallow Small ICU, while the Master bundle costs $769.99 / €769.99 and further adds a Slope Medium ICU, Large Accessory Pouch and Packing Cell Kit.
Mindshift Backlight 26L: specs
f-stop Tilopa 50L DuraDiamond: design
Extremely comfortable
Built for the outdoors
Modular design
The f-stop Tilopa 50L DuraDiamond is a modular backpack so you can change the ICUs depending on your photography needs. There are also lots of additional accessories available including packing cells, straps and accessory pouches, so you can build the perfect bag system for you and your outdoor photographic adventures.
This is a large backpack – not the largest f-stop option available, but at 50 liters the Tilopa has a huge amount of storage space on offer. Just to give you an idea of its dimensions, the bag is 62.3 x 34.8 x 24.4cm / 24.5 x 13.7 x 11.1in with an empty weight of 4.2lb / 1.9kg.
That empty weight is as heavy as some traditional outdoor backpacks that are half the capacity of the Tilopa with fixed camera compartments, but obviously increases depending on what ICUs you're using; they don’t weigh much, but the Pro Large I tend to use weighs 1.71 lbs / 0.76 kgs.
When you consider the weight in this context, the Tilopa is lightweight given the capacity of the bag. The overall capacity is obviously fixed, but you can extend the amount of additional space for personal/outdoor items by using smaller ICUs. There are also pockets in the lid of the bag and on the sides with one able to accommodate a three-liter hydration bladder, complete with a guarded hole for the tube to maintain water resistance.
There's also a large front pocket on the bag with further compartments in the flap; this is quite large and can hold a wide range of items including a jacket. There's a slot to accommodate a 16-inch laptop in the padded rear-entry back panel as well as two larger pockets and four memory card slots that secure magnetically.
On the front of the bag, there are attachments for two walking poles or ice axes as well as the ability to carry a tripod on the front or sides of the bag. There are also pockets and netted straps on the waist belt and shoulder straps, while there are plenty of loops for attaching straps to carry items such as a tent outside of the bag.
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(Image credit: James Abbott)
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The build quality of the bag is excellent and the proprietary DuraDiamond material is both extremely tough and also water-resistant. Tougher Hypalon material is used as reinforcement in a few areas where additional strength is required and the large and comfortable-to-use zippers feature weatherproofing to keep moisture out.
On the inside, the Tilopa features an aluminum frame like traditional hiking backpacks to add rigidity and comfort. This, I have to say helps to make the Tilopa incredibly comfortable to wear.
For the purposes of this test, I paired the Tilopa with the Pro Large ICU which provided enough storage for my standard kit; two full-frame camera bodies with 70-200mm f/4 and 16-35mm f/2.8 lenses attached, a third lens, square filters, shutter remotes and lens cleaning accessories. It could be reconfigured to carry more if lenses weren't attached to the camera bodies, but this is a setup that works perfectly for me.
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The only negative with the Tilopa is that it doesn’t have a pouch/pocket that can carry a water bottle, like the side pouches on the smaller 37-liter f-stop Ajna. It's not the end of the world because you can put a bottle in the main front pocket, and one of the side pockets is designed to be used with a hydration bladder. You can also purchase the Mano Water Bottle Pouch separately and this will carry a 17 fl oz / 500ml bottle.
One of my favourite features of the bag, alongside the versatility of the ICUs and its comfort in use, is that you can access gear without fully removing the bag and putting it down on the ground. This is ideal when shooting in water or muddy locations. To do this, you simply remove the shoulder straps and rotate the Tilopa to your front with the waistbelt in use. This allows you to access your kit via the rear panel – perfect for outdoor photography.
Should I buy the f-stop Tilopa 50L DuraDiamond?
(Image credit: James Abbott)
Buy it if...
You'd like a modular backpack Having a backpack that can accommodate several different modular units allows you to configure the bag to your needs on a day-by-day or trip-by-trip basis, so it's like having several backpacks in one.
You want a bag you don’t have to put down Gear can be accessed without removing the Tilopa from your body, which is great when you're standing in mud, water or snow. DuraDiamond material can be easily wiped clean, but it's still a useful feature.
Don't buy it if...
You don’t require modularity If you don’t require the ability to customize camera storage / utilize modular units, then the Tilopa may not be for you. Just know that the Small ICUs do allow for a great deal of non-photographic kit to be carried.
You'd like a smaller bag With 50 liters of total storage, the Tilopa will be too large for some people. If you only need a medium-size backpack, the 37 Liter f-stop Ajna may be a better option.
How I tested the f-stop Tilopa 50L DuraDiamond
Long term review based on several years hands-on use
All features tested
Used in outdoor locations, including mountains and coast
I've owned the f-stop Tilopa for several years and use it either when I'm on a wild camping photography trip or when I need to carry more kit alongside outdoor gear. The Tilopa has been tested over an extended period where all of its strengths and weaknesses have been exposed, and it has been used in all weather conditions in the hills, mountains and at the coast. While the Tilopa would function perfectly in urban environments, I typically use lower-capacity backpacks in the city.
The OM System OM-3 is a stunning camera – just look at it – even if it still stings for Olympus fans that you're reading OM System on that viewfinder hump.
With its flush faux leather frontage and silver top plate adorned with exposure dials, the OM-3 is as good as retro gets in the camera world. Oh, and there's also a new color mode dial – that's so on-trend.
Contrary to what its old-school exterior might suggest, this isn't a camera that's stuck in the past, and under the hood the OM-3 packs serious power. Its stacked 20MP Micro Four Thirds sensor delivers blazing-fast burst-shooting performance, up to 50fps with continuous autofocus; intelligent subject-tracking autofocus that works a treat (most of the time); and an array of computational photography modes that make light work of difficult shooting techniques such as focus stacking, which would otherwise require time-consuming edits (even if some of the end results aren't perfect).
