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I tested the super affordable Canon RF 45mm F1.2 STM — it’s a ‘beautiful mess of a lens’ that I can’t help but love

2:35 pm | March 3, 2026

Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Tags: STM | Comments: Off

One minute review

The Canon RF 45mm F1.2 STM is a beautiful mess of a lens. It's impossibly light, cheap, and wide, but nonetheless comes with a few optical niggles that will likely make the more discerning pixel peepers baulk.

At $599 / £479 / AU$699.95, the RF 45mm f/1.2 has the potential to be an essential component of any Canon shooter's kit bag. And, it has to be said, it's a lens that doesn't really have any rivals or alternatives at this price point. No other brand, third-party or otherwise, offers an autofocus full-frame lens with f/1.2 for $600. Canon is definitely worthy of praise for this - it's an innovative, forward-thinking lens from a brand that's often criticized for its closed mount.

As mentioned, however, optically, the RF 45mm f/1.2 leans more towards 'character' than perfection. The bokeh is busy and swirly, while the chromatic aberration is off the charts at the widest aperture. Even with in-camera corrections, this lens imparts its character on every image if you're shooting wide.

You also don't get weather sealing or a lens hood. While this lens is well built and a great pairing with any of the brand's high-end mirrorless bodies, it's very much a lens that's been shoehorned into a specific price point. I can forgive the lack of weather sealing, but paying extra for the hood feels slightly miserly to me.

A picture of the Canon RF 45mm f/1.2 STM mounted on a Canon EOS R6 Mark II from the side. — (Image credit: Future / Alex Whitelock)

If you can look past its flaws, however, the 45mm f/1.2 does offer a lot for the price. No other Canon lens right now offers as many creative options as this 45mm in the standard focal length. Emphasis on the 'creative' here, mind you, because the wide aperture opens possibilities for shots simply not possible on the usual kit lens.

Aside from serious low-light chops, this lens is also fantastic for environmental portraits, where you can blow out the background on a relatively wide scene.

In summary, the 45mm is an often frustrating lens, but one I can't help but like. I don't think it's a 'killer' lens that will cause Nikon and Sony users to switch, but it certainly is unique and praiseworthy. Is it one of the best Canon lenses? Technically, absolutely not. But is it worth it? Absolutely... if you're looking for 'character' rather than 'perfection', that is!

Price and availability

It costs $599 / £479 / AU$699.95
Lens hood is a separate purchase

At $599 / £479 / AU$699.95, the RF 45mm f/1.2 is cheap for a Canon full-frame RF lens, let alone one with such a wide aperture. It's much closer in price to the entry-level Canon RF 50mm F1.8 STM (£239 / $219 / AU$299) than premium L-series glass - and offers a similar level of optical quality for the budget-conscious.

It's a good thing Canon has made this lens, too, as the brand currently doesn't support third-party glass on its full-frame mount. Unlike rival mounts from Nikon and Sony, Canon users have fewer low-cost alternatives outside of the usual starter primes and kit lenses.

Luckily, this lens is a great example of Canon doing something a little different. It's not quite a budget lens, but it's certainly unique, and definitely a sign that the brand is willing to try new things for its RF mount.

Canon RF 45mm F1.2 STM: specs

Canon RF 45mm STM f/1.2 specs
Type:	Standard prime
Mount:	Canon RF
Sensor:	Full-frame
Focal length:	45mm
Max aperture:	f/1.2
Minimum focus:	0.45m, 0.13x max magnification
Filter size:	67mm
Dimensions:	78 x 75mm
Weight:	12.2oz / 346g (lens only)

Canon RF 45mm F1.2 STM: design

Extremely lightweight for such a prime
AF/MF switch, but otherwise very basic
Customizable control ring

A picture of the Canon RF 45mm f/1.2 lens — The RF 45mm f/1.2 features a customizable control ring and MF/AF switch, but is otherwise very minimalist (Image credit: Future / Alex Whitelock)

As you'd imagine from a relatively affordable lens, the RF 45mm f/1.2 has quite a minimalist design. You do get a few handy controls, however, such as the MF/AF switch and a fully customizable control ring right next to the lip of the lens' barrel.

The action on the focus ring is smooth and well-damped, but the control ring has a nice solid click to it that pairs nicely with its burled metal finish. Otherwise, the lens features a wholly plastic build apart from the mount — you can expect a metal mount in all modern Canon lenses, including the higher-end L series models.

Speaking of which, build quality for the RF 45mm f/1.2 doesn't feel that far off from the premium lenses. There's nothing here to suggest that this is a cheaper lens in the RF line-up, aside from the lack of the distinctive red barrel ring. In the hand, the RF 45mm f/1.2 feels solid and sturdy enough for a lens of this type.

With that said, Canon has cut a few corners to build this lens at a price. For one, you don't get a lens hood included - nor does the lens feature any weather sealing. Perhaps the lens will hold up to some light rain, but I certainly didn't want to risk it with my review unit.

A picture of the Canon RF 45mm f/1.2 lens mounted on the Canon EOS R6 Mark II from the front. — (Image credit: Future / Alex Whitelock)

These points aside, the most impressive thing about the RF 45mm's design is that it weighs just 12.2oz / 346 grams - something that feels almost impossible for a lens with this kind of aperture. It really is the main selling point for this lens, in my opinion. The 45mm is so compact that you'd be mistaken into thinking this lens is an f/1.8 prime, given its size.

As you can see from the product pictures on this page, the 45mm pairs nicely with the EOS R6 Mark II, which is a full-frame body with a substantial hand grip. The lens is actually twice the weight of Canon's RF 50mm F1.8 STM prime (160g), but it's still light enough to hit that sweet spot where you don't feel like you're lugging around a huge piece of glass everywhere.

As stated, I tested this lens on the R6 Mark II. I think you'll also be fine if you pair this 45mm up with the Canon EOS R8, but the R8's comparatively small grip may result in a slight amount of front-heaviness. This is a light prime considering the aperture, but it's certainly no pancake lens.

Canon RF 45mm F1.2 STM: Performance

Significant chromatic aberration at f/1.2
STM autofocus is reliable
Good center sharpness at all apertures

A picture of the Canon RF 45mm f/1.2 lens mounted on the Canon EOS R6 Mark II from the top. — (Image credit: Future / Alex Whitelock)

You may be wondering - if the RF 45mm is cheap, small, and extremely wide, what's the catch? Well, unfortunately, there are a few quirks when it comes to outright image quality for the 45mm F1.2 STM. This is definitely a 'character lens', for better or worse.

Firstly, the good stuff. If you're looking for those dreamy, blown-out backgrounds, then this lens definitely delivers. The aperture is so massive that you can get a good level of background separation here, even with relatively wide scenes. I could see this being a good option for environmental or full-body portraits on a budget.

The 45mm also offers a good level of sharpness. This is particularly the case in the centre of the frame, but stopping down the lens offers a great level of edge-to-edge sharpness. But of course, who's buying this lens to stop it down?

Canon RF 45mm f/1.2 — Canon R6 Mark II, JPEG, taken at f/1.2Future / Alex Whitelock

No, people are going to buy this lens because they want to make full use of that f/1.2 aperture at this exceptional price. Annoyingly, there are a few caveats when shooting wide open with this lens, however.

The first is the busy bokeh - something which I think will likely be the most contentious attribute for prospective buyers. There's no escaping that, at f/1.2, you get a significant cat's-eye effect on the bokeh with the 45mm. Once you see it, you can't really un-see it, and the swirling effect gets more extreme towards the edge of the frame. I think some people will love the distracting swirly effect of this lens, whereas others will find it too busy.

After using the lens in a range of scenarios, I'm somewhere in the middle of the two camps. As you can see from the samples, the bokeh balls not only have quite strong cat's-eye shapes, but also hard to remove fringing. They're technically very imperfect, but there's obviously something to be said for a lens with this much character if you're going for a certain 'vintage' look. It's definitely subjective.

One thing I'm less on the fence about, however, is the extreme level of chromatic aberration this lens exhibits at its widest aperture. I don't think I've used a modern lens with this much CA in recent years.

The image above is a good example. You can see a significant amount of purple fringing around the backlit pattern on the wall. Towards the center of the frame, CA is relatively well controlled, but the fringing gets progressively worse toward the edges. It's notable because this particular shot is a JPEG straight from the Canon EOS R6 Mark II, with all in-camera lens correction applied.

If you do buy this lens, you're going to have to get well acquainted with the de-fringing tool in your photo editing app of choice. Luckily, this is one of the quickest and easiest fixes that anyone can make these days, so it's not a complete deal breaker for a relatively affordable lens like this.

In terms of focusing, the RF 45mm F1.2's proprietary STM stepping motor isn't as quick or silent as the ones featured in Canon's higher-end models, but it is more than sufficient, and able enough to provide quick and reliable autofocus at f/1.2 when paired with the brand's latest full-frame bodies.

One thing I did notice is a very small amount of focus breathing when close focusing at f/1.2. There is also a very slight whining noise when acquiring focus, which again, could be something worth considering if you're thinking about using this lens for video. With the example I've included above, you can see the lens slightly hunting for focus when it attempts to re-lock on the closer object.

Canon RF 45mm F1.2 STM sample images

Should you buy the Canon RF 45mm F1.2 STM?

Buy it if...

You want to shoot environmental portaits
I think this lens is perfect for slightly wider scenes where you still want to separate the subject from the background.

You shoot a lot of low-light work
What's an f/1.2 aperture good for? Low light, of course! It shouldn't even need to be said that this lens's extremely wide aperture is fantastic for making sure as much light as possible hits your camera's sensor.

Don't buy it if...

You need something weather sealed
As a cheaper lens in the Canon line-up, the RF 45mm doesn't feature any environmental sealing. This one isn't for use in extreme inclement weather.

You need perfect image quality
While the RF 45mm offers an extremely wide aperture, this comes with some optical trade-offs. This lens has a lot of character, unlike the more 'perfect' L-Series models.

