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Panasonic Lumix G97 review: enthusiast-level camera, beginner-level price
2:41 pm | January 31, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: | Comments: Off

Panasonic Lumix G97 two-minute review

The Panasonic Lumix G97 is effectively an updated refresh of the 2019 Lumix G95/90, with a higher-resolution rear screen, the video recording limit removed, and a new USB-C port for charging and power. Granted, that doesn’t sound like much of an update – but when you use the G97 you realize just how responsive, well-made and powerful this camera still is, even by todays’ standards.

It does have a 20MP Micro Four Thirds sensor, which is half the size of the sensors in its APS-C rivals, which also offer more resolution at 24-26MP+. This has some effect on the ultimate image quality, but perhaps not as much as you might expect, since the G97’s sensor has no anti-aliasing filter in order to maximize fine detail; and while there is more digital noise at higher sensitivities, you have to push the ISO quite a long way before it shows (and APS-C cameras also produce noise, of course).

Panasonic Lumix G97 product shot

Does the Panasonic Lumix G97 look familiar? It's VERY closely based on the previous G95/90 with a handful of minor improvements for 2025 (Image credit: Rod Lawton)

And then there’s Panasonic’s somewhat controversial DFD contrast AF – the G97 does not employ Panasonic’s latest hybrid phase/contrast tech. Is it a problem? Not in stills photography, where the AF is extremely fast and responsive. You might notice the difference in video, though, where many users report the AF hunting or ‘pulsing’ as it keeps re-checking even stationary objects. It will depend on what you film, and how.

Let’s look at what this camera delivers elsewhere. You get an extremely effective in-body image stabilization system (the smaller sensor helps here), a good-quality EVF where most rivals at this price don’t have one at all, a 1.84m-dot vari-angle touchscreen, a twin-dial control system (three dials, if you count the one on the back) and, if you go for 12-60mm lens bundle, one of the best kit lenses out there, both for zoom range and for real-world image quality. Really, this is an enthusiast-level camera at a beginner-level price.

Panasonic Lumix G97: Release date and price

  • $850 / £799 with Lumix G 12-60mm f/3.5-5.6
  • £699 body only (UK)
  • £899 with Lumix G 14-140mm f/3.5-5.6 II (UK)

At launch, the Lumix G97 is being offered only as a bundle with the Lumix G 12-60mm f/3.5-5.6 kit lens in the US, but in the UK you can buy it body-only or with the Lumix G 14-140mm f/3.5-5.6 10x zoom. They’re all great deals, but the 12-60mm bundle looks the best for new users.

It’s worth pointing out that this is a 24-120mm equivalent 5x zoom that goes well beyond the range of most kit zooms, and it’s also rather good.

At these prices, the Lumix G97 is just about the cheapest new mirrorless camera on the market, matched closely on price by the OM System OM-D E-M10 Mark IV. The Canon EOS R100 is cheaper still, but does not have IBIS, has weak 4K video features, and does not come with a lens to rival the Panasonic’s excellent kit lens.

  • Price score 5/5

Panasonic Lumix G97: Specifications

Panasonic Lumix G97 product shot

The Lumix G97 uses a 20MP Micro Four Thirds sensor half the size of an APS-C sensor, but still delivers excellent detail rendition (Image credit: Rod Lawton)

Panasonic Lumix G97: Design and handling

  • DSLR-style design with twin control dials
  • 1.84m-dot vari-angle touchscreen
  • 5-axis 5-stop IBIS

Panasonic Lumix G97 product shot

The Panasonic Lumix G97 is styled like a compact DSLR, with a substantial grip for the right hand and a decent 2.36m-dot electronic viewfinder (Image credit: Rod Lawton)

The Lumix G97 looks and handles like a small DSLR. It might seem unnecessarily large for a camera with a Micro Four Thirds sensor, but the fact is that there is a limit as to how small you can make a camera that still fits a human hand properly – especially one which takes interchangeable lenses.

Where you do see an advantage from the smaller sensor is in the smaller and lighter lenses this system uses. The 12-60mm (24-120mm equivalent) kit lens is a great example – it offers a 5x zoom range in a lens that’s little larger or heavier than a 3x kit zoom on a larger-format camera.

