For the terminally—unfortunately—online, the ONE35 Camera's promise is an alluring one: a digital version of the disposable camera, offering the same sort of tech you would have got in the 90s with photos that feel like they were shot on film.
That means no screens, a xenon flash and no controls barring a pleasingly tactile winding wheel and a toggle to turn the flash on. It's a similar concept to the Camp Snap Camera, only Flashback goes one step further – it limits you to the number of photos much like a roll of film, and you have to 'send the photos' off to be developed one the roll is done.
That's right, when you've loaded in one of the three different types of film from the Flashback app, you've only got 27 snaps before you have to send the photos off to be developed, with a 24 hour wait time before you can see them.
This concept enough to give the Flashback ONE35 an incredibly successful Kickstarter campaign. I caught wind of it late last year and as someone who has been toting an Instax Wide around for every big social event for the last decade, I was tempted by a camera I could keep in my pocket that would still let me snap photos but wouldn't let me see them all at once.
(Image credit: Jake Tucker)
I'm old enough to remember taking disposable cameras out with me the first time around, and the illusion here is strong. The ONE35 looks like a cheap plastic camera but the construction is durable and sturdy and the camera is turned on by turning the clicky winder. The flash is bright and powerful: enough that the entire New Year's Eve party I was at turned to look at me after each photo.
The only part of the camera's design that gives me pause is the toggle for that flash, located on the front of the camera. This doesn't lock securely and there's no way to know whether the flash is engaged or not, and it's given me a scare a few times because the flash button has been slightly knocked off so it doesn't fire. This often means a ruined photo if it's not perfectly lit because you'll want that xenon flash on for pretty much every scenario except bright sunlight.
The ONE35's commitment to 90s film photography is awful low-light performance. Considering the point of the ONE35 is that I can spend less time thinking about the photos that I'm taking and more time enjoying the circumstances in which I'm snapping them, it's a little annoying when a photo doesn't work due to that misaligned flash toggle.
(Image credit: Jake Tucker)
There are some other quirks too: I'm fairly certain that the ONE35's viewfinder is out of focus, with images looking slightly blurry whenever I look through it, and when I hold the camera using its grip, my fingers end up popping up in the corner of photos. Neither of these are big issues though, just some things that you'll have to acclimatize to using the camera.
It's worth persevering though, because the images look great. You have three different films to choose between, but they all have that same disposable camera feel. Your choices are Flashback Classic, Flashback Mono and Flashback Beta.
Classic and Beta offer different color tones but feel similar, while Mono is your black and white option. These images look great but technically aren't brilliant: there's no EXIF data on the images and they come out around 4MP, but they look fine on a phone and the noise and grain from the processing through the app hide the fact this is probably the lowest quality sensor out of any camera in my collection.
(Image credit: Jake Tucker)
The real kicker for me is that to get these images you can't simply use a USB cable, but you must go through the Flashback app which sends them off for "developing" with a 24 hour wait, which is actually just some processing at Flashback's end.
As novel an idea as this is, it irks me a little bit because I don't enjoy the idea of sending a company my photos, but also because I worry about what happens if Flashback stops offering this service, as I don't pay for a subscription service. There will simply be no way to get the photos back.
Still, if the concept interests you more than it concerns you, then Flashback ONE35 is a breath of fresh air, and I can see it making an excellent gift – while its screen-free design lends itself as a camera for kids.
(Image credit: Jake Tucker)
Flashback ONE35 camera photo samples
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Across my photos, color depth is surprisingly good, particularly in the black and white Mono film. Otherwise, I'm a big fan of the Beta film which seems to deliver on that nostalgic 90s theme. However, I found around 30 percent of my images transpire out of focus or poorly lit, which can feel like a pain especially with the 24 hour wait time.
Flashback ONE35: Price and availability
The Flashback ONE35 Camera is available pretty much worldwide from JoinFlashback.co. Currently it comes in four colorways: Orange/Black, Yellow/Black, Red/White and Teal/White. In the UK this will set you back £78. In the US it's $97, while in Australia it's $150. The accompanying iOS / Android app is free.
Should I buy the Flashback ONE35 camera?
(Image credit: Jake Tucker)
Buy it if...
You want to ditch the screens Everyone just living in the moment? That's definitely the promise of the ONE35. You can snap a quick photo without carrying an expensive camera or getting your phone out. Wind the wheel, click, back in your pocket. Perfectly candid photos.
You want digital photos that look shot on film The ONE35's biggest strength is the photos that look like they've fallen out of a party in the 90s. The development process, fictional that it is, adds noise and post-processing that makes it look like film. You can do this yourself with presets on your photo editing platform of choice, but for those who don't want that extra work, this is a great option.
Don't buy it if...
You want high-quality printable photos I think you could print the photos taken with the ONE35, but your phone camera would take better photos. The ONE35 is more about style, but if you want a physical artifact, you would be better off with an Instax Wide or similar instant camera.
You want instant photos The ONE35 is the opposite of instant gratification. With the slightly fiddly app and the 24-hour development time, it's unlikely you'll be able to get photos from a Friday or Saturday night until Sunday evening at the earliest. If you're looking to take photos of a specific trip, it could be days before you have wifi good enough to upload your reels to the developing center in the first place.
How I tested the Flashback ONE35 camera
I had the Flashback ONE35 camera always on me, in my pocket, for several weeks, during which time it has been used to grab snap shots at parties. I've used the flash, tested the three film types on offer, and sent my photos off through the app.
The Saramonic Ultra is a portable wireless mic system in the same vein as the popular DJI Mic and Mic 2. Aimed primarily at people who need to create audio and video content on the go – vloggers, podcasters and journalists – the Ultra is available as a package containing two wearable transmitters, one receiver and a portable charging case to keep everything together.
This kit allows for single and dual-channel audio, and the receiver can be connected to a variety of devices for adding high-quality 24-bit sound to recordings. Adapters are included for iPhones, iPads, USB-C smartphones and computers, 3.5mm camera inputs and even for Sony’s Multi Interface Shoe, but the transmitters can also record audio on their own thanks to 8GB of on-board space. When recording directly onto this memory, users can even record 32-bit float audio – a data-rich, high dynamic range format prized by audio professionals.
Saramonic’s build quality doesn’t feel quite as rock-solid as some of the alternatives, but the fact that the transmitter is waterproof to IPX5 levels suggests that the company is doing something right. And, despite the noise cancelling being far from the most effective I’ve encountered with wireless mics, the audio quality is generally excellent in a variety of environments.
The whole kit includes two transmitters, one receiver and a charging case (Image credit: Future | Sam Kieldsen)
Saramonic Ultra: Price and release date
$249 / £259 / AU$449 for 2-Channel Set with receiver, two transmitters and charging case
Also available with lavalier mics included
Available now in black and white colour finishes
The Saramonic Ultra is available to purchase in a set that includes two transmitters, one receiver, a charging case, adapters for Lightning, USB-C and Sony Multi Interface, a 3.5mm to 3.5mm cable, two windscreens and a drawstring bag to hold everything. This package is available in a black or white finish and costs around $249 / £259 / AU$449. For a little more money, you can purchase the same package with two cabled lavalier mics included ($299 / £289).
As far as I can see it isn’t possible to buy the individual components separately, or just a transmitter and receiver package (as is available for those who want to save money on a DJI Mic 2, for instance).
That being said, at a price that falls quite a bit below that of premium rivals like the DJI Mic 2 and Rode Wireless Pro, and even below the relatively affordable Sennheiser Profile Wireless, the Saramonic can lay claim to being one of the most affordable higher end wireless mic sets around.
(Image credit: Future | Sam Kieldsen)
Saramonic Ultra: Specs
The Saramonic Ultra receiver comes with USB-C and Lightning adapters for direct smartphone connection. (Image credit: Future | Sam Kieldsen)
Saramonic Ultra: Design
Most elements slot into charging case for transport
Entire package weighs 210.5g / 7.4oz
Adapters for USB-C, Lightning and Sony Multi Interface Shoe included
Like most wireless mic setups, the Saramonic Ultra is centered around two main elements: a small wearable transmitter and an almost as small wearable receiver. The transmitter (of which two are supplied here) has a clip and a strong magnet allowing it to be attached to clothing, with the magnet being best suited to thin garments like t-shirts. It has a USB-C port for charging and data transfer purposes, and a 3.5mm jack for attaching a wired lavalier mic if desired. The transmitters are IPX5 certified too, making them waterproof against rain – something I’ve not seen with rival mics.
The receiver, which links wirelessly to either one or two transmitters, also has a clip, which doubles as a mounting option for sliding into camera cold shoes. It also comes with adapters for Lightning and USB-C devices, and something I haven’t seen on its competitors: an optional antenna to boost its wireless range to 300m (Saramonic claims the range without the add-on is 250m). The receiver also features an OLED touchscreen accompanied by a pressable dial for adjusting settings and viewing gain levels which, while both are small, I had few problems using. Those of a larger fingered persuasion may find them a tad fiddly, however.
(Image credit: Future | Sam Kieldsen)
The supplied charging case has room for both transmitters, the receiver and the Lightning and USB-C adapters for the latter. Unfortunately, there’s no space inside for extras like the transmitter’s windshields or any of the cables. Still, the case, which has a leather-effect texture and a nice light-up logo on top to indicate remaining battery life, is a neat way to carry (and recharge) the core elements of this setup. Its construction is a little creaky compared to that of the DJI Mic 2’s case, but not to the degree I’d be concerned about it falling apart.
(Image credit: Future | Sam Kieldsen)
Saramonic Ultra: Performance
Choice of 16, 24 and 32-bit recording
Transmitters can be used solo
Noise reduction, Vocal Boost and Low Cut modes
Like the DJI Mic 2 and Rode Wireless Pro, the Saramonic Ultra has an option to record high-quality 32-bit float audio directly onto the 8GB on-board memory of the transmitters. 32-bit float is to standard 16 or 24-bit audio what RAW photographs are to JPEGs – a much larger file size with much more data, allowing for more post-production manipulation of the sound. In my opinion, while it’s a useful option to have, particularly for professional users, the smaller file sizes of the 24-bit audio, and the fact that it can be transmitted wirelessly, means I’d be using 24-bit audio nine times out of ten.
It’s not like the 24-bit audio is bad, either. In fact, it’s nice and crisp, and turning on the Vocal Boost mode lends speech some real heft and body. If you want your voice to sound deeper and more authoritative, it’s probably going to be switched on most of the time. The mic can also be set to record 16-bit audio, which is presumably included as a space-saving option.
Another optional mode is Low Cut, which removes some of the lower frequency noise from recordings, and the three-level noise cancelling mode does reduce background sounds – albeit not to the extent of the highly effective noise cancelling employed by the DJI Mic 2. For example, traffic noise was still very loud in my test recordings, even with Saramonic’s noise cancelling dialled up to its top level.
The attachable furry windshield is a must for outdoor recordings. (Image credit: Future | Sam Kieldsen)
Wind noise is also noticeable on my outdoor recordings, even in relatively calm conditions, which is why the furry windshields should rarely leave the transmitters if you’re using them outside – they do a good job of reducing it.
Gain can be set manually, with the receiver’s screen providing both a live indication of levels and a means for adjustment, but the Auto Gain setting can also be used in trickier, changeable environments. It’ll adjust gain on the fly to compensate for changes in background noise or subject distance from the mic, so it’s ideal for non-studio settings.
There’s no backup recording mode here, so no protection against signal drops. That being said, with the antenna attached you should get a consistently strong wireless signal. I wouldn’t rely it to work perfectly over the 300m maximum range claimed by Saramonic (and I take all manufacturers’ range claims as best-case scenarios) but for the vast majority of users that’s never going to be put to the test. I had no signal issues myself using the microphone while walking around my home, despite walls and floors potentially getting in the way.
Another pro-friendly feature you’ll find here is timecode support, allowing users of multi-camera shoots to easily sync their mics and cameras in post-production. It’s something few people will use, but very handy to have – and of the recent wireless mic launches, this and the Rode Wireless Pro are the only two models that offer it.
Battery life is decent, with around 6 hours of operating time on each transmitter and the receiver, plus an addition 12 or so hours (or two charging cycles) in the charging case. In theory, you can record for around 18 hours in total before needing to find a power socket to recharge.
Should I buy the Saramonic Ultra?