How I tested the Canon RF 45mm F1.2 STM

An image of the Canon RF 45mm f/1.2, showing the front of the lens — (Image credit: Future / Alex Whitelock)

Canon provided me a sample unit for one week
I paired the lens with the Canon EOS R6 Mark II
I compared optical performance at various apertures

Canon provided TechRadar with the Canon RF 45mm F1.2 STM for one week only, which is a relatively short window for a lens review. With that said, I was able to fully test the lens in both studio and real-world scenarios.

During my week with the Canon RF 45mm F1.2 STM, I tested the lens across a wide range of apertures for both video and photography. In that time, I made sure to try to get examples at f/1.2 to show prospective buyers what to expect with such a wide aperture - including the various flaws that this lens sometimes showcases.

First reviewed March 2026

I tested Kodak’s cheap and pocketable film camera, and it’s packed with retro-futuristic charm

3:00 pm | March 1, 2026

Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Comments: Off

Kodak Snapic A1: one-minute review

The Kodak Snapic A1 is a 35mm analog film camera designed and manufactured by Hong Kong-based Reto Production – the same company behind other licensed Kodak analog models like the Ektar H35N and Charmera. Priced from just $99, it's one of the more affordable ways to dip your toes into the world of film photography, and it comes loaded with enough retro charm to justify that novelty appeal.

The design is immediately striking. Available in off-white or dark gray, the clean-lined plastic body has just enough Kodak orange on the shutter button and logo to feel authentically branded without going overboard. It's a look that calls to mind the retro-futuristic aesthetic of classic science fiction movies rather than a straightforward throwback, and in my book that's a good thing. It slipped into my jacket pockets with ease, and the included neck strap and protective pouch are welcome additions that more budget-focussed cameras often skip.

Feature-wise, you get a three-element glass lens at 25mm with a fixed f/9.5 aperture and 1/100s shutter speed. There are two manual focus settings, plus an auto flash with red-eye reduction, automatic film advance and rewind, and a double-exposure shooting mode. A small but practical OLED panel on top displays battery life, remaining exposures, and current settings. It's basic by design, but thoughtfully put together.

Kodak Snapic A1 camera — (Image credit: Future | Sam Kieldsen)

In good outdoor light, I found that the Snapic A1 delivers characterful, grainy 35mm shots with that all-important analog look. Vignetting and some chromatic aberration are present, but these feel like features rather than flaws. Indoors, however, the flash struggles; it lacks the reach and power to properly illuminate subjects beyond a few feet, making indoor shots a more hit-or-miss experience, particularly with slower film.

The main practical gripes are minor but worth flagging. The Mode button sits awkwardly on the left edge of the top plate, and it's easy to accidentally trigger it depending on how you hold the camera. There's also no lens cap, which makes the pouch essential rather than optional. And while the price is genuinely affordable for the hardware, film and processing costs ramp up fast. A single 36-exposure roll and a set of digital prints can run close to $40 / £30, meaning the ongoing cost of ownership is considerably higher than buying the camera itself.

Taken as a whole, I think the Kodak Snapic A1 is a fun, well-designed entry point into analog photography – and one of the best new film cameras for the money. It won't satisfy anyone looking for creative control or technical precision, but for casual shooters who want a stylish, pocketable film camera that just works, it hits the mark at a price that's hard to argue with.

Kodak Snapic A1: price and availability

$99 / £99 / AU$179
Ongoing costs of 35mm film and processing

The Kodak Snapic A1 is available to buy now, and refreshingly cheap at just $99 / £99 / AU$179.

Also supplied in the box are two handy accessories: a soft microfiber drawstring pouch for keeping the camera protected when not in use, and a corded strap that's long enough to fit around the user's neck or shoulder. Kodak could have shipped this with just a tiny wrist strap, so I was impressed with the extras.

You will, however, need to supply your own batteries (2 x AAA), and there are the added costs of 35mm film, its development and potential printing to consider as well. This can quickly add up: buying a roll of 36-exposure Kodak ColorPlus film and getting some medium-quality digital prints costs me almost £30 in the UK (around $40 / AU$ 57). So, despite the affordability of the hardware, the Snapic A1 isn't a particularly cheap camera to own.

Kodak Snapic A1: specs

Format:	35mm
Lens:	25mm f/9.5
Focus:	0.5m to infinity (two-stage)
Flash:	Built in
Exposure:	Auto
Battery:	2x AAA
Viewfinder:	Optical, direct vision
Size:	118 x 62 x 35mm, 120g

Kodak Snapic A1: design

Small, stylish and built from sturdy plastic
Just 120g in weight and 118 x 62 x 35mm in size
Film is easy to load thanks to large rear door and auto wind

Kodak (or Reto, to be precise) has kept things pleasingly nostalgic with the styling. The camera body is ABS plastic but built to nice sturdy standards, and its clean lines and ivory white front (it's also available in a dark gray color finish), with a couple of flashes of classic Kodak orange on the shutter button and logo, bring to mind the retro-futuristic production design of something like 2001: A Space Odyssey. It's not just another 1950s or 60s-esque camera, and I really like that.

At under 120g and just 118 x 62 x 35mm in size, the camera is genuinely pocket-sized and I found it very easy to bring along to social events and out on hikes. There's no lens cap to protect the glass front element, which makes the included protective pouch all the more valuable.

While the Snapic A1 is fairly bare-bones in terms of features and functions, it does have some interesting design touches. By flicking a switch underneath the lens, for instance, I could toggle between close-up (0.5 to 1.5m) and far-off (1.5m to infinity) focus. And, up on top, there's an OLED panel that provides at-a-glance info on remaining exposures, battery life and the current flash and focus settings. It's monochrome and tiny, but easy to read and perfectly equipped for its job.

My main gripe with the design is the placement of the Mode / M.E. button, which sits right on the left edge of the top plate, curving around to the left side of the camera. Often, when I was gripping the camera and about to take a shot, my left forefinger would hit this button and change the shooting mode. Depending on how you hold the camera, this may never become an issue for you, but it forced me to adjust the way I took photos, which I found a little annoying.

Getting film in and out of the camera is easy thanks to a large, easy to open rear door that provides plenty of room to work. There's a tiny plastic window on the door so that you can instantly see whether or not any film is inside. And, in a nice user-friendly touch, film winds on automatically between shots and will fully rewind once a roll is complete.

Kodak Snapic A1: performance

Strong, characterful 35mm photos
Flash isn't particularly powerful
Solid battery life

Most cheap 35mm cameras use plastic lens elements, but the Kodak Snapic A1 has a three-element glass lens. It has a wide-angle 25mm focal length and a rather narrow fixed aperture of f/9.5, along with a fixed shutter speed of 1/100s.

There's the two-stage manual focus I mentioned above, as well as a flash (which can be set to automatic, on or off, and has a red-eye reduction mode), but other than that there's no way to control your exposures. This is very much a point-and-shoot camera, and while that's not necessarily a bad thing – simplicity is welcome – it does mean you need to know its limits if you want to get the best out of it.

Kodak Snapic A1 sample photo — Future | Sam Kieldsen

I shot using Kodak ColorPlus 200 speed film, with which the camera performs well outdoors in the daytime. I managed to capture some striking snaps that I'm very happy with, and I love the grainy look of those images. Indoors, however, I found that the flash doesn't have the reach or power to illuminate subjects more than a few feet away. It may fare better with 800 or 1600 speed film, of course, but in my experience my most successful indoor shots were all close-up portraits, where the flash could do its job properly.

Are the Snapic A1's photos "high quality" by today's standards? Not really – if you pull out a 10-year-old smartphone it'll take sharper, cleaner images than these; there's noticeable vignetting around the edges, particularly in the corners, and some chromatic aberration too.

But I don't think quality is ever really the point with a cheap 35mm camera – the look and feel of analog photos can't easily be replicated by digital filters and algorithmic tweaking, and you buy an old-fashioned camera like this for, ironically, the novelty of shooting on film. Yes, its photos aren't noise-free or razor-sharp edge-to-edge, but they have real texture and character.

If you do want to get a little more creative, the Snapic A1 can capture double exposures – just hold down the Mode button to select it, and the OLED panel will make it clear whether you're shooting the first or second exposure.

Battery life feels pretty solid to me. After shooting a 36-exposure roll of film on the camera, the battery indicator still showed as full, and according to Kodak users should be able to shoot around 10 rolls of 24-exposure film on a single pair of AAA alkaline batteries. Your mileage, of course, may vary depending on which batteries you're using and how frugal you are with the flash.

Should you buy the Kodak Snapic A1?

Buy it if…

You want a break from digital photography
There's nothing like analog photography – and the Snapic A1 is one of the cheaper, simpler ways to shoot on 35mm film.

You want a compact, stylish novelty
Small, lightweight and stylish, this camera makes for a great talking point at parties, and it's beautifully simple to use.

Don’t buy it if…

You're not prepared for ongoing costs
Yes, the camera itself is cheap – but film and processing is very expensive these days, particularly in comparison to digital photography.

You want to learn about analog photography
The stripped back controls mean this is about as point-and-shoot as it gets. If you want to learn more, buy an old SLR or rangefinder.

Also consider

If you like your photography truly hands-on, consider the Lomography Konstruktor F (best film cameras), a plastic 35mm camera that you have to build yourself. It’s cheap to buy, though a little challenging to construct.

The Olympus Trip 35 (in our best film cameras round-up) is an all-time classic 35mm compact with auto exposure, zone focusing and a selenium metering cell around the lens that requires no batteries. A good used one won’t cost the earth and will give you great results.

How I tested the Kodak Snapic A1

Used over a few weeks in different lighting conditions, indoors and outside
Tested with Kodak ColorPlus 200 film
Film sent to Analogue Wonderland for processing and development

Testing a film camera is a much slower process than reviewing a digital camera, because you can't look at the photos right away. In fact, I reviewed the Kodak Snapic A1 (a sample of which was sent to me by a PR rep) over a period of well over a month, taking it with me to various parties, hikes and events and snapping a photo or two until my 36-exposure roll of Kodak ColorPlus 200 film was spent.

I made sure to use the camera in all kinds of conditions – indoors and outdoors, day and night, bright and overcast – testing out the flash and focus controls.

