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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

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 |

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

Hohem iSteady MT3 Pro: two-minute review

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Hohem iSteady MT3 Pro review: price and availability

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

Read our Hohem iSteady M7 review

DJI RS4 Mini

Read our DJI RS4 Mini review

Should I buy the Hohem iSteady MT3 Pro?

Buy it if...

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 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

First reviewed January 2026

I tested the world’s fastest 12mm lens – should you buy the Sigma 12mm f/1.4 DC | C lens?

7:00 pm | January 26, 2026

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

Sigma 12mm f/1.4 DC | C: One-minute review

The Sigma 12mm f/1.4 DC | C is the latest, and widest, lens to join Sigma’s comprehensive list of primes with a fast f/1.4 maximum aperture, complimenting the 16mm, 23mm, 30mm and 56mm f/1.4 primes in its Contemporary range.

All five f/1.4 primes are specifically designed for mirrorless APS-C cameras, and as such are small and portable. The Sigma 12mm f/1.4 DC | C is available for Sony E and Fujifilm X, but also for Canon RF, with the brand now opening up to third-party lenses with autofocus on its APS-C cameras.

Dan Mold shooting outdoors holding a Sony a6700 body with a Sigma 12mm f/1.4 DC | C lens attached to it with his eye to the camera viewfinder — With a weight of just 225g and measuring 69.4mm long, the Sigma 12mm f/1.4 DC | C lens is beautifully sleek, and works brilliantly with small APS-C mirrorless camera bodies (Image credit: Future / Dan Mold)

Speaking of mount options, on Sony E and Fujifilm X bodies with a 1.5x sensor crop the 12mm lens behaves more like an 18mm focal length (full-frame equivalent), whereas on Canon APS-C mirrorless cameras with a 1.6x crop factor it will feel a little more zoomed in, and behave more like a 19mm focal length.

So if you own one of these APS-C mirrorless camera bodies should you run out to buy the Sigma 12mm prime? Well, it's not the widest prime on the market – that title goes to the Sony 11mm f/1.8. However, if you don't mind it being a little more zoomed in at 12mm, and prefer the brighter f/1.4 maximum aperture, then it's an absolute no-brainer.

If your budget can't quite stretch to the Sigma 12mm, or you shoot on Sony mirrorless, then you'll want to see what other options are available for you below.

Sigma 12mm f/1.4 DC | C: Price and availability

Priced at $579 / £519 / AU$1,000
Lens hood included
Announced August 2025

Sigma announced the 12mm f/1.4 DC | C on August 19 2025, and it started shipping later in September.

It's available for Sony E, Fujifilm X, Canon RF mounts and costs $579 / £519 / AU$1,000. To put that into context, its rivals are the Sony E 11mm f/1.8, which costs $699 / £477 / AU$799, the Viltrox AF 13mm f/1.4 STM, which costs $429 / £440 / AU$624, and the Samyang AF 12mm f/2, which retails for $499 / £348 / AU$598.

While it can’t match the Sony’s wide focal length, it does offer a great balance of a still very wide 12mm focal length and that super-wide f/1.4 aperture, all wrapped up in a very small and portable package.

It's a little more expensive than the Viltrox and Samyang offerings, so those on tighter budgets may prefer to save money and miss out on the better features found in the Sigma 12mm. Sony users will be faced with a tougher choice, as they'll have to also weigh up the Sony E 11mm f/1.8, which has a wider focal length at the cost of a slower maximum aperture.

For me, the Sigma 12mm f/1.4 DC | C lens would have been even better value for money if it had included an iris ring lock and MF/AF switch on the barrel, though I think for most people these will be minor gripes in an otherwise stellar lens that combines brilliant portability with great image quality and a super-fast and wide aperture and focal length.

Sigma 12mm f/1.4 DC | C: specs

Sigma 12mm f/1.4 DC specs
Type:	Wide-angle prime
Mount:	Sony E, Fujifilm X, Canon RF
Sensor:	APS-C
Focal length:	12mm (18mm effective on Fujifilm & Sony, 19.2mm on Canon RF)
Max aperture:	f/1.4
Minimum focus:	0.17m
Filter size:	62mm
Dimensions:	68 x 69.4mm
Weight:	7.9oz / 225g

Sigma 12mm f/1.4 DC | C: Design

Some level of weather-sealing that's usually reserved for more premium Art lenses
Very lightweight at 7.9oz / 225g
Sony and Fujifilm versions have an iris ring, while Canon version has a Control Ring

The Sigma 12mm f/1.4 DC | C is perfectly small and portable, with super-sleek dimensions of 68 x 68.4mm and a weight of just 225g, which makes it well matched with the smaller APS-C bodies it’s designed to be used with. You can also use it on a full-frame camera, but you’ll need to use the camera's APS-C crop mode to accommodate the smaller imaging circle this lens produces.