There’s a decent-sized grip on the right side of the body that provides a secure hold, leaving your other hand free to operate the lens or the flip-out touchscreen. If you prefer to use the EVF, that's bright and clear, and has an eye sensor to switch from the LCD to the viewfinder automatically.

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Panasonic Lumix G97 product shot

The Lumix G97 takes a single SD UHS II memory card, but it's accessed by a door at the side and not squashed in with the battery (Image credit: Rod Lawton)
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Panasonic Lumix G97 product shot

One of the handful of changes in the Lumix G97 is the swap to a USB-C port for power and charging. (Image credit: Rod Lawton)
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Panasonic Lumix G97 product shot

The rear screen has had a resolution boost to 1.84m dots. (Image credit: Rod Lawton)
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Panasonic Lumix G97 product shot

The top controls are clearly labelled and are positive and firm to use. There are also two control dials, with a third on the back. (Image credit: Rod Lawton)
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Panasonic Lumix G97 product shot

The menu system is clear and easy to navigate and there's also a Q.MENU display for common camera settings. (Image credit: Rod Lawton)
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Panasonic Lumix G97 product shot

The Lumix G 12-60mm (24-120mm equivalent) kit lens is perhaps the star of the show, offering excellent image quality right across its 5x zoom range. (Image credit: Rod Lawton)

The main mode dial is clearly labelled and has a firm, positive action. There are two control dials on the top, one around the shutter release and the other at the rear, right where your thumb lies. These do different things in different modes; in Manual mode, for example, the front dial adjusts the lens aperture and the rear dial changes the shutter speed. These dials are firm, positive and perfectly weighted. In between them is a prominent red Record button for video.

Round the back there’s a useful three-position focus mode lever with an AF-L/AE-L button in the center and a four-way controller with a rotary dial around the outside – though this does not have the same feel as the control dials on the top.

Overall, this feels an extremely well-made camera for the money, with all the controls right where you need them – there are buttons for white balance, ISO and EV compensation on the top, and a Q.MENU button on the back to bring up an on-screen display with more camera settings.

A focus-point joystick would have been nice to make setting the focus point easier, but you only get these on more advanced semi-pro cameras, so you can’t really complain – and you can always use the touchscreen to set the AF point.

  • Design and handling score 4/5

Panasonic Lumix G97: Performance

  • Excellent definition and contrast from 20MP sensor and great kit lens
  • Very fast AF for single-shot stills photography
  • Continuous AF less good, and occasionally some ‘pulsing’ with video

Panasonic Lumix G97 sample image

The Limix G97 is capable of excellent results. Photography like this depends on lighting and composition, not small differences in sensor technology (Image credit: Rod Lawton)

Panasonic Lumix G97 sample image

The 12-60mm kit lens is a huge advantage, giving a natural perspective to this canine portrait as well as extremely crisp definition (Image credit: Rod Lawton)

The Lumix G97 delivers first-rate detail rendition. The lack of a low-pass filter and a kit lens that delivers super-sharp detail right across its focal range makes for a combination that plenty of APS-C cameras can’t match. Higher ISOs do show noise quicker, it’s true, but not by much. Besides, today’s AI noise-reduction tools can make an ISO 6,400 image look practically like ISO 200.

The G97’s video looks good too, though with only 8-bit internal capture there’s a limit to how far you can push things if you want to grade your footage heavily later. It does come with Panasonic’s V-Log profile, a paid add-on for many Lumix models, but this really needs better-quality 10-bit 4:2:2 capture to work on, and you can only get that with the G97 via an external recorder. It’s fine for basic use and if you’re just starting out vlogging, but it’s not a serious filmmaking tool.