I then sent the film to UK-based online film retailer and developer Analogue Wonderland for processing. They created digital scans for me to download – I opted not to pay extra for physical prints.

I had high hopes for this cheap, well-designed vlogging camera – but then I reviewed the footage

6:00 pm | February 18, 2026

Author: admin | Category: Action Cameras Cameras Computers Gadgets | Comments: Off

SJCAM C400: one-minute review

The SJCAM C400 is an ultra-compact action camera that comes with an optional handle accessory, transforming it from a tiny wearable cam into a handheld vlogging setup. Starting at around $160 / £155 (without the handle), it undercuts the latest offerings from DJI and Insta360 by a significant margin — but unfortunately, you get what you pay for.

The camera itself is charmingly small and lightweight, making it easy to wear on a pendant or fix to a hat for POV filming. It includes a built-in touchscreen, which is a huge boon compared to similarly sized rivals like the DJI Osmo Nano or Insta360 Go cameras, which lack this feature.

When slotted into the handle, the C400 takes on a whole new character, becoming a comfortable handheld vlogging camera with a rotatable screen that works for both horizontal and vertical content, with the added benefit of an extra battery.

However, image quality is where the C400 seriously stumbles. Despite supporting 4K at 30fps and various video modes, the footage is poor, with an odd combination of over-sharpening and under-detail, plus prominent muddy digital artifacts. Still photos don't fare much better, with detail falling off drastically towards the frame edges. When compared directly to footage from an Insta360 GO Ultra or DJI Osmo Nano, the difference is stark — and it becomes immediately clear why those cameras cost a little more.

Audio quality doesn't help matters. While the built-in microphone copes indoors or in calm conditions, it struggles with wind noise, and there's no option to connect an external mic.

The digital stabilization works, but in an artificial way that draws attention to itself, while enabling horizon leveling drastically reduces resolution. There's also no built-in waterproofing or magnetic mounting — both missed opportunities on a camera this size.

On the plus side, battery life is impressive, with the camera managing around 190 minutes of 4K recording on its own, and much, much longer when docked in the handle. I managed to get 495 minutes of recordings with the handle, in fact.

In short, the C400 offers an appealingly compact form factor and decent battery life at a bargain price, but its poor image and audio quality make it hard to recommend unless budget is your absolute priority. I'd recommend checking out one of my recommended alternatives in my best action cameras and best vlogging camera guides.

SJCAM C400 action camera — The core camera unit is small and lightweight, and unlike its rivals has room for a functional touchscreen on its front (Image credit: Future | Sam Kieldsen)

SJCAM C400: price and availability

Priced from $159 / £153
Sold with and without handle
A range of accessories is available

The SJCAM C400 is available in three bundles: the C400 Pocket (just the camera with no handle or accessories); the C400 (which includes the handle); and the C400 Vlogging Bundle (which includes the handle, a mini tripod, a pendant mount, a 64GB microSD card and a carry case). Prices vary wildly depending on the bundle and the country you're shopping in, and seem to be fluctuating too, so I would suggest shopping around to ensure you get the best price for whatever package you're after.

In terms of value the camera seems like a bargain in comparison to the latest models from rival companies like DJI and Insta360. But considering its level of performance, I think you should seriously consider spending a little more elsewhere, particularly if you value image quality.

SJCAM C400: specs

SJCAM C400 specs
Sensor	1/2.8-inch CMOS
Max Resolution	24MP photos 4K 30fps footage
Weight	189g / 7oz (with handle); 54g / 1.9oz (camera only)
Dimensions	143.5 x 38.5 x 38.5mm (with handle); 68 x 32 x 25.5mm (camera only)
Displays	1.3-inch (camera); 2.29-inch (handle)
Operating Time	Camera: 190 mins Camera + handle: 495 mins
Connectivity	Bluetooth, Wi-Fi, USB-C
Storage	microSD card up to 512GB
Waterproofing	N/A

SJCAM C400: design

The C400 package I was sent for review has two main components: the C400 camera itself and a handle accessory that incorporates controls, an extra touchscreen, a tripod mounting thread and an additional battery.

The main C400 camera is charmingly tiny and lightweight, if not quite as small as the DJI Osmo Nano or some of the Insta360 Go editions; if you really must have the tiniest, lightest 4K action cam, the C400 isn't it. Still, for POV filming purposes I found it compact enough to wear on a pendant around my neck, or fixed to my hat, without causing any bother whatsoever.

The camera unit has a small touchscreen (which is a huge boon – you don't get one on the DJI Osmo Nano or Insta360 Go), built-in microphone, microSD card slot for storage, and a tiny button that handles power and shutter duties. Sadly, unlike some rivals, it doesn't include a magnet for fixing it easily to metal surfaces, which is a missed opportunity.

Another missed opportunity is waterproofing, which I'd expect on a small action camera. Sadly, it's not mentioned anywhere on the spec or features sheet, although an optional waterproof case (with a 30m depth rating) is available.

When the C400 is slotted into the handle it takes on a whole new character, transforming from mini cam into a handheld vlogging camera somewhat reminiscent of the DJI Osmo Pocket series. The handle has a pleasingly comfortable design, and its good-sized rotatable screen caters to both horizontal and vertical content, and it also gives recording time a boost with its own supplementary battery.

I preferred using the camera in this arrangement than on its own, due to it being easy to hold and control – even if it clearly lacks the physical gimbal-based stabilization of DJI's Pocket range.

Additionally, it works as a wireless remote control for the camera, with a range of around 30 feet.

A quick word on the companion app: it's pretty good! Once it was installed and I'd established a Wi-Fi link between the C400 and my iPhone, I was able to remotely control the camera and download photos and videos wirelessly. Getting the phone and camera linked up the first time was a bit of a struggle, but once the connection was set up I was able to simply re-connect by scanning a QR code on the camera's screen.

SJCAM C400: Performance

SJCAM C400 sample photo — Future | Sam Kieldsen

The camera supports 4K video capture at up to 30fps, 2K at up to 60fps, and 1080p at up to 120fps (for slow-motion playback), plus H.264 and H.265 compression, a 'wide dynamic range' mode and a high-bitrate recording option.

Despite selecting all of these in an attempt to see the C400 performing at its best, I found image quality to be disappointingly poor even in good outdoor lighting, and even worse indoors.

You can view my sample video below to get a clearer picture (no pun intended), but the image seems to me to be a curious mix of being simultaneously over-sharpened and under-detailed, with distracting, muddy digital artifacts very prominent.

Still photos didn't impress either, with detail falling off massively towards the edges of the frame – and there's a huge amount of wide-angle distortion that doesn't appear to be correctable outside of post-production manual tweaking.

The two forms of digital image stabilization on offer — general and horizon leveling — do work, but they do so in an artificial way that really draws attention to the fact that they're working. Using horizon leveling also reduces the resolution quite drastically.

When compared to the videos straight out of an Insta360 GO Ultra or DJI Osmo Nano, the difference is stark – and it's immediately clear where that extra money goes.

Audio quality is passable in calm conditions, but as my video illustrates, the built-in microphone doesn't cope well with wind noise at all — and there's no way to connect an external microphone to better capture sound. So vloggers may have to record their audio separately, then sync it in post-production, which is hardly the sort of simplicity you'd hope for.

There's better news on the battery life front, at least, and I was impressed by the C400's stamina. To test it, I set video quality to 4K at 30fps and left the C400 (without its handle) recording. It managed to capture around 190 minutes of footage before the battery died. When docked inside the handle, it of course lasts even longer, and in my test it lasted 495 minutes (over eight hours!) in total.

Should I buy the SJCAM C400?

Buy it if...

You want a super-cheap compact action camera
The C400 is about as small and light as action cams come, and much cheaper than new alternatives from DJI and Insta360.

You need a small camera with a screen
The C400 is tiny, but still makes room for a decent-sized touchscreen on its front — something you won't find on pricier rivals.

Don't buy it if...

You’re particular about image quality
The C400's image quality is not its strong point, and if you want to create polished, professional-looking content, you're better off with a DJI or Insta360 alternative.

You want a well-stabilized vlogging camera
Don't confuse this with a DJI Pocket, despite how it looks on its handle. There's only electronic stabilization here, and it's not particularly convincing.

SJCAM C400: also consider

The Insta360 Go Ultra on a white background

Insta360 Go Ultra

The latest model in the long-running Go series of ultra-compact action cameras, the Ultra is a little larger than some of its predecessors, but makes up for it with its superb 4K 60fps (or 30fps in Active HDR) footage. It's surprisingly capable in low light, and waterproof to boot.

Read our in-depth Insta360 Go Ultra review

DJI Osmo Nano

Despite being DJI's first serious attempt at an ultra-compact action camera, the Osmo Nano is a waterproof modular marvel with stabilized 4K 60fps video that excels for sports and vlogging, and even supports 10-bit D-Log M. It's pricier than the C400, but still cheap for what it offers.

Read our in-depth DJI Osmo Nano review

How I tested the SJCAM C400

I tested the camera for a week
I used it for vlogging and capturing photos, assessing image quality on my phone and laptop
I tested all its features and various accessories

I tested the SJCAM C400 for around a week, using it to record videos and photos both handheld and using some of the accessories included with my review sample. The sample was supplied by SJCAM, and included not only the camera and handle, but a waterproof case and range of mounting options such as a magnetic pendant. I tested all its main functions including electronic image stabilization and battery life, before transferring all photos and videos to my iPhone and subsequently MacBook Air for close inspection.