With not a lot of lens barrel to play with, the exterior design has been kept simple, with just an electronic fly-by-wire focus ring and also an iris ring to control the aperture – the latter is a ‘Control’ ring on Canon RF cameras, which can be assigned to a range of functions, including, but not limited to, aperture.

There are, however, no switches on the barrel itself, which means you’ll need to dive into the menus to switch between AF and MF. There’s also no switch to lock the iris ring in its ‘A’ mode to prevent it from slipping, and the iris ring is also clicked, with no way to switch it over to a de-clicked mode – two features which I’ve become accustomed to after using Sigma Art lenses such as the 135mm and 17-40mm. While not a dealbreaker by any means, these would have been welcome inclusions here.

Sigma 12mm f/1.4 DC | C lens shoot outdoors on a metal table — The Sigma 12mm f/1.4 DC | C features an iris control ring, though this is replaced by a Control Ring on the Canon edition (Image credit: Future / Dan Mold)

Inside, the lens is constructed from 14 elements in 12 groups, and includes three aspherical elements, plus two SLD (Special Low Dispersion) elements.

It has a rounded 9-bladed aperture design which can be opened as wide as f/1.4 or closed to f/16. The minimum focus distance is also just 17.2cm, so close-up shots with blurry backgrounds are very possible (see my test shots in the Performance section).

On the front of the lens is a filter thread which takes 62mm screw-in filters. A LH652-01 petal lens hood is included, which is equally as petite as the lens itself, and helps to block out stray light rays to reduce flare.

The front element also has a water- and oil-repellent coating that compliments the dust and splashproof design of the lens. Sigma’s more budget-friendly line of Contemporary lenses don’t usually get the weather-sealed treatment, but this 12mm is somewhat protected, as it has a rubber gasket around the rear lens mount.

The lens is as fast as or faster than its main competition, including the Sony E 11mm f/1.8, Viltrox 13mm f/1.4 and Samyang 12mm f/2, though it’s not quite as wide-angle as the Sony model. It’s also the most expensive of the pack – more than twice the price of the Samyang. It’s similar in size and weight to the Samyang and Sony, though the Viltrox model is notably larger and heavier. However, if the speed of the faster aperture or shallow depth of field are your priority and money is no object then the Sigma is definitely one to consider.

Sigma 12mm f/1.4 DC | C: Performance

Very small and portable
Bright f/1.4 maximum aperture makes it a beast for low-light shots
Sharp details and smooth bokeh
No switches on lens barrel, making it a little difficult to switch settings

I was able to test the Sigma 12mm f/1.4 DC on both an APS-C Sony A6700 and full-frame Sony A7R IV in crop mode, both of which delivered images around 26MP.

Autofocus was fast and reliable – it took a brief moment to lock on but was overall impressively fast and quiet. Sigma claims the stepping motor delivers ‘minimal’ focus breathing, and in my testing I would have to agree. The autofocus was also accurate when locking on to subjects with low contrast, and it kept up well with the Sony A6700’s subject-detection and tracking, too.

It would have been nice if the lens featured optical image stabilization; however this wasn’t too much of an issue, considering most modern mirrorless cameras have sensor-based IBIS and you also have that super-wide f/1.4 maximum aperture, so you rarely capture shaky shots or footage. Many low-light shots. such as traffic trails or astrophotography. also require a tripod, so the lack of optical image stabilization for these types of shots isn't an issue.

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A test shot taken with Sigma 12mm f/1.4 DC | C lens showing the blurry background and shallow depth of field with its wide maximum f/1.4 aperture — The bright f/1.4 maximum aperture makes it possible to throw the background into a beautiful blur, but its wide 12mm focal length means you need to get up close to your subject to do so (Image credit: Dan Mold)

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Image quality was overall impressive, with decent center sharpness from the get-go, though that super-wide f/1.4 aperture did contribute to a little softness around the edges and corners, but these areas became sharp very quickly by f/2.8. The corners were also quite dark in the raw and JPEG files, though again this was remedied by f/2.8, and this vignetting is easily fixed in post-production.

The in-camera lens correction profiles did a good job at creating sharp and mostly distortion-free photos. There was also impressively virtually no chromatic aberration, and the lens handled flare when shooting towards the sun very well.

