There are typically two types of outdoor backpacks for photographers: those that follow a traditional photography backpack design and those that are based on hiking backpacks and feature a modular ICU (internal camera unit) design where you can customize the camera storage within the bag. The f-stop Tilopa 50L DuraDiamond is a high-end modular bag that fits into the latter camp and is designed specifically for outdoor photographers like me, for whom it's one of the best camera bags available.
The f-stop Tilopa 50L DuraDiamond has been available for a few years and is a newer, tougher version of the original Tilopa. It's a large bag with a 50-liter capacity, and this can be paired with large ICUs for carrying mostly camera gear alongside other items in the additional compartments, or with a smaller ICU for less photo gear and lots of outdoor kit including camping equipment for a one- or two-night wild camping trip.
This cavernous bag is built to an incredibly high standard and it's versatile too – as well as offering compatibility with f-stop ICUs, there are lots of pockets and compartments to store your essentials, including space for a three-liter hydration bladder and up to a 16-inch laptop. The bag also features an internal frame like traditional hiking backpacks alongside being made of tough waterproof material.
I've been an outdoors photographer for more years than I can count, exploring tough terrains in inclement weather, and the f-stop Tilopa 50L DuraDiamond has been a reliable and versatile backpack throughout. It might cost a lot, but for me its decent value given the years of service.
(Image credit: James Abbott)
f-stop Tilopa 50L DuraDiamond: price and availability
Several kit options
Available in three colors
Available direct and from third parties
The f-stop Tilopa 50L DuraDiamond has been available for years directly from the f-stop website, Amazon and other online retailers. Pricing on the f-stop website is in US Dollars and Euros, with the bag coming in three colors: Anthracite Black, Cypress Green and Magma Red. You can purchase the pack/bag only, which is ideal if you already own f-stop ICUs, or in three bundles which include Essentials, Elite and Master. You can, alternatively, buy the pack/bag only and purchase the desired ICU separately.
The pack Only costs $399.99 / €399.99, while the Essentials bundle costs $499.99 / €499.99 and also includes a Pro Large ICU, Gatekeeper Straps and Large Rain Cover. Step up from Essentials to the Elite bundle ($579.99 / €579.99) and you'll also get a Shallow Small ICU, while the Master bundle costs $769.99 / €769.99 and further adds a Slope Medium ICU, Large Accessory Pouch and Packing Cell Kit.
Mindshift Backlight 26L: specs
f-stop Tilopa 50L DuraDiamond: design
Extremely comfortable
Built for the outdoors
Modular design
The f-stop Tilopa 50L DuraDiamond is a modular backpack so you can change the ICUs depending on your photography needs. There are also lots of additional accessories available including packing cells, straps and accessory pouches, so you can build the perfect bag system for you and your outdoor photographic adventures.
This is a large backpack – not the largest f-stop option available, but at 50 liters the Tilopa has a huge amount of storage space on offer. Just to give you an idea of its dimensions, the bag is 62.3 x 34.8 x 24.4cm / 24.5 x 13.7 x 11.1in with an empty weight of 4.2lb / 1.9kg.
That empty weight is as heavy as some traditional outdoor backpacks that are half the capacity of the Tilopa with fixed camera compartments, but obviously increases depending on what ICUs you're using; they don’t weigh much, but the Pro Large I tend to use weighs 1.71 lbs / 0.76 kgs.
When you consider the weight in this context, the Tilopa is lightweight given the capacity of the bag. The overall capacity is obviously fixed, but you can extend the amount of additional space for personal/outdoor items by using smaller ICUs. There are also pockets in the lid of the bag and on the sides with one able to accommodate a three-liter hydration bladder, complete with a guarded hole for the tube to maintain water resistance.
There's also a large front pocket on the bag with further compartments in the flap; this is quite large and can hold a wide range of items including a jacket. There's a slot to accommodate a 16-inch laptop in the padded rear-entry back panel as well as two larger pockets and four memory card slots that secure magnetically.
On the front of the bag, there are attachments for two walking poles or ice axes as well as the ability to carry a tripod on the front or sides of the bag. There are also pockets and netted straps on the waist belt and shoulder straps, while there are plenty of loops for attaching straps to carry items such as a tent outside of the bag.
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(Image credit: James Abbott)
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(Image credit: James Abbott)
The build quality of the bag is excellent and the proprietary DuraDiamond material is both extremely tough and also water-resistant. Tougher Hypalon material is used as reinforcement in a few areas where additional strength is required and the large and comfortable-to-use zippers feature weatherproofing to keep moisture out.
On the inside, the Tilopa features an aluminum frame like traditional hiking backpacks to add rigidity and comfort. This, I have to say helps to make the Tilopa incredibly comfortable to wear.
For the purposes of this test, I paired the Tilopa with the Pro Large ICU which provided enough storage for my standard kit; two full-frame camera bodies with 70-200mm f/4 and 16-35mm f/2.8 lenses attached, a third lens, square filters, shutter remotes and lens cleaning accessories. It could be reconfigured to carry more if lenses weren't attached to the camera bodies, but this is a setup that works perfectly for me.
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(Image credit: James Abbott)
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The only negative with the Tilopa is that it doesn’t have a pouch/pocket that can carry a water bottle, like the side pouches on the smaller 37-liter f-stop Ajna. It's not the end of the world because you can put a bottle in the main front pocket, and one of the side pockets is designed to be used with a hydration bladder. You can also purchase the Mano Water Bottle Pouch separately and this will carry a 17 fl oz / 500ml bottle.
One of my favourite features of the bag, alongside the versatility of the ICUs and its comfort in use, is that you can access gear without fully removing the bag and putting it down on the ground. This is ideal when shooting in water or muddy locations. To do this, you simply remove the shoulder straps and rotate the Tilopa to your front with the waistbelt in use. This allows you to access your kit via the rear panel – perfect for outdoor photography.
Should I buy the f-stop Tilopa 50L DuraDiamond?
(Image credit: James Abbott)
Buy it if...
You'd like a modular backpack Having a backpack that can accommodate several different modular units allows you to configure the bag to your needs on a day-by-day or trip-by-trip basis, so it's like having several backpacks in one.
You want a bag you don’t have to put down Gear can be accessed without removing the Tilopa from your body, which is great when you're standing in mud, water or snow. DuraDiamond material can be easily wiped clean, but it's still a useful feature.
Don't buy it if...
You don’t require modularity If you don’t require the ability to customize camera storage / utilize modular units, then the Tilopa may not be for you. Just know that the Small ICUs do allow for a great deal of non-photographic kit to be carried.
You'd like a smaller bag With 50 liters of total storage, the Tilopa will be too large for some people. If you only need a medium-size backpack, the 37 Liter f-stop Ajna may be a better option.
How I tested the f-stop Tilopa 50L DuraDiamond
Long term review based on several years hands-on use
All features tested
Used in outdoor locations, including mountains and coast
I've owned the f-stop Tilopa for several years and use it either when I'm on a wild camping photography trip or when I need to carry more kit alongside outdoor gear. The Tilopa has been tested over an extended period where all of its strengths and weaknesses have been exposed, and it has been used in all weather conditions in the hills, mountains and at the coast. While the Tilopa would function perfectly in urban environments, I typically use lower-capacity backpacks in the city.
The OM System OM-3 is a stunning camera – just look at it – even if it still stings for Olympus fans that you're reading OM System on that viewfinder hump.
With its flush faux leather frontage and silver top plate adorned with exposure dials, the OM-3 is as good as retro gets in the camera world. Oh, and there's also a new color mode dial – that's so on-trend.
Contrary to what its old-school exterior might suggest, this isn't a camera that's stuck in the past, and under the hood the OM-3 packs serious power. Its stacked 20MP Micro Four Thirds sensor delivers blazing-fast burst-shooting performance, up to 50fps with continuous autofocus; intelligent subject-tracking autofocus that works a treat (most of the time); and an array of computational photography modes that make light work of difficult shooting techniques such as focus stacking, which would otherwise require time-consuming edits (even if some of the end results aren't perfect).
Isn't she lovely? (Image credit: Tim Coleman)
I'm a big fan of what OM System has done with the OM-3. This is its best camera since its acquisition of Olympus in January 2021. From mind-bogglingly impressive in-body image stabilization (I've shot sharp images handheld with seconds-long shutter speeds – that's smartphone night-shot-like skills), to computational photography modes that encourage creative techniques such as long exposures, highly effective autofocus, a wide choice of lenses and a lightweight build (particularly the lenses), I've had a blast shooting with the OM-3 over several weeks.