First reviewed February 2026

I tested the Viltrox 85mm f/1.4 Pro for two months — here’s why this classic portrait lens beats pricey first-party glass

4:00 am | February 14, 2026

Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Tags: AF | Comments: Off

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

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

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

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

Side barrel of the Viltrox AF 85mm F1.4 Pro lens in photographer's hand, outdoors and with bronze-colored ferns in the background — Just 15mm in length – Viltrox AF 28mm f/4.5 is a true body-cap lens, with a much faster f/4.5 aperture than other such optics, including the Panasonic 26mm f/8. If you don't mind something a little larger and pricier, there are f/2.8 alternatives (Image credit: Tim Coleman)

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

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

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

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

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

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

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

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

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

	Sony E mount	Nikon Z mount
Viltrox AF 85mm F1.4 Pro	$598 / £569 / AU$919	$598 / £569 / AU$919
Nikon Z 85mm F1.2 S	N/A	$2,999 / £2,799 / AU$4,749
NIKKOR Z 85mm f/1.8 S	N/A	$849 / £789 / AU$1,399
Sigma 85mm F1.4 DG DN Art	$1,319 / £979 / AU$1,596	N/A
Sony FE 85mm F1.4 GM II	$2,049 / £1,799 / AU$2,499	N/A
Sony FE 85mm F1.8	$649 / £499 / AU$949	N/A

Viltrox AF 85mm F1.4 Pro: specs

Viltrox AF 28mm f/4.5 specs
Type:	Mid-telephoto prime
Mount:	Sony E, Nikon Z
Sensor:	Full-frame
Focal length:	85mm
Max aperture:	f/1.4
Minimum focus:	0.79m, 0.13x max magnification
Filter size:	77mm
Dimensions:	84.5 x 108.5mm
Weight:	28.2oz / 800g (lens only)

Viltrox AF 85mm F1.4 Pro: design

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

Viltrox AF 85mm F1.4 Pro lens attached to a Nikon camera, mounted to a tripod outdoors and with bronze-colored ferns in the background — Tim Coleman

Viltrox AF 85mm F1.4 Pro lens in photographer's hand, outdoors and with bronze-colored ferns in the background — Tim Coleman

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

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

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

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

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

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

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

Viltrox AF 85mm F1.4 Pro: Performance

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

Close-up of the Viltrox AF 85mm F1.4 Pro lens attached to a Nikon camera, mounted to a tripod outdoors and with bronze-colored ferns in the background, emphasis on the lens aperture blades — Tim Coleman

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

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

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

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

Viltrox AF 85mm F1.4 Pro lens sample gallery: man in a blue beanie, with blurry bronze-colored ferns in the background — f/1.4Tim Coleman

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

Viltrox AF 85mm F1.4 Pro lens sample gallery: man holding the Fujifilm Instax Mini Evo Cinema camera — An 85mm f/1.4 lens is a good option for product photography – I used it for my Instax Mini Evo Cinema shotsTim Coleman

Viltrox AF 85mm F1.4 Pro lens sample gallery: man in blue beanie hat, outdoors — An 85mm f/1.4 lens is a good option for product photography – I used it for my Instax Mini Evo Cinema shotsTim Coleman

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

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

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

Viltrox AF 85mm F1.4 Pro lens sample gallery: moss and autumn leaves at the base of a tree — At f/5, detail is staggeringly sharp across the entire frameTim Coleman

Viltrox AF 85mm F1.4 Pro lens sample gallery: moss covered branch — At f/5, detail is staggeringly sharp across the entire frameTim Coleman

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

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

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

Buy it if...

You specialize in portraiture
Upper-body portraits, animal portraits – if these are your thing, you'll want to pick up a pro lens like this.

You're a pro on a budget
You'll get similar performance from this lens to what you'll get from much pricier alternatives.

Don't buy it if...

You regularly shoot long and demanding portrait sessions
If portrait photography is your full-time job, it could be worth stretching your budget to a pricier but lighter alternative (Sony users in particular).

You'd like a versatile prime
With modest close-focusing, the 85mm lens is fairly niche – it works well for portraiture and street / documentary photography, but not a great deal else.

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

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

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

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

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

First reviewed February 2026

I flew the world’s lightest bi-copter drone, and it’s the most fun I’ve had outside of FPV drones – but there’s a catch

8:00 pm | February 13, 2026

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

V-Copter Falcon Mini: one-minute review

From ZeroZero Robotics, the drone company responsible for the impressive HoverAir X1 Pro and ProMax selfie drones, comes another interesting model: the V-Copter Falcon Mini. This is a sub-250g version of the V-Copter Falcon, which was released in 2020 and weighed 26.8oz / 760g. The original Falcon was admired for its unique design, and gained a cult following, but it never quite made it into the mainstream.

With the launch of the more regulator-friendly sub-250g Falcon Mini, with availability on Amazon on the horizon, it looks like this new model has greater potential than its predecessor. You may be wondering what makes these drones interesting, and it’s the simple fact that they’re bi-copters rather than quadcopters, so they only have two motors and two sets of rotors, rather than the standard four.

The advantage here is that the Falcon Mini is extremely agile and quiet compared to standard quadcopters. You can even install the propellers upside down to fly the drone upside down in Reverse Flight mode, which is a bit gimmicky, but is possible due to the rotors having tilt mechanisms that help to keep the drone steady in a hover and during flight.

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This is a drone that’s more about flight than image capture, in my opinion. Sure, the Falcon Mini has a camera, and can capture up to 4K 30fps video and shoot 12MP JPEGs, but the camera is completely automatic. With no manual control, not even exposure adjustments, you're beholden to how the camera’s light meter responds to what’s in front of it. So, nipping around upright and in Reverse Flight mode are the order of the day.

V-Copter Falcon Mini top view unfolded — (Image credit: James Abbott)

V-Copter Falcon Mini: price and release date

Available at Amazon US by the end of February 2026
European launch by the end of March 2026
Standard kit and Fly More Combo available

The Falcon Mini will officially launch at the end of February 2026, after a crowdfunding campaign on Indiegogo raised $519,461 from 1,338 backers. The drone will be available at Amazon US at this time, with two kits available: Standard and the Fly More Combo.

The Standard kit will cost $379 in the US, while ZeroZero Robotics says the European launch will follow by the end of March, with a retail price of £379. The Fly More Combo will cost $399 / £399, respectively.

The Standard kit is the single-battery option, while the Fly More Combo includes a couple of extra batteries, a two-battery charging hub and a carry bag. This option, as with all drones, is going to be the best option for most people because of value, and the simple fact that more batteries increase flight times.

I'll update this page with links for purchase once the product is available to buy.

Price score: 3/5

V-Copter Falcon Mini: specs

V-Copter Falcon Mini specs
Camera:	12MP 1/2.3-inch CMOS
Video resolution:	4K
Frame rates:	4K 30fps / 2.7K up to 50fps / 1080p 50fps
Video transmission range:	Up to 1.5 miles
Flight modes:	Normal, Sport, Turbo
Battery:	2330mAh; up to 34 minutes flight time
Charger type:	USB-C / battery charging hub
Weight:	8.78oz / 249g
Dimensions:	Folded: 7.24 x 3.74 x 2.36 inches / 183.9 x 95 x 59.9mm Unfolded 5.91 x 8.98 x 5.12 inches / 150.1 x 228.1 x 130mm

V-Copter Falcon Mini: Design

Unique bi-copter design
Folding propeller arms
Tilting rotors

The one thing you cannot get away from is the Falcon Mini's unique design: it’s a bi-copter rather than a quadcopter, like we’re used to. Not only does this drastically change the way the drone looks, but it also makes the Falcon Mini surprisingly quiet in flight when compared to quadcopters. To compensate for having just two rotors, there are proprietary tilt-rotor controls and twin servo motors that precisely adjust the angles of the propellers to create balance and stability during flight. These also allow for fast acceleration by tilting the propellers.

Moving back to the basic design, as the name suggests, the V-Copter Falcon Mini creates a unique V shape in the sky. At certain angles, only having two propeller arms makes it tricky to see in the sky because it's such a compact drone.

Folded, the Falcon Mini is just 7.24 x 3.74 x 2.36 inches / 183.9 x 95 x 59.9mm, and it extends to 5.91 x 8.98 x 5.12 inches / 150.1 x 228.1 x 130mm when unfolded, with a weight of 8.78oz / 249g. You can buy the Falcon Mini in two colors: Matte Black and Canary Yellow.

V-Copter Falcon Mini top view — James Abbott

V-Copter Falcon Mini bottom view — James Abbott

If you opt for the Fly More Combo you’ll benefit from a two-battery charging hub. This is, of course, much quicker for charging batteries than doing it individually in the drone. However, it’s strange that ZeroZero opted for just two battery slots when the Fly More Combo includes three batteries.

ZeroZero claims that the 2330mAh batteries provide up to 34 minutes of flight time, but during testing this was much shorter in real-world flying conditions. Flight times were around 20 minutes until batteries reached 20% and indicated that performance had been limited, and that the drone should be landed. Battery testing took place on a mild winter day in temperatures of around 50F / 10C, so battery life should improve slightly during warmer months, although I can't see that it would ever reach 34 minutes.

V-Copter Falcon Mini controller with phone attached — James Abbott

V-Copter Falcon Mini controller front view — James Abbott

The controller is simply designed and looks quite minimalist, although you have all the direct-access controls you need, including standard control sticks, a Return to Home/Stop button, a flight mode button, a photo button and a video button.

The phone holder folds back and stows away alongside the control sticks, and it’s rotated over to the front to hold your phone above the control sticks for use. With the vertical mode switched on, rotating your phone to portrait orientation sets the Falcon Mini to capture upright photos and videos.

Design score: 4/5

V-Copter Falcon Mini: Features and performance

Three flight speeds
Reverse flight (upside-down)
Agile flight

The Falcon Mini flies just like a standard quadcopter, although it’s considerably quieter. ZeroZero claims that it’s 50% quieter than a quadcopter, which makes sense since it has 50% the propellers and motors. Noise has been measured to be 62 decibels at two meters by ZeroZero, and it’s fair to say that the drone is noticeably quieter than the many quadcopters I've flown.

Flight, as previously mentioned, doesn’t feel dramatically different to a quadcopter despite only having two rotors. To compensate for less motors, the rotors tilt forward to boost airflow and generate thrust, with each rotor moving independently to allow for sharper turns. This, combined with the tilting rotors, does mean that the Falcon Mini can accelerate quickly when in its faster flight modes.