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Panasonic Lumix G97 sample image

This shot and the next show the focal length range, and the opportunity for different perspectives with the 12-60mm kit lens. This was shot at 12mm (Image credit: Rod Lawton)
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Panasonic Lumix G97 sample image

This was taken from the same position at a focal length of 60mm, offering a very different image. (Image credit: Rod Lawton)
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Panasonic Lumix G97 sample image

The smaller Micro Four Thirds format means you're working with shorter focal length lenses, so depth of field is rarely a problem in landscape photography. (Image credit: Rod Lawton)
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Panasonic Lumix G97 sample image

Does this piece of driftwood look like a wild boar, or is it just me? The vari-angle screen makes low-level shots easy. (Image credit: Rod Lawton)
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Panasonic Lumix G97 sample image

Having a little extra depth of field makes it easy to get pet portraits sharp from nose to ears. (Image credit: Rod Lawton)
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Panasonic Lumix G97 sample image

The 12-60mm lens focuses pretty close, so although it's not really a macro lens it can still fill the frame with small objects. (Image credit: Rod Lawton)

The autofocus is a mixed bag. For stills photography, it’s extremely fast and responsive. In burst mode, it’s a little less positive, though given that the G97 can only manage 6fps with continuous autofocus, it’s not really intended to be an action specialist.

The AF generally does a good job for video, refocusing smoothly as your subject distance changes or you reframe the shot. Its characteristic ‘pulsing’ effect is often hard to see, but if you’re filming a static subject and background it can be quite annoying. One solution is to switch to single-shot AF and simply tap the rear screen while filming to refocus – carefully!

The IBIS is excellent. It’s only rated at five stops, but this is actually a consistent and achievable figure, unlike the bigger numbers often quoted for larger-sensor cameras – which are often absolute best-case figures you can rarely approach.

  • Performance score 4/5

Should I buy the Panasonic Lumix G97?

Panasonic Lumix G97 product shot

Like all cameras, the Lumix G97 is better at some things than others, but its versatility and value are hard to ignore (Image credit: Rod Lawton)

Buy it if...

You want performance, versatility and value
Who doesn't! The Lumix G97 gives you an awful lot for your money. Effectively, it's an enthusiast-level camera at little more than a beginner-camera price.View Deal

You need a camera that can 'grow' with you
This is a sophisticated camera that's capable of all sorts of more advanced photographic techniques when you're ready to try them out.View Deal

You want a decent, versatile kit lens
The Lumix G 12-60mm f/3.5-5.6 typically bundled with the G97 offers a 5x zoom range and excellent quality.View Deal

Don't buy it if...

You already have a Lumix G95/G90
The improvements aren’t enough to make it worth swapping, though this could be a good upgrade from the older 16-megapixel G85/G80.View Deal

You want to do any high-speed action photography
The burst speed is only 6fps with continuous autofocus, the buffer capacity is only average, and the continuous AF can struggle.View Deal

You want a camera specifically for video
The G97’s video quality is good but it lacks higher-quality settings, and the autofocus can ‘pulse’ visibly, making it hard work for solo shooters/presenters.View Deal

How I tested the Panasonic Lumix G97

  • I spent two weeks photographing and filming a variety of subjects
  • I tested the 5x zoom kit lens across its range of focal lengths
  • I checked if the 5-stop IBIS lived up to its claims
  • I tested autofocus performance for stills and video AF/tracking
  • I assessed the image detail and quality against APS-C rivals

Panasonic Lumix G97 sample image

This is a 2.5-second handheld exposure I took to test the IBIS. It's not quite up to the latest standards like the Lumix GH7 or OM System OM-1, but it's still pretty impressive (Image credit: Rod Lawton)

I tested the Lumix G97 and its 12-60mm kit lens on many different subjects including outdoor still images, action sequences (with a very excited dog), close-ups and indoor shots, and in a variety of lighting conditions.

Panasonic’s DFD autofocus has not always had the best reputation, so I particularly wanted to find out if and when it struggled, and what to look for.

I also wanted to check the definition of Panasonic’s 20MP MFT sensor, which has no low-pass filter, to see how it stacked up against larger-sensor APS-C rivals. The 12-60mm kit lens is particularly interesting because it offers a 5x zoom range compared to the 3x zoom of most kit lenses, and I did want to see how the image quality varied across the zoom range, and whether it declined at all at longer focal-length settings.