Isn't she lovely? (Image credit: Tim Coleman)
I'm a big fan of what OM System has done with the OM-3. This is its best camera since its acquisition of Olympus in January 2021. From mind-bogglingly impressive in-body image stabilization (I've shot sharp images handheld with seconds-long shutter speeds – that's smartphone night-shot-like skills), to computational photography modes that encourage creative techniques such as long exposures, highly effective autofocus, a wide choice of lenses and a lightweight build (particularly the lenses), I've had a blast shooting with the OM-3 over several weeks.
As an everyday camera, most of the fun and creative computational photography modes feel more relevant in the OM-3 than they do in the serious OM-1 II, an alternative that's the better pick for serious photography such as wildlife.
There's so much about the OM-3 that just feels right. That said, I wish it was a rangefinder by design, like the Pen-F. Don't get me wrong: the OM-3 is 2025's best-looking camera so far. I just think that as an everyday camera that's best used with small and lightweight lenses, the Pen-F's smaller rangefinder-style body would have been the better way to go. After all, we already have other OM System cameras with a similar form factor to the OM-3, such as the OM-5.
At $1,999 / £1,699 / AU$3,199 for the body only, the OM-3 is also a pricey camera, especially when you consider that the Fujifilm X-T5 with its 40MP APS-C sensor is around $100 / £100 less. The bottom line for me, however, is that the OM-3 is a camera that I want to shoot with more than most. Its compact and retro design, together with its super-fun shooting modes, have encouraged me to new levels of creativity, and I can’t really put a price on that.
OM System OM-3: price and release date
The OM-3 costs $1,999 / £1,699 / AU$3,199 body-only
It's available bundled with the excellent 12-45mm F4 Pro lens for $2,299 / £1,999 / AU$3,799
Available to pre-order now, with stock expected late February
On the one hand, the OM-3 is excellent value. It's the cheapest camera available with a stacked sensor, and packs many of the same features as the pricier OM System OM-1 II flagship. It feels like even better value when bundled with the 12-45mm F4 Pro lens for $300 / £300 / AU$600 more – this is no ordinary kit lens, but a super-sharp and versatile zoom.
However, when you consider rival cameras that you can pick up for around the same money or less, such as the Fujifilm X-T5 with its larger APS-C sensor and 40MP stills, suddenly the OM-3 feels expensive. Its stacked sensor is a costly component and will limit potential price reductions, but I'd hope that the price of OM-3 will settle at around $300 / £250 / AU$500 less than the list price by the end of 2025.
Price score: 3.5/5
OM System OM-3: specs
OM System OM-3: design and handling
A thing of beauty, modelled on 1973’s Olympus OM-1 analog SLR
Features a handy vari-angle touchscreen and dated 2.36m-dot EVF
Useful dedicated dials for color modes and computational photography modes
For me, the OM-3 is almostthe perfect embodiment of Micro Four Thirds photography; it’s compact and lightweight, highly rugged and attractive, and outright fun.
It’s the camera system that you want to slip into a jacket pocket for a day out or take away for a weekend break, and one that makes you obsessively creative – family and friends who've been with me during my review process have had to show extreme levels of patience while I've played around with the camera!
The OM-3 feels great in the hand with a small lens attached, and it’ll turns head too, if that seals the deal for you.
I say it’s almost perfect because for an everyday camera like this I think a rangefinder-style body would have been the better design choice – much like 2016’s Pen-F (which we’re told the OM-3 is the natural successor to).
After all, we already have a number of OM System cameras with a raised viewfinder hump, like the OM-5, so why not just squeeze the OM-3's modest 2.36m-dot EVF unit into the corner of a smaller rangefinder-style camera?
It's disappointing that we get a dated 2.36m-dot EVF, especially when the OM-1 II has a 5.76m-dot unit with clearer 0.82x magnification. I think the viewfinder placement and dated specs are my main design criticism of the OM-3; otherwise, it’s wider-than-average body allows space for controls to breathe, even if its grip-less body counts out easy handling with larger lenses.
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The OM-3 is a small camera befitting the Micro Four Thirds sensor format (Image credit: Tim Coleman)
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I like the wider-than-average body – the design gives controls more space to breathe. (Image credit: Tim Coleman)
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Such a classic-looking camera (Image credit: Tim Coleman)
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The top plate is decked with plenty of dials and controls. (Image credit: Tim Coleman)
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With the LCD screen packed away, the OM-3 looks even more old school. (Image credit: Tim Coleman)
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The OM-3 has a decent flip-put touchscreen (Image credit: Tim Coleman)
If you like the OM-3’s looks, then you’ll also love how rugged and well built it is. OM System is one of the few camera brands to officially rate its cameras for weather-sealing, and the OM-3 is IP53-rated – that’s decently resistant to dust and water spray. So even though you won’t want to get this lovely-looking camera soaked in a rain shower, it can take it.
I also appreciate the new dedicated button and dials to directly access the OM-3’s color modes and computational photography modes, two creative options that are highly addictive and fun to play with.
You’re spoilt for choice for getting the look you like with four color mode settings, including a dedicated monochrome option, together with a practically infinite degree of customization.
Enthusiast filmmakers are well catered for too, with headphone and microphone ports and USB-C connectivity, although the micro HDMI port won't impress serious videographers, nor will the camera's single SD card slot.
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The color mode dial on the OM System OM-3 (Image credit: Tim Coleman)
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Closeup of the OM System OM-3's Computational Photography button (Image credit: Tim Coleman)
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Just the single SD card slot here. (Image credit: Tim Coleman)
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A new shooting mode dial offers photo, video and S&Q (slow and quick) modes. I often found myself moving this dial accidentally when changing lenses. (Image credit: Tim Coleman)
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There are plenty of dials to make quick adjustments to camera settings. (Image credit: Tim Coleman)
For example, the Live ND Shooting option can reduce the amount of light the camera gathers, much like an ND lens filter, to enable long-exposure photography – and thanks to the camera’s highly impressive in-body image stabilization you can get this effect when shooting handheld too.