Normal mode allows for speeds of up to 8.9mph, Sport up to 26.8mph and Turbo up to 35.8mph. Sport is the mode that you’ll probably use the most, since it’s like Normal on other drones. Normal and Sport are accessed using a button on the controller, while Turbo is accessed via the V-Copter app. This option sits alongside Orbit and Zoom Out automated flight modes and the Reverse Flight Mode. Reverse Flight enables you to fly the Falcon Mini upside down, where it looks like it’s skating in mid-air rather than simply flying.

To do this, you have to refit the propellers upside down and use the Reverse Flight Kit, which is a plastic bracket that locks the propeller arms in their extended/unfolded position. Reverse Flight makes the drone even more agile in some respects, and with the propellers facing down you have to use hand take-offs and landings, which isn’t as bad as it sounds because you can grab the drone's airframe with your fingers, well away from the propellers.

For Reverse Flight, you’ll definitely need to be outside in an open area to reduce the risk of crashing. When you’re indoors, due to the lack of GPS signal the Falcon Mini goes into an indoor flight mode, in which the drone flies slower and is less responsive. It’s useful, but this isn’t the type of drone you’d typically want to fly indoors, unlike the HoverAir X1 Pro/ProMax with their built-in propeller guards.

Video transmission is 1.5 miles, which suggests the signal isn’t as strong as drones that offer transmission over six miles or more. What I did find during testing is that even when flying the Falcon Mini just a few hundred meters away from me in open space, I did occasionally receive low-signal warnings, and there was sometimes a lag in the camera view on the app screen.

Flight seems to be where the Falcon Mini Excels, thanks to its fast acceleration and agility. Plus, let’s not forget Reverse Flight, which is a bit of a gimmick, but it is unique and takes advantage of the drone’s innovative design. For me, this drone is about as fun as you can get with a camera drone in terms of flight, before you have to move on to FPV drones like the DJI Avata 2 to enjoy the most thrilling flights.

Performance score: 4/5

V-Copter Falcon Mini: Image and video quality

Fully automatic camera
Up to 4K 30fps video
Photos captured in JPEG only

V-Copter Falcon Mini camera close up — (Image credit: James Abbott)

The Falcon Mini certainly sits within the camera drone category, and surprisingly comes with an extremely basic camera; this is what makes me think that this is a drone designed more for fun and flying than it is for image creation. The camera features a 12MP 1/2.3-inch CMOS sensor, which appears to be the same spec as the original V-Copter, but it could be a different, newer sensor.

This can capture video in 4K at 30fps, 2.7K up to 50fps and 1080p at 50fps, while vertical video is captured in 2.7K at 30fps. Photos can only be captured in JPEG format, which is a shame because raw files provide more editing flexibility. You capture photos in landscape and portrait format.

V-Copter Falcon Mini video

The camera is fully automatic – you just aim the camera and shoot – so it’s easy to use, but this does mean you have no control over exposure at all. It’s best to shoot with the sun behind the drone to avoid overexposure or underexposure, which does limit creativity somewhat.

Photo of flooding taken with a V-Copter Falcon Mini — James Abbott

Photo of a town taken with a V-Copter Falcon Mini — James Abbott

Vertical shooting can be initiated by rotating the camera holder on the controller to portrait orientation. This is cropped vertical rather than natively captured vertical, as on the DJI Mini 5 Pro, but it’s still useful for capturing social media-ready footage. You simply have to activate the feature in the app menu, and it appears to use your phone’s accelerometer rather than the position of the phone holder.

Despite having only 50% of the rotors of ‘standard’ camera drones, the Falcon Mini’s 3-axis mechanical gimbal keeps footage smooth and lets you adjust the camera's angle depending on what you’re shooting, as with most drones.

There’s also a Night Mode for shooting at Night which, in a nutshell, optimizes the automatic camera for night capture. It works well, and I found most photos and videos captured at night to be satisfactory, but you can see heavy image processing in both cases, and the results are far from professional quality.

Image and video quality score: 3/5

V-Copter Falcon Mini: testing scorecard

DJI Mini 5 Pro
Attributes	Notes	Rating
Price	The drone isn't expensive, but it should be cheaper than the direct competition.	3/5
Design	The design is undoubtedly unique, and works surprisingly well.	4/5
Performance	The Falcon Mini Flies well, and has the Reverse Flight mode trick up its sleeve.	4/5
Image and video quality	Image quality and camera functionality are what let this fun-to-fly drone down.	3/5

Should I buy the V-Copter Falcon Mini?

Buy it if...

You'd like fun-to-fly drone
The Falcon mini is more about fun flight than it is for quality image capture – if you like to smile as you fly, this is about as fun as you can have outside of FPV drones.

You don’t need the best image capture
If you’d like a camera that can capture 4K video and photos with a fully automatic and worry-free camera, that's what you get with the Falcon Mini.

You want to turn heads
Being a bi-copter alone is enough to turn heads, but you’ll definitely do it with Reverse Flight, which enables you to fly upside down.

Don't buy it if...

You’d like obstacle avoidance
The Falcon Mini, like most sub-250g drones, doesn’t offer obstacle avoidance, so you have to take greater care when flying close to obstacles.

You want great image quality
If you're looking for the best image quality currently available in a sub-250g camera drone, the DJI Mini 5 Pro is your best bet by a long shot.

You'd prefer more features
The Falcon Mini is unique in its design and can even be flown upside down, but beyond this, its features are basic compared to those of some other mini drones.

V-Copter Falcon Mini: also consider

DJI Neo 2

The DJI Neo 2 is a selfie drone that can also be flown like a camera drone and an FPV drone with the required accessories. It offers obstacle avoidance, which is useful when flying the Neo like a camera drone or as a selfie drone. Video can be captured up to 4K, while photos can be captured in JPEG format, all for an impressively affordable price.

See our DJI Neo 2 reviewView Deal

DJI Mini 5 Pro

If you’d like a camera drone that's the best sub-250g model available, the DJI Mini 5 Pro is what you’re looking for. This impressive drone features a rotating camera with a 1-inch sensor and impressive image quality and features. This is a drone that’s perfect for beginners and professionals alike, thanks to its great image quality, safety features, build quality and more.

See our DJI Mini 5 Pro reviewView Deal

V-Copter Falcon Mini in flight against a blue sky — (Image credit: James Abbott)

How I tested the V-Copter Falcon Mini

I tested the drone over a period of several weeks
I tested all of its features, including image and video capture
I assessed flight performance in its various modes

I tested the V-Copter Falcon Mini over several weeks, trying out all of the features and functionality, including Reverse Flight (upside-down flight). The drone was used in the same way as other camera drones to assess both flight performance and camera performance. The Falcon Mini was flown through a range of maneuvers to see how smooth and stable flight is with just two sets of rotors.

First reviewed: January 2026
Read more about how we test

Canon’s latest PowerShot proves the compact camera isn’t dead — and testing it reminded me why I got into photography in the first place

9:00 pm | February 3, 2026

Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Tags: ISO, LCD | Comments: Off

Canon PowerShot Elph 360 HS A: two-minute review

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

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

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

The Canon Ixus 285 HS A Compact camera — The Canon PowerShot Elph 360 HS A/ Ixus 285 HS A compact camera is incredibly small and fits into a pocket (Image credit: Peter Fenech)

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

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

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

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

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

Canon PowerShot Elph 360 HS A specs

Canon PowerShot Elph 360 HS A specs:
Type:	Digital compact
Sensor:	1/2.3 type back-illuminated CMOS
Sensitivity:	ISO 80-3200
Shutter speeds:	5 – 1/2000sec
LCD:	7.5 cm (3.0”) LCD (TFT), Approx. 461,000 dots
Memory:	MicroSD
Lens:	4.5 – 54.0 mm (25 – 300 mm Efl) f/3.6 – f/7.0
Video:	Full HD (1080p)
Photo:	20.2MP
Burst rate	2.5fps / 7.2fps (5MP)
Dimensions:	99.6 x 58.0 x 22.8 mm
Weight:	5.15oz / 146g

Canon PowerShot Elph 360 HS A: Price and availability

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

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

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

Price score: 4/5

Canon PowerShot Elph 360 HS A: Design

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

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

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

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

The Canon Ixus 285 HS A — (Image credit: Peter Fenech)

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

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

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

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

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

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

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

Design score:4.5/5

Canon PowerShot Elph 360 HS A: Performance

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

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

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

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

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

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

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Images takes with the Canon Powershot Ixus 285 HS A — (Image credit: Peter Fenech)

The Creative Shot mode captures a sequence of five additional images, each with creative effects applied. Some are more attractive than others

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

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

Performance score: 4/5

Canon PowerShot Elph 360 HS A: image quality

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

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

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

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

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Images shot with the Canon PowerShot Ixus 285 HS A — (Image credit: Peter Fenech)

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

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

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

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

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The 12x optical zoom is far more powerful than what is available on most smartphones

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

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

Image quality score: 3.5/5

Canon PowerShot Elph 360 HS A: testing scorecard

Canon PowerShot Elph 360 HS A:
Attributes	Notes	Rating
Price	If you want a separate camera that isn't buried amongst the other features of your phone, getting it for up to $700 less than the latest top-line handsets is good value	4/5
Design	The button layout is logical and makes good use of the body real estate. It's not that robust, but is fine for everyday usage	4.5/5
Performance	The fast start up and processing times are impressive, while the autofocus puts in a respectable performance for the camera type	4/5
Image quality	It wouldn't be fair to give the camera top marks for image quality. It struggles in all but the best light. However, auto WB is great and the sensor turn in images with a nostalgic feel	3.5/5

Should I buy the Canon PowerShot Elph 360 HS A?

Buy it if...

You want a simple point and shoot

If you don't want too many bells and whistles, which even smartphones can overdo these days, this compact will make shooting images easy and fuss-free.View Deal

You're travelling light

Where absolute portability is your priority, the Elph 360 HS A won't take up much space in your bag or pocket. It is also discreet, so won't draw too much attention on the street or in the bar.View Deal

Don't buy it if...