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Sigma 12mm f/1.4 DC | C image quality test shot showing architecture and interior performance — (Image credit: Dan Mold)

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As is to be expected from a lens with such an extreme wide-angle focal length, Sigma’s 12mm does show some signs of barrel distortion around the edges, but this is by no means fisheye, and is overall it's very well handled. Straight lines of buildings do tend to bow a little when shot from up close, so if buildings and architecture is the top of your mind you’ll almost certainly be better off with a tilt-shift lens. Aiming the lens up at buildings exaggerates the barrel distortion the most.

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Sigma 12mm f/1.4 DC | C lens test shot showing low light performance in London — (Image credit: Dan Mold)

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However, for an everyday walkabout lens for city shots it’s a great choice. While perhaps not the best option for exterior architecture, it would be a fantastic lens for interiors, where the wide focal length will help you squeeze more of small spaces into the frame, and its bright f/1.4 aperture will help you get good results even in dark interior spaces.

Should you buy the Sigma 12mm f/1.4 DC | C?

Buy it if...

You own a Sony E, Fujifilm X or Canon RF APS-C body

The Sigma 12mm f/1.4 is small, and pairs perfectly with smaller APS-C bodies

You need a fast wide-angle prime

This Sigma lens is the fastest wide-angle prime for APS-C bodies on the market, with an f/1.4 maximum aperture

You want to blur backgrounds

With its f/1.4 maximum aperture you can get up close and personal to your subjects, and throw backgrounds into a blur with a shallow depth of field easily

Don't buy it if...

You need the versatility of a zoom

If you don't want to be stuck at just one focal length you'll likely be better off with a zoom lens that gives you more options, though this will likely have a slower max aperture

You're on a budget

The Sigma 12mm f/1.4 is the most expensive of its rivals, which include the Sony E 11mm f/1.8, Viltrox AF 13mm f/1.4 STM and Samyang AF 12mm f/2, and while it can’t match the Sony’s wide focal length it does offer a great balance of a still very wide 12mm focal length, and that super-wide f/1.4 aperture

You like to change settings quickly

With no physical switches for AF/MF on the lens barrel it can be a slow process to change settings in the camera menu. There's also no lock on the iris ring, which means it can frustratingly be knocked out of position easily.View Deal

How I tested the Sigma 12mm f/1.4 DC | C

I used the lens extensively for a month, shooting around busy cities in both during the day and at night
I paired it with the Sony a6700 APS-C body as well as a Sony a7R IV full-frame body in crop mode
I took wide-angle shots of cities, sunsets, low-light scenes, starscapes, and more

I got hold of the Sigma 12mm f/1.4 DC | C and Sony A7R IV and A6700 bodies for a month to give the lens a thorough testing over an extended period.

Due to its small size and portability the lens quickly became my go-to option when I needed to bring a camera with me for days out around cities such as London, where I shot everything from landscapes to cityscapes, sunsets, astro and still life.

I took a range of pictures with in-camera lens corrections enabled, and also turned off to see the comparison. I shot in raw and JPEG formats, and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the aperture range.

First reviewed January 2026

I field-tested the best-selling Wandrd PRVKE backpack, and the hype is real — it’s my new favorite camera bag that doesn’t look like one

11:00 pm | January 24, 2026

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

Wandrd PRVKE V4 bag: Two-minute review

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

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

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

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

Wandrd PRVKE V4 bag on a white metal bench — (Image credit: Tim Coleman)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wandrd PRVKE V4: price and availability

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

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

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

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

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

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

Wandrd PRVKE V4: specs

Wandrd Prkve Specs
Sizes	15L, 21L and 31L
Colors	Black, Aegean Blue, Wasatch Green, Yuma Tan, Sedona Orange, Rhone Burgundy and Atacama Clay
Dimensions	17 x 11 x 6.25in / 43.2 x 27.9 x 15.9 cm (21L version)
Weight	2.98lbs / 1.3kg for the 21L version
Laptop sleeve	13.5 x 9.75 x 1in / 34.3 x 24.8 x 2.5cm

Should I buy the Wandrd PRVKE V4?

Buy it if...

You want a stylish camera bag
There's no sacrifice on style here – the PRVKE V4 is an attractive roll-top style backpack, in a wide range of colors.

You're wanting a casual day or weekend bag
It's well made, but not the bag you'd take on extreme outdoor shoots. This is a more of a day or city break kind of pack.

Don't buy it if...

You're stowing large gear
Even the largest 31L version will struggle to hold super telephoto lenses and such gear. The older PRVKE comes in a 41L version, though.

You're wanting a camera gear-only bag
The PRVKE is more your day bag for a mixture of camera gear and regular items.