You don’t need a tripod and lens filters to get the long-exposure effect; you can simply take the camera out of your pocket, access one of the ND filter effects, with a max ND64 (6EV) strength, and start shooting. The ease with which you can get creative is what really makes the OM-3 such an addictive camera.
Design score: 4.5/5
OM System OM-3: features and performance
Stacked sensor delivers up to 50fps with continuous AF
Very impressive 590-shot battery life
Superb image stabilization performance
Some computational modes take time to process
I have no complaints regarding the OM-3's features and performance – it's a surprisingly powerful little camera.
I have to start with its impressive stacked sensor, which delivers incredible speed; there are few cameras that can better its 50fps burst shooting with continuous autofocus, sustained for sequences of around 5-6 seconds before the camera starts to down.
I was able to squeeze slightly longer sequences out of the OM1-II, but the OM3's performance is more than enough considering the kinds of everyday photography people will likely use it for.
The OM-3's sensor is also stabilized – and OM System cameras, including predecessors bearing the Olympus name, offer exceptional image stabilization performance. With a steady hand you can shoot sharp images with shutter speeds that are several seconds long, depending on the lens you're using, and for video it's entirely possible to shoot smooth-looking clips when on the move.
The stacked 20MP Micro Four Thirds sensor is seriously fast (Image credit: Tim Coleman)
It's the impressive stabilization that makes the computational photography modes particularly accessible. For example, employing the Live ND Shooting mode with up to 6EV ND filter effect for long-exposure effects wouldn't be the same if you had to mount the camera to a tripod. But here we are, able to achieve the effect handheld – see my street and ocean shots in the gallery below.
The same can be said for the High Res Shot mode, which increases resolution to 50MP (with a tripod mount option further increasing detail to 80MP). We also get the latest graduated ND filter effect to reduce the difference in brightness between land and sky by up to 3EV, plus HDR modes.
Some of these modes go some way to nullifying the perceived shortcomings of the OM-3's 20MP Micro Four Thirds sensor and its lesser dynamic range, while other modes are simply downright fun.
Then there's the autofocus performance. In some regards it's exceptional – for example when detecting certain subjects such as birds – and there are sophisticated options for people, such as eye priority that can be further narrowed down to left or right eye priority.
However, there are other scenarios where I found the OM-3's autofocus less reliable than rival cameras, such as in dim, low-contrast light. Overall though, autofocus performance is very good.
I must also commend the OM-3's battery life. A decent-sized unit is squeezed into the camera and this delivers a 590-shot capacity, which for a camera this size is pretty impressive.
The OM-3 squeezes in an impressively large battery with decent 590-shot capacity. (Image credit: Tim Coleman)
Features and performance score: 5/5
OM System OM-3: image and video quality
Same image quality as the flagship OM-1 II
20MP stills, with a 80MP high-res shot mode
4K video up to 60fps, and no rolling shutter
Compared to the sensors in full-frame and APS-C cameras from the likes of Sony, Canon, Nikon and Fujifilm, the OM-3's Micro Four Thirds sensor is smaller, and comes with certain downsides in terms of image quality.
At 20MP, the OM-3 has less resolution than similarly priced rivals, a narrower dynamic range, and relatively modest low-light performance. However, I'm still very happy with the photos and videos that I've been able to capture, and for many scenarios the OM3's image stabilization and computational modes can turn the tables to deliver superb end results.
Not all of the computational modes can be relied upon for every scenario, however. For instance, focus stacking, which is used to increase depth of field and is especially useful for macro photography, exhibits a subtle but spottable ghosting effect in bright subjects, which I particularly noticed in a close-up image of a backlit mushroom.
Creative color
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One of the many Art Filter effects (Image credit: Tim Coleman)
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One of the many Art Filter effects (Image credit: Tim Coleman)
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One of the many Art Filter effects (Image credit: Tim Coleman)
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One of the many Art Filter effects (Image credit: Tim Coleman)
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One of the many Art Filter effects (Image credit: Tim Coleman)
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Here is one of the new creative color looks, with no customization (Image credit: Tim Coleman)
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Here is one of the new creative color looks, with no customization (Image credit: Tim Coleman)
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Here is one of the new creative color looks, with no customization (Image credit: Tim Coleman)
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Here is one of the new creative color looks, with no customization (Image credit: Tim Coleman)
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One of the monochrome looks - the one with harshest contrast. (Image credit: Tim Coleman)
The new color mode dial is worth highlighting too. This offers four options, including monochrome settings, new creative looks with four customizable settings, the long-present Art Filters, plus a Picture mode for a purely customized color profile.
Many of the Art Filters feel a bit dated now, but I still like some of the effects. I think most people will find that one of the new creative looks suits their style, especially given that you can manually tweak the look of each one, with control over curves, shading, sharpness, contrast, and color temperature.
OM System OM-3 sample video
There's also OM System's Log color profile for video, HLG, plus a couple of Cinelike color profiles for pleasing straight-out-of-the-camera grades.
Video resolution tops out at 4K with frame rates up to 60fps. If you're happy to drop to Full HD, then slow-motion 240fps is possible, while a Slow & Quick mode can be utilized for timelapse effects in addition to slow motion.
The OM-3 is a photography-first camera, but it's entirely possible to get gorgeous-looking and smooth video clips if you know what you're doing.