You want the best images

The quality of the files from the camera are fine, but the small sensor and lack of RAW mode are always going to limit what can be achieved in terms of detail and color capture.View Deal

You want to take creative control

This isn't a camera for professional use. There is no manual, aperture or shutter priority modes, so high-end or experienced shooters may feel cut off from taking control over their images. Once again, there is no RAW mode so this lack of input extends to the digital darkroom.View Deal

Also consider

Sony Cyber-shot RX100 VII

It's a bit long in the tooth in digital terms, plus it is far more expensive, but if you want a camera with professional features that still minimizes size and weight, this is a great choice. The sensor is a little bigger, too, so expect better image quality, while you can also enjoy 4K video recording and a burst rate of 20fps.

Read our in-depth Sony Cyber-shot RX100 VII review

Panasonic Lumix TZ99 on white background

Panasonic Lumix TZ99

Offering a 30x zoom, this compact is genuinely useful for telephoto imagery, such as wildlife and sports. It certainly makes it a great travel companion. You also benefit from a touchscreen and full PASM modes, accessed from a dial on the top plate. The low light performance isn't the best, considering the price, but it will be an upgrade from the Canon PowerShot Elph 360 HS A

Read our in-depth Panasonic Lumix TZ99 review

How I tested the Canon PowerShot Elph 360 HS A

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

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

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

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

First reviewed January 2026

‘The tiniest autofocus lens I’ve played with in over 15 years of testing camera gear’ – the cheap Viltrox body cap full-frame lens is surprisingly sharp and has bags of character, but it makes even more sense for APS-C

4:00 am | February 1, 2026

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

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

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

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

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

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

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

Viltrox AF 28mm f/4.5 body cap lens in photographer's hand — Just 15mm in length – Viltrox AF 28mm f/4.5 is a true body cap lens, with a much faster f/4.5 aperture than other such optics, icncuding the Panasonic 26mm f/8. If you don't mind something a little larger and pricier, then there are f/2.8 alternatives. (Image credit: Tim Coleman)

Viltrox AF 28mm f/4.5: price and availability

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

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

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

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

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

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

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

Viltrox AF 28mm f/4.5: specs

Viltrox AF 28mm f/4.5 specs
Type:	Wide-angle prime
Mount:	Sony E, Nikon Z, Fujifilm X
Sensor:	Full-frame
Focal length:	28mm (or 42mm effective on Sony, Nikon and Fujifilm APS-C cameras)
Max aperture:	f/4.5
Minimum focus:	0.32m, 0.11x magnification
Filter size:	N/A
Dimensions:	60.3 x 15.3mm
Weight:	From 2.1oz / 60g

Viltrox AF 28mm f/4.5: design

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

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

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

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Closeup of the Viltrox AF 28mm f/4.5 body cap lens, protector covering the lens — There's the lens protector in place (Image credit: Tim Coleman)

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Closeup of the Viltrox AF 28mm f/4.5 body cap lens, protector removed — And the lens protector hidden (Image credit: Tim Coleman)

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Closeup of the Viltrox AF 28mm f/4.5 body cap lens — The aperture is fixed to f/4.5, which is a decent all-purpose aperture for portraits and landscapes, but not so helpful in low light (Image credit: Tim Coleman)

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

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

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

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

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

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Viltrox AF 28mm f/4.5 body cap lens mounted to a Nikon mirrorless camera, outdoors in open nature — And here's the lens attached to a Nikon Z6 II mirrorless camera. The camera's grip is longer than the lens! (Image credit: Tim Coleman)

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

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

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

Viltrox AF 28mm f/4.5: Performance

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Viltrox AF 28mm F4.5 image gallery: man in blur beanie hat with autumnal ferns behind him — With a 0.32m minimum focus distance, selfies are possible (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: an old church in the UK — (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: inside an old church, with an open bible on a pew — (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: a dew covered spider's web in long grass — (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: a lone tree in a hilly common — (Image credit: Tim Coleman)

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

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

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

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

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Viltrox AF 28mm F4.5 image gallery: bamboo leaves with sunlight bursting through — Sunstars are pronounced (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: tree roots, moss and fallen autumn leaves — Strong light above this scene is leaking into the top left of frame, reducing contrast (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: portrait silhouette with pronounced light leak — An accidental lens leak. I like it! (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: an elevated view of a common on a misty morning — Vignetting (light fall-off) is heavy. It's a good idea to dial in ±1EV exposure compensation to avoid images appearing too dark (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: selfie of a man in front of a tree — When the conditions are easy – outside in bright daylight but in the shade, image quality is perfectly serviceable (Image credit: Tim Coleman)

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Viltrox AF 28mm F4.5 image gallery: a fern sprouting from the base of an old tree, surrounded by moss — (Image credit: Tim Coleman)

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

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

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

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

Buy it if...

You want a tiny lens that lives on your camera
Never has the term 'body cap lens' felt so more apt.

You're bored of 'perfect' lenses
It's design is quirky and its images even more so, but not in a gimmicky way – center sharpness is complimented by corner and lens flare distortion.

Don't buy it if...

You're a low light photographer
The fixed f/4.5 aperture is a little limiting in low light.

You're short of lenses
I'd class the Viltrox AF 28mm f/4.5 as a fun backup for pricier, bulkier optics that are more able to deliver in more situations.

How I tested the Viltrox AF 28mm f/4.5

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

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

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

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

First reviewed February 2026

‘The tiniest autofocus lens I’ve played with in over 15 years of testing camera gear’ – the cheap Viltrox body cap full-frame lens is surprisingly sharp and has bags of character

4:00 am |

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

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

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

Viltrox AF 28mm f/4.5: price and availability

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

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

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

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

Viltrox AF 28mm f/4.5: specs

Viltrox AF 28mm f/4.5 specs
Type:	Wide-angle prime
Mount:	Sony E, Nikon Z, Fujifilm X
Sensor:	Full-frame
Focal length:	28mm (or 42mm effective on Sony, Nikon and Fujifilm APS-C cameras)
Max aperture:	f/4.5
Minimum focus:	0.32m, 0.11x magnification
Filter size:	N/A
Dimensions:	60.3 x 15.3mm
Weight:	From 2.1oz / 60g

Viltrox AF 28mm f/4.5: design

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

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

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Viltrox AF 28mm f/4.5: Performance

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

Buy it if...

You want a tiny lens that lives on your camera
Never has the term 'body cap lens' felt so more apt.

You're bored of 'perfect' lenses
It's design is quirky and its images even more so, but not in a gimmicky way – center sharpness is complimented by corner and lens flare distortion.

Don't buy it if...

You're a low light photographer
The fixed f/4.5 aperture is a little limiting in low light.

You're short of lenses
I'd class the Viltrox AF 28mm f/4.5 as a fun backup for pricier, bulkier optics that are more able to deliver in more situations.

How I tested the Viltrox AF 28mm f/4.5

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

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

First reviewed February 2026

I tested the world’s first f/1.4 135mm prime, and it’s a portrait photographer’s dream

4:00 am | January 31, 2026

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

Sigma 135mm f/1.4 DG | Art: One-minute review

The Sigma 135mm f/1.4 DG | A (2025) builds on the now nine year old Sigma Art 135mm f/1.8 DG HSM. So with nearly a decade of technicological and optical advancements, how does Sigma’s latest cutting-edge 135mm prime up the ante?

For starters, the mount options have vastly changed since last time. The original Sigma 135mm f/1.8 DG HSM | Art supported Canon EF and Nikon F DSLR mounts, plus Sony E and L-mount, and eventually Sony’s newer mirrorless FE mount, too. By contrast, the new Sigma 135mm f/1.4 DG | A only supports Sony FE and L-mount for mirrorless cameras at present. While it could come to other mounts at some point in the future, it shows the shift in certain camera manufacturers being a little more restrictive (* cough, looking at you, Canon).

The Sigma 135mm f/1.4 DG | Art lens attached to a Sony A7R IV body positioned outdoors on a sunny day on a metal outdoor table with a lattice pattern — (Image credit: Dan Mold)

The price has also changed – 2017’s Sigma 135mm f/1.8 DG HSM | A hit the shelves at $1399 / £1399, whereas the new Sigma 135mm f/1.4 DG | A is $1899 / £1649 / AU$3,499, making it between 18-35% more expensive this time around. This isn’t just down to a decade of inflation and tariffs though, some of this cost will be down to its more premium build and redesign, being the world’s fastest 135mm with an f/1.4 maximum aperture.

But what's the Sigma 135mm f/1.4 DG | A actually like to use? Well, it's a phenomenal achievement, from the legendary Japanese lens manufacturer – delivering supremely sharp detail and dreamy bokeh, even if this is a particularly hefty optic.

Bottom line – if you need a short telephoto focal length with a super fast f/1.4 aperture, then this will be the one to go for, provided you shoot on the two mounts it’s currently available for and have deep enough pockets to buy one.

Sigma 135mm f/1.4 DG | Art: Price and availability

Priced at $1,899 / £1,649 / AU$3,499
Lens hood, tripod foot collar and soft pouch included
Announced in September 2025

When it comes to value, the Sigma 135mm f/1.4 DG | Art is one of the most expensive 135mm primes on the market, though it’s not quite as expensive as the Canon RF 135mm f/1.8L IS USM which costs $2399 / £2399, or the Nikon Z 135mm f/1.8 S Plena which retails for $2597 / £2179. That being said, sadly the Sigma 135mm f/1.4 isn’t currently available for either Canon RF or Nikon Z mounts presently so it doesn’t offer a more affordable third-party option for Canon or Nikon users.

However, for the Sony FE and L-mount cameras that it is currently available for, it’s one of the more expensive lenses you can go for, but then it is the only 135mm lens on the market with that super wide f/1.4 aperture. If you're willing to pay the premium over a f/1.8 alternative, this lens is a must-have as you’ll be faced with no other options; it is an excellent portrait lens and one that delivers superb image quality.

For photographers looking for something more portable and svelte, the Sony FE 135mm f/1.8 GM, Samyang AF 135mm f/1.8 or Viltrox AF 135mm f/1.8 lenses will be better options and one of the best third-party Sony lenses.