Also consider

Peak Design Everyday Backpack V2

The Wandrd PRVKE V4 and Peak Design Everyday Backpack V2 share many similarities – they are similar in capacity and offer direct side access to camera gear. However, the PRVKE V4 is better for style and as a general bag, while the Peak Design offering is better suited as a dedicated camera bag, plus it costs less given the camera insert is included.

Read my Peak Design Everyday Backpack V2 review

How I tested the Wandrd PRVKE V4

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

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

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

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

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

First reviewed January 2026

I tested Sigma’s superb 17-40mm f/1.8 DC for a month – it’s the ultimate zoom lens for APS-C cameras, and prime lens killer

4:00 am |

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

Sigma 17-40mm f/1.8 DC | Art: One-minute review

Cast your mind back to 2013 and Sigma had just brought out its 18-35mm f/1.8 DC HSM | Art lens – the world’s first zoom with a fast, constant f/1.8 aperture – and was set to revolutionize the photography industry.

Over a decade since that lens pushed the boundaries of what a zoom lens could do, the world's largest independent lens manufacturer has gone one better with the Sigma 17-40mm f/1.8 DC | Art, which like its predecessor boasts a constant and bright f/1.8 aperture and promises to deliver exceptional image quality comparable to a prime, but with an expanded zoom range, all while being more than 30% lighter than its predecessor.

The lens is specifically designed for mirrorless cameras with an APS-C sensor and is available in L-mount, Sony E, Fujifilm X, and Canon RF versions. I've spent a month testing an E-mount version of the lens mounted on a Sony A6700, to see if this optic really can do the job at least three primes.

The TLDR is that it absolutely can, and I thoroughly enjoyed hitting the streets to use it for all sorts of photography, from city shots to portraits, shallow-depth-of-field still-life shots, and even low-light scenes like traffic trails and stars.

Professional photographer Dan Mold holding a Sony A6700 camera outdoors with a Sigma 17-40mm f1.8 DC Art lens attached with his eye to the viewfinder — (Image credit: Future / Dan Mold)

While the 17-40mm f/1.8 DC | Art builds on its predecessor in pretty much every way, it's not free from faults. It's an APS-C lens with a smaller imaging circle, so it's less future-proof if you upgrade to a full-frame camera later down the road. It's also very expensive, and costs significantly more than its predecessor did back in 2013.

If money is no limit, and you love to shoot at a range of wide-angle focal lengths while also having the versatility of a fast f/1.8 aperture, this is the lens for you, providing you shoot on an APS-C mirrorless body. However, if you're on a stricter budget, and prefer smaller lenses and don't mind switching between them, then you may be better off with one or two cheaper prime lenses instead – provided you're not shooting weddings and other events where you may have less time to swap your optics over.

Sigma 17-40mm f/1.8 DC | Art: Price and availability

Priced at $919 / £779 / AU$1,650
Lens hood included
Announced in July 2025

The Sigma 17-40mm f/1.8 DC Art costs $919 / £779 / AU$1,650. That’s more than Sigma’s original 18-35mm f/1.8 DC HSM Art, which retailed for $799 / £699 (around AU$1,150) at launch. However, this higher price is to be expected given more than a decade of inflation since then, and tariff increases have likely impacted US pricing too. Regardless, I think the extra money is justified in the US and UK by the suite of upgrades that come with the new and improved version.

It’s difficult to say exactly who this lens is for, as I personally found it a bit frustrating with it either being not wide enough or not telephoto enough for my shooting style, though as someone who regularly likes to shoot with 35mm prime lenses, there were times when the extra versatility from its small zoom range was welcome. It is a bit like a souped-up kit lens, but one that costs significantly more.

If you’re on a tighter budget, and not fussed about that wide f/1.8 aperture, or you’re looking for something a bit more portable for your everyday carry lens, then the Sigma 18-50mm f/2.8 DC DN Contemporary would be a better choice. Similarly, if you don’t want a zoom and simply want a smaller prime lens there are options like the Canon RF 35mm f/1.8 IS Macro STM that are lighter, smaller and a little bit cheaper, too. So it really comes down to what you want to use the lens for.

However, for events and wedding photographers shooting with APS-C bodies I can see this lens being a game changer, giving those photographers extra focal length options and a fast f/1.8 aperture when they may not have the time to change lenses.