As an everyday camera, most of the fun and creative computational photography modes feel more relevant in the OM-3 than they do in the serious OM-1 II, an alternative that's the better pick for serious photography such as wildlife.
There's so much about the OM-3 that just feels right. That said, I wish it was a rangefinder by design, like the Pen-F. Don't get me wrong: the OM-3 is 2025's best-looking camera so far. I just think that as an everyday camera that's best used with small and lightweight lenses, the Pen-F's smaller rangefinder-style body would have been the better way to go. After all, we already have other OM System cameras with a similar form factor to the OM-3, such as the OM-5.
At $1,999 / £1,699 / AU$3,199 for the body only, the OM-3 is also a pricey camera, especially when you consider that the Fujifilm X-T5 with its 40MP APS-C sensor is around $100 / £100 less. The bottom line for me, however, is that the OM-3 is a camera that I want to shoot with more than most. Its compact and retro design, together with its super-fun shooting modes, have encouraged me to new levels of creativity, and I can’t really put a price on that.
OM System OM-3: price and release date
The OM-3 costs $1,999 / £1,699 / AU$3,199 body-only
It's available bundled with the excellent 12-45mm F4 Pro lens for $2,299 / £1,999 / AU$3,799
Available to pre-order now, with stock expected late February
On the one hand, the OM-3 is excellent value. It's the cheapest camera available with a stacked sensor, and packs many of the same features as the pricier OM System OM-1 II flagship. It feels like even better value when bundled with the 12-45mm F4 Pro lens for $300 / £300 / AU$600 more – this is no ordinary kit lens, but a super-sharp and versatile zoom.
However, when you consider rival cameras that you can pick up for around the same money or less, such as the Fujifilm X-T5 with its larger APS-C sensor and 40MP stills, suddenly the OM-3 feels expensive. Its stacked sensor is a costly component and will limit potential price reductions, but I'd hope that the price of OM-3 will settle at around $300 / £250 / AU$500 less than the list price by the end of 2025.
Price score: 3.5/5
OM System OM-3: specs
OM System OM-3: design and handling
A thing of beauty, modelled on 1973’s Olympus OM-1 analog SLR
Features a handy vari-angle touchscreen and dated 2.36m-dot EVF
Useful dedicated dials for color modes and computational photography modes
For me, the OM-3 is almostthe perfect embodiment of Micro Four Thirds photography; it’s compact and lightweight, highly rugged and attractive, and outright fun.
It’s the camera system that you want to slip into a jacket pocket for a day out or take away for a weekend break, and one that makes you obsessively creative – family and friends who've been with me during my review process have had to show extreme levels of patience while I've played around with the camera!
The OM-3 feels great in the hand with a small lens attached, and it’ll turns head too, if that seals the deal for you.
I say it’s almost perfect because for an everyday camera like this I think a rangefinder-style body would have been the better design choice – much like 2016’s Pen-F (which we’re told the OM-3 is the natural successor to).
After all, we already have a number of OM System cameras with a raised viewfinder hump, like the OM-5, so why not just squeeze the OM-3's modest 2.36m-dot EVF unit into the corner of a smaller rangefinder-style camera?
It's disappointing that we get a dated 2.36m-dot EVF, especially when the OM-1 II has a 5.76m-dot unit with clearer 0.82x magnification. I think the viewfinder placement and dated specs are my main design criticism of the OM-3; otherwise, it’s wider-than-average body allows space for controls to breathe, even if its grip-less body counts out easy handling with larger lenses.
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The OM-3 is a small camera befitting the Micro Four Thirds sensor format (Image credit: Tim Coleman)
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I like the wider-than-average body – the design gives controls more space to breathe. (Image credit: Tim Coleman)
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Such a classic-looking camera (Image credit: Tim Coleman)
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The top plate is decked with plenty of dials and controls. (Image credit: Tim Coleman)
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With the LCD screen packed away, the OM-3 looks even more old school. (Image credit: Tim Coleman)
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The OM-3 has a decent flip-put touchscreen (Image credit: Tim Coleman)
If you like the OM-3’s looks, then you’ll also love how rugged and well built it is. OM System is one of the few camera brands to officially rate its cameras for weather-sealing, and the OM-3 is IP53-rated – that’s decently resistant to dust and water spray. So even though you won’t want to get this lovely-looking camera soaked in a rain shower, it can take it.
I also appreciate the new dedicated button and dials to directly access the OM-3’s color modes and computational photography modes, two creative options that are highly addictive and fun to play with.
You’re spoilt for choice for getting the look you like with four color mode settings, including a dedicated monochrome option, together with a practically infinite degree of customization.
Enthusiast filmmakers are well catered for too, with headphone and microphone ports and USB-C connectivity, although the micro HDMI port won't impress serious videographers, nor will the camera's single SD card slot.
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The color mode dial on the OM System OM-3 (Image credit: Tim Coleman)
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Closeup of the OM System OM-3's Computational Photography button (Image credit: Tim Coleman)
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Just the single SD card slot here. (Image credit: Tim Coleman)
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A new shooting mode dial offers photo, video and S&Q (slow and quick) modes. I often found myself moving this dial accidentally when changing lenses. (Image credit: Tim Coleman)
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There are plenty of dials to make quick adjustments to camera settings. (Image credit: Tim Coleman)
For example, the Live ND Shooting option can reduce the amount of light the camera gathers, much like an ND lens filter, to enable long-exposure photography – and thanks to the camera’s highly impressive in-body image stabilization you can get this effect when shooting handheld too.
You don’t need a tripod and lens filters to get the long-exposure effect; you can simply take the camera out of your pocket, access one of the ND filter effects, with a max ND64 (6EV) strength, and start shooting. The ease with which you can get creative is what really makes the OM-3 such an addictive camera.
Design score: 4.5/5
OM System OM-3: features and performance
Stacked sensor delivers up to 50fps with continuous AF
Very impressive 590-shot battery life
Superb image stabilization performance
Some computational modes take time to process
I have no complaints regarding the OM-3's features and performance – it's a surprisingly powerful little camera.
I have to start with its impressive stacked sensor, which delivers incredible speed; there are few cameras that can better its 50fps burst shooting with continuous autofocus, sustained for sequences of around 5-6 seconds before the camera starts to down.
I was able to squeeze slightly longer sequences out of the OM1-II, but the OM3's performance is more than enough considering the kinds of everyday photography people will likely use it for.
The OM-3's sensor is also stabilized – and OM System cameras, including predecessors bearing the Olympus name, offer exceptional image stabilization performance. With a steady hand you can shoot sharp images with shutter speeds that are several seconds long, depending on the lens you're using, and for video it's entirely possible to shoot smooth-looking clips when on the move.
The stacked 20MP Micro Four Thirds sensor is seriously fast (Image credit: Tim Coleman)
It's the impressive stabilization that makes the computational photography modes particularly accessible. For example, employing the Live ND Shooting mode with up to 6EV ND filter effect for long-exposure effects wouldn't be the same if you had to mount the camera to a tripod. But here we are, able to achieve the effect handheld – see my street and ocean shots in the gallery below.
The same can be said for the High Res Shot mode, which increases resolution to 50MP (with a tripod mount option further increasing detail to 80MP). We also get the latest graduated ND filter effect to reduce the difference in brightness between land and sky by up to 3EV, plus HDR modes.
Some of these modes go some way to nullifying the perceived shortcomings of the OM-3's 20MP Micro Four Thirds sensor and its lesser dynamic range, while other modes are simply downright fun.
Then there's the autofocus performance. In some regards it's exceptional – for example when detecting certain subjects such as birds – and there are sophisticated options for people, such as eye priority that can be further narrowed down to left or right eye priority.
However, there are other scenarios where I found the OM-3's autofocus less reliable than rival cameras, such as in dim, low-contrast light. Overall though, autofocus performance is very good.
I must also commend the OM-3's battery life. A decent-sized unit is squeezed into the camera and this delivers a 590-shot capacity, which for a camera this size is pretty impressive.