Sigma 135mm f/1.4 DG | Art: Specs

Sigma 135mm f/1.4 DG | Art specs
Type:	Short telephoto lens
Mount:	L-Mount, Sony FE
Sensor:	Full-frame
Focal length:	135mm
Max aperture:	f/1.4
Minimum focus:	1.1m
Filter size:	105mm
Dimensions:	111.7x135.5mm
Weight:	50.4oz / 1430g

Sigma 135mm f/1.4 DG | Art: Design

Big and hefty, weighing 50.4oz/1430g
Houses 17 elements arranged in 13 groups
Has a removable Arca-Swiss tripod foot and collar
No optical image stabilization

The new Sigma 135mm f/1.4 DG | Art is chunky and that’s perhaps none-too-surprising to achieve its momentous f/1.4 maximum aperture. Its diameter of 111.7mm is larger than its competition and its length of 135.5mm makes it about 18% longer than its predecessor. In fact, it's only the Viltrox AF 135mm f/1.8 and Nikon Z 135mm f/1.8 S Plena lenses that are longer, at 147.6mm and 139.5mm respectively.

The Sigma 135mm is heavier than its peers too – tipping the scales at 50.4oz/1,430g it’s significantly heavier than other mirrorless full-frame 135mm primes. Many 135mm primes from the likes of Sony, Samyang, Canon and Nikon all come in around 35% lighter or less, though none achieve the coveted f/1.4 aperture of the Sigma, so this is the price you pay for having a faster lens.

A side-on view of the Sigma 135mm f1.4 DG Art lens attached to a Sony A7R IV body on a metal garden table outdoors with lots of bokeh in the background — (Image credit: Dan Mold)

The barrel houses 17 elements arranged in 13 groups, four of which are large FLD glass elements along with strategically placed high dispersion glass which Sigma claims can suppress axial chromatic aberration. There’s also not one but two HLA (High response Linear Actuator) motors which drive the autofocus – the floating focus system allows two lens groups to be moved independently – I'll touch more on how it performs in the next section.

The original Sigma 135mm f/1.8 DG HSM | Art lacked image stabilization when it came out nine years ago and unfortunately the new Sigma 135mm f/1.4 DG | A omits this once again. However, while the original launched for predominantly for DSLRs, this new Sigma 135mm f/1.4 DG | A is built with modern mirrorless bodies in-mind, many of which have very good in-body image stabilization (IBIS) which is more effective than optical stabilization (OIS) anyway, so it’s less of an issue that it would have been back then. We also have to remember that adding stabilization to the lens would likely result in the lens being even bigger – something I’m sure Sigma would be keen to avoid with its already very tank-like build.

I got hold of the Sony FE version, though the lens can also be picked up for L-mount alliance cameras, which includes Sigma, Panasonic and Leica bodies. It has a nice brass metal mount with a weather seal around it, showing that the lens has some sealing and protection from the elements, which is to be expected from Sigma’s premium 'Art' range (and this price point).

Sigma 135mm f1.4 DG Art lens attached to a Sony A7R IV body positioned on a metal garden table outdoors with lots of bokeh in the background — The front element of the Sigma 135mm f/1.4 DG | A is huge and takes 105mm screw-in filters (Image credit: Dan Mold)

Taking the front lens cap off reveals the huge front element, which has an oil and water repellent coating and also takes enormous 105mm screw-in filters. The front element is so large that the lens barrel protrudes at the front to make space for it (and presumably to protect it). This upshot is that the lens feels secure in the hand, with your supporting hand naturally resting on the focus ring.

A close-up of the focus ring on the Sigma 135mm f1.4 DG Art lens — The focus ring is a bit smaller than its predecessor but it offers plenty of grip and feels secure in the hand. It's smooth to turn, too. (Image credit: Dan Mold)

Speaking of the focus ring, it’s significantly thinner than the old version at just 2cm wide, perhaps showing the shift away from manual focus, especially with how good modern face and eye detection autofocus systems have become in the past decade.

Looking at the new and old Sigma 135mm lenses side by side, the difference in real estate given to the focus ring is quite stark and has to be around half as wide this time around. That being said, its knurled rubber design offers plenty to hold on to and is smooth to turn. With the move to mirrorless, focusing manually is electronic rather than mechanical, which means we also miss out on a focus distance window.

The lens now comes with a tripod foot collar, you'll get a better balance on a monopod/tripod and reduce strain versus handheld shooting. I actually preferred attaching to a monopod while shooting outdoors to give me a more stable platform, especially when nailing such a delicately thin slice of focus shooting wide open at f/1.4.

The collar is removable, and while it can be screwed into a tripod or monopod, the foot has also been machined to work in Arca-Swiss mounts without the need to attach a plate.

A close-up of the tripod foot with Arca-Swiss mount on the Sigma 135mm f1.4 DG Art lens — One nice feature of the Sigma 135mm f1.4 DG Art lens is that it sports a tripod foot and collar. The foot accepts monopods and tripods, though it's also shaped to fit directly into Arca-Swiss mounts without the need for a quick release plate or adapter (Image credit: Dan Mold)

Also on the lens barrel is a switch to flick between AF/MF and there’s an iris ring which can be used to control the lens aperture, complimented by another switch to engage or disable the aperture ring from clicking – a handy feature for videographers who like the smoother un-clicked operation. It can also be locked into the ‘A’ position if you’d prefer not to use it at all and instead set the aperture via the camera body.

A close-up of the iris ring on the Sigma 135mm f1.4 DG Art lens — The lens barrel sports an iris ring for changing the aperture value if you prefer. It can also be locked off at the A position if you prefer to set the aperture in the camera body and it can also be clicked or declicked, the latter is more suitable for video. (Image credit: Dan Mold)

To wrap up, you’ll also find two AFL buttons on the lens, spaced 90-degrees apart from each other, with one on the left and the other on the top of the barrel for easy access when shooting in landscape or portrait orientation. These buttons can be assigned to a range of functions.

Sigma 135mm f/1.4 DG | Art: Performance

Stunning shallow depth of field effects with f/1.4 aperture
Good face detection and eye tracking with my Sony test body
Some vignetting when shooting wide open at f/1.4

As previoously mentioned, the Sigma 135mm f/1.4 DC | Art is a big and chunky lens that's almost twice as heavy as some of its rivals. This does make it a little unwieldy to use and I'd recommend a camera body with in-body image stabilization (IBIS) to reduce camera-shake – I paired it with the Sony A7R V.

If using a smaller body which lacks a vertical grip, I would also recommend adding a battery grip improve balance with the lens – it helps to keep the camera and lens more stable when taking photos in the portrait orientation.

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A test shot of a toy metal robot with string lights set up behind it to produce bokeh at different apertures — Test shot with Sigma 135mm f/1.4 DG | A: f/1.4, 1/3200 sec, ISO1600 (Image credit: Dan Mold)

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The addition of the tripod foot and collar is clearly a welcome addition and will come in use for those shooting on a tripod in a studio or on a monopod for scenarios such as shooting models at an outdoor location, or cars at a racetrack, for example.

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Test shots of a female model taken with the Sigma 135mm f/1.4 DG | Art lens on a Sony A7R IV body to show different aperture values — Test shot with Sigma 135mm f/1.4 DG | A: f/1.4, 1/1250 sec, ISO800 (Image credit: Dan Mold)

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Focusing with the compressed 135mm focal length and with the aperture wide open at f/1.4 is a challenge because you’re playing with such a small focus area and very limited depth of field. Luckily, the Sigma 135mm f/1.4 DC | Art has quick and accurate focusing through its Dual HLA motors, and nailing focus on the eyes becomes easier when shooting on a tripod or monopod, to eliminate camera-shake.

Your subject will also need to be very steady to avoid subject blur and the focus slipping onto the eyelashes – which is all very well with an accommodating adult, but more of a challenge with animals! You are also somewhat at the mercy of how good the eye detection and subject tracking is on the camera body, but the Sony A7R IV I paired the lens to performed very well.

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Test shots of a sausage dog dachshund with Sigma 135mm f/1.4 DG Art lens on a Sony A7R IV body — Test shot with Sigma 135mm f/1.4 DG | A: f/1.4, 1/4000 sec, ISO100 (Image credit: Dan Mold)

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Optically, the lens is razor sharp when you are able to land the focus exactly where you need it on your subject, while the background bokeh blur is stunningly beautiful, with enormous bokeh circles when shooting wide open. The bokeh is huge, smooth and circular due its 13 bladed aperture, and showed no signs of ugly onion ring defects you can get with cheaper optics.

Vignetting is a minor issue when shooting wide open, although this clears up by f/1.8. There is also a very subtle amount of chromatic aberration on edges of contrast, though both of these issues are very easy to fix in post, and for the most part can be dealt with using the profile corrections in editing software with a single click, so for me they're not a big deal.

Should you buy the Sigma 135mm f/1.4 DG | Art?

Buy it if...

You want the world's only 135mm f/1.4 lens

The Sigma 135mm f/1.4 DG | A is the only 135mm lens to boast a wide f/1.4 maximum aperture, so if you need such a tool in your arsenal – this is the one to get

You're looking for a bokeh monster

The 135mm f/1.4 lens is a beast when it comes to producing incredible background blur and beautiful large, smooth and circular bokeh

You shoot with Sony or L-mount bodies

Sadly, the Sigma 135mm f/1.4 is, at the time of review, only available for Sony E and L-mount bodies. If you're a portrait professional shooting on either of these systems, this is a lens to consider if your budget can stretch

Don't buy it if...

You're on a budget

This is one of the most expensive 135mm portrait lenses on the market – costing $1899 / £1649 / AU$3,499, you'll need deep pockets!

You prefer small and lightweight lenses

The Sigma 135mm f/1.4 is a chunky and heavy lens and its unwieldy handling makes it difficult to shoot with handheld – a monopod or tripod is often preferred to steady the frame

You don't need the f/1.4 aperture

If you don't shoot in super dim conditions or require the extra shallow depth of field that this lens will give you, there are numerous other options from Sony and third-partiesView Deal

How I tested the Sigma 135mm f/1.4 DG | Art

I used the lens for a month, capturing everything from controlled still-life setups at home to outdoor portraits
I paired it with the 61MP Sony A7R V full-frame body, zooming in on images to assess resolution and clarity
I took shots throughout the aperture range, focusing up close and further away to judge image sharpness

I used the Sigma 135mm f/1.4 DG | Art lens for a month, paired with a Sony A7R V to produce incredibly detailed 61MP files so I could zoom in and thoroughly inspect the image quality.