Buy it if…
You want an affordable pro-friendly wireless mic
The Saramonic Ultra is packed with useful and often premium features, such as 32-bit float recording, despite being one of the more affordable wireless mic packages around.
You need a waterproof solution
With IPX5-rated water resistance, you could use the Saramonic Ultra’s transmitters in a rainstorm (or even during your morning shower) without fear of damage.
Don’t buy it if…
You want to buy the components separately
The Ultra is only available as a two-transmitter kit supplied with a charging case. So if you need just one transmitter and one receiver and are hoping to save money, you’re out of luck.
You often record in very noisy places
With the on-board noise cancellation tech far from the best around, recording in noisy environments like busy roads can be risky.
Saramonic Ultra: also consider
DJI Mic 2 Packed with pro-friendly features like 32-bit float recording and AI-assisted adaptive noise cancelling, DJI’s second-gen wireless mic is well-built, well-designed, easy to use and more than capable of levelling up your vlogs, interviews, podcasts and other recordings. It also plays nicely with DJI’s camera drones, eliminating propeller noise automatically.
Sennheiser Profile Wireless More affordable than the DJI and Rode alternatives and similarly priced to the Saramonic Ultra, Sennheiser’s wireless microphone set is a great (if slightly lacking in features) one-stop solution for improving vlog audio. Its innovative charging bar even doubles as a handheld mic for interviews.
Used regularly for a week in both quiet and noisy environments
Paired with iPhone 13 and Panasonic Lumix GH6
I tested the Saramonic Ultra mic both inside and outdoors, and with its receiver physically connected to devices (my Apple iPhone 13 smartphone and Panasonic Lumix GH6 camera) and in solo mode. I made sure to record in a variety of environments in order to see how the microphone handled different background noises and weather conditions.
Ultra wide-angle zoom lenses are a necessity for landscape, architecture, cityscape and travel photographers. Not only do they allow you to capture wide vistas and, indeed interiors, but they also allow you to get in close to subjects to exaggerate perspective for more dramatic results.
The Canon RF 15-35mm f/2.8L IS USM is a professional ultra wide-angle zoom that provides an incredibly versatile focal range, solid features and great image quality to top everything off.
Being a professional Canon L-Series lens, the 15-35mm comes in at a price that might make the average enthusiast wince. But at $2,400 / £2,400 / AU$3,500, while it certainly is expensive, it's comparatively priced to competitor's f/2.8 ultra-wide zooms, so its price is hardly surprising.
There are less expensive ultra wide-angle zooms in the RF line-up, and for many people the RF 14-35mm F4L IS USM will be more than sufficient, but it's not the flagship option with the faster f/2.8 maximum aperture.
(Image credit: James Abbott)
This is a lens that's designed for use on full-frame cameras to take advantage of the advertised focal length, although APS-C Canon users can still use the lens with an equivalent focal range of 24-56mm. This certainly wouldn’t maximise the full benefits of the lens, but if you intend to upgrade to full-frame it would make the 15-35mm a worthwhile investment.
Throw in features such as weather sealing, optical image stabilization and a short minimum focus distance and this immediately becomes an interesting lens if you shoot any subjects that will benefit from a professional lens offering this wide-angle focal range.
Image quality overall is great, but there's a slight caveat here, and this is becoming increasingly common with mirrorless lenses, and that's a heavy reliance on lens corrections. Import your raw files into Lightroom and you'll see that Lens Corrections are switched on by default for this lens. Turn them off and you get an idea of just how strong the adjustments applied are.
Canon RF 15-35mm F2.8L IS USM specs
Canon RF 15-35mm F2.8L IS USM: Design
Quite a heavy lens
Excellent build quality
Fast and silent autofocus
There's nothing to be excited about or, indeed, disappointed by when it comes to the design of the 15-35mm. Well, except for the heavier than expected weight of 29.6oz / 840g, when you consider the dimensions are pretty much the average for this type of lens at 3.48x4.99in / 88.5x126.8mm. The lens does, however, balance well with full-frame bodies when shooting handheld.
I'm just thinking back to the early promises that mirrorless cameras and lenses would be smaller and lighter than their DSLR equivalents, and nearly choke on my tea as I write since this isn't the case.
Weight aside, the 15-35mm is undoubtedly built to the high standard you'd expect of an L-Series lens including weather sealing, which is essential for a lens that's aimed, in part, at landscape and travel photographers.
The lens is made up of 16 elements in 12 groups including three aspherical and two UD elements. Plus, it has an 82mm fluorine-coated front element. Externally, there's an AF/MF switch, an Image Stabilization On/Off switch, manual focus and zoom rings alongside a lens control ring at the front end of the lens.
The lens control ring can be programmed to adjust certain settings in-camera if you'd find this useful. For me, it's not useful and could be easily knocked, but that's my personal opinion rather than fact.
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The lens has internal focusing so the front element doesn't rotate, but the zoom isn’t internal so the front of the lens extends as you zoom out from 35mm. An internal zoom would be much neater but would add to the already hefty weight, not to mention it's common for ultra wide-angle zooms around this focal range to be designed this way.
There's no manual aperture ring like many modern lenses, which would be a useful feature for videographers if present. Many lenses in recent years have offered a traditional manual aperture ring for this purpose, so it’s a shame that Canon's flagship wide-angle zoom has omitted what is a popular and useful feature.
(Image credit: James Abbott)
Canon RF 15-35mm F2.8L IS USM: Performance
Fast and silent autofocus
Captures sharp images
Constant f/2.8 maximum aperture
Being a pro-spec lens, the 15-35mm comes with a handful of features you'd expect in a premium Canon L-Series offering. First up there's the constant f/2.8 maximum aperture, which paired with the 5-stop Optical Image Stabilization makes the lens as effective handheld in low light conditions as it is tripod mounted, with the latter being the most likely way for the lens to be used for pro landscape and architecture images.
The f/2.8 aperture is also useful for creative, differential focus, which is ideal for travel photographers. And although this aperture isn’t the best option for astrophotography (larger is better), it's certainly useable and further extends the potential of the lens.
Then there's the fast and silent autofocus and the minimum focus distance of 11in / 28cm. With a wide-angle lens, this can be fantastic for creative shots.
Canon RF 15-35mm f/2.8L IS USM: sample images
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Image quality is great overall with decent edge sharpness as well as in the center of the frame. Although, as you’d expect for a lens as wide as this, edge sharpness is lower than the central area.
The 15-35mm relies heavily on lens corrections, whether in-camera when shooting JPEGs or in software when shooting in raw. Considering the price point and pro L-series status, I'm surprised just how heavy the lens corrections are. The lens does, however, produce fantastic sunstars around artificial light sources at medium apertures when shooting at night.
When you load raw files into Lightroom both Remove Chromatic Aberration and Enable Profile Corrections are switched on by default, so this must be programmed into raw files when shooting with the lens.
Switch lens corrections off and even stopped-down shots exhibit a vignette while optical distortion pops back in; slight barrel distortion at 15mm and 24mm, with slight pincushion distortion at 35mm.
Chromatic aberration is minimal but can sometimes be seen along high-contrast edges. Images are sharp overall and look great with lens corrections applied, but for a lens of this price and bearing the coveted L-Series tag, you'd be forgiven for expecting more with no corrections applied.
Should you buy the Canon RF 15-35mm F2.8L IS USM?
Buy it if...
You're a pro landscape photographer
If you're a pro landscape photographer an ultra wide-angle zoom is an essential addition to your kit, and the fast 15-35mm F2.8 will undoubtedly serve you well.
You need a fast maximum aperture
A fast f/2.8 maximum aperture is ideal if you shoot handheld in low light and also if you'd like to use differential focus creatively to emphasize subjects.
You need a tough wide-angle
The 15-35mm features premium build quality and weather sealing, so it ideal for outdoor photographers who can confidently shoot in a range of weather conditions.
Don't buy it if...
You're on a budget
This is an expensive lens so if you can’t quite justify the cost, the Canon RF 14-35mm F4L IS USM is quite a lot less expensive, is an L-Series lens and offers an extra 1mm at the wide end.
You mainly shoot astrophotography
While the 15-35mm can be used for shooting astrophotography, a faster wide-angle prime lens will be a much better option if this is your main purpose for the lens.
You shoot APS-C
If you shoot with an APS-C Canon camera, the 15-35mm has an equivalent focal range of 24-56mm so it's only worth buying if you know you'll be upgrading to full-frame down the line.
How I tested the Canon RF 15-35mm F2.8L IS USM
Tested with the Canon EOS R1
Shot night and landscape photography
Used both handheld and tripod-mounted
The Canon RF 15-35mm F2.8L IS USM was only available on a short loan with the Canon EOS R1, so the shooting time was tight and poor weather compounded the challenge. This meant most of my testing occurred around dusk to take advantage of late blue hour, as well as some daytime landscape shots when the weather cleared briefly.
The various features and functions were tested, while shots were taken specifically to check for any optical distortions. One of the main lenses I use with my cameras is a premium 16-35mm f/2.8 which provided a foundation from which to judge the RF 15-35mm F2.8L IS USM.
The two lenses are made by different manufacturers, so they're different in many ways, but it does provide a level of realistic expectation of features and performance.
Beginner content creators on a shoestring budget who are looking to up their audio quality will struggle to find better value than that offered by the Boya Mini wireless mic. For less than half the price of leading models like the DJI Mic Mini you get a reliable twin-mic kit, and while the 16-bit audio is admittedly modest, it's quality is perfectly acceptable for the likes of TikTok and Youtube Reels.
Naturally, for such a low price, there are a few compromises; build quality is so-so, there's no option for a 3.5mm connection (just USB-C or Lightning, which counts out most dedicated cameras), nor is there audio monitoring of any kind, or manual control over levels. This is a simple plug-and-go mic that, much like the Rode Wireless Micro, is designed for smartphones, laptops, or even the DJI Osmo Pocket 3 – basically any USB-C device. And for such users, the Boya Mini's simplicity works a treat.
The mics are super-tiny and weigh just 5g, so they don't tug on clothing. The receiver is also tiny, which means it doesn't get in the way when connected to your phone's charging port. I've found the mics quick to connect and reliable time and again, while the audio quality for vlogging is perfectly acceptable, and certainly much better than a phone's built-in mic. The fact that noise reduction features is a nice bonus too. If you're looking for a no-frills, reliable and cheap wireless mic, the Boya Mini is an easy recommendation.
The Boya Mini is the tiniest wireless mic of them all (Image credit: Tim Coleman)
Boya Mini: price and release date
Prices start at $45 / £52.99 / AU$83 for kits with charging case
Available in kits with USB-C and / or Lightning adaptors
Available now, in black or white finishes
The Boya Mini's list price is $45 / £52.99 / AU$83 at Amazon for the twin mic kit with charging case and USB-C connector. The kit is also available with Lightning connector instead, or in some regions for $59.99 / £69.99 with both connectors; or you can save money by opting for just a single mic and receiver kit. Should you click through to the Boya website, then you get redirected to a discount site where the price is even lower.
The mics feature clip-on foam covers, and all the components fit inside the charging case, while a soft case is also included. For the money, you'll struggle to find a better-value wireless mic.
Here are all of the Boya Mini components included in the complete kit. In some regions, you can opt for a single mic and receiver, for about half the price. (Image credit: Tim Coleman)
Boya Mini: specs
I like how the two mics fit in the charging case even when the foam covers are attached (Image credit: Tim Coleman)
Boya Mini: Design
World's smallest and lightest wireless mic, weighing just 5g
Components are available in black or white finishes
Tiny receiver, available in USB-C or Lightning versions
'Mini' is doing a slight disservice to the Boya Mini wireless mic kit – It's billed as the world's tiniest wireless microphone, measuring just 31 x 15 x 16.4mm. And given that it weighs just 5g, it might just be the lightest of its kind too.
Such miniscule proportions are handy in two ways; the mics are discreet, and nor do they tug on clothing. The mics are clip-on only, unlike pricier rivals that feature versatile through-clothing magnetic mounting. That means you need to find an edge in clothing, like a collar or pocket or button hole to attach the mic to.
The clip is metal, so if you source your own magnet you could fix the Boya Mini magnetically through clothing. The only reason I can think of why Boya didn't include magnets in the kit is that the mic and its clip are so small that it wouldn't be possible to securely fix it to clothing that way.