The OM-3 squeezes in an impressively large battery with decent 590-shot capacity. (Image credit: Tim Coleman)
Features and performance score: 5/5
OM System OM-3: image and video quality
Same image quality as the flagship OM-1 II
20MP stills, with a 80MP high-res shot mode
4K video up to 60fps, and no rolling shutter
Compared to the sensors in full-frame and APS-C cameras from the likes of Sony, Canon, Nikon and Fujifilm, the OM-3's Micro Four Thirds sensor is smaller, and comes with certain downsides in terms of image quality.
At 20MP, the OM-3 has less resolution than similarly priced rivals, a narrower dynamic range, and relatively modest low-light performance. However, I'm still very happy with the photos and videos that I've been able to capture, and for many scenarios the OM3's image stabilization and computational modes can turn the tables to deliver superb end results.
Not all of the computational modes can be relied upon for every scenario, however. For instance, focus stacking, which is used to increase depth of field and is especially useful for macro photography, exhibits a subtle but spottable ghosting effect in bright subjects, which I particularly noticed in a close-up image of a backlit mushroom.
Creative color
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One of the many Art Filter effects (Image credit: Tim Coleman)
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One of the many Art Filter effects (Image credit: Tim Coleman)
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One of the many Art Filter effects (Image credit: Tim Coleman)
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One of the many Art Filter effects (Image credit: Tim Coleman)
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One of the many Art Filter effects (Image credit: Tim Coleman)
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Here is one of the new creative color looks, with no customization (Image credit: Tim Coleman)
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Here is one of the new creative color looks, with no customization (Image credit: Tim Coleman)
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Here is one of the new creative color looks, with no customization (Image credit: Tim Coleman)
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Here is one of the new creative color looks, with no customization (Image credit: Tim Coleman)
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One of the monochrome looks - the one with harshest contrast. (Image credit: Tim Coleman)
The new color mode dial is worth highlighting too. This offers four options, including monochrome settings, new creative looks with four customizable settings, the long-present Art Filters, plus a Picture mode for a purely customized color profile.
Many of the Art Filters feel a bit dated now, but I still like some of the effects. I think most people will find that one of the new creative looks suits their style, especially given that you can manually tweak the look of each one, with control over curves, shading, sharpness, contrast, and color temperature.
OM System OM-3 sample video
There's also OM System's Log color profile for video, HLG, plus a couple of Cinelike color profiles for pleasing straight-out-of-the-camera grades.
Video resolution tops out at 4K with frame rates up to 60fps. If you're happy to drop to Full HD, then slow-motion 240fps is possible, while a Slow & Quick mode can be utilized for timelapse effects in addition to slow motion.
The OM-3 is a photography-first camera, but it's entirely possible to get gorgeous-looking and smooth video clips if you know what you're doing.
Computational photography sample images
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I employed the Live ND Shooting mode and a 4 second exposure time to get this blurred water effect (Image credit: Tim Coleman)
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I employed the Live ND Shooting mode and a 4 second exposure time to get this blurred water effect (Image credit: Tim Coleman)
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A 1 second exposure time and Live ND Shooting mode was just right to blur the movement of passers-by. (Image credit: Tim Coleman)
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The Live Graduated ND filter effect, maximum 3EV strength (Image credit: Tim Coleman)
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The same photo without the graduated filter effect (Image credit: Tim Coleman)
For the above long-exposure-effect photos, I set the OM-3 to the Live ND Shooting ND64 setting, which reduces the amount of light the camera takes in by 6EV. This is the maximum strength available, and is sufficient to slow the shutter speed down to seconds long on a gray day, as in the London street and UK coastal images above.
All the above images were captured handheld, and detail in still subjects such as the rock and the ground is perfectly sharp. As such, I've felt confident enough to leave my tripod at home for most of this review. Not needing a tripod or ND filters makes creating long-exposure effects a breeze, and I sometimes found myself getting carried away creating such images, much to the annoyance of the people with me at the time!
OM System OM-3 further sample images
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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Being able to shoot this static scene handheld with a 1-second shutter speed and still get a sharp image meant I could select a lower ISO and enjoy a cleaner end image, virtually free from noise. (Image credit: Tim Coleman)
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Taken with the 90mm F3.5 macro lens (Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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2 seconds shutter speed, handheld, and detail is sharp (Image credit: Tim Coleman)
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Image quality is ok here, but the low light and ISO 6400 setting needed mean that detail isn't quite so crisp (Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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Lovely natural colors (Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
Image and video quality score: 4/5
OM System OM-3: testing scorecard
Should I buy the OM System OM-3?
Buy it if...
You'd like to get obessively creative OM System leads the way for smartphone-like computational modes, with plenty of creative effects to enjoy.
You love the old-school looks It's not radically different from previous OM System offerings, and Fujifilm and Nikon are competitive in this space, but the OM-3 is the best-looking retro camera of the year so far.
You want a small camera and lens system for everyday photography Micro Four Thirds beats larger sensor formats if you prefer small and lightweight gear, plus the OM-3 is a lovely choice for everyday photos.
Don't buy it if...
You're a wildlife and sports photographer While it offers super-fast burst shooting and autofocus speeds, the grip-less body of the OM-3 is uncomfortable to hold when paired with large telephoto lenses.
You're on a budget The OM-3's list price could prove to be a sticking point for many – it's a lot to pay for a casual everyday camera.
You're a regular night photographer Versus larger-sensor rivals, the low-light image quality and autofocus performance of the OM-3 doesn't stack up.
OM System OM-3: also consider
Fujifilm X-T5
For around $100 / £100 less than the OM-3 less you can pick up the Fujifilm X-T5, which is a highly capable mirrorless camera in a similar mold, sporting a retro body and offering powerful performance. You get a larger APS-C sensor with impressive 40MP resolution and 6K video skills, plus a solid build quality and handling, with neat exposure dials and decent in-body image stabilization.
For a bigger outlay, the Nikon Zf is our favorite retro mirrorless camera overall. Like the OM-3 it's inspired by an analog SLR – in this case the Nikon FM2 – and it's a compelling Fujifilm rival for retro fans. The full-frame 24MP sensor, superb manual focus-assist tools, easy access to black and white photography, plus Nikon's best-ever image stabilization, combine to great effect.
If you love the modern tech of the OM-3, including its stacked sensor, computational photography smarts, and superb tracking autofocus, you'll get all of that with the costlier OM-1 II, which is better suited to wildlife and action photography thanks to its pronounced grip and comfortable handling with large lenses. It offers the same image quality and performance as the OM-3, plus it costs more, but you get a better design for demanding pursuits.
OM System loaned me the OM-3 with the 12-45mm F4 Pro lens for several weeks
I also used some of my own OM System gear with the camera – the 90mm F3.5 Macro lens and tiny 45mm F1.8 portrait lens
I put the OM-3 through its paces in many and varied photo and video scenarios, and tried out the computational photography modes
I shot with the OM-3 for several weeks, together with the 12-45mm F4 Pro, 90mm F3.5 Macro, and 45mm F1.8 lenses. I was also using the OM-1 at the same time, which has enabled me to make comparisons between the handling of the two types of OM System designs.
The camera and lenses were with me come rain or shine, both day and night, during which time I tested the gear regularly, including the OM-3's photography modes, color profiles, and computational photography smarts.
I tested the High Res Shot and Long Exposure modes, both handheld and with the camera mounted to a tripod. I've also tested burst shooting performance, with standard cameras settings that we use for all of TechRadar's camera tests.
The Panasonic Lumix S1R II is the new flagship model for Panasonic’s Lumix S series of full-frame mirrorless cameras, replacing the original, 2019-released S1R.
Built first and foremost for capturing massive amounts of detail (the ‘R’ in its name presumably referring to ‘resolution’), the S1R II features a new full-frame 44.3MP CMOS sensor and can record 8K video at up to 30fps, not to mention 4K video at 120fps – a significant video resolution and frame rate improvement over its predecessor.
Panasonic trumpets meaningful advances in other areas too, most notably autofocus, continuous shooting speed and image stabilization, all while reducing the overall size and weight of the camera body in comparison to the Lumix S1R.
Having used the Lumix S1R II for over a week in a wide variety of photo and video shooting scenarios, I’m mightily impressed by what Panasonic has achieved here. The S1R II is surprisingly compact and lightweight for a full-frame flagship camera, immediately solving one of the S1R's biggest flaws.