Computational photography sample images
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I employed the Live ND Shooting mode and a 4 second exposure time to get this blurred water effect (Image credit: Tim Coleman)
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I employed the Live ND Shooting mode and a 4 second exposure time to get this blurred water effect (Image credit: Tim Coleman)
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A 1 second exposure time and Live ND Shooting mode was just right to blur the movement of passers-by. (Image credit: Tim Coleman)
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The Live Graduated ND filter effect, maximum 3EV strength (Image credit: Tim Coleman)
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The same photo without the graduated filter effect (Image credit: Tim Coleman)
For the above long-exposure-effect photos, I set the OM-3 to the Live ND Shooting ND64 setting, which reduces the amount of light the camera takes in by 6EV. This is the maximum strength available, and is sufficient to slow the shutter speed down to seconds long on a gray day, as in the London street and UK coastal images above.
All the above images were captured handheld, and detail in still subjects such as the rock and the ground is perfectly sharp. As such, I've felt confident enough to leave my tripod at home for most of this review. Not needing a tripod or ND filters makes creating long-exposure effects a breeze, and I sometimes found myself getting carried away creating such images, much to the annoyance of the people with me at the time!
OM System OM-3 further sample images
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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Being able to shoot this static scene handheld with a 1-second shutter speed and still get a sharp image meant I could select a lower ISO and enjoy a cleaner end image, virtually free from noise. (Image credit: Tim Coleman)
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Taken with the 90mm F3.5 macro lens (Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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2 seconds shutter speed, handheld, and detail is sharp (Image credit: Tim Coleman)
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Image quality is ok here, but the low light and ISO 6400 setting needed mean that detail isn't quite so crisp (Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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Lovely natural colors (Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
Image and video quality score: 4/5
OM System OM-3: testing scorecard
Should I buy the OM System OM-3?
Buy it if...
You'd like to get obessively creative OM System leads the way for smartphone-like computational modes, with plenty of creative effects to enjoy.
You love the old-school looks It's not radically different from previous OM System offerings, and Fujifilm and Nikon are competitive in this space, but the OM-3 is the best-looking retro camera of the year so far.
You want a small camera and lens system for everyday photography Micro Four Thirds beats larger sensor formats if you prefer small and lightweight gear, plus the OM-3 is a lovely choice for everyday photos.
Don't buy it if...
You're a wildlife and sports photographer While it offers super-fast burst shooting and autofocus speeds, the grip-less body of the OM-3 is uncomfortable to hold when paired with large telephoto lenses.
You're on a budget The OM-3's list price could prove to be a sticking point for many – it's a lot to pay for a casual everyday camera.
You're a regular night photographer Versus larger-sensor rivals, the low-light image quality and autofocus performance of the OM-3 doesn't stack up.
OM System OM-3: also consider
Fujifilm X-T5
For around $100 / £100 less than the OM-3 less you can pick up the Fujifilm X-T5, which is a highly capable mirrorless camera in a similar mold, sporting a retro body and offering powerful performance. You get a larger APS-C sensor with impressive 40MP resolution and 6K video skills, plus a solid build quality and handling, with neat exposure dials and decent in-body image stabilization.
For a bigger outlay, the Nikon Zf is our favorite retro mirrorless camera overall. Like the OM-3 it's inspired by an analog SLR – in this case the Nikon FM2 – and it's a compelling Fujifilm rival for retro fans. The full-frame 24MP sensor, superb manual focus-assist tools, easy access to black and white photography, plus Nikon's best-ever image stabilization, combine to great effect.
If you love the modern tech of the OM-3, including its stacked sensor, computational photography smarts, and superb tracking autofocus, you'll get all of that with the costlier OM-1 II, which is better suited to wildlife and action photography thanks to its pronounced grip and comfortable handling with large lenses. It offers the same image quality and performance as the OM-3, plus it costs more, but you get a better design for demanding pursuits.
OM System loaned me the OM-3 with the 12-45mm F4 Pro lens for several weeks
I also used some of my own OM System gear with the camera – the 90mm F3.5 Macro lens and tiny 45mm F1.8 portrait lens
I put the OM-3 through its paces in many and varied photo and video scenarios, and tried out the computational photography modes
I shot with the OM-3 for several weeks, together with the 12-45mm F4 Pro, 90mm F3.5 Macro, and 45mm F1.8 lenses. I was also using the OM-1 at the same time, which has enabled me to make comparisons between the handling of the two types of OM System designs.
The camera and lenses were with me come rain or shine, both day and night, during which time I tested the gear regularly, including the OM-3's photography modes, color profiles, and computational photography smarts.
I tested the High Res Shot and Long Exposure modes, both handheld and with the camera mounted to a tripod. I've also tested burst shooting performance, with standard cameras settings that we use for all of TechRadar's camera tests.
The Panasonic Lumix S1R II is the new flagship model for Panasonic’s Lumix S series of full-frame mirrorless cameras, replacing the original, 2019-released S1R.
Built first and foremost for capturing massive amounts of detail (the ‘R’ in its name presumably referring to ‘resolution’), the S1R II features a new full-frame 44.3MP CMOS sensor and can record 8K video at up to 30fps, not to mention 4K video at 120fps – a significant video resolution and frame rate improvement over its predecessor.
Panasonic trumpets meaningful advances in other areas too, most notably autofocus, continuous shooting speed and image stabilization, all while reducing the overall size and weight of the camera body in comparison to the Lumix S1R.
Having used the Lumix S1R II for over a week in a wide variety of photo and video shooting scenarios, I’m mightily impressed by what Panasonic has achieved here. The S1R II is surprisingly compact and lightweight for a full-frame flagship camera, immediately solving one of the S1R's biggest flaws.
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The S1R II isn't perfect. Its battery life isn't the most impressive, and some of its more demanding hi-res video modes can cause the body to gradually overheat and require a shutdown and cooling-off period. It also requires that you own a pricy CFexpress Type B card to use some of its features.