Lastly, the IBIS system in the G97 is only rated at five stops of compensation, so I wanted to find out just how achievable that was in real-world shooting.

Canon EOS R1 review: a five star high-speed powerhouse for pros, with a sky-high price
4:00 pm | January 25, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , | Comments: Off

Canon EOS R1: two-minute review

The Canon EOS R1 follows design conventions passed down from professional high-speed DSLR cameras, such as the EOS 1D X Mark III, in that it also features a built-in vertical grip and high-capacity batteries for extended shooting times, complete with seriously impressive high-speed shooting capabilities. If you want a no holds barred camera for sports and wildlife photography, this is the speediest Canon camera on offer.

Its flagship features, functionality and performance excel for the rigors of pro press photography – the few that might actually be able to afford the EOS R1's eye-watering price tag will consequently be equipped for demanding jobs with one of the best Canon cameras currently available.

Canon EOS R1 mirrorless camera in the hand with a basketball court background, under the lights

(Image credit: Future | Tim Coleman)

The camera sports a 24.2MP full-frame BSI stacked CMOS sensor and can capture photos at up to an incredible 40fps, plus 6K raw video at up to 60fps. There's also a slew of useful features including the ability to capture bursts of JPEGs while shooting Full HD video, but we'll cover those in more detail later.

Autofocus is fast and accurate with up to 4,368 AF points depending on the AF mode selected, and the in-body image stabilization (IBIS) is amazing and highly effective, so you can rest assured you have a camera that works for you. The biggest issue with the EOS R1 is the cost, which will put it out of the reach of many photographers, and it's certainly more camera than any enthusiast could ever need.

Canon EOS R1: price and release date

  • Expensive at $6,299 / £6,999 / AU$10,499
  • Body only with no kit options
  • Available now

The EOS R1 was announced in July 2024 and is available now with a body-only price of $6,299 / £6,999 / AU$10,499. This is, of course, expensive, and will put the camera out of the reach of even many professional photographers. This is a similar price, however, to the EOS 1D X Mark III – the quickest DSLR ever made – so with inflation that's pretty impressive.

As a camera designed for professional photographers, some of whom will inevitably be EOS 1D X Mark III owners, the EOS R1 works incredibly well with adapted EF DSLR lenses. For professionals with plenty of expensive EF L-series glass, this softens the financial blow because they can be confident that they won't have to upgrade all of their glass to RF lenses all at once.

Naturally, using native lenses will be preferable to most photographers, but the ability to only need to do this as and when the natural upgrade cycle completes is incredibly useful. Even professionals, who spend more on photo kit than the average enthusiast will appreciate this.

  • Price score: 3.5/5

Canon EOS R1: specs

Canon EOS R1: design and handling

  • Built-in vertical grip mirrors the camera's regular control layout
  • Versatile articulating LCD screen
  • Generously large viewfinder is easy to use

In terms of the overall design, the EOS R1 looks every inch a professional camera thanks to its built-in vertical grip for horizontal and vertical shooting. There are dual CF Express Type B card slots on one side of the camera, while on the other you'll find the physical ports which include USB-C, Ethernet, HDMI, mic, headphones and PC sync for flash. The EOS R1 also offers Bluetooth and WiFi connectivity.

Surprisingly, the EOS R1 isn't overly cumbersome despite its large and hefty size – that's 6.2 x 5.88 x 3.43in / 157.6 x 149.5 x 87.3mm with a weight of 2.7lbs / 1,115g, including a battery and memory card (but no lens), which is largely thanks to the well-contoured vertical and horizontal grips, plus the new camera coating that provides a secure grip. The camera also balances well with both smaller lenses and larger telephotos. Overall build quality is excellent as you'd expect for a professional camera.

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Canon EOS R1 top plate with OLED screen

(Image credit: James Abbott)
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Canon EOS R1 rear view with LCD screen hidden

(Image credit: James Abbott)
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Canon EOS R1 rear view with LCD screen showing camera menu

(Image credit: James Abbott)
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Canon EOS R1 dual memory card slots

(Image credit: James Abbott)
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Canon EOS R1 Side view of ports

(Image credit: James Abbott)

One of the immediate differences you notice when compared to mid-range cameras such as the EOS R6 Mark II, and even the EOS R5 Mark II, is the sheer number of direct access controls on offer. The AF-ON button serves a dual purpose in that it offers two programmable functions with the sensor in the center allowing you to use swipe actions with your thumb to move around zoomed images or to adjust autofocus, for example – it's a slick design feature.