Build quality of the Boya Mini's components is so-so, and over the month or so testing the gear I've been conscious to treat it with care, especially the mic's clip, which is small enough to struggle to gain a secure hold on thicker clothing.
I was using the Rode Wireless Micro alongside the Boya Mini, and there's an obvious gulf in build quality – the pricier Rode model looks and feels the business.
As mentioned, you can buy the Boya Mini as a complete kit which comprises two transmitters (mics), a receiver (you choose which type you need – USB-C, Lightning or both) and a charging case.
Here's the Boya Mini alongside the Rode Wireless Micro (Image credit: Tim Coleman)
The mics utilize clip-on foam covers to dampen audio that, handily, can remain in position on the mics and the components will still fit into the charging case. The Rode Wireless Micro comes with clip-on wind muffs, but these don't fit it in the case so, you'll have to find somewhere else to stow them when not in use. Boya has the practical advantage here.
Like the mics, the receiver is super-tiny. It attaches to your phone, laptop or tablet's charging port, and you'll barely notice it's there while filming. You need the receiver for the mics to work because, unlike the DJI Mic Mini, they don't feature Bluetooth connectivity.
If you're a wireless mic first-timer, you'll be up and running with mic'd audio in no time at all. Once you attach the receiver and select the video option in your camera app, you should get a prompt to select the wired mic option in the settings menu (rather than the phone's built-in mic) – that's my experience using a Pixel 8 Pro. Then you're good to go.
The whole process from unboxing to getting started is as easy as can be, and consistently reliable. It might be cheap, but it's certainly worth it.
Here you can see how small the receiver is connected to a Pixel 8 Pro, and the video settings menu where I selected the wired mic option to get sound from the mics instead of my phone's built-in mic (Image credit: Tim Coleman)
Boya Mini: Performance
Transmission range up to 100m
6 hours operating time, with an additional four charges from the charging case
Three-level noise cancellation, plus a gimmicky Human Voice Enhancement mode
Despite its tiny size, battery life is practically on a par with bulkier, pricier alternatives. You get up to six hours record time per mic, and Boya says the charging case with its 260mAh battery provides additional charges that total 30 hours record time. That's enough juice for several days of moderate vlogging.
Transmission range is rated up to 100m in clear sight. I haven't personally tested the limits of the Boya Mini's transmission range, but I can vouch for the stability of the connection when vlogging. Note, you'll get interference at a much closer proximity than 100m if your device and the mic lose line of site, for example if you turn your back to the camera.
Where the Boya Mini most obviously comes up short as a cheap wireless mic is that audio bit-depth maxes out at 16-bit, and output is mono only. Splash out thrice the cash on a leading alternative, and you'll be getting richer 24-bit audio with the option for stereo output. Oh, and there's no low-cut filter, either, so low frequencies such as the hum of an air conditioner aren't filtered out.
I had the white version of the mic, but it's also available in black (Image credit: Tim Coleman)
No low-cut filter isn't a big deal, though – the Boya Mini features one-click noise cancellation, activated through the one physical button on the mic. There are three levels of strength, though honestly I didn't notice a huge difference in any of the settings. You'll know when noise cancellation is active because the blue light on the receiver that indicates an active connection turns green.
There's also Boya's version of voice enhancement, which sounds impressive but don't be fooled – it's a gimmick. Think of it as voice distortion – one setting makes your voice deep, one high-pitched, and one normal. It might be a fun feature to play with once or twice for the laughs, but that's the extent of it.
So what do I make of the audio quality of the Boya Mini? I think the maximum possible quality has been squeezed out of its humble hardware.
If you're a casual vlogger, and need clear and crisp vocals across a range of scenarios, you'll get that with the Boya Mini. It lacks the finesse of a 24-bit alternative, but it certainly is a mark-up from your smartphone's mic. In fact, I've been happy enough with the quality that I've mic'd up with the Boya Mini for a few videos that I've shot for TechRadar's TikTok channel.
It's also versatile in that you can use it easily with a camera like the Osmo Pocket 3 (especially given how small the receiver is), with a laptop for work calls, and yes, with your smartphone for shooting Youtube, TikTok and Instagram content.
I'd be remiss not to address the technically-minded, so here are a few of the mics audio specs: it has a 20Hz to 20kHz frequency range, a maximum 120db SPL, and a 80db signal-to-noise ratio. Those are solid specs for such a cheap device.
Should I buy the Boya Mini?
Buy it if…
You want the cheapest possible wireless mic that's worth buying It might be mega cheap, but the Boya Mini is also the real deal, with decent-quality audio and reliable performance.
You're a beginner smartphone content creator
The Boya Mini is primarily designed for use with smartphones, while its quality and automated audio features are sufficient for beginners.
You want a tiny wireless mic
Billed as the world's smallest and lightest wireless mic, the Boya Mini is positively tiny and discreet, and available in black or white version.
Don’t buy it if…
You'll eventually need a mic for cameras
The Boya Mini lacks a 3.5mm connector, meaning that you wont be able to use it with a dedicated camera, unlike the DJI Mic Mini.
You'll likely want audio-level monitoring and gain control
Its simple and therefore restricted in some ways – you can't easily monitor audio levels while recording for peace of mind, as you can with pricier alternatives like the DJI Mic 2.
You want the best possible audio quality
The Boya Mini punches above its weight, but it's not one for audiophiles, who will prefer the richer audio quality of pricier rivals.
Boya Mini: also consider
Rode Wireless Micro
Our favorite wireless mic primarily designed for smartphones is the Rode Wireless Micro. It's more than twice the price of the Boya Mini and has superior 24-bit audio quality, plus Intelligent Gain Assist for clear vocals, and impressive build quality. However, it doesn't include noise cancellation, and the mics themselves are a little bulkier.
DJI Mic Mini A premium and versatile alternative, the Mic Mini features 24-bit audio and Bluetooth connectivity, meaning you can bypass the receiver altogether, plus a 3.5mm connector for use with cameras. You can also dial in audio levels manually using the receiver. However, the Mic Mini feels more designed for both phones and cameras, with a bulkier receiver better designed for cameras.
I had the complete kit with charging case, plus USB-C and Lightning connectors
I used it regularly for a variety of vlogs for over a month
Tested alongside the rival Rode Wireless Micro
Paired primarily with a Google Pixel 8 Pro
With its automated audio recording plus one-click noise reduction and voice enhancement features, there's not a lot to get your head around, and that's the beauty of simple wireless mics like the Boya Mini.
I had the complete kit with charging case, and found the kit to be completely reliable, with the receiver connecting securely to my Pixel 8 Pro phone. I drained the battery of the mic and recharged it through the charging case to test the battery life.
I tested audio quality in a range of scenarios, both indoors and outdoors, and in quiet and noisy environments. I ran comparison tests with the Rode Wireless Micro.
The Panasonic Lumix G97 is effectively an updated refresh of the 2019 Lumix G95/90, with a higher-resolution rear screen, the video recording limit removed, and a new USB-C port for charging and power. Granted, that doesn’t sound like much of an update – but when you use the G97 you realize just how responsive, well-made and powerful this camera still is, even by todays’ standards.
It does have a 20MP Micro Four Thirds sensor, which is half the size of the sensors in its APS-C rivals, which also offer more resolution at 24-26MP+. This has some effect on the ultimate image quality, but perhaps not as much as you might expect, since the G97’s sensor has no anti-aliasing filter in order to maximize fine detail; and while there is more digital noise at higher sensitivities, you have to push the ISO quite a long way before it shows (and APS-C cameras also produce noise, of course).
Does the Panasonic Lumix G97 look familiar? It's VERY closely based on the previous G95/90 with a handful of minor improvements for 2025 (Image credit: Rod Lawton)
And then there’s Panasonic’s somewhat controversial DFD contrast AF – the G97 does not employ Panasonic’s latest hybrid phase/contrast tech. Is it a problem? Not in stills photography, where the AF is extremely fast and responsive. You might notice the difference in video, though, where many users report the AF hunting or ‘pulsing’ as it keeps re-checking even stationary objects. It will depend on what you film, and how.
Let’s look at what this camera delivers elsewhere. You get an extremely effective in-body image stabilization system (the smaller sensor helps here), a good-quality EVF where most rivals at this price don’t have one at all, a 1.84m-dot vari-angle touchscreen, a twin-dial control system (three dials, if you count the one on the back) and, if you go for 12-60mm lens bundle, one of the best kit lenses out there, both for zoom range and for real-world image quality. Really, this is an enthusiast-level camera at a beginner-level price.
Panasonic Lumix G97: Release date and price
$850 / £799 with Lumix G 12-60mm f/3.5-5.6
£699 body only (UK)
£899 with Lumix G 14-140mm f/3.5-5.6 II (UK)
At launch, the Lumix G97 is being offered only as a bundle with the Lumix G 12-60mm f/3.5-5.6 kit lens in the US, but in the UK you can buy it body-only or with the Lumix G 14-140mm f/3.5-5.6 10x zoom. They’re all great deals, but the 12-60mm bundle looks the best for new users.
It’s worth pointing out that this is a 24-120mm equivalent 5x zoom that goes well beyond the range of most kit zooms, and it’s also rather good.
At these prices, the Lumix G97 is just about the cheapest new mirrorless camera on the market, matched closely on price by the OM System OM-D E-M10 Mark IV. The Canon EOS R100 is cheaper still, but does not have IBIS, has weak 4K video features, and does not come with a lens to rival the Panasonic’s excellent kit lens.
Price score 5/5
Panasonic Lumix G97: Specifications
The Lumix G97 uses a 20MP Micro Four Thirds sensor half the size of an APS-C sensor, but still delivers excellent detail rendition (Image credit: Rod Lawton)
Panasonic Lumix G97: Design and handling
DSLR-style design with twin control dials
1.84m-dot vari-angle touchscreen
5-axis 5-stop IBIS
The Panasonic Lumix G97 is styled like a compact DSLR, with a substantial grip for the right hand and a decent 2.36m-dot electronic viewfinder (Image credit: Rod Lawton)
The Lumix G97 looks and handles like a small DSLR. It might seem unnecessarily large for a camera with a Micro Four Thirds sensor, but the fact is that there is a limit as to how small you can make a camera that still fits a human hand properly – especially one which takes interchangeable lenses.
Where you do see an advantage from the smaller sensor is in the smaller and lighter lenses this system uses. The 12-60mm (24-120mm equivalent) kit lens is a great example – it offers a 5x zoom range in a lens that’s little larger or heavier than a 3x kit zoom on a larger-format camera.
There’s a decent-sized grip on the right side of the body that provides a secure hold, leaving your other hand free to operate the lens or the flip-out touchscreen. If you prefer to use the EVF, that's bright and clear, and has an eye sensor to switch from the LCD to the viewfinder automatically.
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The Lumix G97 takes a single SD UHS II memory card, but it's accessed by a door at the side and not squashed in with the battery (Image credit: Rod Lawton)
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One of the handful of changes in the Lumix G97 is the swap to a USB-C port for power and charging. (Image credit: Rod Lawton)
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The rear screen has had a resolution boost to 1.84m dots. (Image credit: Rod Lawton)
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The top controls are clearly labelled and are positive and firm to use. There are also two control dials, with a third on the back. (Image credit: Rod Lawton)
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The menu system is clear and easy to navigate and there's also a Q.MENU display for common camera settings. (Image credit: Rod Lawton)
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The Lumix G 12-60mm (24-120mm equivalent) kit lens is perhaps the star of the show, offering excellent image quality right across its 5x zoom range. (Image credit: Rod Lawton)
The main mode dial is clearly labelled and has a firm, positive action. There are two control dials on the top, one around the shutter release and the other at the rear, right where your thumb lies. These do different things in different modes; in Manual mode, for example, the front dial adjusts the lens aperture and the rear dial changes the shutter speed. These dials are firm, positive and perfectly weighted. In between them is a prominent red Record button for video.
Round the back there’s a useful three-position focus mode lever with an AF-L/AE-L button in the center and a four-way controller with a rotary dial around the outside – though this does not have the same feel as the control dials on the top.
Overall, this feels an extremely well-made camera for the money, with all the controls right where you need them – there are buttons for white balance, ISO and EV compensation on the top, and a Q.MENU button on the back to bring up an on-screen display with more camera settings.