None of these issues is a deal-breaker for me, though, especially when taking the camera's capabilities and strengths into account. There's the portability, which I've mentioned, but also much-improved autofocus talents in comparison to the S1R, thanks to the implementation of a fast, accurate phase hybrid system to replace the rather slow and spotty contrast detection system on the old camera.
Image stabilization is also more effective here, stills shooting speeds are higher (especially the new 40fps electronic shutter option) and there are far more resolution, bitrate and frame rate options for video shooters than on the S1R – including Apple ProRes HQ internal recording and the aforementioned 8K resolution.
The Panasonic Lumix S1R II feels like a big leap over its predecessor and just a brilliantly flexible all-rounder. Yes, it's expensive, but I can't think of many full-frame cameras I'd rather pick if I needed a device that can do it all.
Panasonic Lumix S1R II: price and release date
Lumix S1R II body only: $3,299 / £2,999 / AU$5,499
UK-only Lumix S1R II with 24-105mm lens bundle: £3,799
On sale March 2025
The Panasonic Lumix S1R II will be available from March 2025 priced at $3,299 / £2,999 / AU$5,499 body only. In the UK, it'll also be available in a kit with a 24-105mm f/4 standard zoom lens for £3,799. These prices aren't too different to what you'd have paid for the original Lumix S1R cost upon its launch in 2019, so it's hard to have too many complaints about the cost. Inflation hasn't had too much of an effect here.
Panasonic is also launching a battery grip accessory, the DMW-BG2, alongside the camera. This will be available from March 2025 also, priced at $349 / £299.
Price score: 4.5/5
specs
Panasonic Lumix S1R II: design and handling
Relatively compact and just 795g
Large, detailed OLED viewfinder
Front and rear tally lamps
The original Lumix S1R was a large, bulky camera, often annoying so – but I don’t feel the same way about the S1R II. It’s so much easier to live with, weighing only 795g including a battery and SD card. That’s over 200g lighter than the S1R, despite retaining its premium metal body and weather sealing.
Thanks to this lighter, more compact body, it feels much more like a camera you could take out with you on a daily basis, rather than one you’d reserve for special occasions. That does depend somewhat on the lens you choose, of course: the 16-35mm f/4 zoom Panasonic loaned to me for the purposes of review is a really chunky and weighty piece of glass, and makes the S1R II feel quite bulky, whereas the 85mm f/1.8 prime the company also lent me makes for a much more manageable, agile setup.
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The S1R II’s classic DSLR-style shape is a joy to handle. There’s a large grip to wrap one’s right hand around, and with the camera’s relatively low weight this meant I could even use it one-handed at times. Build quality feels solid and premium, although I was a little disappointed to note that Panasonic has eschewed metal lug rings for attaching the neck strap. The fixed rings used here feel a little cheap for a flagship camera.
The camera’s physical controls are all nicely placed; my day-to-day camera is a Panasonic Lumix GH6 II, so the S1R II’s similar control setup felt immediately familiar. There’s a dial to flick quickly between photo, video and S&Q (slow and quick) shooting modes, front and top record buttons and more than enough dials to ensure any setting can be swiftly adjusted with a minimum of fuss. The original S1R's top plate LCD info panel has been removed here, which helps keep the size down in this its successor – but I concede some people might miss its ability to deliver a quick rundown of the current settings.
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The on-screen UI, meanwhile, will be immediately familiar to anyone who has used a recent Lumix camera. The 3-inch screen itself is a pretty standard affair, able to tilt and swivel nicely in almost any direction, while the large, ultra-sharp OLED viewfinder is a highlight and a pleasure to hold your eye against.
Connectivity is solid. There’s a full-size HDMI plus USB-C, mic, headphone and wired remote sockets, now each with their own protective door. On the storage front, there’s a single SD card slot plus an additional slot for high-performance CFexpress Type B cards.
Finally, there are front and rear tally lamps to indicate when recording is active. That might seem like a basic feature and a must-have for a mirrorless camera with a big video focus, but so many cameras skimp on it that I’m pleased to see it here.
Design and handling score: 5/5
Panasonic Lumix S1R II: features and performance
Phase hybrid autofocus
Dual I.S. 2 image stabilization
10fps / 40fps burst shooting
The S1R II comes with a number of performance improvements over its predecessor. First and possibly foremost is its phase hybrid autofocus system, which is faster, smoother and more accurate than the contrast-based system on the old model. It’s particularly great for video use, slickly keeping subjects in sharp focus without any of the hunting that was sometimes seen on older Lumix models. It can also identify and automatically track a variety of subjects, from humans to animals to motorcycles. I’ve tested it with humans and cats and it's never been less than effective and dependable.
The on-board image stabilization is Panasonic’s Dual I.S. 2 variety, combining sensor-shifting in-body and lens-based stabilization with user-configurable electronic stabilization tailored to specific shooting scenarios. Panasonic generally does stabilization particularly well and from my testing that seems to be the case here too, with vlogging and handheld video gaining an almost gimbal-like stability at the cost of a crop to the frame. Panasonic claims the system adds up to 8 stops of shutter speed compensation, as opposed to 5.5 stops on the original S1R. Numbers aside, I can say it's a very capable system that leaves the user more time to focus on the more important and enjoyable aspects of video or photo capture.
Shooting speed has likewise been given a boost. When using the mechanical shutter, it’s risen from 9fps to 10fps with AF-S and 6fps to 8fps with AF-C, while switching to electronic shutter now allows for 40fps bursts with AF-C. This speedy shooting works hand in glove with the new autofocus setup, allowing you to point and shoot at moving objects and rely on the camera to recognize, focus on and capture them in motion.