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(Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
The S1R II isn't perfect. Its battery life isn't the most impressive, and some of its more demanding hi-res video modes can cause the body to gradually overheat and require a shutdown and cooling-off period. It also requires that you own a pricy CFexpress Type B card to use some of its features.
None of these issues is a deal-breaker for me, though, especially when taking the camera's capabilities and strengths into account. There's the portability, which I've mentioned, but also much-improved autofocus talents in comparison to the S1R, thanks to the implementation of a fast, accurate phase hybrid system to replace the rather slow and spotty contrast detection system on the old camera.
Image stabilization is also more effective here, stills shooting speeds are higher (especially the new 40fps electronic shutter option) and there are far more resolution, bitrate and frame rate options for video shooters than on the S1R – including Apple ProRes HQ internal recording and the aforementioned 8K resolution.
The Panasonic Lumix S1R II feels like a big leap over its predecessor and just a brilliantly flexible all-rounder. Yes, it's expensive, but I can't think of many full-frame cameras I'd rather pick if I needed a device that can do it all.
Panasonic Lumix S1R II: price and release date
Lumix S1R II body only: $3,299 / £2,999 / AU$5,499
UK-only Lumix S1R II with 24-105mm lens bundle: £3,799
On sale March 2025
The Panasonic Lumix S1R II will be available from March 2025 priced at $3,299 / £2,999 / AU$5,499 body only. In the UK, it'll also be available in a kit with a 24-105mm f/4 standard zoom lens for £3,799. These prices aren't too different to what you'd have paid for the original Lumix S1R cost upon its launch in 2019, so it's hard to have too many complaints about the cost. Inflation hasn't had too much of an effect here.
Panasonic is also launching a battery grip accessory, the DMW-BG2, alongside the camera. This will be available from March 2025 also, priced at $349 / £299.
Price score: 4.5/5
specs
Panasonic Lumix S1R II: design and handling
Relatively compact and just 795g
Large, detailed OLED viewfinder
Front and rear tally lamps
The original Lumix S1R was a large, bulky camera, often annoying so – but I don’t feel the same way about the S1R II. It’s so much easier to live with, weighing only 795g including a battery and SD card. That’s over 200g lighter than the S1R, despite retaining its premium metal body and weather sealing.
Thanks to this lighter, more compact body, it feels much more like a camera you could take out with you on a daily basis, rather than one you’d reserve for special occasions. That does depend somewhat on the lens you choose, of course: the 16-35mm f/4 zoom Panasonic loaned to me for the purposes of review is a really chunky and weighty piece of glass, and makes the S1R II feel quite bulky, whereas the 85mm f/1.8 prime the company also lent me makes for a much more manageable, agile setup.
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The S1R II’s classic DSLR-style shape is a joy to handle. There’s a large grip to wrap one’s right hand around, and with the camera’s relatively low weight this meant I could even use it one-handed at times. Build quality feels solid and premium, although I was a little disappointed to note that Panasonic has eschewed metal lug rings for attaching the neck strap. The fixed rings used here feel a little cheap for a flagship camera.
The camera’s physical controls are all nicely placed; my day-to-day camera is a Panasonic Lumix GH6 II, so the S1R II’s similar control setup felt immediately familiar. There’s a dial to flick quickly between photo, video and S&Q (slow and quick) shooting modes, front and top record buttons and more than enough dials to ensure any setting can be swiftly adjusted with a minimum of fuss. The original S1R's top plate LCD info panel has been removed here, which helps keep the size down in this its successor – but I concede some people might miss its ability to deliver a quick rundown of the current settings.
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The on-screen UI, meanwhile, will be immediately familiar to anyone who has used a recent Lumix camera. The 3-inch screen itself is a pretty standard affair, able to tilt and swivel nicely in almost any direction, while the large, ultra-sharp OLED viewfinder is a highlight and a pleasure to hold your eye against.
Connectivity is solid. There’s a full-size HDMI plus USB-C, mic, headphone and wired remote sockets, now each with their own protective door. On the storage front, there’s a single SD card slot plus an additional slot for high-performance CFexpress Type B cards.
Finally, there are front and rear tally lamps to indicate when recording is active. That might seem like a basic feature and a must-have for a mirrorless camera with a big video focus, but so many cameras skimp on it that I’m pleased to see it here.
Design and handling score: 5/5
Panasonic Lumix S1R II: features and performance
Phase hybrid autofocus
Dual I.S. 2 image stabilization
10fps / 40fps burst shooting
The S1R II comes with a number of performance improvements over its predecessor. First and possibly foremost is its phase hybrid autofocus system, which is faster, smoother and more accurate than the contrast-based system on the old model. It’s particularly great for video use, slickly keeping subjects in sharp focus without any of the hunting that was sometimes seen on older Lumix models. It can also identify and automatically track a variety of subjects, from humans to animals to motorcycles. I’ve tested it with humans and cats and it's never been less than effective and dependable.
The on-board image stabilization is Panasonic’s Dual I.S. 2 variety, combining sensor-shifting in-body and lens-based stabilization with user-configurable electronic stabilization tailored to specific shooting scenarios. Panasonic generally does stabilization particularly well and from my testing that seems to be the case here too, with vlogging and handheld video gaining an almost gimbal-like stability at the cost of a crop to the frame. Panasonic claims the system adds up to 8 stops of shutter speed compensation, as opposed to 5.5 stops on the original S1R. Numbers aside, I can say it's a very capable system that leaves the user more time to focus on the more important and enjoyable aspects of video or photo capture.
Shooting speed has likewise been given a boost. When using the mechanical shutter, it’s risen from 9fps to 10fps with AF-S and 6fps to 8fps with AF-C, while switching to electronic shutter now allows for 40fps bursts with AF-C. This speedy shooting works hand in glove with the new autofocus setup, allowing you to point and shoot at moving objects and rely on the camera to recognize, focus on and capture them in motion.
(Image credit: Future | Sam Kieldsen)
Bucking the trend for improvements, battery life is slightly worse than that of the S1R, but you can still expect around 350 images on a full charge – or over 1000 when using the Power Save LVF mode. From my own personal use, where I switched fairly often between photo and video capture, plus made frequent use of potentially power-sapping modes like high-speed stills shooting and high resolution, high frame rate video recording, I did notice the battery bars dropping pretty fast. I think it’s fair to say that power users may need to invest in a spare battery or two – although with in-camera charging and the ability to use the USB-C port as a power supply, there may be alternatives.
The S1R II appears to have some kind of active cooling system, with fan noise audible at times, but it will overheat when pushed to its performance limits during video capture. When left recording 8K footage at 30fps or 4K footage at 60fps, it overheated and shut itself down after about 20 minutes, requiring a few more minutes of downtime to cool off before it could begin again. Worth noting if you're somebody who needs to record long uninterrupted videos.
Features and performance score: 4/5
Panasonic Lumix S1R II: image and video quality
44.3MP stills and 8K/30p video
177MP high-resolution mode
10-bit color depth and wide range of bitrates for various qualities / file sizes
The S1R II is the resolution king for Panasonic’s Lumix S range, and both photos and videos are extremely rich in detail and dynamic range.
Photos are captured at 44.3MP which, while marginally smaller than the 47.3MP images captured by the S1R, are more than sufficiently detailed for creating huge prints or heavy cropping. Pixel peepers have absolutely nothing to fear from the images here: I found them richly detailed even when zoomed right in, with smooth color gradation and superb dynamic range. I shot both in JPEG and RAW, processing the latter in Adobe Lightroom. The majority of the photos I've included in the gallery here were captured in RAW, but even JPEGs allow for a nice measure of post-production tweaking.
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As you'd expect from a modern day full-frame camera, the S1R II is quite capable in low light situations, if perhaps not among the best performers in its class in that regard. Fit a fast prime on here and you could certainly use it as a discreet camera for nighttime street photography or similar.
As with the Lumix S1R, there's also the option to shoot a burst of images that the camera then combines into a single super high-resolution shot, which is here around 177MP. This can be even be achieved handheld, thanks to clever algorithms stitching the image together, and I found the results to be quite impressive. There's a lot more detail present when you zoom right into the images, and only the odd strange artefact (I noticed a seagull appearing multiple times) to signal that this isn't derived from a single exposure.
On the video front, the camera can record 8K footage at up to 30fps, as well as a variety of ‘lesser’ resolutions at higher frame rates. It has an Open Gate recording option, which uses the entire surface of the sensor and results in up to 6.4K video now – and 8.1K or 7.2K options being promised via a future firmware update later in 2025.