A focus-point joystick would have been nice to make setting the focus point easier, but you only get these on more advanced semi-pro cameras, so you can’t really complain – and you can always use the touchscreen to set the AF point.
Design and handling score 4/5
Panasonic Lumix G97: Performance
Excellent definition and contrast from 20MP sensor and great kit lens
Very fast AF for single-shot stills photography
Continuous AF less good, and occasionally some ‘pulsing’ with video
The Limix G97 is capable of excellent results. Photography like this depends on lighting and composition, not small differences in sensor technology (Image credit: Rod Lawton)
The 12-60mm kit lens is a huge advantage, giving a natural perspective to this canine portrait as well as extremely crisp definition (Image credit: Rod Lawton)
The Lumix G97 delivers first-rate detail rendition. The lack of a low-pass filter and a kit lens that delivers super-sharp detail right across its focal range makes for a combination that plenty of APS-C cameras can’t match. Higher ISOs do show noise quicker, it’s true, but not by much. Besides, today’s AI noise-reduction tools can make an ISO 6,400 image look practically like ISO 200.
The G97’s video looks good too, though with only 8-bit internal capture there’s a limit to how far you can push things if you want to grade your footage heavily later. It does come with Panasonic’s V-Log profile, a paid add-on for many Lumix models, but this really needs better-quality 10-bit 4:2:2 capture to work on, and you can only get that with the G97 via an external recorder. It’s fine for basic use and if you’re just starting out vlogging, but it’s not a serious filmmaking tool.
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This shot and the next show the focal length range, and the opportunity for different perspectives with the 12-60mm kit lens. This was shot at 12mm (Image credit: Rod Lawton)
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This was taken from the same position at a focal length of 60mm, offering a very different image. (Image credit: Rod Lawton)
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The smaller Micro Four Thirds format means you're working with shorter focal length lenses, so depth of field is rarely a problem in landscape photography. (Image credit: Rod Lawton)
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Does this piece of driftwood look like a wild boar, or is it just me? The vari-angle screen makes low-level shots easy. (Image credit: Rod Lawton)
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Having a little extra depth of field makes it easy to get pet portraits sharp from nose to ears. (Image credit: Rod Lawton)
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The 12-60mm lens focuses pretty close, so although it's not really a macro lens it can still fill the frame with small objects. (Image credit: Rod Lawton)
The autofocus is a mixed bag. For stills photography, it’s extremely fast and responsive. In burst mode, it’s a little less positive, though given that the G97 can only manage 6fps with continuous autofocus, it’s not really intended to be an action specialist.
The AF generally does a good job for video, refocusing smoothly as your subject distance changes or you reframe the shot. Its characteristic ‘pulsing’ effect is often hard to see, but if you’re filming a static subject and background it can be quite annoying. One solution is to switch to single-shot AF and simply tap the rear screen while filming to refocus – carefully!
The IBIS is excellent. It’s only rated at five stops, but this is actually a consistent and achievable figure, unlike the bigger numbers often quoted for larger-sensor cameras – which are often absolute best-case figures you can rarely approach.
Performance score 4/5
Should I buy the Panasonic Lumix G97?
Like all cameras, the Lumix G97 is better at some things than others, but its versatility and value are hard to ignore (Image credit: Rod Lawton)
Buy it if...
You want performance, versatility and value Who doesn't! The Lumix G97 gives you an awful lot for your money. Effectively, it's an enthusiast-level camera at little more than a beginner-camera price.View Deal
You need a camera that can 'grow' with you This is a sophisticated camera that's capable of all sorts of more advanced photographic techniques when you're ready to try them out.View Deal
You want a decent, versatile kit lens The Lumix G 12-60mm f/3.5-5.6 typically bundled with the G97 offers a 5x zoom range and excellent quality.View Deal
Don't buy it if...
You already have a Lumix G95/G90 The improvements aren’t enough to make it worth swapping, though this could be a good upgrade from the older 16-megapixel G85/G80.View Deal
You want to do any high-speed action photography The burst speed is only 6fps with continuous autofocus, the buffer capacity is only average, and the continuous AF can struggle.View Deal
You want a camera specifically for video The G97’s video quality is good but it lacks higher-quality settings, and the autofocus can ‘pulse’ visibly, making it hard work for solo shooters/presenters.View Deal
How I tested the Panasonic Lumix G97
I spent two weeks photographing and filming a variety of subjects
I tested the 5x zoom kit lens across its range of focal lengths
I checked if the 5-stop IBIS lived up to its claims
I tested autofocus performance for stills and video AF/tracking
I assessed the image detail and quality against APS-C rivals
This is a 2.5-second handheld exposure I took to test the IBIS. It's not quite up to the latest standards like the Lumix GH7 or OM System OM-1, but it's still pretty impressive (Image credit: Rod Lawton)
I tested the Lumix G97 and its 12-60mm kit lens on many different subjects including outdoor still images, action sequences (with a very excited dog), close-ups and indoor shots, and in a variety of lighting conditions.
Panasonic’s DFD autofocus has not always had the best reputation, so I particularly wanted to find out if and when it struggled, and what to look for.
I also wanted to check the definition of Panasonic’s 20MP MFT sensor, which has no low-pass filter, to see how it stacked up against larger-sensor APS-C rivals. The 12-60mm kit lens is particularly interesting because it offers a 5x zoom range compared to the 3x zoom of most kit lenses, and I did want to see how the image quality varied across the zoom range, and whether it declined at all at longer focal-length settings.
Lastly, the IBIS system in the G97 is only rated at five stops of compensation, so I wanted to find out just how achievable that was in real-world shooting.
The Canon EOS R1 follows design conventions passed down from professional high-speed DSLR cameras, such as the EOS 1D X Mark III, in that it also features a built-in vertical grip and high-capacity batteries for extended shooting times, complete with seriously impressive high-speed shooting capabilities. If you want a no holds barred camera for sports and wildlife photography, this is the speediest Canon camera on offer.
Its flagship features, functionality and performance excel for the rigors of pro press photography – the few that might actually be able to afford the EOS R1's eye-watering price tag will consequently be equipped for demanding jobs with one of the best Canon cameras currently available.
(Image credit: Future | Tim Coleman)
The camera sports a 24.2MP full-frame BSI stacked CMOS sensor and can capture photos at up to an incredible 40fps, plus 6K raw video at up to 60fps. There's also a slew of useful features including the ability to capture bursts of JPEGs while shooting Full HD video, but we'll cover those in more detail later.
Autofocus is fast and accurate with up to 4,368 AF points depending on the AF mode selected, and the in-body image stabilization (IBIS) is amazing and highly effective, so you can rest assured you have a camera that works for you. The biggest issue with the EOS R1 is the cost, which will put it out of the reach of many photographers, and it's certainly more camera than any enthusiast could ever need.
Canon EOS R1: price and release date
Expensive at $6,299 / £6,999 / AU$10,499
Body only with no kit options
Available now
The EOS R1 was announced in July 2024 and is available now with a body-only price of $6,299 / £6,999 / AU$10,499. This is, of course, expensive, and will put the camera out of the reach of even many professional photographers. This is a similar price, however, to the EOS 1D X Mark III – the quickest DSLR ever made – so with inflation that's pretty impressive.
As a camera designed for professional photographers, some of whom will inevitably be EOS 1D X Mark III owners, the EOS R1 works incredibly well with adapted EF DSLR lenses. For professionals with plenty of expensive EF L-series glass, this softens the financial blow because they can be confident that they won't have to upgrade all of their glass to RF lenses all at once.
Naturally, using native lenses will be preferable to most photographers, but the ability to only need to do this as and when the natural upgrade cycle completes is incredibly useful. Even professionals, who spend more on photo kit than the average enthusiast will appreciate this.
Price score: 3.5/5
Canon EOS R1: specs
Canon EOS R1: design and handling
Built-in vertical grip mirrors the camera's regular control layout
Versatile articulating LCD screen
Generously large viewfinder is easy to use
In terms of the overall design, the EOS R1 looks every inch a professional camera thanks to its built-in vertical grip for horizontal and vertical shooting. There are dual CF Express Type B card slots on one side of the camera, while on the other you'll find the physical ports which include USB-C, Ethernet, HDMI, mic, headphones and PC sync for flash. The EOS R1 also offers Bluetooth and WiFi connectivity.
Surprisingly, the EOS R1 isn't overly cumbersome despite its large and hefty size – that's 6.2 x 5.88 x 3.43in / 157.6 x 149.5 x 87.3mm with a weight of 2.7lbs / 1,115g, including a battery and memory card (but no lens), which is largely thanks to the well-contoured vertical and horizontal grips, plus the new camera coating that provides a secure grip. The camera also balances well with both smaller lenses and larger telephotos. Overall build quality is excellent as you'd expect for a professional camera.
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One of the immediate differences you notice when compared to mid-range cameras such as the EOS R6 Mark II, and even the EOS R5 Mark II, is the sheer number of direct access controls on offer. The AF-ON button serves a dual purpose in that it offers two programmable functions with the sensor in the center allowing you to use swipe actions with your thumb to move around zoomed images or to adjust autofocus, for example – it's a slick design feature.
Having many direct access controls is standard for high-end professional cameras like the EOS R1, because you don't want to otherwise be scrolling through menus to find and make adjustments when in fast-paced shooting environments. Also, many controls are duplicated on the vertical grip so you can enjoy the same level of convenience and comfort when shooting in both formats.
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On the rear, you'll find the 2.1m-dot 3.2-inch articulating touchscreen which is useful because it can be positioned in many ways. But it's the generously large, almost cinema-like, 9.44m-dot viewfinder that truly caught my eye. Not only is the viewfinder window large, but so too is the immersive EVF screen itself.
The EOS R1's menu system is intuitive and easy to navigate, but like most cameras these days there are so many options available, including button customization, and so it'll take some time to full familiarize and set up the camera for your shooting needs. Some features do require you to delve into the menu to switch them on or off, despite all of the direct access controls, but this approach is standard for all cameras.
Design score: 5/5
Canon EOS R1: features and performance
Dual processors deliver Canon's best-ever speed, including 40fps continuous shooting
Advanced autofocus with dedicated sports modes and face recognition
The EOS R1 features a new high-speed 24.2MP full-frame BSI stacked CMOS sensor that reduces rolling shutter at the expense of a slight reduction in dynamic range. This reduction certainly wasn't noticed shooting a range of subjects during testing.
The sensor is powered by dual processors: the DIGIC X and the DIGIC Accelerator. These processors allow for large volumes of data, fast image capture, fast AF and produce excellent image quality, as well as facilitating the Deep Learning technologies for in-camera image upscaling and noise reduction.
The EOS R1 is packed with so many features that it's impossible to cover them all, but there are undoubtedly some that stand out from the crowd. The EOS R1 is a camera designed for speed and can capture raw files at up to 40fps with the electronic shutter enabled, or 12fps with the mechanical shutter active. The mechanical shutter extends to 1/8000 sec while the electronic shutter pushes further to a lightning-fast 1/64,000 sec.
(Image credit: James Abbott)
Autofocus is incredible; it's fast, accurate and intelligent in maintaining the EOS R1's focus on speed. During testing when photographing seals on a beach, the subject detection worked flawlessly to identify eyes and faces with near-perfect accuracy, even though obstacles were sometimes present in the frame.
The AF system uses Canon's Dual Pixel Intelligent AF where subjects are accurately tracked, while Canon says it's able to identify faces and bodies. There's also subject detection, which works incredibly well, while cross-type AF makes focusing more precise and effective, even in low light and low contrast situations.
(Image credit: James Abbott)
There's also a new Action Priority mode that according to Canon recognizes movements in basketball, soccer and volleyball while tracking the ball and switching between subjects as the action unfolds. I didn't personally have the opportunity to test Action Priority, but TechRadar's Cameras Editor Tim Coleman did during the camera launch, and the sentiment is that Action priority has game-changing potential for sports photographers.
Then there's eye-control AF, which, as the name suggests, tracks the movement of your eye and where you're looking in the viewfinder as a guide to position the active AF point(s). Eye-control AF has to be configured via the camera menu. Again, Tim Coleman has written a dedicated feature about Eye-control AF.