Having many direct access controls is standard for high-end professional cameras like the EOS R1, because you don't want to otherwise be scrolling through menus to find and make adjustments when in fast-paced shooting environments. Also, many controls are duplicated on the vertical grip so you can enjoy the same level of convenience and comfort when shooting in both formats.

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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera 's battery

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera in the hand, no lens attached

(Image credit: Future | Tim Coleman)

On the rear, you'll find the 2.1m-dot 3.2-inch articulating touchscreen which is useful because it can be positioned in many ways. But it's the generously large, almost cinema-like, 9.44m-dot viewfinder that truly caught my eye. Not only is the viewfinder window large, but so too is the immersive EVF screen itself.

The EOS R1's menu system is intuitive and easy to navigate, but like most cameras these days there are so many options available, including button customization, and so it'll take some time to full familiarize and set up the camera for your shooting needs. Some features do require you to delve into the menu to switch them on or off, despite all of the direct access controls, but this approach is standard for all cameras.

  • Design score: 5/5

Canon EOS R1: features and performance

  • Dual processors deliver Canon's best-ever speed, including 40fps continuous shooting
  • Advanced autofocus with dedicated sports modes and face recognition

The EOS R1 features a new high-speed 24.2MP full-frame BSI stacked CMOS sensor that reduces rolling shutter at the expense of a slight reduction in dynamic range. This reduction certainly wasn't noticed shooting a range of subjects during testing.

The sensor is powered by dual processors: the DIGIC X and the DIGIC Accelerator. These processors allow for large volumes of data, fast image capture, fast AF and produce excellent image quality, as well as facilitating the Deep Learning technologies for in-camera image upscaling and noise reduction.

The EOS R1 is packed with so many features that it's impossible to cover them all, but there are undoubtedly some that stand out from the crowd. The EOS R1 is a camera designed for speed and can capture raw files at up to 40fps with the electronic shutter enabled, or 12fps with the mechanical shutter active. The mechanical shutter extends to 1/8000 sec while the electronic shutter pushes further to a lightning-fast 1/64,000 sec.

Canon EOS R1 with 85mm f/1.2 attached

(Image credit: James Abbott)

Autofocus is incredible; it's fast, accurate and intelligent in maintaining the EOS R1's focus on speed. During testing when photographing seals on a beach, the subject detection worked flawlessly to identify eyes and faces with near-perfect accuracy, even though obstacles were sometimes present in the frame.

The AF system uses Canon's Dual Pixel Intelligent AF where subjects are accurately tracked, while Canon says it's able to identify faces and bodies. There's also subject detection, which works incredibly well, while cross-type AF makes focusing more precise and effective, even in low light and low contrast situations.

Canon EOS R1 with 15-35mm f/2.8 lens attached

(Image credit: James Abbott)

There's also a new Action Priority mode that according to Canon recognizes movements in basketball, soccer and volleyball while tracking the ball and switching between subjects as the action unfolds. I didn't personally have the opportunity to test Action Priority, but TechRadar's Cameras Editor Tim Coleman did during the camera launch, and the sentiment is that Action priority has game-changing potential for sports photographers.

Then there's eye-control AF, which, as the name suggests, tracks the movement of your eye and where you're looking in the viewfinder as a guide to position the active AF point(s). Eye-control AF has to be configured via the camera menu. Again, Tim Coleman has written a dedicated feature about Eye-control AF.