It also offers an option to record video in Apple ProRes RAW and RAW HQ formats at up to 5.8K internally, provided you use a CFexpress Type B card. Panasonic claims videos can exhibit up to 14 stops of dynamic range too.
I was very impressed by the camera's video capabilities. Not only does it offer a wide range of options to suit creators of all stripes, but it performs in an unfussy and dependable manner. The above vlogging video was captured in Panasonic's flat V-log color profile and corrected and graded in post-production, but the process took very little time and effort on my part. The base video I was able to capture from the camera was a great place to work from, and left me very happy with the results in terms of color and contrast.
Factor in the S1R II's excellent stabilization and autofocus and it's a very, very strong package for video creators.
Image and video quality score: 5/5
Panasonic Lumix S1R II: testing scorecard
Should I buy the Panasonic Lumix S1R II?
(Image credit: Future | Sam Kieldsen)
Buy it if...
You want a user-friendly flagship The compact size, low weight and much improved autofocus make this a truly user-focussed flagship. Despite its capabilities and features, it’s a fairly portable camera that handles a lot of the hard stuff for you.View Deal
You’re serious about hi-res video Beyond the headline-grabbing 8K recording, there’s also a 6.4K Open Gate option and various other higher-than-4K video modes available. If detailed video is important to you, the S1R II delivers.View Deal
You want a do-it-all device With excellent photo and video skills, it doesn’t feel like the S1R II focusses on one to the detriment of the other. It’s a genuine hybrid camera that can handle all sorts of situations.View Deal
Don't buy it if...
You’re looking for a simple mirrorless model The S1R II is an advanced and expensive flagship camera, offering many features that casual users will never need or use. If you’re just starting out on your mirrorless camera journey, pick something simpler and cheaper.View Deal
You need epic battery life While the S1R II’s battery life isn’t terrible by any means, it’s not the best among flagship mirrorless cameras – and 8K video capture drains it fast. You might need to buy additional batteries or a portable power bank if you’re planning on a long weekend of shooting.View Deal
You need unlimited video recording times Longer video clips at higher resolutions and frame rates not only drain battery life fast but overheat the S1R II. If you need to record uninterrupted, this isn't the camera for you.View Deal
Panasonic Lumix S1R II: also consider
Nikon Z8
The list price of the Nikon Z8 started life around 25% more than the Lumix S1R II's starting price, but Nikon's flagship is available for the same price at the time of writing. On paper, the two full-frame cameras share many similarities; 45MP (approx) stills and 8K video. If we were pushed to suggest one model, we'd say the Z8 for photography-first users, and the Lumix S1R II for serious video work. The truth is though, both are very capable hybrids.
Those for whom the Lumix S1R II features are a little overkill should consider the Lumix S5 II. The cameras share practically the same design and handling, but the pricier Lumix S1R II is the resolution king, with 8K video and 44MP to the Lumix S5 II's 6K video and 24MP stills. You pay twice the price for twice the detail.
Panasonic loaned me a pre-production model of the Lumix S1R II running the latest firmware (the firmware that will be on the retail units on launch day), plus two L-Mount lenses: a 16-35 f/4 zoom and an 85mm f/1.8 prime.
I've used the camera for vlogging, both testing its internal mics and pairing it with a DJI Mic 2 wireless mic kit. I've also taken lots of photos in different scenarios, including a sunset walk along the East Kent coast and a day trip to Canterbury.
Gimbals have gone from dedicated filmmaking accessories to must-have tools in the arsenal of every content creator. DJI is almost single-handedly responsible for that, bringing stabilized video to the masses with its range of accessible smartphone gimbals and camera gimbals. The RS 4 Mini is the latest addition to that line-up and – based on my experience – it’s the best DJI gimbal to date for YouTube and Instagram videographers.
One look at DJI’s description of the RS 4 Mini confirms that this is a gimbal targeted at content creators. Its spec sheet reads like an influencer’s wish list: it supports vertical shooting; it works with both cameras and smartphones (using the optional Mini Phone Holder); and the new Intelligent Tracking Module enables automatic face tracking to keep solo videographers in the frame.
Beyond those headline additions, you also get a raft of improvements that make it a much more complete gimbal than the RS 3 Mini. In physical terms, it borrows a number of premium features from DJI’s flagship RS4 gimbal. That includes automatic axis locks which unlock seamlessly when the gimbal powers on, as well as physical switches for gimbal and joystick modes, plus a fine-tuning knob for balancing the camera mounting plate.
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All of these tweaks improve a hands-on experience which was already solid. You get the same 1.4-inch color touchscreen, which is as responsive to swipe inputs here as it was before. There’s also a comfortably positioned trigger and front scroll wheel, which can be used to control one of several functions on a connected camera. (Note that the multi-camera control cable bundled with the RS 4 Mini is a USB-C number. For certain models, including the Sony A7S III I shot with, a different cable is required.)
The RS 4 Mini matches the high production standard of any recent DJI product, with a robustness to the build that suggests it’ll be shooting with you for many years to come. That’s despite weighing just a smidge more than the RS 3 Mini at only 890g. It packs down just as tidily too, measuring 236 × 64 × 316mm in folded form (versus 195 x 98 x 323mm for the RS 3 Mini).
Setup still starts with balancing the axes, which is an unfortunate necessity with any gimbal. Instruction videos in the Ronin app do make this as painless as possible and the upgrade to Teflon interlayers means the RS 4 Mini’s arms slide more smoothly through the brackets. They can still be a bit grippy when trying to find the sweet spot with a heavier camera though.
This only really becomes frustrating when you want to switch from horizontal to vertical shooting, because you’ll need to rebalance the axes each time. Still, that switch has been made simpler with the RS 4 Mini: you no longer need to remove the camera from the mounting plate. Instead, you loosen and press a knob, allowing you to detach and remount the plate vertically with the camera still in place. Clearances are quite tight in this orientation, mind.
As above, the DJI RS 4 Mini can also be used to stabilize smartphones with the optional Mini Phone Holder. This simply slots into place on the mounting plate. Its performance capabilities mean the RS 4 Mini is overkill if you only shoot content on mobile, but the option adds welcome flexibility for those who work across multiple devices.
Other improvements also proved welcome in practise. The built-in battery still isn’t removable, but it is bigger at 3,100mAh. The claimed maximum of 13 hours (up from 10 hours) is based on the gimbal being stationary, which isn’t reflective of real-world usage for most users. In testing, we averaged around half of that, which is still better than the RS 3 Mini. Arguably more important is the fact that DJI has shaved an hour off the recharge time, bringing it down to 1.5 hours. That reduction means you can get back to shooting more quickly.
Despite its Mini moniker, the gimbal’s maximum payload is an enthusiast-friendly 2kg, which means it can handle a full-frame mirrorless camera body attached to a relatively weighty lens. Fully loaded, its shorter handle does offer less ergonomic support than the RS4 or RS4 Pro. In testing, I found the redesigned RS Briefcase Handle a help here: lighter and smaller than the previous version, it mounts to the side of the gimbal and adjusts to different angles, giving your supporting hand something to grip.
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In performance terms, the RS 4 Mini has the chops to compete with pricier gimbals. It should come as no surprise that stabilization is simply superlative, thanks to DJI’s 4th-gen algorithm – the same one used by the RS4 and RS4 Pro. It effortlessly smooths out motion across all three axes, even when you’re walking along with your subject. Movements from carrying a camera by hand are almost entirely eliminated in the resulting footage.
Controlling a gimbal can be a bit of an art form, but the RS 4 Mini smoothes the learning curve. Its joystick makes panning and tilting a fluid experience, while a new ‘Responsive’ follow mode reacts more rapidly to hand movements when circling a subject. Fire up the Ronin app and you’ll also find the option to use your smartphone as a virtual joystick via Bluetooth, plus creative modes for shooting panoramas, timelapses and more. You’ll be hard-pushed to find a more intuitive gimbal.
Nowhere is that more evident than with the RS 4 Mini’s party trick: subject tracking. The key to this is the optional Intelligent Tracking Module, which attaches magnetically to the top of the mounting arm. Fronted by a small camera lens, it uses AI to detect faces and deploys the gimbal’s motors to track them.