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Before the basketball game started, I took a portrait of this player and selected him as the player for the EOS R1 to prioritize as the primary subject to focus on. (Image credit: Future | Tim Coleman)
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After doing this, the hit rate of sharply focused photos on the player was virtually perfect. (Image credit: Future | Tim Coleman)
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The EOS R1 is able to do this subject priority trick for up to 10 faces. (Image credit: Future | Tim Coleman)
Another interesting and useful feature is pre-continuous shooting which, when enabled, allows the camera to buffer 20 frames while the shutter button is halfway depressed. When you fully release the shutter button, the buffered frames are also captured to provide a greater hit rate in fast-paced situations when your reactions might not be up to speed.
20 frames equates to half a second of pre-capture when shooting at the maximum frame rate. This is great, of course, but isn’t a feature you'd want to use all of the time because of the sheer number of frames you'd be capturing and needing to edit.
Features and performance score: 5/5
Canon EOS R1: image and video quality
Excellent high ISO handling
AI-powered upscale and noise reduction
Up to 6K Raw video
EOS R1 images are beautifully sharp, which can in part be attributed to the new low-pass filter that reduces moire and false color alongside maintaining sharp detail. Image quality is excellent with raw files naturally providing the greatest degree of flexibility. JPEGs are also fantastic out of camera which will undoubtedly appeal to press photographers delivering images directly to picture agencies.
JPEG color profiles can be tweaked with custom profiles so photographers can adjust settings such as brightness and contrast. The Standard profile provides great results but images can be further improved using levels to adjust the black and white points in Photoshop. Colors are pleasing and Canon has long been well respected for its color science, so there are no complaints here.
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A feature within the camera is AI-powered upscaling and noise reduction. These are frustratingly only available for JPEGs and the former increases file sizes 4x to 96MP. Fine details are preserved while color and contrast are maintained, but it's a shame that this functionality isn’t available for raw files. Adobe users, however, can take advantage of Super Resolution to increase raw files by the same factor.
Noise reduction certainly works but the closer you get to the maximum ISO within the camera's standard range, the less effective the results are.
AI upscaling example
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AI upscaled JPEG with original photo inset (Image credit: James Abbott)
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Full AI upscaled photo (Image credit: James Abbott)
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100% crop of the AI upscaled photo to show detail (Image credit: James Abbott)
Video is a major component of the EOS R1 too, with the ability to capture 6K 12-bit raw video in-camera, up to 60fps. 2K and Full HD video can be captured at up to 240fps, while 4K is available up to 120fps. Canon C-Log flat color profiles are also available alongside the ability to capture proxy video to one memory card, with full-resolution files recorded to the other.
This is all just the tip of the iceberg but gives you an idea of what the EOS R1 is capable of. Plus, a video feature that could be useful for hybrid press photographers is the ability to capture Full HD video and 17MP JPEGs at 10fps at the same time when the Dual Shooting function is switched on.
Image and video quality score: 5/5
Canon EOS R1: testing scorecard
Should I buy the Canon EOS R1?
Buy it if...
You're a pro sports, wildlife or press photographer The EOS R1 is aimed squarely at sports, wildlife and press photography, with features and functionality that make image capture and delivery in these situations highly efficient.
You need fast continuous shooting If a maximum frame rate of 40fps will enhance your photography, alongside pre-capture buffering of 20 frames, the EOS R1 will help you to capture the decisive moment and then some.
You'd like exceptional autofocus The autofocus system employed by the EOS R1 is excellent and sets a new bar for AF technology when it comes to capturing sharp images of fast-moving subjects in complex situations.
Don't buy it if...
You need a higher resolution Despite in-camera JPEG upscaling to increase resolution by 400%, the EOS R1's true resolution is 24.2MP, and there are plenty of alternatives that produce higher resolution raw files and excellent image quality.
You don’t require speed Not all photographers require the level of speed on offer here, such as landscape and portrait photographers. The EOS R1 is also heavy and bulky for landscape photography with more suitable cameras available.
You're not a professional Of course, anyone with deep pockets can buy the EOS R1, but unless you’re a professional working in specific areas of photography, it's much more camera than you will ever need it to be.
Canon EOS R1: also consider
Nikon Z9
The Nikon Z9 is a few years old now but it continues to match flagship cameras from competitors thanks to impressive performance, speed and its 45.7MP sensor. It only uses an electronic shutter, but to fully experience the EOS R1's speed of capture this is the shutter type you have to use in any case.
The Canon EOS R5 Mark II was launched alongside the EOS R1 and offers many of the same features and functionality in a smaller and less expensive body. What's more, the control layout is similar and the EOS R5 Mark II offers a higher resolution 45MP BSI stacked sensor.
Believe it or not, the Canon EOS R1 isn't the out and out fastest camera around – that award goes to the Sony A9 III, a flagship camera for sports that we called 'the high-speed camera to beat'. A true design innovation, the A9 III is the first camera of its kind with a global shutter which, among other things, realizes burst shooting speeds up to 120fps, plus extremely fast shutter and flash sync speeds. It's also Sony's best designed camera yet, though you'll want the optional grip to bulk it out like the EOS R1 when using telephoto lenses.
I had the EOS R1 for a couple of weeks, along with three Canon lenses
I captured a range of subjects, from wildlife to landscapes
I tested Canon's in-camera Deep Learning features such as upscaling
I mainly tested the Canon EOS R1 for shooting wildlife, but also to capture landscape and night photography, and I had three Canon lenses to choose, including the RF 85mm F1.2L USM and RF 200-800mm F6.3-9 IS USM. It might not be the obvious choice for landscape photography, given it is heavy and bulky, but I gave it a go none the lens and it performs exceptionally well in this situation too.
I tested as many features and functions as possible were tested, with my main focus being the speed of the camera's autofocus and continuous burst shooting. It was also important to familiarize myself with the control layout so the camera could be used as if it were my own.
I also tested Canon's in-camera 'Deep Learning' features in order to provide a thorough overview of the camera in terms of professional image capture.
The Blackmagic Pyxis is the company's first venture into box-style cameras, and at its core lies a proven full-frame sensor, delivering up to 6K resolution and 13 stops of dynamic range. The key benefit of this high resolution is that you can use the full width and height of the 3:2 surface area of the sensor, allowing for much greater flexibility when you need to produce content for multiple platforms.
The camera’s UI is generally a triumph, with large touch controls, clear navigation, and sensible menu structures. However, when you turn the camera to film vertically, the UI stays fixed; on the older Pocket 6K, the UI rotates to suit the new orientation, so it’s clear that Blackmagic had thought about this problem and had come up with a simple solution, and it’s odd that they’ve yet to implement it on the Pyxis, which lends itself even more to shooting in different orientations. That said, even during my brief time with the camera the company released significant updates to both the camera and the Blackmagic Camera App that delivered functionality and performance improvements, so I’m confident that it will address smaller issues like this in time.
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In terms of hardware, the camera's standout feature is its machined aluminum construction, which offers professional-grade modularity and heat dissipation. However, the positioning of its cooling mechanism draws air from the base of the camera and forces it out through the top, and while it’s great for warming your hands on a chilly day, it does leave the camera feeling particularly exposed to inclement weather.
It features a multitude of mounting points on its bottom, top and side, where you’ll find its modular accessory plate, which can be used to install a rosette plate for a grip or an SSD holder for example. While the $2,995 / £2,645 / AU$4,899 (approx) starting price is competitive, buyers should factor in additional costs for essential accessories like an EVF, monitor, handle, and other rigging solutions, although many people buying this camera are likely to already have some compatible accessories.
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The camera excels in its versatility with its comprehensive I/O (input / output) options, including BP-U battery compatibility, a nice common standard, as well as a 12G-SDI port and USB-C connectivity. The USB-C port on the front of the camera can transmit a video signal out to an HDMI source (without visual assist tools like false color), and the one on the rear can be used to tether the camera to a mobile device for remote wireless control, monitoring and synced recording across multiple connected Blackmagic cameras. Other professional features like timecode sync, Ethernet connectivity, SSD recording, and cloud workflow integration are also included.
The Pyxis delivers impressive image quality with Blackmagic's highly regarded color science, though it lacks some features that mirrorless shooters will be used to, like advanced autofocus and optical image stabilization. Some form of internal ND filter system would have been a big bonus, but nothing in this price range or class offers that, so expecting it would be unreasonable. While its few limitations are worth consideration, if you’re in the market for a true workhorse camera that can be adapted to a wide range of shooting scenarios the Blackmagic Pyxis makes a strong case for itself, especially when you consider that the purchase of a Blackmagic camera includes a full license for the DaVinci Resolve Studio editing suite, worth $295 / £235 / AU$440.
Available now in three lens mount versions; EF-mount, L-mount of PL-mount (the latter costs $100 / £100 / AU$180 extra
You'll want additional accessories
The Blackmagic Pyxis 6K was announced at NAB Show Las Vegas in April 2024 and is available to order now. It can be picked up for a list price of $2,995 / £2,645 / AU$4,899 body-only in EF or L-mount, while the PL mount version costs $100 / £100 / AU$180 (approx) extra.
That price represents five star value given how the camera handles and what it is capable of for filmmaking. However, you will also need to factor in multiple accessories to improve the shooting experience, including an optional monitor, viewfinder, top handle and more.
Price score: 4.5/5
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Blackmagic Pyxis 6K: specs
Blackmagic Pyxis 6K: design and handling
Excellent build quality with machined aluminum construction
Modular design, requires accessories to maximize its potential
UI doesn’t rotate as on the Pocket 6K
The Blackmagic Pyxis 6K is a relatively compact camera given what it's capable of, but it still weighs in at a hefty 3.3lbs / 1,500g, which is roughly the weight of two Lumix S5 IIX mirrorless cameras. Measuring 119 x 106 x 151mm (H x W x D), and with a fixed LCD display on its left side, the Pyxis feels like it needs an additional accessory for monitoring. If you want to stay on brand, your options include the Blackmagic URSA Cine EVF, the specially designed Blackmagic Pyxis Monitor, or a Blackmagic Video Assist. I had the chance to pair the camera with the Pyxis monitor, and it was ideal for run-and-gun-style shooting without being overly conspicuous, and its built-in pop-up hood is a nice touch. It’s a solid addition to the camera's accessory lineup, and provides full camera control via its touchscreen and the three customizable function buttons on its rear.
I also got to use the URSA Cine EVF, and it would be a great option for filming Electronic News Gathering (ENG) / documentary-style work, as it immerses you in the frame by blocking out off-camera distractions. The setup is highly flexible, with the EVF being easy to position. It comes with an extension arm, as well as USB-C to USB-C cables of various lengths, so that you can place the EVF in the most comfortable orientation possible for your style of shooting. A nice detail sees the EVF’s USB-C cables come with screw fixtures so that they can’t be easily pulled out, and I also like that the EVF has a tally light built into it.
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Returning to the side of the camera, the Pyxis has physical controls for all key functions, and offers three customizable function buttons so that you can save your most commonly used tools – I set mine to focus assist, false color and LUT view. If you use the EVF, it also has physical buttons, three of which can be independently customized from the ones you’ve assigned on the body. I found that the buttons and control dial click and scroll responsively, and while I would have preferred an additional record button on the front or right side of the camera, the placement of the physical controls is generally logical, and will be swiftly committed to muscle memory with regular use.
People who are new to cinema-style box cameras may be in for a slight shock when they realize just how much additional kit they need to buy in order to make their camera functional – while its starting price seems competitive, the camera doesn’t even come with a battery in the box. So you will want to factor in additional costs, as they can stack up quite quickly. As well as power, the optional £165 / $199 (around AU$325) top handle feels like a necessity too, not least because it's critical for working with the EVF or Pyxis monitor. I’d most likely purchase the Pyxis monitor first, but the EVF is a nicely designed piece of kit; for me, as somebody who often shoots handheld outside, it definitely elevates the functionality of the camera.
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The camera's layout is professional and purposeful, although the built-in screen’s position on the left side of the camera body forces you to touch it while holding it, quite a lot, which will undoubtedly jar some people. Helpfully, in the latest update (9.2) you’re able to lock the screen while still having full access to the camera’s physical controls, which is a welcome improvement in functionality. For audio, the camera offers a 3.5mm stereo input on the front, as well as a mini XLR input, which will give you phantom power. You can run the camera directly from mains power via its +12V 2-pin Lemo connector, which is handy for me, as someone who predominantly shoots in studios and controlled indoor environments. Its dual CF Express Type B card slots are protected by a rubber cover, and the locking USB-C ports add security for monitor connections. The overall build quality is excellent, especially given the camera’s competitive pricing, although the rubber media door could be more robust, and the lack of weather sealing is notable, albeit typical for this style of camera body.