(Image credit: Future | Sam Kieldsen)
Bucking the trend for improvements, battery life is slightly worse than that of the S1R, but you can still expect around 350 images on a full charge – or over 1000 when using the Power Save LVF mode. From my own personal use, where I switched fairly often between photo and video capture, plus made frequent use of potentially power-sapping modes like high-speed stills shooting and high resolution, high frame rate video recording, I did notice the battery bars dropping pretty fast. I think it’s fair to say that power users may need to invest in a spare battery or two – although with in-camera charging and the ability to use the USB-C port as a power supply, there may be alternatives.
The S1R II appears to have some kind of active cooling system, with fan noise audible at times, but it will overheat when pushed to its performance limits during video capture. When left recording 8K footage at 30fps or 4K footage at 60fps, it overheated and shut itself down after about 20 minutes, requiring a few more minutes of downtime to cool off before it could begin again. Worth noting if you're somebody who needs to record long uninterrupted videos.
Features and performance score: 4/5
Panasonic Lumix S1R II: image and video quality
44.3MP stills and 8K/30p video
177MP high-resolution mode
10-bit color depth and wide range of bitrates for various qualities / file sizes
The S1R II is the resolution king for Panasonic’s Lumix S range, and both photos and videos are extremely rich in detail and dynamic range.
Photos are captured at 44.3MP which, while marginally smaller than the 47.3MP images captured by the S1R, are more than sufficiently detailed for creating huge prints or heavy cropping. Pixel peepers have absolutely nothing to fear from the images here: I found them richly detailed even when zoomed right in, with smooth color gradation and superb dynamic range. I shot both in JPEG and RAW, processing the latter in Adobe Lightroom. The majority of the photos I've included in the gallery here were captured in RAW, but even JPEGs allow for a nice measure of post-production tweaking.
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As you'd expect from a modern day full-frame camera, the S1R II is quite capable in low light situations, if perhaps not among the best performers in its class in that regard. Fit a fast prime on here and you could certainly use it as a discreet camera for nighttime street photography or similar.
As with the Lumix S1R, there's also the option to shoot a burst of images that the camera then combines into a single super high-resolution shot, which is here around 177MP. This can be even be achieved handheld, thanks to clever algorithms stitching the image together, and I found the results to be quite impressive. There's a lot more detail present when you zoom right into the images, and only the odd strange artefact (I noticed a seagull appearing multiple times) to signal that this isn't derived from a single exposure.
On the video front, the camera can record 8K footage at up to 30fps, as well as a variety of ‘lesser’ resolutions at higher frame rates. It has an Open Gate recording option, which uses the entire surface of the sensor and results in up to 6.4K video now – and 8.1K or 7.2K options being promised via a future firmware update later in 2025.
It also offers an option to record video in Apple ProRes RAW and RAW HQ formats at up to 5.8K internally, provided you use a CFexpress Type B card. Panasonic claims videos can exhibit up to 14 stops of dynamic range too.
I was very impressed by the camera's video capabilities. Not only does it offer a wide range of options to suit creators of all stripes, but it performs in an unfussy and dependable manner. The above vlogging video was captured in Panasonic's flat V-log color profile and corrected and graded in post-production, but the process took very little time and effort on my part. The base video I was able to capture from the camera was a great place to work from, and left me very happy with the results in terms of color and contrast.
Factor in the S1R II's excellent stabilization and autofocus and it's a very, very strong package for video creators.
Image and video quality score: 5/5
Panasonic Lumix S1R II: testing scorecard
Should I buy the Panasonic Lumix S1R II?
(Image credit: Future | Sam Kieldsen)
Buy it if...
You want a user-friendly flagship The compact size, low weight and much improved autofocus make this a truly user-focussed flagship. Despite its capabilities and features, it’s a fairly portable camera that handles a lot of the hard stuff for you.View Deal
You’re serious about hi-res video Beyond the headline-grabbing 8K recording, there’s also a 6.4K Open Gate option and various other higher-than-4K video modes available. If detailed video is important to you, the S1R II delivers.View Deal
You want a do-it-all device With excellent photo and video skills, it doesn’t feel like the S1R II focusses on one to the detriment of the other. It’s a genuine hybrid camera that can handle all sorts of situations.View Deal
Don't buy it if...
You’re looking for a simple mirrorless model The S1R II is an advanced and expensive flagship camera, offering many features that casual users will never need or use. If you’re just starting out on your mirrorless camera journey, pick something simpler and cheaper.View Deal
You need epic battery life While the S1R II’s battery life isn’t terrible by any means, it’s not the best among flagship mirrorless cameras – and 8K video capture drains it fast. You might need to buy additional batteries or a portable power bank if you’re planning on a long weekend of shooting.View Deal
You need unlimited video recording times Longer video clips at higher resolutions and frame rates not only drain battery life fast but overheat the S1R II. If you need to record uninterrupted, this isn't the camera for you.View Deal
Panasonic Lumix S1R II: also consider
Nikon Z8
The list price of the Nikon Z8 started life around 25% more than the Lumix S1R II's starting price, but Nikon's flagship is available for the same price at the time of writing. On paper, the two full-frame cameras share many similarities; 45MP (approx) stills and 8K video. If we were pushed to suggest one model, we'd say the Z8 for photography-first users, and the Lumix S1R II for serious video work. The truth is though, both are very capable hybrids.
Those for whom the Lumix S1R II features are a little overkill should consider the Lumix S5 II. The cameras share practically the same design and handling, but the pricier Lumix S1R II is the resolution king, with 8K video and 44MP to the Lumix S5 II's 6K video and 24MP stills. You pay twice the price for twice the detail.
Panasonic loaned me a pre-production model of the Lumix S1R II running the latest firmware (the firmware that will be on the retail units on launch day), plus two L-Mount lenses: a 16-35 f/4 zoom and an 85mm f/1.8 prime.
I've used the camera for vlogging, both testing its internal mics and pairing it with a DJI Mic 2 wireless mic kit. I've also taken lots of photos in different scenarios, including a sunset walk along the East Kent coast and a day trip to Canterbury.