Sigma 17-40mm f/1.8 DC | Art: Specs

Sigma 17-40mm f/1.8 DC | Art specs
Type:	Wide-angle zoom
Mount:	L-mount, Sony E, Fujifilm X, Canon RF
Sensor:	APS-C
Focal length:	17-40mm (25.5-60mm effective on Fujifilm, Sony & L-mount, 27.2-64mm on Canon RF)
Max aperture:	f/1.8
Minimum focus:	0.28m
Filter size:	67mm
Dimensions:	72.9 x 115.9mm
Weight:	18.8oz / 535g

Sigma 17-40mm f/1.8 DC | Art: Design

Some degree of weather-sealing, usually saved for more premium Art lenses
Combines a versatile zoom range with a fast f/1.8 maximum aperture
Switches on the lens barrel to control AF/MF and iris ring functions
Much longer than most prime lenses with a length of 115.9mm

The Sigma 17-40mm f/1.8 DC Art lens improves on its predecessor in virtually every way. Not only is it 34% lighter, tipping the scales at 18.8oz / 535g, it’s also 6.5% leaner in diameter and 4.2% shorter in length. Despite being a skinnier and lighter model it manages to pack in a 2.35x optical zoom, with a more expansive focal range of 17-40mm, whereas the original 18-35mm fell just shy of 2x optical zoom, so the overall zoom range has been expanded by roughly 18%.

As in the 18-35mm f/1.8 the optical design comprises 17 elements, but there’s one fewer aspherical and one fewer SLD (Special Low Dispersion) elements this time around, meaning there’s a total of three aspherical and four SLD elements inside the barrel.

The aperture has been upgraded however, and instead of the old nine-bladed design, we now have a more premium 11-bladed design, which should deliver better-rounded bokeh.

Sigma 17-40mm f1.8 DC Art lens product shot taken outdoors on a metal garden table with blurry bokeh background — Measuring 115.9mm tall, the Sigma 17-40mm f/1.8 DC | Art is substantially longer than primes like a 35mm f/1.8 or 50mm f/1.8 so it's not quite as compact, though it does the job of several primes between 17mm and 40mm so it's the price you have to pay (Image credit: Dan Mold)

The rear mount is brass and also weather sealed, confirming the dust and splash-proof credentials of the optic. The lens is available to fit L-mount, Sony E, Fujifilm X and Canon RF, and factoring in the 1.5x crop factor of APS-C sensors the lens will behave much more like a 25.5-60mm, with the exception of Canon cameras, which have a 1.6x sensor crop and with which the lens will be have a slightly tighter perspective at 27.2-64mm.

On the outside of the lens barrel are the zoom and focus rings, which are a decent size and have a knurled rubber finish, making them very grippy and comfortable to use. Because this new lens is designed for modern mirrorless cameras it has an electronic fly-by-wire focus ring rather than a mechanical one, and this also means we’ve lost the focus distance window on the top. Both rings turn smoothly and are easy to operate.

A third ‘iris’ ring sits closest to the lens mount and is for controlling the aperture. This also has a lock to keep it securely in the ‘A’ position if you prefer not to use it, and there’s also a switch to enable or disengage the click – videographers will likely prefer the smoother declicked option when recording footage. It’s also worth noting that on the Canon RF version this is instead a Control ring which can be assigned custom functions for all sorts of settings, including but not limited to aperture.

The zoom is internal, so the lens remains compact and doesn’t rack out when zooming in or out. The throw from 17mm to 40mm on the zoom ring is also quite short, and certainly less than 90 degrees, so you can zoom fully in or out very quickly.

Also on the barrel is a switch to control AF/MF, and there are two AF-L buttons for holding focus, though these can be assigned different functions via the menu.

Heading to the front of the lens we see the front element, which isn’t overly large considering it has a wide f/1.8 max aperture, and this is also where you’ll attach the 67mm screw-in front filters. The front element also has a water- and oil-repellent coating to make it more durable in harsh outdoor environments.

Also in the box is a LH728-02 petal-shaped lens hood, which is part plastic and part rubber for a premium feel, and also has a nice chunky button to lock it in place and release it. This fits on the lens backwards to take up less space when not in use.

Sigma 17-40mm f/1.8 DC | Art: Performance

Chromatic aberration and flare handled well
Bright f/1.8 aperture makes it great for low light and blurry backgrounds
Corner details a little soft and vignetting at f/1.8 but cleared up by f/2.8
Autofocus is fast, quiet and accurate

When it comes to assessing performance, we first need to consider who the Sigma 17-40mm f/1.8 DC lens is for. It clearly excels in low light with its fast maximum aperture of f/1.8, though its wider focal range of 17-40mm makes it a bit too wide for portraits, so it’s likely to be better suited to indoor events, astrophotography, and perhaps as a wide option for wedding photographers who don’t have time to switch lenses and need its versatility.

It is designed for use with APS-C cameras, which means its imaging circle is too small for full-frame cameras, with which you would see a pronounced vignette. That said, you can still pair the lens with a full-frame camera using the camera’s APS-C crop mode. The downside to this approach is that you won’t be making the complete use of the sensor – effectively throwing away pixels.