Design score: 4/5
Blackmagic Pyxis 6K: features and performance
Internal 12-bit Raw video, but no ProRes
Filmic quality to footage
Versatile rigging options
Professional I/O
No in-body image stabilization
No continuous AF
The Blackmagic Pyxis 6K offers impressive connectivity options, including 12G-SDI output, USB-C, and Ethernet. The dual native ISO provides flexibility in various lighting conditions, while the dual card slots offer redundancy and extended recording times. Its best-in-class menu system is intuitive for newbies and familiar to Blackmagic users, offering logical functionality and decent customization options.
Professional features include built-in timecode, streaming capabilities, and cloud workflow integration. It also comes with a range of exposure tools that will ensure you’re gathering as much usable Raw imaging data as possible while recording. Typically, I would rely on false color, which I assigned to one of the camera’s three customizable function buttons. But it was great to see the addition of the RGB traffic light indicator system, which has possibly been borrowed from RED’s Komodo cameras. When any one of the camera’s pixel channels are beginning to clip, that light will stay illuminated, indicating that you need to lower your exposure. It’s a great at-a-glance exposure tool that’s been seamlessly integrated into the general display UI. Although it doesn’t work for underexposure, there are plenty of other tools, like false color, histogram, and zebra patterns available to help here.
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During my review window Blackmagic released a couple of relatively major updates, one for the Blackmagic Camera App (iOS v2.2) and the other for the Pyxis 6K. The improvements introduced with Firmware 9.2 included some handy connectivity features. If its running the latest firmware, the Pyxis can now use a compatible iPhone as a monitor when acting as a personal wireless hotspot and tethered via the rear USB-C port (the Pyxis itself has no Wi-Fi transmission module), and when functioning like this, you can use your iPhone to control multiple cameras and even initiate synchronized recording, which is a great solution for people who often rely on multi-camera setups. The new firmware also provided a significant boost to the camera’s power efficiency, adding roughly 30-40% more operating time in my experience. Of course, your mileage may vary, but before the update I was already able to get about 35 minutes out of a BP-U-30 (28Wh) battery, and after the update I was getting another 20-30 minutes or so extra. Battery life monitoring was also improved by the update, so the camera will now go all the way down to 1% before eventually shutting off.
Some may be disappointed to learn that the Pyxis 6K has no stabilization whatsoever, but it does record gyro data to offer reasonable stabilization in post. There’s also noticeable wobble caused by rolling shutter when you’re moving with the camera, particularly when shooting in 6K open gate mode; it’s not horrendous, but it would encourage me to shoot more static-style shots when using this camera in particular. The visible effects of rolling shutter diminish as you reduce the sensor area used for recording, and are barely noticeable when shooting at 4K/60p in 17:9 aspect ratio, so I’d say it’s worth being conscious of what your output may be. Shooting for your end output instead of belligerently spamming open gate may be the wiser choice – you can save open gate for shots with less camera movement that need the flexibility of the sensor’s full readout. It’s worth mentioning that Davinci Resolve is also able to use the camera’s gyro data to mitigate some of the warping that you may see when moving the camera around while recording.
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Wrapping up my niggles, the autofocus system is basic and offers no continuous AF, but it does have some handy focusing tools, which can be adjusted to suit your preferences. You can also use the dedicated push-to-focus button at the top-left side of the camera, and there’s an Iris button above that, which can help you nail exposure in a pinch. The camera also works well with external focus solutions like the DJI Focus Pro, which would be a typical approach for working with a camera like this.
A final, positive operating observation is just how quickly the camera powers up. Within five seconds of switching it on, the camera is up and ready to record. If you’re not familiar with cinema cameras, this may seem like a long amount of time, but in this realm, the Pyxis is relatively speedy, and it’s refreshing.
Features and performance score: 4/5
Blackmagic Pyxis 6K: image and video quality
Excellent image quality in most conditions
Better noise-handling than the Z50 at the same ISO
4K/60p video with a 1.5x crop
The Pyxis captures images that are typically attractive for Blackmagic cameras, if it’s a look you’re familiar with. By this, I mean that the footage looks detailed, without looking sharp, and highlights roll off softly, delivering a cinematic look that needs very little work to get it ready to publish. The quoted 13 stops of dynamic range provides good flexibility in post-production, especially if you expose for the highlights and utilize DaVinci Resolve’s highlight recovery in post, when needed. Color reproduction is excellent thanks to Generation 5 color science, and the OLPF effectively controls moiré, which is great for shooting buildings, or clothing like silk and denim.
Low-light performance is good within the camera’s limitations, though not class-leading. However, Resolve is armed with comprehensive tools for reducing the impact of sensor noise. If you have the time and the aptitude, Blackmagic RAW files are really easy to work with, and can be honed to deliver an attractive look in most situations. While it’s not a no-light camera, the Pyxis would be perfectly capable of delivering attractive video in bar/club lighting scenarios or other low-ambient-lighting scenarios. The ability to shoot up to 6K resolution with a full-frame sensor with frames for various aspect ratios provides excellent flexibility for different delivery formats.
Image and video quality score: 4.5/5
Blackmagic Pyxis 6K: testing scorecard
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Should I buy the Blackmagic Pyxis 6K?
Buy it if...
You’re a solo filmmaker or a small production unit that needs a professional solution The Blackmagic Pyxis 6K is clearly built with pro work in mind, and is incredibly versatile.
You value image quality and want RAW video Blackmagic RAW is one of the easiest pro video formats to work with, and even at its lowest bitrate settings the Pyxis delivers sumptuous video when exposed well.
You have a higher-end cinema camera and need a B-cam The combination of the Pyxis 6K’s sensor and Blackmagic’s color science provide an excellent starting point for delivering cinematic video. However, the camera produces an image that is robust and flexible. If you or your colorist has a basic understanding of grading, matching your clips with footage from another high-end camera should be straightforward enough.
Don't buy it if...
You need a compact all-in-one solution The Pyxis is designed to be rigged up and utilized in a wide variety of ways. For this reason, it’s relatively stripped back, but provides users with plenty of options for customizing its form and functionality to suit their needs.
You don’t need RAW video If color grading your footage is not something your work (or pleasure) typically requires, there’s no need to pick up a camera that offers no compressed recording formats. You’ll be adding an unnecessary step to your workflow, which will cost you time and may cost you enthusiasm.
You need high-frame-rate, high-resolution video The Pyxis 6K can shoot 6K at up to 50/60fps in the 17:9 and 2:4:1 aspect ratio respectively. It also shoots 2K at up to 100fps. However, if high-frame-rate video is a must for you, there are other cameras to consider that are more specialized for this type of filmmaking
Blackmagic Pyxis 6K: also consider
Canon EOS C70
Canon's smallest cinema camera, the EOS C70 can be had for a similar price seccondhand to the Pyxis 6K. It's a Super 35 format camera (a smaller crop-sensor) with 4K video up to 120fps in 10-bit 4:2:2 plus 12-bit RAW recording. It boasts up to 16 stops dynamic range and utilizes Canon's RF-mount and features autofocus, while it features most of the I/O options demanded by serious filmmakers. Both the Pyxis 6K and EOS C70 put forward unique strengths.
Z CAM E2-F6 Mark II
Another cinema camera with modular box design iz Z CAM'S E2-F6 Mark II. Like the Pyxis 6K, it features a full-frame sensor and is able to record 6K video, but up to 60fps, plus it supports ProRes RAW and 10-bit color, with 15 stops dynamic range. There's SDI and full-size HDMI ports, plus a BNC timecode port and genlock. There's also the E2-S6 Mark II version which is largely the same, only it has a smaller Super 35 sensor. At $3,499, Z CAM's box camera is pricier than the Pyxis 6K
How I tested the Blackmagic Pyxis 6K
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I had a briefing and sneak peak of the camera before its unveiling at NAB in 2024
I paired the camera with a variety of L-Mount lenses, and a IRIX T1.5 via a Viltrox PL-L adapter
I connected the camera to the Blackmagic Camera app
I was sent the Blackmagic Pyxis for review to test for a couple of weeks, due to a firmware update being released during my review window. The kit that came with the camera included the Blackmagic URSA Cine Handle, the Blackmagic URSA Cine viewfinder, a 1TB Angel Bird memory card and reader, as well as a Sigma 24-70mm F2.8 lens.
The first thing I did after receiving the camera was to conduct my endurance tests, which include battery run-downs and heat management. I set the camera up on a tripod in an ambient temperature environment of 70F / 21C, and left it filming continuously while connected to mains power and on battery power alone.
I then took the camera out with me on some street walks, and to a couple of family and evening events. I performed sound-quality tests in a small studio environment.
The Fujifilm Instax Wide Evo is instantly striking with its retro design and ultra-wide body. If you're after the best instant camera for hybrid photography (i.e. the ability to print film images taken directly on the camera or sent from your smartphone) and prefer to shoot on wide format prints, then this really looks like it could be the model for you.
Although it doesn't come cheap, the Instax Wide Evo is very much the step-up from Fujifilm's other Instax hybrid, the Mini Evo, that was launched in 2021, offering most of the same great features, including an LCD display screen, 10 lens and 10 film effects that make 100 different creative combinations, and a microSD card slot, along with a few more new additions.
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A wider film print means this instant camera is a bit on the larger side, but it makes use of the extra real-estate by adding more physical buttons that let you quickly change settings. These include a dedicated wide angle button that lets you switch to a more standard field of view (FoV) if you don't want that cinematic look.
Speaking of, you can also switch between six different film styles, one of which puts black bars to give your pictures that IMAX feeling, using a button on top of the camera. There's also a dial on the left side of the camera to cycle through the 10 different lens effects, with another dial on the opposite right side to switch between the 10 different film effects. My favorite, though, is the crank that lets you manually print a picture by winding it, which is a nice design nod to the crank for winding back film on the best film cameras.
It gets five stars for fun for all the creative photo editing options it offers, but what about the image quality? I've only been able to try out the new Instax Evo Wide for an hour on the day of its launch, so I didn't test out that many settings. Although I did print out three photos, two of these were selfies (one unedited, the other cropped and enhanced before printing), which looked soft and rich with great contrast using the monochrome film effect.
The Instax Evo Wide will by no means replace your dedicated digital camera – and if you love the 'magic' of purely analog instant film cameras, then this might not be right for you either as your images will always be digital first – but it is a perfect piece of extra kit if you want to be creative with your photography and experiment with a larger field of view.
Fujifilm Instax Wide Evo: Price and availability
There's a dedicated button at the top of the camera for switching between six different film styles. (Image credit: Future)
The Fujifilm Instax Wide Evo was launched on January 21, 2025 with a price tag of $349.95 in the US and £319.99 in the UK. We don't yet have Australian pricing, but based on these initial figures it might cost around AU$560.
The Wide Evo is also almost double the price of Fujifilm's other Instax hybrid, the Fujifilm Instax Mini Evo, which retails for $199.99 / £174.99 / AU$299.99. Does the extra cost account for the more premium, larger features in the step-up model? We'll have to see once I've had a chance to weigh this up against its performance.
There's also optional accessories available for the Evo Wide, including a leather case that costs $49.95 in the US and £37.99 in the UK, but might be a necessary additional cost to make sure to protect the LCD display screen (if this gets too scratched up, then you won't be able to take let alone see your photos).
Fujifilm Instax Wide Evo: Specs
Fujifilm Instax Wide Evo: Design
The left dial on the Instax Wide Evo is for switching between the 10 different lens effects. (Image credit: Future)
A hybrid instant camera that can print directly or from your catalog of shots, stored on Micro SD
Plenty of dials and switches to select various film effects
Includes a mirror and switch to take selfies
When rumors started to circle about the Instax Wide Evo, there was talk that it would be "regarded as the best-looking Instax camera ever made" and that caught a lot of enthusiast's attention, including TechRadar's senior news editor Mark Wilson who said off the back of it that the "Instax Wide Evo sounded like my dream instant camera".