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The effectiveness of this tool can’t be overstated. For filmmakers, it allows you to move around a subject without having to manually pan and tilt to keep them centered in the frame. It’s also a boon for content creators working alone. With the RS 4 Mini stood on its tripod base, users can move around the camera and it will follow their face through a full 360-degree horizontal arc.
These dual uses are reflected in the ways you can enable ActiveTrack. The first is with a single press of the trigger (there needs to be a face in the frame for this to work, which it took me a while to figure out). The second is by using gesture controls: stand in front of the RS 4 Mini and you can throw up the relevant hand signal to start or stop tracking, as well as recording. When the mode is active, a ring light around the Module’s lens turns from red to green (this can be disabled if the situation demands subtlety).
This feature is a lot less gimmicky than it might sound. I can see influencers, content creators and would-be presenters using gesture activation to easily control the tracking feature from afar. Not least because the feature proved incredibly reliable in testing, never once missing a signal.
ActiveTrack proved no less consistent, locking on to faces with remarkable accuracy. That makes sense, given that DJI has been perfecting the system on its drones and pocket gimbals for years. Its application here is game-changing because it allows you to use the tracking tech with any camera or smartphone that can sit on the gimbal.
Add up the RS 4 Mini's features and you're looking at a compact gimbal which can keep you automatically framed in stabilized high-res video shot vertically on a full-frame camera. When you consider that it costs the same as the RS 3 Mini did at launch – and not too much more with the Intelligent Tracking Module factored in – that makes the RS 4 Mini a strong contender for the best-value camera gimbal you can buy right now.
DJI RS 4 Mini review: Price and Availability
The RS 4 Mini can be used to stabilize cameras and smartphones, with an optional tracking module for game-changing subject tracking features. (Image credit: Chris Rowlands)
Released on February 20, 2025
Standard DJI RS 4 Mini priced at $369 / £339 / AU$539
DJI announced the RS 4 Mini on February 20, 2025. The gimbal is available to order now, priced at $369 / £339 / AU$539. That’s identical to what the RS 3 Mini cost when it went on sale in January 2023, which we think represents good value, given its upgrades and performance. The standard kit includes the following components:
DJI RS 4 Mini gimbal
Quick-release mounting plate
RS 4 Mini tripod base
Multi-camera control cable (USB-C)
Charging cable (USB-C)
Screw kit
The DJI RS 4 Mini is also available as a Combo kit, which additionally includes the RS Intelligent Tracking Module for AI-powered subject tracking, as well as the new RS 4 Mini Briefcase Handle, which serves as an adjustable second grip. The Combo kit costs $459 / £419 / AU$659.
It’s worth noting that the Intelligent Tracking Module is also available to buy separately, meaning users can upgrade their shooting setup down the line. It’s priced at $69 / £59 / AU$99. Given its impressive tracking capabilities, we think most users will want to equip their RS 4 Mini with the optional module.
Also available as a standalone accessory is the DJI RS 4 Mini Phone Holder, which allows users to attach a smartphone to the gimbal’s mount. While the DJI Osmo Mobile 7/7P is a more natural fit for content creators who only shoot with a smartphone, the holder gives owners of the RS 4 Mini the flexibility to use it with both a camera and a mobile device.
DJI RS 4 Mini review: specs
DJI RS 4 Mini review: Also Consider
DJI RS 3 Mini
The previous generation of DJI’s compact camera gimbal is still a capable tool. It doesn't support the Intelligent Tracking Module and lacks some features offered by the RS 4 Mini, such as automatic axis locks and mode switches. That said, it still supports vertical shooting and offers impressive stabilization. What's more, it can now be found at a discounted price.
DJI RS4
A professional-grade gimbal with a 3kg maximum payload, the RS4 is a step up from the RS 4 Mini. It’s relatively lightweight, easy to set up and supports a range of accessories. If you’re serious about video and don’t need the portability of the RS 4 Mini, this could be your gimbal. It is heavier and more expensive, though.
You want automatic subject tracking Equipped with an Intelligent Tracking Module, the RS 4 Mini can automatically track faces and keep subjects in the frame – ideal for solo content creators.
You want a portable yet powerful gimbal Well-built yet lightweight at 890g, the RS 4 Mini packs pro-grade features from DJI’s premium gimbals into a package that’s relatively travel friendly.
You appreciate satisfying design Automatic axis locks, a fine-tuning knob and a single plate for vertical and horizontal shooting make the DJI RS 4 Mini a tidy bit of kit.
Don't buy it if...
You only shoot with a smartphone The RS 4 Mini offers the flexibility to shoot with a smartphone or camera, but the Osmo Mobile 7P is better value for mobile-only creators.
You shoot with heavyweight kit With a maxium payload of 2kg, the RS 4 Mini can handle full-frame cameras, but heavier bodies and lenses need the RS 4 Pro.
You won’t use Intelligent Tracking While the RS 4 Mini offers plenty of improvements, the main addition is Intelligent Tracking. Without it, the RS 3 Mini might save you money.
How I tested the DJI RS 4 Mini
I tested the DJI RS 4 Mini gimbal for a fortnight
I used it with a Sony A7S III, Nikon D7100 and iPhone 12
I shot with it handheld and stood on its tripod base
DJI supplied me with a sample unit of the RS 4 Mini gimbal for this review, along with the Intelligent Tracking Module, the Mini Briefcase Handle and the Mini Phone Holder.
Over the course of a fortnight, I tested the gimbal and its full complement of accessories. I primarily shot with a Sony A7S III attached to the quick-release plate, paired with an FE 28-70mm F2 GM lens. That combination sat towards the upper end of the RS 4 Mini’s payload capacity, hitting the scales at close to 1.7kg.
To see how the RS 4 Mini performed as a smartphone gimbal, I used it with my iPhone 12 mounted in the Mini Phone Holder. That same phone was paired with the gimbal using a pre-release version of the Ronin app.
And because I had it to hand, I also mounted my Nikon D7100 to the gimbal with a 50mm prime lens, simply to see how well its subject tracking worked with a legacy DSLR model.
I spent several hours shooting handheld with the RS 4 Mini. I attached the optional Mini Briefcase Handle for some of this period, to understand how the grip improved handling with weightier cameras.
I also shot with the RS 4 Mini on its tripod base, primarily to test the effectiveness of its Intelligent Tracking Module for solo content creators. I used gesture controls to control the gimbal in my living room.
I test a lot of cameras and lenses for TechRadar, and I regularly write about DJI. I’ve also tested the DJI RSC 2 in the past, so I’m well-placed to review the RS 4 Mini.
The wireless microphone market is a crowded one. Whether you shoot with one of the best camera phones or a dedicated video camera, content creators are spoilt for choice when it comes to upgrading their voiceover audio. Among the best wireless mics at the moment are the Rode Wireless Micro and the DJI Mic 2, both of which are rated highly for their ease of use and sound quality.
It’s into that busy fray that the AnkerWork M650 steps. A two-mic kit shipped with a touchscreen receiver and packaged in a tidy charging case, the M650 promises high-quality audio recording with cross-platform compatibility. In the box come both Lightning and USB-C connectors for hooking the receiver up to your smartphone. It can also slot into a camera’s hot shoe, with a 3.5mm cable included for connecting to a microphone port.
On paper, the AnkerWork M650 offers a feature-packed setup. It promises dual-channel lossless pickup with optional noise cancelling and on-board storage for up to seven hours of uncompressed audio. Transmission range is a useful 200m, while the receiver has a streamlined touchscreen interface with access to a range of settings, including gain adjustments.
In practise, the AnkerWork M650 delivers on almost all fronts. Pre-paired out of the charging case, the kit is foolproof to use. Open the lid and you’ll find the two mics good to go, with a receiver that comes alive in a blink, instantly displaying audio levels on its bright screen. Key controls can all be accessed with just a few swipes of the icon-based interface.
The transmitters themselves are bigger than those of the Rode Wireless Micro and DJI Mic Mini, but their circular design looks subtle enough. Attaching them is a cinch with the built-in clips, which also double-up as magnetic mounts which can be rotated through 90-degree increments. The transmitters are relatively weighty at 30g apiece, but they hold firm however you wear them.
(Image credit: Chris Rowlands / Future)
Recording performance impressed me in testing. Dialogue sounds clear and natural by default, with the option to adjust the EQ through the AnkerWork software. Noise reduction is also effective in outdoor environments, although it can be aggressive on its highest setting, giving vocals a processed tone.