I took the lens out around London for several days, using it as my main lens for street photography. In this setup I found it to be a little on the large side, not in terms of width, but in overall length – it’s easily twice the length of, say, my Canon RF 35mm f/1.8 Macro IS STM. This made it more difficult to keep a low profile and take candid shots of people going about their lives without me being noticed, though this is the cost of having a more versatile zoom range.

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A test shot taken with the Sigma 17-40mm f1.8 DC Art lens to show blurry backgrounds when shooting at its wide f/1.8 aperture — (Image credit: Dan Mold)

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With its focal length of 17-40mm it’s fair to compare the lens to an 18-55mm kit lens, but with a little less telephoto power – it falls frustratingly short of that magical 50mm focal length which works wonderfully well with a wide aperture of f/1.8 for wider mid-length and head-and-shoulders portraits.

With all that being said, it is a big step up from the old 18-35mm f/1.8 DC HSM Art lens – the new version is 34% lighter, 6.5% shorter and 4.2% thinner, all while boasting two more aperture blades and being able to focus 2cm closer. While these may sound like minor updates, when combined they make the lens feel like a big upgrade overall.

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A test shot taken with the Sigma 17-40mm f1.8 DC Art lens to show its handling of buildings and backlighting in London — (Image credit: Dan Mold)

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Test shot with Sigma 17-40mm f1.8 DC Art lens — (Image credit: Dan Mold)

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A test shot taken with the Sigma 17-40mm f1.8 DC Art lens to show its handling of buildings and barrel distortion when shooting wide at 17mm — (Image credit: Dan Mold)

On to image quality, and I have to say that considering its broad zoom range and constant f/1.8 maximum aperture I was quietly impressed. Corners were a little soft and showed some vignetting when shooting wide open at f/1.8, though this was pretty much cleared up by f/2.8 and was easy to fix in software. Impressively, there was very little sign of chromatic aberration, and flare was handled well when shooting towards the sun.

There is a little barrel distortion around the edges when shooting at the wider focal lengths, which as expected starts to disappear as you zoom in – at 40mm the distortion has completely vanished. What distortion there is is very minor and testimony to the new lens element construction, and the in-camera lens corrections do a good job at ironing this out, though further correction can be applied in post-production to straighten out vertical lines more.

Autofocusing was a joy thanks to the High-response Linear Actuator motor, with the lens being very speedy, silent and reliable in achieving focus even in low light.

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A test shot taken with the Sigma 17-40mm f1.8 DC Art lens to show its low light performance at night and in the blue hour of buildings in London — (Image credit: Dan Mold)

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Should you buy the Sigma 17-40mm f/1.8 DC | Art?

Buy it if...

You own an L-mount, Sony E, Fujifilm X or Canon RF APS-C body

The Sigma 17-40mm f/1.8 DC | Art is designed with a smaller imaging circle for APS-C mirrorless camera bodies

You need both speed and zoom

This Sigma lens has a unique combination of a versatile 17-40mm zoom range as well as a fast constant f/1.8 aperture which means it can do the job of several prime lenses

You want to blur backgrounds

With its f/1.8 maximum aperture you can throw backgrounds into a blur with a shallow depth of field easily

Don't buy it if...

You're looking for a small, portable prime

The Sigma 17-40mm f/1.8 is roughly twice as long as many 35mm f/1.8 or 50mm f/1.8 primes, so if portability is your main priority you'll likely be better off with a prime lens

You're on a budget

The Sigma 17-40mm f/1.8 DC | Art is very expensive at £779 / $919US making it much more expensive than the usual nifty-fifty prime lenses that usually cost between $100-300

You own a full-frame mirrorless body

The Sigma 17-40mm f/1.8 DC | Art has a smaller imaging circle for APS-C camera bodies and while it can be used on full-framers in crop mode, you won't be making the full use of that larger sensor. This also means it's not a very futureproof lens if you eventually upgrade from APS-C to full-frame at a later date, tooView Deal

How I tested the Sigma 17-40mm f/1.8 DC | Art

I used the Sigma 17-40mm f/1.8 DC | Art extensively for a whole month and regularly took it out on day trips around busy cities in both day and night
I paired it with the Sony a6700 APS-C body as well as a Sony a7R IV full-frame body in crop mode – both of which delivered 26MP stills
I took shots at all focal lengths and apertures of cities, sunsets, low light scenes, stars and more

I got hold of the Sigma 17-40mm f/1.8 DC | Art and Sony A7R IV and A6700 bodies for a month to give the lens a thorough testing over an extended period.