Considering that the only wide-format Instax camera alternative is the big and bulky Instax Wide 400, the Wide Evo's textured, minimal black design is definitely a lot more easy on the eye than the plasticky, dull green finish of its larger cousin. (Another alternative if you're set on a wide-format is 2024's Lomo’Instant Wide Glass – an attractive instant camera that we gave 4.5 stars in our in-depth review.) Indeed, I don't think many would be opposed to slinging the Wide Evo over their shoulder for the day.
The leather case that you can buy alongside the Wide Evo makes this very easy to do and might be a crucial accessory – not just for protecting it from nicks and scratches but – to make sure that it has a long life, as the LCD screen could easily get scuffed up over time. That's not great for a camera that doesn't have a viewfinder. Of course, I can't yet say that this will be an issue but it's worth considering.
This is how you would hold the Instax Wide Evo to take a selfie, with your thumb pulling down on the shutter switch button. (Image credit: Future)
It also helps that the Evo Wide is light – it weighs about half a kilo – making it very portable, but don't expect to be able to fit the Wide Evo in any pocket. As you would expect, because it takes wide-format instant prints, it's on the larger side.
The shutter button is a lot different to the Mini Evo, which has a standard push button on top of the camera. Instead of this, the Wide Evo has a rocker style switch (like the ones you would use to turn on a light) that's situated on the front of the camera, beside the lens. I found this placement and style initially cumbersome, especially when taking a selfie as I couldn't immediately engage the auto focus by half pressing it down.
To be clear, this might be just be because it was my first time using it and could become more easier, but I will say it's not initially intuitive. That's also not to say that all the buttons are like this. The spin dials and crank for printing photos, for instance, are extremely tactile and easy to use.
Fujifilm Instax Wide Evo: Performance
This image was shot with the warm film effect and color shift lens effect settings turned on. (Image credit: Future)
Plenty of scope to try different looks, with 100 creative combinations
The widest-ever Instax lens and wide-format prints give extra breathing room for your subjects
The Fujifilm Instax Wide Evo's built-in film and lens effects make experimenting with different styles extremely easy. The fact that you can create 100 different creative combinations with these settings means there's plenty of room to play around.
Indeed, there's even an Instax Wide app for even more editing options as well as a 'Discovery Feed' for sharing and seeing fellow creations. While I haven't yet had a chance to test these out properly, I did find these effects to cover a lot of different styles during a brief session with the new camera.
When it comes to the picture quality overall, I'm most interested in testing out how the film prints compare to those taken on an instant camera as the images are digital first on the Evo Wide. This is a big deal for me because I'm split between analog and digital, and this in my opinion takes a bit of the magic away.
For context, I bought my first Instax in 2014 and of course quickly realised how expensive this style of photography is after discarding some duds, which made me even more selective with every picture I took. My boyfriend decided to buy me an Instax printer to solve this issue, but this for me took away what I loved about the style in the first place. I also found that picture quality wasn't on par.
The dial on the right side of the Instax Wide Evo is for switching between the 10 different film effects. (Image credit: Future)
Could a hybrid instant camera offer the perfect middle ground? Or will it be just another printer? I'll be sure to report back as soon as I've had a chance to put the new Instax Wide Evo through its paces properly.
In terms of the wide-angle prints, the larger size makes them feel much more premium than the smaller rectangular formats that mimic your smartphone pictures and is much more akin to the classic square instant prints that were once more popular. The Wide Evo has a dedicated button on the front of it that turns off the wide-angle, but I can't see myself personally using this a lot, but it's a nice feature that nods to its hybrid functionality.
Could this replace the Fujifilm Instax Mini Evo as the best hybrid instant camera? I couldn't possibly say without having tested it, but I'll be sure to report back with more details once I've got a sample in.
How I tested the Fujifilm Instax Wide Evo
A one hour hands-on session at the UK launch event
I tried various filters, two lenses and selfie mode
My time with the Fujifilm Instax Wide Evo was very brief – just a one hour session at the UK launch event in London. However, during this time, I had decent chance to get a feel for the camera; how it handles for regular photos and selfies, plus the various filter and film effects possible through the physical controls on the camera.
If you're new to bird feeder cameras and want an easy and affordable starting point, the FeatherSnap Scout is just the ticket. It's easy to set up, and offers a robust design, reliable Wi-Fi connectivity, durable battery performance with solar charging, plus a straightforward app through which you can enjoy watching your garden visitors. These attributes combine to great effect, and made this review both easy to write and highly enjoyable, while assuring me that the FeatherSnap Scout is one of the best bird feeder cameras available.
I live in the countryside in the UK, and we get plenty of feathered visitors in the garden. I already have regular bird feeders set up in various spots, so why not swap one out for a feeder with a camera? Doing so enabled me to get a closer look at the birds I otherwise only see from a distance, from the comfort of my home, and has been a wonderful experience.
In fact, while writing this review at TechRadar's offices, many miles from home, I've been able to keep the FeatherSnap Scout's live feed active on my phone to see (and hear) which birds are stopping by – a welcome distraction that puts a smile on my face.
Setting up the FeatherSnap Scout is simple. Having pinpointed the best spots to position the bird feeder, it took me a matter of minutes to unbox the camera, head into the garden and fix it to my chosen tree using the supplied strap. I've tried placing it in a couple of spots, and once I've established the best position I'll screw it in place more securely.
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With the FeatherSnap Scout in place and filled with feed, I connected it to my home Wi-Fi network via FeatherSnap's free app (available for iOS and Android) – I was able to get connected promptly, despite there being a large distance between the camera and my home router.
The app is easy to navigate, though you'll want the paid-for subscription to get the very best features – for me the video downloads proved the real highlight. Still, without the subscription you can still receive pictures that the camera takes when it detects movement, plus enjoy the live feed, complete with audio.
Image quality is what I'd expect from a basic camera with ultra-wide angle lens; color depth and resolution are limited. However, the same can be said of all bird feeder cameras, and the detail here is pretty sharp. Over the weeks using the FeatherSnap Scout I've learnt that it's a breeze to get started, reliable, offers decent battery life, and comes in at a highly competitive price point. Top stuff.
FeatherSnap Scout bird feeder camera: price and availability
$179.99 / £159.99 / AU$TBC
App subscription plan $59.99 / £49.99 per year or $6.99 / £5.99 per month
Compared to a premium option such as the 5 star-rated Birdfy Feeder 2 Duo, the FeatherSnap Scout is a snip at just $179.99 / £159.99 (availability and pricing for Australia is TBC), especially when you consider that it features two built-in solar panels. That said, to get the most out of the camera features, you'll want the paid-for Unlimited Plan, which costs $59.99 / £49.99 per year, or $6.99 / £5.99 per month. Without it you can't access some of the best features, which for me means video downloads, although personally I can take or leave the bird identification features, which didn't always prove to be accurate. At the time of writing, the best price can be found on the FeatherSnap website and Amazon – for the latter make sure to select FeatherSnap as the seller to get the prices above.
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FeatherSnap Scout bird feeder camera: specs
FeatherSnap Scout bird feeder camera: design
Motion detection camera with ultra-wide lens and stable 2.4Ghz Wi-Fi connection
Strap or screw-in mount
Potentially unlimited battery life thanks to twin solar panels
The FeatherSnap Scout arrives fully assembled, with no construction needed, complete with twin solar panels built into its roof. The camera unit is packaged separately and snaps securely into place, attached through its USB-C port which connects it to the solar panels for continuous power.
The fiddliest part of setting the feeder up was strapping it to a tree. For a tree with thinner trunk I wrapped the strap around twice, and it feeds through a lock that's completely secure and stable. For another, larger tree, I wrapped the strap once and the setup was equally secure. I wouldn't be against attaching the camera to a tree using screws, once I know I'm fully happy with its position for year-round coverage, and if I can do that without damaging the tree.
My review period took place over the winter months in the UK, which means cold weather, short days and limited sunlight. The rugged device has withstood inclement weather, including a category 2 storm, and countless visitors (although I'm lucky that the squirrels haven't discovered it yet), and all remains well.
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Initial pairing to my home Wi-Fi network took no time at all through FeatherSnap's app, and I was impressed with the stability of the connection considering the distance between my router and the device. In one position the app showed a strong connection with a distance of around 50ft / 15m, while from another side of the house, as much as 82ft / 25m, the connection was weaker but still worked.
A large battery unit is supplied, and this has a USB-C port built into it for direct wired charging. In one of the locations where I set the feeder up it was almost entirely in the shade and daylight hours were few, with the weather hovering around 32F / 0C, plus the camera was regularly active snapping visitors, and the battery was losing about 15% of its charge each day, so that's good for about a week of use.
I repositioned the camera where it would get more sunlight on sunny days, and the battery life increased. By my reckoning, provided the camera has reasonable exposure to daylight, it'll maintain its charge thanks to the twin solar panels, and most people will seldom if ever need to charge the battery.
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(Image credit: Tim Coleman)
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FeatherSnap says the bird feeder camera has a -20F to 130°F / -29C to 54.4C operating temperature. Such extremes have never been recorded where I live, but the device has worked flawlessly in freezing temperatures. It's also proved durable, in the wind and rain, and I have little doubt that it'll be up and running in my garden for a long time to come.
I will caveat any notes about durability by saying the feeder has only had feathered visitors during my review period, the largest of which was a curious magpie. Squirrels could be a different matter – they have tormented other bird feeder camera reviewers for TechRadar, damaging the likes of the otherwise-stylish Netvue Birdfy Bamboo. The FeatherSnap Scout's open trays mean that squirrels aren't likely to root around too much and damage it, and from what I can tell the extendable perch is the most likely weak point.
Something the FeatherSnap Scout lacks, which can be found in some other premium bird feeder cameras from the likes of Bird Buddy, is a speaker to project sounds, which is typically used to deter and scare away unwanted visitors. That's not been an issue in my case, but it could be for you if you get a lot of squirrels.
FeatherSnap Scout bird feeder camera: performance
4MP photos are sharp enough, though color depth and dynamic range is limited
Full HD videos of up to 15 seconds in length taken from photo gallery in app
Excellent Wi-Fi performance and stable connection for a live feed, complete with sound
The FeatherSnap Scout relies on a single camera with an ultra-wide field of view. It's motion sensitive, and it snaps into action when visitors come, capturing 15-second video clips distilled into a set of three photos in the 'Snaps' gallery. Should you like any of those photos, which you can view in a chronological feed in the app, you can download them at an image size of 4MB.
That image size is pretty modest, but so far as bird feeder cameras go, it's respectable. As someone who's spoilt by using the best professional cameras, however, I've been underwhelmed by the image quality of the FeatherSnap Scout. Color depth and dynamic range is very limited, with little latitude for bringing back highlight details during sunny days or adding punch on cloudy days, to the JPEG-only files.
I'll qualify those disappointments by saying that the same is true from all bird feeder cameras that I've seen – don't get your hopes up regarding image quality. In its defense, the FeatherSnap Scout's images look pretty sharp, especially if you're mainly viewing them on a smartphone.
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One of my more exotic visitors – a great spotted woodpecker (Image credit: Tim Coleman)
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In addition to photo downloads, you can request the video captured by the camera. These Full HD 1920 x 1080 pixel sequences are 15 seconds in length, and can be viewed at 1x or 5x slow motion, but you can't download the latter. Video downloads are only available with the paid-for subscription. The camera's live feed is another way to enjoy feeder's visitors in real time.
During my review, I've accumulated hundreds of videos / image sequences, and these are stored / viewed in the app. You can request a download of those images, and they'll remain in the app for up to 72 hours (with the free plan) or 10 days (with the paid-for subscription) before being wiped from the gallery.
I'd love an easier way to manage all of those files, especially considering that 95% of the content in my gallery is of the same five bird species. There are bird identification functions in the app – which by the way incorrectly identified a rare visit of a great spotted woodpecker to be that of a great tit – so I'd assume there's potential for AI to play its part in managing files.
It would be nice to get a highlights of the day reel, or have a method of selecting which birds are snapped and which ones are ignored – say based on your own Bird Book (which is used to log your sitings in the app). Perhaps that's too complicated an ask, and in fairness the present setup of wiping the gallery after 72 hours / 10 days is a sensible and simple approach.
Should you buy the FeatherSnap Scout bird feeder camera?
Buy it if...
You want a close-up view of your feathered visitors Bird feeder cameras remain one of the more affordable bits of gear for getting a close-up view of the wildlife around you, and for me the live feed provided welcome entertainment / distraction.