Gimbals have gone from dedicated filmmaking accessories to must-have tools in the arsenal of every content creator. DJI is almost single-handedly responsible for that, bringing stabilized video to the masses with its range of accessible smartphone gimbals and camera gimbals. The RS 4 Mini is the latest addition to that line-up and – based on my experience – it’s the best DJI gimbal to date for YouTube and Instagram videographers.
One look at DJI’s description of the RS 4 Mini confirms that this is a gimbal targeted at content creators. Its spec sheet reads like an influencer’s wish list: it supports vertical shooting; it works with both cameras and smartphones (using the optional Mini Phone Holder); and the new Intelligent Tracking Module enables automatic face tracking to keep solo videographers in the frame.
Beyond those headline additions, you also get a raft of improvements that make it a much more complete gimbal than the RS 3 Mini. In physical terms, it borrows a number of premium features from DJI’s flagship RS4 gimbal. That includes automatic axis locks which unlock seamlessly when the gimbal powers on, as well as physical switches for gimbal and joystick modes, plus a fine-tuning knob for balancing the camera mounting plate.
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All of these tweaks improve a hands-on experience which was already solid. You get the same 1.4-inch color touchscreen, which is as responsive to swipe inputs here as it was before. There’s also a comfortably positioned trigger and front scroll wheel, which can be used to control one of several functions on a connected camera. (Note that the multi-camera control cable bundled with the RS 4 Mini is a USB-C number. For certain models, including the Sony A7S III I shot with, a different cable is required.)
The RS 4 Mini matches the high production standard of any recent DJI product, with a robustness to the build that suggests it’ll be shooting with you for many years to come. That’s despite weighing just a smidge more than the RS 3 Mini at only 890g. It packs down just as tidily too, measuring 236 × 64 × 316mm in folded form (versus 195 x 98 x 323mm for the RS 3 Mini).
Setup still starts with balancing the axes, which is an unfortunate necessity with any gimbal. Instruction videos in the Ronin app do make this as painless as possible and the upgrade to Teflon interlayers means the RS 4 Mini’s arms slide more smoothly through the brackets. They can still be a bit grippy when trying to find the sweet spot with a heavier camera though.
This only really becomes frustrating when you want to switch from horizontal to vertical shooting, because you’ll need to rebalance the axes each time. Still, that switch has been made simpler with the RS 4 Mini: you no longer need to remove the camera from the mounting plate. Instead, you loosen and press a knob, allowing you to detach and remount the plate vertically with the camera still in place. Clearances are quite tight in this orientation, mind.
As above, the DJI RS 4 Mini can also be used to stabilize smartphones with the optional Mini Phone Holder. This simply slots into place on the mounting plate. Its performance capabilities mean the RS 4 Mini is overkill if you only shoot content on mobile, but the option adds welcome flexibility for those who work across multiple devices.
Other improvements also proved welcome in practise. The built-in battery still isn’t removable, but it is bigger at 3,100mAh. The claimed maximum of 13 hours (up from 10 hours) is based on the gimbal being stationary, which isn’t reflective of real-world usage for most users. In testing, we averaged around half of that, which is still better than the RS 3 Mini. Arguably more important is the fact that DJI has shaved an hour off the recharge time, bringing it down to 1.5 hours. That reduction means you can get back to shooting more quickly.
Despite its Mini moniker, the gimbal’s maximum payload is an enthusiast-friendly 2kg, which means it can handle a full-frame mirrorless camera body attached to a relatively weighty lens. Fully loaded, its shorter handle does offer less ergonomic support than the RS4 or RS4 Pro. In testing, I found the redesigned RS Briefcase Handle a help here: lighter and smaller than the previous version, it mounts to the side of the gimbal and adjusts to different angles, giving your supporting hand something to grip.
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In performance terms, the RS 4 Mini has the chops to compete with pricier gimbals. It should come as no surprise that stabilization is simply superlative, thanks to DJI’s 4th-gen algorithm – the same one used by the RS4 and RS4 Pro. It effortlessly smooths out motion across all three axes, even when you’re walking along with your subject. Movements from carrying a camera by hand are almost entirely eliminated in the resulting footage.
Controlling a gimbal can be a bit of an art form, but the RS 4 Mini smoothes the learning curve. Its joystick makes panning and tilting a fluid experience, while a new ‘Responsive’ follow mode reacts more rapidly to hand movements when circling a subject. Fire up the Ronin app and you’ll also find the option to use your smartphone as a virtual joystick via Bluetooth, plus creative modes for shooting panoramas, timelapses and more. You’ll be hard-pushed to find a more intuitive gimbal.
Nowhere is that more evident than with the RS 4 Mini’s party trick: subject tracking. The key to this is the optional Intelligent Tracking Module, which attaches magnetically to the top of the mounting arm. Fronted by a small camera lens, it uses AI to detect faces and deploys the gimbal’s motors to track them.
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The effectiveness of this tool can’t be overstated. For filmmakers, it allows you to move around a subject without having to manually pan and tilt to keep them centered in the frame. It’s also a boon for content creators working alone. With the RS 4 Mini stood on its tripod base, users can move around the camera and it will follow their face through a full 360-degree horizontal arc.
These dual uses are reflected in the ways you can enable ActiveTrack. The first is with a single press of the trigger (there needs to be a face in the frame for this to work, which it took me a while to figure out). The second is by using gesture controls: stand in front of the RS 4 Mini and you can throw up the relevant hand signal to start or stop tracking, as well as recording. When the mode is active, a ring light around the Module’s lens turns from red to green (this can be disabled if the situation demands subtlety).