Battery life is decent but not exceptional. The transmitters and receiver are rated for six hours on a single charge, with a further nine hours available from the charging case. At a total of 15 hours, the AnkerWork M650 is outgunned by the DJI Mic 2.
Still, with a raft of useful features, I think the AnkerWork M650 strikes an excellent balance of performance and usability. Options such as real-time monitoring will appeal to seasoned creators, while the intuitive setup makes it satisfyingly simple to operate. That includes neat design touches, such as the twist-to-lock smartphone adapters.
There are cheaper, screen-free options available if you only want to record audio to a smartphone. But if you need the flexibility to record quality audio with a range of shooting tools, I think the AnkerWork M650 is a good value alternative to the DJI Mic 2.
(Image credit: Chris Rowlands / Future)
AnkerWork M650: price and release date
$199.99 / £249.99 / AU$199.98 for the complete kit
Includes 2x mics, a receiver and a charging case
Available now in black and white with swappable back covers
The AnkerWork M650 wireless mic launched in March 2023. It’s available now, priced at $199.99 / £249.99 / AU$199.98. That makes it quite a bit cheaper than the twin-transmitter DJI Mic 2 Combo, which is arguably its closest like-for-like competitor. Unlike the DJI Mic 2, the M650’s component parts can’t be bought separately: it’s only available as a kit. Luckily, it’s a complete one.
The kit includes a pair of transmitters, a receiver and a charging case. You also get USB-C and Lightning smartphone adapters, as well as USB-C and 3.5mm audio cables, reflecting the universal connectivity of the kit. Adding further value to the bundle is a pair of wind shields, a travel sleeve and two swappable transmitter shells.
It’s available in black or white, with the color scheme reflected across the case, transmitters, receiver and smartphone adapters. The black kit comes with one gold and one green replacement back cover for the transmitters. The white kit includes blue and purple shells.
There are simpler wireless mic kits which can be picked up for significantly less than the AnkerWork M650, including the DJI Mic Mini and the Rode Wireless Micro. Taken together, though, I think the contents of the AnkerWork kit make it excellent value for content creators who are likely to use it with both a smartphone and a camera.
(Image credit: Chris Rowlands / Future)
AnkerWork M650: specs
(Image credit: Chris Rowlands / Future)
AnkerWork M650: Design
Circular transmitters with swappable back plates
Built-in clips or magnetic attachment
Receiver with levels monitoring and 1.47-inch touchscreen
The AnkerWork M650 follows the same basic formula as most wireless mic kits. You get a pair of transmitters, plus a receiver that connects to your camera or smartphone. These all live inside a charging case. Open it up and everything is automatically paired, ready to go.
There are a few design touches which set the AnkerWork M650 kit apart. Its transmitters are unique among the wireless mics we’ve tested in being circular. Measuring 45.5mm across, they are larger than most and relatively weighty at 30g. Despite their size, the domed shells give them a good dose of subtlety. They look less obviously like microphones than many transmitters. They also have a party trick: the back covers can be swapped for different color shells.
There are two easy ways to attach the transmitters to your clothing. The first is to simply latch them to a hem, collar or lapel using the built-in clip. Alternatively, pull on the clip and you’ll find it’s one half of a magnetic mount: put it under a layer of clothing and it can hold the transmitter in place on the other side. This magnetic setup also allows you to rotate the clip through 90-degree steps, so you can always make sure the pick-up is facing your mouth.
On the transmitter itself is just a single button, which can be used to mute the microphone (turning the indicator light red). This also serves as a way to manually power the transmitter off, in the unlikely event that you don’t have the case handy. Each transmitter also has a port which can be used to connect a lavalier mic. This is the same jack used to fix the optional wind shields in place.
The receiver is just as neat. A tidy little brick with a bright 1.47-inch touchscreen, it’s the hub through which audio is relayed to your devices. It also has just a single physical button, which is used to lock the touchscreen. Everything else is controlled via the intuitive, icon-based interface. There’s very little learning curve here: almost every key setting can be accessed with just a couple of swipes – and even for big fingers, the touchscreen is sized just right.
The main screen features two side-by-side graphics which display info from each transmitter in real time, including battery status, signal strength and audio level. Swiping left or right brings up settings for each transmitter, including gain adjustment, which can be boosted or lowered in 3dB increments. Swiping up lets you control the mics in sync, while swiping down lets you adjust the receiver settings, including the degree of noise reduction.
Connecting the receiver is equally straightforward. Your options here are plentiful. The clip underneath doubles up as a hot shoe mount, with USB-C and 3.5mm audio ports on the side for wiring up to a camera. If you’re pairing it with a smartphone, take a bundled Lightning or USB-C adapter, slot it into the mount on the back of the receiver, then twist to lock it in place. From there, the receiver sticks directly into the port on the bottom of your phone. The fit is firm and the position is a natural one for the receiver’s modest dimensions.
That 3.5mm audio port can also be used for real-time monitoring, which is a feature that more experienced content creators will appreciate. Equally, if you need to capture standalone audio, simply hit the record button on the receiver and it can save up to seven hours of lossless audio to its built-in storage. This can be accessed later by dropping the receiver into the case and connecting it to a PC or Mac using a USB-C cable.
(Image credit: Chris Rowlands / Future)
AnkerWork M650: Performance
Dual-channel pick-up with VoiceShield noise reduction
6 hours battery life (transmitter), 9 extra hours battery life (receiver)
Omnidirectional audio and up to 200m range
Each transmitter is equipped with an omnidirectional pick-up that’s capable of capturing 24-bit audio at 48Khz. This isn’t as flexible as the 32-bit float audio support offered by the Mic 2, which can better avoid clipping if volume spikes, but its quality will be more than good enough for most content creators.
It’s worth noting that there’s no equivalent of Rode’s Intelligent GainAssist, which automatically adjusts audio levels to suit the environment. You’ll need to monitor levels using the readout on the receiver and make any necessary gain adjustments manually. In general, though, by keeping the mic a consistent distance from my mouth, I didn’t have any issues with clipping.
Nor did I encounter any problems with pairing, syncing or storing recordings during testing. I didn’t test the claimed 200m transmission range to its limit, but I found the connection stable and reliable even when roaming a fair distance from the receiver.
To assess sound quality, I recorded voiceovers in a range of settings, indoors and out, both quiet and noisy. Overall, I found results clean and natural. Audio captured by the M650 had significantly more clarity and depth than output from the built-in mics on my smartphone and DSLR camera. WAV files saved directly to the receiver were particularly clear.
If your ears are keen enough and you want a slightly warmer tone or more low-end depth to your voiceovers, you can adjust the EQ through the AnkerWork desktop software. That’s also where you can configure the low-pass filter.
Windy conditions are the biggest challenge for any wireless mic and the AnkerWork M650 is no exception. It features two levels of VoiceShield noise reduction which can be enabled using the receiver’s touchscreen. The feature is very effective at isolating vocals, even when there’s a lot of background hubbub. The drawback is that, when the system is battling noise at its highest setting, voices can sound digitally compressed and over-processed.
I found the best balance for recording outdoors was to attach one of the included dead cat wind shields and set the noise reduction level to low. This did allow a little more noise into recordings but not enough to be distracting, while crucially having a less noticeable impact on audio quality.
For content creators who want to upgrade their audio, you can really hear the difference in quality versus a device’s built-in microphone. The lack of Bluetooth connectivity might be a dealbreaker for some, but the added flexibility would likely come at the cost of bit-rate. For most, its reliable 24-bit recording and decent noise-cancelling tech will make the M650 worth the money.
In terms of battery life, the nine-hour boost offered by its charging case is less than some, but you’d need to be using the AnkerWork M650 kit pretty heavily to exhaust its full capacity in a single shoot. In reality, I never once encountered a dead battery. Both the transmitters and the receiver are rated for six hours on a charge, which is plenty. Plus most users are likely have the kit in and out of the case regularly.
(Image credit: Chris Rowlands / Future)
Should I buy the Ankerwork M650?
Buy it if…
You want a complete wireless mic kit
Shipped with two mics and a receiver in a charging case, the AnkerWork M650 also includes USB-C and Lightning smartphone adapters, 3.5mm audio and USB-C cables, plus windshields and two replacement back covers.