I took a range of pictures with in-camera lens corrections enabled and also turned off to see the comparison. I also shot in RAW and JPEG formats and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the aperture range.

First reviewed January 2026

I tested the Enlaps Tikee 4, and it’s the best timelapse camera I’ve ever used for several reasons

12:00 pm | January 18, 2026

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

Enlaps Tikee 4: one-minute review

Enlaps Tikee 4 timelapse camera front view of dual cameras — (Image credit: James Abbott)

Timelapse cameras are specialist devices designed to do one job, and that’s to capture timelapses over short and long periods, as long as months or even years, and in all weather and lighting conditions. There are a handful of these specialist models available, and one that's a definite contender to top our list of the best timelapse cameras is the Enlaps Tikee 4.

This rather strange-looking camera can capture up to 6K timelapse videos with a 220-degree view captured across two cameras and lenses. Photos are then combined into a video after you upload the image files to the myTikee website. What’s more, if the camera is connected to a Wi-Fi or LTE network you can control the camera, access images, and process timelapse videos remotely.

This is one of the easiest timelapse cameras to use, both in terms of capture and processing. The camera is point-and-shoot, so the most involved part of the capture process is setting up the project interval – and actually this is incredibly easy. Without Wi-Fi or LTE, you can connect to the camera using the Tikee Remote app over Bluetooth, although functionality is reduced compared to the other connection methods.

The Tikee 4 costs $2,215 in the US for the camera only. For UK and Australian buyers the Tikee 4 is priced in euros at €1,590, which converts to around £1,400 / AU$2,800 at the time of writing. The Tikee 4 Pack, which is a comprehensive kit including a hard case, mounting adaptors, a microSD card and other accessories, costs $3,169 or €2,298, which is around £2,000 / AU$4,000.

You’ll also need a myTikee subscription to take full advantage of the myTikee website, and the most useful option for most people costs $96 / €104 plus VAT per month.

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Enlaps Tikee 4 timelapse camera lens close up — (Image credit: James Abbott)

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Enlaps Tikee 4 timelapse camera side view with solar panel raised — (Image credit: James Abbott)

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Enlaps Tikee 4 timelapse camera top view — (Image credit: James Abbott)

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Enlaps Tikee 4 timelapse camera bottom view — (Image credit: James Abbott)

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Enlaps Tikee 4 timelapse camera lens with lens cap attached — (Image credit: James Abbott)

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Enlaps Tikee 4 timelapse camera power connection — (Image credit: James Abbott)

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Enlaps Tikee 4 timelapse camera rear ports — (Image credit: James Abbott)

Enlaps Tikee 4 specs

Enlaps Tikee mini+ specs
Type:	2x Sony 12MP 1/2.3-inch sensors
Lens angle of view:	220 degrees
Aperture:	f/2.8
Interval times:	5 sec–24 hours
Connectivity:	LTE, Wi-Fi, Bluetooth
Camera dimensions:	7.87 x 7.87 x 2.76 inches / 200 x 200 x 70mm
Camera weight:	3.53lbs / 1.6kg

Enlaps Tikee 4: Design

Compact considering its features
Built-in solar panel
Unique design

The Tikee 4 looks pretty much identical to previous models; it’s a tried and tested design that works, so it appears that Enlaps hasn’t felt the need to change it. It's a bold move in some ways, but why waste time redesigning the exterior when it’s the hardware itself that makes the difference? The overall design is unique, but it works extremely well, and it means the Tikee 4 can be left to work in even remote locations.

The overall design is simple, with the square 7.87 x 7.87 x 2.76-inch / 200 x 200 x 70mm body having two cameras on the two front corners of the camera body, and a solar panel on the top that can be left flat or angled for the best results. The design is simple, minimalistic even, with all operation via the Tikee Remote phone app or the myTikee website. The camera weighs 3.53lbs / 1.6kg, so it’s around the same weight as a full-frame mirrorless camera and standard zoom.

With this simple design, there are two buttons on the rear, a microSD card slot, a USB-C port, a micro SIM slot and a power connector. The power connector design makes it waterproof, and you can attach the Tikee 4 to the mains or to a larger, separately available Enlaps solar panel. All ports have rubber covers that maintain the weather resistance of the camera.

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Enlaps Tikee 4 timelapse camera case — (Image credit: James Abbott)

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Enlaps Tikee 4 timelapse camera inside the kit case — (Image credit: James Abbott)

The build quality is excellent, and the camera feels solid, as you’d expect for the price. It’s undoubtedly a high-quality product, offering IP66 weather resistance, which allows it to withstand even the harshest weather conditions. This is particularly beneficial, as the camera will spend most of its life outdoors. It can operate in temperatures between 14F / -10C and 122F / 50C.