This feature is a lot less gimmicky than it might sound. I can see influencers, content creators and would-be presenters using gesture activation to easily control the tracking feature from afar. Not least because the feature proved incredibly reliable in testing, never once missing a signal.
ActiveTrack proved no less consistent, locking on to faces with remarkable accuracy. That makes sense, given that DJI has been perfecting the system on its drones and pocket gimbals for years. Its application here is game-changing because it allows you to use the tracking tech with any camera or smartphone that can sit on the gimbal.
Add up the RS 4 Mini's features and you're looking at a compact gimbal which can keep you automatically framed in stabilized high-res video shot vertically on a full-frame camera. When you consider that it costs the same as the RS 3 Mini did at launch – and not too much more with the Intelligent Tracking Module factored in – that makes the RS 4 Mini a strong contender for the best-value camera gimbal you can buy right now.
DJI RS 4 Mini review: Price and Availability
The RS 4 Mini can be used to stabilize cameras and smartphones, with an optional tracking module for game-changing subject tracking features. (Image credit: Chris Rowlands)
Released on February 20, 2025
Standard DJI RS 4 Mini priced at $369 / £339 / AU$539
DJI announced the RS 4 Mini on February 20, 2025. The gimbal is available to order now, priced at $369 / £339 / AU$539. That’s identical to what the RS 3 Mini cost when it went on sale in January 2023, which we think represents good value, given its upgrades and performance. The standard kit includes the following components:
DJI RS 4 Mini gimbal
Quick-release mounting plate
RS 4 Mini tripod base
Multi-camera control cable (USB-C)
Charging cable (USB-C)
Screw kit
The DJI RS 4 Mini is also available as a Combo kit, which additionally includes the RS Intelligent Tracking Module for AI-powered subject tracking, as well as the new RS 4 Mini Briefcase Handle, which serves as an adjustable second grip. The Combo kit costs $459 / £419 / AU$659.
It’s worth noting that the Intelligent Tracking Module is also available to buy separately, meaning users can upgrade their shooting setup down the line. It’s priced at $69 / £59 / AU$99. Given its impressive tracking capabilities, we think most users will want to equip their RS 4 Mini with the optional module.
Also available as a standalone accessory is the DJI RS 4 Mini Phone Holder, which allows users to attach a smartphone to the gimbal’s mount. While the DJI Osmo Mobile 7/7P is a more natural fit for content creators who only shoot with a smartphone, the holder gives owners of the RS 4 Mini the flexibility to use it with both a camera and a mobile device.
DJI RS 4 Mini review: specs
DJI RS 4 Mini review: Also Consider
DJI RS 3 Mini
The previous generation of DJI’s compact camera gimbal is still a capable tool. It doesn't support the Intelligent Tracking Module and lacks some features offered by the RS 4 Mini, such as automatic axis locks and mode switches. That said, it still supports vertical shooting and offers impressive stabilization. What's more, it can now be found at a discounted price.
DJI RS4
A professional-grade gimbal with a 3kg maximum payload, the RS4 is a step up from the RS 4 Mini. It’s relatively lightweight, easy to set up and supports a range of accessories. If you’re serious about video and don’t need the portability of the RS 4 Mini, this could be your gimbal. It is heavier and more expensive, though.
You want automatic subject tracking Equipped with an Intelligent Tracking Module, the RS 4 Mini can automatically track faces and keep subjects in the frame – ideal for solo content creators.
You want a portable yet powerful gimbal Well-built yet lightweight at 890g, the RS 4 Mini packs pro-grade features from DJI’s premium gimbals into a package that’s relatively travel friendly.
You appreciate satisfying design Automatic axis locks, a fine-tuning knob and a single plate for vertical and horizontal shooting make the DJI RS 4 Mini a tidy bit of kit.
Don't buy it if...
You only shoot with a smartphone The RS 4 Mini offers the flexibility to shoot with a smartphone or camera, but the Osmo Mobile 7P is better value for mobile-only creators.
You shoot with heavyweight kit With a maxium payload of 2kg, the RS 4 Mini can handle full-frame cameras, but heavier bodies and lenses need the RS 4 Pro.
You won’t use Intelligent Tracking While the RS 4 Mini offers plenty of improvements, the main addition is Intelligent Tracking. Without it, the RS 3 Mini might save you money.
How I tested the DJI RS 4 Mini
I tested the DJI RS 4 Mini gimbal for a fortnight
I used it with a Sony A7S III, Nikon D7100 and iPhone 12
I shot with it handheld and stood on its tripod base
DJI supplied me with a sample unit of the RS 4 Mini gimbal for this review, along with the Intelligent Tracking Module, the Mini Briefcase Handle and the Mini Phone Holder.
Over the course of a fortnight, I tested the gimbal and its full complement of accessories. I primarily shot with a Sony A7S III attached to the quick-release plate, paired with an FE 28-70mm F2 GM lens. That combination sat towards the upper end of the RS 4 Mini’s payload capacity, hitting the scales at close to 1.7kg.
To see how the RS 4 Mini performed as a smartphone gimbal, I used it with my iPhone 12 mounted in the Mini Phone Holder. That same phone was paired with the gimbal using a pre-release version of the Ronin app.
And because I had it to hand, I also mounted my Nikon D7100 to the gimbal with a 50mm prime lens, simply to see how well its subject tracking worked with a legacy DSLR model.
I spent several hours shooting handheld with the RS 4 Mini. I attached the optional Mini Briefcase Handle for some of this period, to understand how the grip improved handling with weightier cameras.
I also shot with the RS 4 Mini on its tripod base, primarily to test the effectiveness of its Intelligent Tracking Module for solo content creators. I used gesture controls to control the gimbal in my living room.
I test a lot of cameras and lenses for TechRadar, and I regularly write about DJI. I’ve also tested the DJI RSC 2 in the past, so I’m well-placed to review the RS 4 Mini.