You want a mic that’s easy to use
Pre-paired out of the charging case, the M650 offers plug-and-play simplicity. There’s just one button on each transmitter, while the receiver’s icon-based touchscreen interface is intuitive enough for anyone to navigate.
You want premium audio recording
With dual-channel lossless pick-up, the M650 captures clean, natural voiceovers. You have the option of mono or stereo recording, plus the ability to make granular adjustments to the gain level via the receiver.
Don’t buy it if…
You want the best battery life
On-board battery life is par for the course at six hours per charge, but the case only offers a further nine hours. That pales in comparison to the DJI Mic 2’s case (18 hours).
You want a budget smartphone kit
The AnkerWork M650 represents good value for such a feature-heavy wireless mic kit, but there are more affordable options out there for content creators who only need simple smartphone connectivity without a touchscreen receiver.
You want clean, noiseless audio
VoiceShield noise reduction does an impressive job of cancelling wind noise when shooting on location, but it can make voices sound a little processed. The high setting should only be used as a last resort.
AnkerWork M650: also consider
Rode Wireless Micro
If you mainly create content with your smartphone and you’re happy with a screen-free receiver, the Rode Wireless Micro represents excellent value. It’s a tiny, low-fuss option that’s up and running in seconds.
A pro-grade recording kit which is arguably the M650’s closest competitor, the DJI Mic 2 offers a similarly seamless setup for premium audio. It costs more, but includes support for 32-bit float recording.
To fully explore the capabilities of the AnkerWork M650, I tested it regularly over the course of several weeks. I used it to record voiceovers in a range of scenarios, from quiet home environments to noisy outdoor settings.
Paying particular attention to the effectiveness of its noise reduction feature, I used the AnkerWork M650 on a number of windy days. I tested it with VoiceShield switched off, set to low and at its highest setting, both with and without the optional wind shields installed, before comparing the results.
Because the M650 is such a complete kit – and one which content creators are likely to use in a number of different ways – I tested it with both a smartphone and a camera. I attached the receiver to my iPhone 12 via the Lightning adapter. I also used it on the hot shoe of my trusty Nikon D7100, connected via the 3.5mm audio cable. For completeness, I also used the AnkerWork M650 as a standalone solution, recording audio to its on-board storage.
Throughout my tests, I interacted with the wireless mic kit as real users would. That meant monitoring levels in real time on the receiver’s touchscreen and adjusting gain settings. I also tried attaching the transmitters to different items of clothing, used both the clip-on and magnetic solutions, to see how effectively they held.
Finding the right outdoor backpack for landscape and adventure photography isn’t easy. Sure, there are lots of options available which is no bad thing, but the best camera bag for you ultimately depends on what you need to carry and what features you're looking for. For me, the Mindshift Backlight 26L, which is made by Think Tank Photo, has proved to be one of the best non-modular options available.
This backpack has been around for quite a few years now with no updates in design except for the availability of additional colors. Where many camera bag manufacturers constantly produce new versions to entice extra sales, Think Tank Photo has kept the faith in the Backlight 26L's solid design. I picked one up around seven years ago, it's covered many miles, and it is still holding strong, with what I expect to be many years of life left in it.
As the name suggests, this is a 26-liter backpack, with the main section being for camera gear; enough space for a day's shooting in the hills or at the coast; plus the space needed to carry essential outdoor items such as waterproofs, a large bottle of water or two, a laptop and a tablet, if required. There's also a way to attach a tripod, plus a waterproof cover so everything has been considered, not to mention it has a trick or two up its sleeve.
(Image credit: James Abbott)
Mindshift Backlight 26L: price and availability
The Mindshift Backlight 26L costs around $299 / £289 / AU$440
It's available in four colors
Still available new despite being on sale for many years
The Backlight 26L certainly isn't a new backpack and has been available for somewhere around 10 years. It's not the least expensive bag of its type either, but it's certainly not style over substance like many modern camera backpacks.
The Backlight 26L costs $299 / £289 / AU$440, but this is a bargain when you consider how tough it is and the many years of faithful service it has the potential to provide. There are also four colours available; Charcoal, Slate Black, Woodland Green and Montane Green.
Mindshift Backlight 26L: specs
Mindshift Backlight 26L: design
Comfortable to wear
Useful features for the outdoors
Fixed rather than modular design
Many outdoor backpacks these days are modular with the ability to use different camera inserts, such as Peak Design's Camera Cubes; this is to vary the ratio between photo gear and non-photo gear depending on what you're doing. The Backlight 26L follows a more traditional rear-entry design with a fixed, yet configurable camera section, alongside two additional pockets on the front of the bag.
The main front pocket offers a laptop section for up to 16-inch laptops, a 10-inch tablet section and enough space to pack a waterproof jacket, waterproof pants and other items, while the smaller front pocket is ideal for items such as a flashlight and gloves. The space for non-photographic items is nine litres, which is sufficient, although this is much less than the additional space you can enjoy with some modular outdoor backpacks.
On the sides, there are two large water bottle pockets with cinch cords that can carry 32oz / 1 liter Nalgene water bottles – I own one and they fit perfectly. Plus, the side pockets, in conjunction with the adjustable compression straps, can also be used for carrying a tripod. There is also a tripod carrying system that packs away neatly on the front of the bag.
This is a mid-sized backpack that meets airplane carry-on requirements, but it only weighs 3.9lbs / 1.8kg. It's incredibly comfortable to wear and the padded rear panel has an air channel and a lumbar support. The air channel may help on hot days, but it certainly doesn’t stop your back from becoming hot and sweaty. With all of this in mind, it's clearly a bag that's designed for day hikes and shoots because you can only carry essential additional items for the day rather than overnight camping kit.
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The manufacturer says that the bag can accommodate up to two mirrorless cameras, 5-7 lenses and a flashgun. From my experience this is true, but it of course depends on the lenses you're carrying and whether or not telephoto lenses need to be laid down in the bag rather than stood up. My standard configuration was a full-frame camera and 16-35mm lens, a second APS-C camera and lens, a 70-200mm f/4, a filter system and accessories, which together filled the camera compartment.
One of my favourite features of the bag is that with the waist belt in use, you can release your arms from the strap and rotate it to your front laid out horizontally. The rear access then allows you to access your kit without putting the bag down, which is fantastic in muddy locations and when standing in water. The back section even has a strap you can hook over the back of your neck to hold the bag open, although you won't often require it.
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Additional features include tough water-repellent material that I can tell you from experience will stand the test of time. The water resistance is absolutely fine for light rain shows, but in heavier downpours you will need to use the included rain cover. There are also loops to carry two ice axes or walking poles alongside daisy chain connection points for attaching other items with karabiners or smaller Molle-compatible bags.
I own the Backlight 26L, but there's also the smaller Backlight 16L and the larger Backlight 36L. All three sizes follow the same design but are, as the names suggest, different capacities; the 36L is deep enough for professional cameras with a built-in or attached vertical grip. However, I think the Backlight 26L is the most useful size because it allows outdoor photographers to be able to carry all of the photographic gear they typically need alongside additional outdoor items.
Should I buy the Mindshift Backlight 26L?
(Image credit: James Abbott)
Buy it if...
You'd like a lightweight backpack At just 3.9lbs / 1.8kg, this is a lightweight backpack that's extremely comfortable to wear thanks to the well-padded rear panel with air channels.
You want a bag you don’t have to put down Gear can be accessed without fully taking the bag off, which can be invaluable when standing in mud or water. Plus, it's useful for city shooting where the rear entry provides security.
Don't buy it if...
You'd like a modular bag Modular bags allow you to use different inserts/ cubes within a single bag depending on how much photographic gear you need to carry.
You require more non-photo storage With nine liters of non-photographic storage, if you require more you may be better off with the Backlight 36L or a modular backpack that uses inserts/ cubes.
How I tested the Mindshift Backlight 26L
I'm a long time owner, over 7 years
I've tested all its features rigorously and adapted the bag to various use cases
It's journeyed with me many miles and for multiple types of locations
Having owned the Mindshift Backlight 26L for around seven years alongside other bags I use for different purposes, I've tested it over an extended period where all of its strengths and weaknesses have been exposed. It has been used in all weather conditions in the hills, mountains, at the coast and in the city, as well as being taken on flights as carry-on luggage.
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.
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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.
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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.