Moving back to the camera design, other features on the camera body include a metal hoop to attach an anti-theft cable, a rubber square on the bottom so it can be positioned on flat surfaces without slipping, and a standard 1/4-inch screw thread for attaching the camera to any kind of support. For long-term projects, a mounting arm and an anti-theft cable are essential accessories, and these are included in the kit, making the Tikee 4 Pack an attractive option.

The internal battery has a 25,600mAh capacity, and Enlaps claims that without any solar input the Tikee 4 can take one photo every 15 minutes, 24 hours a day, for up to 36 days without any data transmission. With data transmission of photos uploaded to myTikee the battery lasts up to 12 days. In most situations, the solar panel would be charging the battery during daylight hours, so the operating duration could be indefinite.

Enlaps Tikee 4: Performance

Fantastic image quality
Panoramic field of view
Easy to use

The Tikee 4 may be an odd-looking timelapse camera with its two cameras on each of the front corners of the square body, but each features Sony 12MP 1/2.3-inch sensors to produce a 220-degree horizontal and 90-degree vertical field of view. What’s more, you can capture panoramic views in up to 6K with dimensions of a whopping 7360 x 2650 pixels. Output is available at 1080p, 4K and 6K.

Timelapse intervals are available from five seconds to 24 hours in Long-term mode, and from five seconds to 45 seconds in Event and Burst modes. This allows you to capture both shorter- and longer-duration timelapse projects.

It’s for longer-term projects where the Enlaps Tikee 4 excels, thanks to remote access to the camera and images when connected to LTE or Wi-Fi networks. These connection options offer a much better experience than using just Bluetooth to connect the camera to the Tikee Remote app to set up projects.

Image quality is fantastic, and you can capture sequences in both raw and JPEG formats. With the former, this means you can optimize image quality using the raw-processing tools in software such as Adobe Lightroom. You do, however, have to output images in JPEG format in order to upload them to the myTikee website.

Enlaps Tikee 4 timelapse video

The camera is completely automatic, which makes timelapse capture incredibly simple, particularly with long-term projects during which light will constantly change. The downside is that backlit scenes can be forced into underexposure, so this is why, for the best results, capturing in raw and manually bulk-processing images is the best option. The camera also produces much better results in brighter conditions, like drones and action cameras with similarly small sensors.

Once you’ve captured your images from the left and right cameras, you then have to upload them to the myTikee website, where the images will be merged to create the 220-degree panoramic view, and video up to 6K can be output. In some situations you can see the stitch, and you’ll notice it in the example video above if you look closely. It’s minor, though, and it certainly doesn’t ruin timelapses.

The myTikee website is easy to use, but subscriptions aren’t cheap, and naturally add to the overall cost of owning and running a Tikee timelapse camera. The basic Capture subscription costs $45 / €54 per month plus taxes, while the intermediate and arguably most attractive subscription costs $96 / €104 plus taxes, and you can save 25% with an annual subscription. Alternatively, there’s a bespoke Enterprise option, with pricing available upon request. Without a subscription, I was able to output a basic 1080p video with a watermark.

Two add-ons are available. Storage costs $49 / €39 per month plus taxes and, as you'd expect, gets you more online storage for photo uploads, while AI Dashboard costs $99 / €89 per month plus taxes and delivers some clever analysis features. These include the analysis of a range of elements within scenes, such as vehicles and whether PPE is being worn.

Should you buy the Enlaps Tikee 4?

Buy it if...

You need to shoot over months or years

The Tikee 4 is the ultimate timelapse camera for long-term timelapse projects thanks to long intervals, remote control and access alongside a built-in solar panel.

You require ease of use

Using the Tikee 4 to capture and my Tikee to combine photos into timelapse videos is unbelievably easy, so anyone can use the system.

Don't buy it if...

You’re not a timelapse pro

This is a specialist professional timelapse camera that really isn’t the best option for enthusiasts or casual users simply due to cost.

You’d prefer higher quality

To get the very best image quality, a mirrorless camera is the best option for capturing timelapses. However, you can’t leave them out in the elements for months or years like the Tikee 4.

How I tested the Enlaps Tikee mini+

Tested using a Bluetooth connection
Used to capture shorter timelapses
Tested in a busy city

I tested the Tikee 4 in shorter bursts rather than for long-form timelapse capture, as testing it to the extremes of its potential for longer-term capture could take months.

I used my smartphone for Bluetooth connection rather than installing a SIM card for remote access to the camera. The Tikee 4 was tested in a busy city to capture as much movement in the scene as possible. It was also tested in low-light situations.

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

First reviewed December 2025