I shot a range of subjects from indoor still life setups to portrait shoots outdoors with the lens and shot at all of the available apertures to see how image quality and vignetting were handled throughout the aperture range.

I took a range of pictures with in-camera lens corrections both enabled and disabled to see the difference. I also shot in raw and JPEG formats, and gauged how things like corner sharpness and vignetting changed at different aperture values.

First reviewed January 2026

I’ve finally found the only gimbal I need — here’s why the Hohem iSteady MT3 Pro is my go-to stabilizer for every camera I own

2:00 am | January 30, 2026

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

Hohem iSteady MT3 Pro: two-minute review

If you’re serious about video capture, there’s a good chance that a gimbal is on your ever-growing shopping list. And if you’re looking for something that can support one of the best cameras for YouTube and general video capture, the Hohem iSteady MT3 Pro is an option you might want to consider.

This is a pro-spec gimbal that comes with a built-in camera for AI subject tracking and remote viewing, a touchscreen remote, impressive battery life, and a respectable 5.51lbs / 2.5kg maximum payload. It’s packed with features, and the Pro kit comes with a range of useful accessories for not much more than the price of the standalone Pro option.

The MT3 Pro even features a detachable 1.4-inch touchscreen remote, which can be used to control the gimbal from up to 32.8ft / 10m, with the ability to see what the AI tracking camera sees. This is fantastic, whether you’re capturing yourself or simply working at a distance from the camera. You can, of course, also access many gimbal settings via the remote, and there’s a mount that attaches the remote to the multi-angle arm that’s included in the pro kit.

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Hohem iSteady MT3 Pro side view with a camera attached — (Image credit: James Abbott)

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Hohem iSteady MT3 Pro view from above with a camera attached — (Image credit: James Abbott)

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Hohem iSteady MT3 Pro detachable remote with 1.4in screen — (Image credit: James Abbott)

In terms of build quality, there’s no faulting the MT3 Pro. It feels like a quality product, as you’d hope and expect for the price. It’s a surprisingly compact gimbal considering it has a maximum payload of 5.51lbs / 2.5kg, which is enough to support a range of different cameras and necessary accessories up to some professional options.

The MT3 Pro is comfortable to hold thanks to the contoured grip and the weight of just 2.36lbs / 1.07kg. Plus, the included mini tripod acts as both a stand and an extended handle / grip. The Pro kit also comes with a multi-angle handle, which is perfect for adding stability in ‘side handle mode’ and for capturing low-angle shots in ‘briefcase mode’. Another useful feature is the ability to switch the camera to portrait mode in a matter of seconds, without having to rebalance the gimbal.

A great aspect of the MT3 Pro is that it comes with everything you need to attach and stabilize smartphones, action cameras, compact cameras and larger mirrorless cameras, DSLRs, and video cameras. For most professionals and advanced users, a mirrorless or video camera will be the obvious camera of choice, but you never know when you may need to attach an action camera or smartphone, so this functionality remains useful – if you shoot just with a phone, however, you'll find a better alternative in our best phone gimbals guide which includes Hohem's own iSteady M7 in top spot.

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Hohem iSteady MT3 Pro being held in suitcase mode — (Image credit: James Abbott)

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Hohem iSteady MT3 Pro being held — (Image credit: James Abbott)

The camera mount is Arca-Swiss compatible, which means you can attach your camera and camera cage to the gimbal. Like all gimbals, the MT3 Pro conveniently folds flat for transport and storage. Parts of the MT3 Pro are Teflon-coated, intended to make balancing easier when adjusting the tilt, roll and pan arms. The MT3 Pro was easy enough to balance, and the arms certainly moved with ease during the process.

One of the more interesting features is the AI subject tracking for humans, pets, vehicles, and pretty much any subject you might want to capture. The subject tracking works well, incredibly well, when it comes to locking onto subjects as you move around them, or if the subject itself moves – the gimbal will follow. 'Any subject' may seem vague, but during my testing I was able to select literally anything, and the MT3 Pro would dutifully lock on to it.

The gimbal achieves success here thanks to its 2MP AI camera. This not only allows the gimbal to see the subjects it's tracking, but, as previously mentioned, it also provides a live view of what’s happening in front of the camera. It’s not a live feed from the camera, but it remains useful by allowing you to select the subject to be tracked. You can set custom follow speeds to make the MT3 Pro quicker and generally more responsive when required. You can also use hand gestures to control some functionality of the gimbal, which is useful for vloggers.

The Hohem Joy app allows you to perform several tasks, including updating firmware, controlling the gimbal wirelessly, setting up shooting tasks such as timelapses, and smartphone camera control when stabilizing your smartphone. It’s not the best app of its kind, but it could be worse, and I was surprised to find a firmware update available for the pre-sale MT3 Pro I was testing.

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Hohem iSteady MT3 Pro close up of the follow focus motor — (Image credit: James Abbott)

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Hohem iSteady MT3 Pro closeup of the light — (Image credit: James Abbott)

One thing I did find tricky with the MT3 Pro is that some features and functions are tucked away behind multiple button presses, as well as being accessible on the remote. This is fine if you use gimbals daily, but for less frequent users it will take some time to learn what one, two, three or four presses, or a long press, of a button does. Not a dealbreaker, for sure – just something to be aware of.

The Hohem iSteady MT3 Pro is an impressive and useful gimbal thanks to these features and others, including the Spot Mini Motor, which can be set up to add easy motorized focusing of your lens / follow focus. This is only available in the Pro kit. Standard features include control of compatible cameras, and there’s also a built-in light. This has Kelvin and brightness control, and although it’s not the brightest it does add useful fill light in some situations.

This and the AI subject tracking will of course take their toll on battery life, but Hohem claims that the 4350mAh battery can provide up to 20 hours of use when these features aren’t being used. I wasn’t able to fully test that claim, but a single charge did more than cover my testing period, which spanned a couple of weeks and multiple shoots.

Hohem iSteady MT3 Pro review: price and availability

The Hohem iSteady MT3 Pro was announced on January 6 2026, alongside the Hohem iSteady MT3. The latter is a less expensive option with a lower maximum payload and fewer features. The iSteady MT3 models will initially be available in the United States with pre-orders open now. Hohem has suggested that a wider release to the UK, Australia and other regions could follow in March/April.

I reviewed the iSteady MT3 Pro kit, which costs $549, while the iSteady MT3 Pro costs $449. Without listing everything you get in the Pro kit, in addition to what comes with the MT3 Pro, you also receive a carry case, multi-angle handle, a focus motor and associated accessories, among other items, and for just $100 more it's an attractive option. We'll update this page when we have details of pricing and availability for regions outside the US.

Hohem iSteady MT3 Pro review: specs

Dimensions:	Folded: 8.5 x 11.6 x 2.6 inches / 216 x 295 x 65mm / Unfolded: 13.3 x 5.9 x 7.8 inches / 338 x 150 x 199mm
Weight:	2.36lbs / 1070g
Max payload:	5.51lbs / 2.5kg
Verical shooting:	Yes
Compatible phone width:	58 to 90mm
Connectivity:	USB-C / Bluetooth
Battery life:	Up to 20 hours (without AI tracking)

Hohem iSteady MT3 Pro review: also consider

Hohem iSteady M7

If you only need a gimbal for stabilizing your smartphone, the Hohem iSteady M7 can support devices that weigh up to 1.1lbs / 500g, so even the Max and Ultra models of the phone world can be kept steady. It also features a telescopic extension, AI subject tracking and a detachable touchscreen remote.

Read our Hohem iSteady M7 review

DJI RS4 Mini

The DJI RS4 Mini is a more entry-level option than the MT3 Pro, but comes in at a lower price while retaining DJI’s signature quality. It also features AI subject tracking, and a maximum payload of 4.4lbs / 2kg. The arms are on the stiff side when it comes to balancing, but it’s otherwise a worthy consideration if you’re on a budget. DJI also has the pricier RS4 in its range, and more recently announced the RS5.

Read our DJI RS4 Mini review

Should I buy the Hohem iSteady MT3 Pro?

Hohem iSteady MT3 Pro with its light on — (Image credit: James Abbott)

Buy it if...

You want excellent subject tracking
The AI-powered subject tracking, along with the live view from the AI camera, is fantastic for keeping your camera locked onto the subject, whether that’s you or anything else.

You use multiple cameras
If you shoot with a range of different camera formats, including your smartphone, the MT3 Pro has you covered, with mounts for phones and action cameras included.

You need long battery life
With a battery life up to 20 hours when you’re not using AI tracking modes, you should, in theory, be able to get a day’s shooting out of the MT3 Pro.

Don't buy it if...

You only shoot video with a smartphone
With its 5.51lbs / 2.5kg maximum payload, this is a gimbal that’s designed to support up to full-frame mirrorless cameras. A phone-only gimbal would be a more cost-effective option if that's all you use.

You’re on a budget
The iSteady MT3 Pro certainly isn’t cheap, but you get what you pay for in terms of features. However, if you’re on a budget, less expensive alternatives are available, including the iSteady MT3.

You rarely shoot handheld
If you only occasionally shoot handheld, a camera cage with handles could be a great option that saves cash. You will need extremely steady hands, though.

How I tested the Hohem iSteady MT3 Pro

I tested it over a couple of weeks
I paired it with a range of cameras
I tested all of its features

The Hohem iSteady MT3 Pro was tested over a couple of weeks indoors and out, with my smartphone, compact camera and full-frame mirrorless cameras, and with video accessories attached. The gimbal was tested according to what I was shooting, but emphasis was placed upon overall stability and the effectiveness of the AI-powered subject tracking. I also tested the touchscreen remote, the spot mini motor for focus control, and the other accessories included in the kit.

First reviewed January 2026