You're after a gift that keeps on giving The FeatherSnap Scout is relatively affordable, and could make a great gift for a nature-loving family member.
You're looking for your first bird feeder camera The FeatherSnap Scout is super-easy to get started with, and performs flawlessly thanks to a stable wireless connection and stellar battery life. View Deal
Don't buy it if...
You're expecting award-winning garden wildlife images Bird feeder cameras in general are better seen as viewing and documenting devices – their basic cameras can't match the quality of even your smartphone's.
You don't want to be tied down to a paid-for subscription The FeatherSnap Scout can be used completely for free through the app, but to get its best features – namely video downloads – you'll need the premium package.
You'll likely need to deter unwanted visitors
Unlike the best bird feeder cameras from the likes of Bird Buddy, FeatherSnap Scout lacks features designed to deter squirrels.
How I tested the FeatherSnap Scout bird feeder camera
Mounted to a couple of different trees and connected to my home Wi-Fi
Operated through cold winter months, with little daylight / sunlight
I monitored the visiting birds daily using the FeatherSnap app, with the paid-for subscription unlocking premium features
I set up the FeatherSnap Scout by strapping it to two different trees over the course of several weeks. Screwing the feeder into place is another option, provided you take the necessary steps to avoid damaging the tree.
My test was conducted in the UK over cold winter months, when days were short and sunlight limited. I was able to connect the FeatherSnap Bird Feeder camera to my home Wi-Fi and monitor any visitors the camera detected via the live feed, and the pictures stored in the gallery.
I used the paid version of the app to unlock all the premium features, including video downloads and bird identification.
In true DJI fashion, the world's leading drone manufacturer has surprised us by announcing a new kind of drone that also feels somewhat familiar: the DJI Flip is an all-in-one camera and vlogging drone with a unique, first-of-its-kind folding design that features four built-in propeller guards rather than propeller arms. This is part of a safety-first approach that ties in perfectly with the vlogging aspect of the drone, but there's no getting away from the fact it also looks, well, quite odd.
Folded, the Flip looks like a spacecraft from Star Wars, and when unfolded, it looks like a mashup between a cinewhoop FPV drone and a camera drone. From my point of view, in terms of design, functionality and performance, it sits somewhere between the DJI Neo and the DJI Mini 4 Pro, although the Mini 4 Pro is a far superior drone for photo and video capture as well as for overall flight performance.
(Image credit: James Abbott)
That said, the Flip is ultimately a beginner drone that comes in at a beginner-friendly price, and the Flip and Mini 4 Pro are completely different propositions – it's the camera drone functionality with the ability to capture photos in JPEG and raw, alongside up to 60fps 4K video capture in both Standard and D-Log M profiles, that led me to make the vague comparison. The Flip is certainly also a much more versatile drone than the Neo, but incorporates the same subject-tracking capabilities and some of the Neo's varied control options.
DJI Flip: release date and price
Released January 14 2025
The DJI RC-N3 base kit costs $439 / £369 / AU$699
The DJI RC 2 Fly More Bundle costs $779 / £659 / AU$1,159
The DJI Flip was announced on 14 January 2025 and is available in three kit options: the standard DJI Flip kit includes the drone, DJI RC-N3 controller, one battery, a pair of spare propellers and other basic accessories and costs $439 / £369 / AU$699, while the kit with the DJI RC 2 (smart) controller is $639 / £549 / AU$949.
At release, there isn't a Fly More Bundle that incorporates the simpler DJI RC-N3 controller, just one with the DJI RC 2 controller that costs $779 / £659 / AU$1,159. This more comprehensive kit includes all of the above plus two additional batteries, a four-battery charging hub, a shoulder bag and two additional pairs of spare propellers. The Fly More Combo is decent value when you consider the advantages it delivers when compared to the base kit.
(Image credit: James Abbott)
DJI Flip: specs
DJI Flip: design and handling
Unique folding design
Enclosed propellers
Regulator-friendly sub-250g weight
DJI's folding drone design has followed a linear path until now, and why not? It's tried and tested, and works exceptionally well. But with a drone that incorporates propeller guards into the design rather than propeller arms, something was always going to be different.
The Flip has four propeller guards that fold out from beneath the airframe, front propellers first and then the rear. The front guards also have fixed short legs attached to raise the front of the drone when it's on the ground.
So, despite the regulator-friendly sub-250g weight, the Flip is larger than DJI Mini models when folded, and has a much larger footprint when unfolded. Unfolding the Flip also brings it to life and powers it up, so it's best to remove the gimbal protector before unfolding the drone from its 5.35 x 2.44 x 6.5 inches / 136 x 62 x 165mm folded size to its 9.17 x 11 x 3.11 inches / 233 x 280 x 79mm unfolded dimensions.
The propeller guards are made of polycarbonate around the edges, with lightweight and strong carbon fiber string top and bottom. This makes the drone safer for flight close to people – yourself rather than others – and also allows for palm take-off and landing, which is useful as it negates the need for a landing mat, and means you can take off and land almost anywhere that's safe and legal.
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The airframe is tall for a drone in this weight category. There's a 3D infrared sensor at the front of the drone above the gimbal, and the black plastic panel also shows which intelligent shooting mode is currently active.
This is particularly useful when using the drone independently without the DJI Fly app or a controller, although the drone does 'tell' you which mode is active when you press the mode button on the side to switch.
Like the DJI Neo, the Flip can be flown using the intelligent flight modes app-free, with the app and using voice control, or with either the DJI RC-N3 controller or the DJI RC 2 smart controller.
Both controllers are great, although the DJI RC 2 is the most convenient option because it has a bright and clear built-in 5.5-inch display, so there's no need to connect your smartphone.
DJI Flip: features and performance
Not great in wind
Intelligent flight modes
AI subject tracking
The Flip specs available before launch didn’t specify a maximum wind resistance, but even in a moderate headwind the drone was severely slowed down. This could be a result of the size and shape of the propellers as well as the propeller guards themselves, but the Flip can still fly at a reasonable maximum speed of 27mph in Sport Mode, with Cine and Normal providing slower flight speeds.
In terms of flight, when using the Flip like a camera drone using one of the two traditional controller options, the drone flies well except for the aforementioned wind issue. It's certainly not as agile as a Mini 3 or Mini 4 Pro, but the controls are the same, and the ability to take off and land from the ground or the palm of your hand is extremely useful.
Just like the DJI Neo, the Flip is a selfie drone, but is marketed as a vlogging drone. This is because audio can be captured via the DJI Fly app when enabled, so you can record your voice while capturing video, or with the DJI Mic connected to your smartphone for improved sound quality. Propeller noise is filtered out or reduced in both situations.
(Image credit: James Abbott)
Just like the Neo, the Flip's Intelligent flight modes include Follow, Dronie, Circle, Rocket, Spotlight, and Helix. Within the app there's also Manual Control, which allows you to fly the Flip using on-screen controls, and when using a standard controller you can also access Quickshots, which include Dronie, Circle, Rocket, Spotlight, Helix, and Boomerang.
AI subject tracking aims to keep the subject in the centre of the frame during photo and video capture using the intelligent flight modes, which utilize ActiveTrack 4.0, Spotlight 2.0, and Point of Interest 3.0; this is highly effective, and cannot be faulted. What's more, when tracking, the Flip was able to navigate complex environments successfully thanks to the 3D Infrared Sensing System.
The Flip is as feature-packed as any other DJI drone, and the 3D Infrared Sensing System appears to work well, with forward-facing sensors that enable limited collision avoidance. This can be seen in action on the controller screen when using Return to Home, where the planned direction and route of the drone are shown as a green overlay. DJI also claims that this system makes flight safer at night.
Other features include Hyperlapse with Free, Circle, Course Lock and Waypoint options that can capture hyperlapse videos at up to 4K horizontally or 2.7K vertically. There's also Panorama photo capture, but this is fairly basic panorama functionality, and manual panos typically produce superior results.
More useful additional features include fast charging, with the charging hub able to charge two batteries simultaneously, and data transfer speeds of up to 30MB/s via the DJI Fly app to move photos and videos captured with the Flip to your phone. The Flip can also be plugged into a computer via USB-C, and you can transfer data from the 2GB internal storage and / or microSD card without having to switch the drone on.
DJI Flip: image and video quality
1/1.3-inch sensor
Up to 4K 60fps video
12MP / 48MP raw and JPEG photos
(Image credit: James Abbott)
The Flip features a 3-axis mechanical gimbal for smooth footage, while the camera offers a 24mm equivalent focal length with a fixed aperture and focus from 1m to infinity. The 12MP / 48MP 1/1.3-inch Quad Bayer 4-in-1 sensor features large pixels and Dual Native ISO Integration for improved low-light capture. Then there's up to a 4x digital zoom, depending on the shooting mode and capture resolution.
Image quality is good, but it's not anywhere near as good as what you'll get from the DJI Mini 3 or Mini 4 Pro. The photos and videos you can see here were captured with a prerelease version of the DJI Fly app and prerelease firmware, so this has to be considered, but it's unlikely that post-release software will make a dramatic difference in this area. Photos and videos exhibit a slight murkiness, with images captured being sharpest in the center of the frame, and softer at the edges.
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The Flip is a beginner model, so this level of image quality is to be expected. And as always, deficiencies in image quality are less visible in video, when the drone is moving. Despite the drone's beginner nature, it's also aimed at vlogging, so video can be captured in 4K at up to 60fps, 4K at 100fps in Slow Motion mode and 1080p up to 100fps, and vertical video can be captured at 1080p and 2.7K at 30fps.
The latter is cropped from the horizontal camera / sensor rather than you having the ability to rotate the camera into portrait orientation, as with the DJI Mini 3 and Mini 4 Pro. This capability would be a fantastic feature, as would it allow for not only 4K vertical capture, but also for portrait-format photos. With social media video content so heavily focused on vertical video, however, the cropped upright video is still a useful feature for a drone aimed at vlogging.
For beginners, and those aiming for straight out-of-camera footage, you can capture video in the Normal color profile. More advanced users can capture in the 10-bit D-Log M flat profile for greater control and the ability to color-grade footage.
With this profile, the maximum bitrate is 150Mbps. Photos can be captured in both JPEG and raw, so in terms of photo and video capture the Flip offers more impressive options than the Neo, despite its flight mode and control similarities.
DJI Flip 4K 30fps video
DJI Flip: testing scorecard
Should I buy the DJI Flip?
Buy it if...
You'd like multiple control options With the ability to fly the drone app-free, with the app, or with one of two controller options, the Flip can be used as both a vlogging / selfie drone and a camera drone.
You’re a drone beginner The intelligent flight modes for easy and effective subject tracking, alongside the Flip's capabilities as a camera drone, make it a compelling option for beginners.
You'd like palm take-off and landing Thanks to the overall design of the Flip, including the propeller guards, the drone can take off from and land in the palm of your hand, which is incredibly useful in tricky or muddy locations.
Don't buy it if...
You'd like superior image quality The Flip's image quality is good but not outstanding, so if you're looking for great image quality on a budget the DJI Mini 3 is far superior, and offers additional features such as a rotating camera.
You don’t require subject tracking If you don’t intend to use the intelligent flight modes, there are much better DJI drones available for a similar price or lower, and overall flight performance is typically better than the Flip.
You'd prefer a first-person view The Flip may look like an FPV drone, but it's not. If you'd prefer to capture immersive FPV video, the DJI Avata 2 is a beginner and expert-friendly FPV drone.
DJI Flip: also consider
DJI Neo
The DJI Neo is a selfie drone that features the same intelligent flight modes as the DJI Flip, alongside propeller guards for safety. It can also be controlled in multiple ways, but exceeds the Flip in this department with DJI FPV accessory compatibility. The camera functionality is limited in comparison, but the Neo can capture 4K video, and costs less than the Flip.
Flown app-free, with the DJI Fly app, and the DJI RC 2 Controller
Tested in different conditions
I tested the DJI Flip using all of the control methods available to see how it performed as both a vlogging and selfie drone, as well as a camera drone.
Photos and videos were captured in a range of conditions including overcast, sunny, and windy to see how well it performed in these situations.
All features and functions that were available in the pre-release app and firmware, including flight, photo and video capture, were also tested to assess their effectiveness in real-world situations.