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Basketball player, shot with the Canon EOS R1

Before the basketball game started, I took a portrait of this player and selected him as the player for the EOS R1 to prioritize as the primary subject to focus on. (Image credit: Future | Tim Coleman)
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Basketball player, shot with the Canon EOS R1

After doing this, the hit rate of sharply focused photos on the player was virtually perfect. (Image credit: Future | Tim Coleman)
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Basketball player, shot with the Canon EOS R1

The EOS R1 is able to do this subject priority trick for up to 10 faces. (Image credit: Future | Tim Coleman)

Another interesting and useful feature is pre-continuous shooting which, when enabled, allows the camera to buffer 20 frames while the shutter button is halfway depressed. When you fully release the shutter button, the buffered frames are also captured to provide a greater hit rate in fast-paced situations when your reactions might not be up to speed.

20 frames equates to half a second of pre-capture when shooting at the maximum frame rate. This is great, of course, but isn’t a feature you'd want to use all of the time because of the sheer number of frames you'd be capturing and needing to edit.

  • Features and performance score: 5/5

Canon EOS R1: image and video quality

  • Excellent high ISO handling
  • AI-powered upscale and noise reduction
  • Up to 6K Raw video

EOS R1 images are beautifully sharp, which can in part be attributed to the new low-pass filter that reduces moire and false color alongside maintaining sharp detail. Image quality is excellent with raw files naturally providing the greatest degree of flexibility. JPEGs are also fantastic out of camera which will undoubtedly appeal to press photographers delivering images directly to picture agencies.

JPEG color profiles can be tweaked with custom profiles so photographers can adjust settings such as brightness and contrast. The Standard profile provides great results but images can be further improved using levels to adjust the black and white points in Photoshop. Colors are pleasing and Canon has long been well respected for its color science, so there are no complaints here.

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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)

A feature within the camera is AI-powered upscaling and noise reduction. These are frustratingly only available for JPEGs and the former increases file sizes 4x to 96MP. Fine details are preserved while color and contrast are maintained, but it's a shame that this functionality isn’t available for raw files. Adobe users, however, can take advantage of Super Resolution to increase raw files by the same factor.

Noise reduction certainly works but the closer you get to the maximum ISO within the camera's standard range, the less effective the results are.

AI upscaling example

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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens showing AI upscaling from original JPEG

AI upscaled JPEG with original photo inset (Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

Full AI upscaled photo (Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens 100% zoom of an AI upscaled JPEG

100% crop of the AI upscaled photo to show detail (Image credit: James Abbott)

Video is a major component of the EOS R1 too, with the ability to capture 6K 12-bit raw video in-camera, up to 60fps. 2K and Full HD video can be captured at up to 240fps, while 4K is available up to 120fps. Canon C-Log flat color profiles are also available alongside the ability to capture proxy video to one memory card, with full-resolution files recorded to the other.

This is all just the tip of the iceberg but gives you an idea of what the EOS R1 is capable of. Plus, a video feature that could be useful for hybrid press photographers is the ability to capture Full HD video and 17MP JPEGs at 10fps at the same time when the Dual Shooting function is switched on.

  • Image and video quality score: 5/5

Canon EOS R1: testing scorecard

Should I buy the Canon EOS R1?

Buy it if...

You're a pro sports, wildlife or press photographer
The EOS R1 is aimed squarely at sports, wildlife and press photography, with features and functionality that make image capture and delivery in these situations highly efficient.

You need fast continuous shooting
If a maximum frame rate of 40fps will enhance your photography, alongside pre-capture buffering of 20 frames, the EOS R1 will help you to capture the decisive moment and then some.

You'd like exceptional autofocus
The autofocus system employed by the EOS R1 is excellent and sets a new bar for AF technology when it comes to capturing sharp images of fast-moving subjects in complex situations.

Don't buy it if...

You need a higher resolution
Despite in-camera JPEG upscaling to increase resolution by 400%, the EOS R1's true resolution is 24.2MP, and there are plenty of alternatives that produce higher resolution raw files and excellent image quality.

You don’t require speed
Not all photographers require the level of speed on offer here, such as landscape and portrait photographers. The EOS R1 is also heavy and bulky for landscape photography with more suitable cameras available.

You're not a professional
Of course, anyone with deep pockets can buy the EOS R1, but unless you’re a professional working in specific areas of photography, it's much more camera than you will ever need it to be.

Canon EOS R1: also consider

Nikon Z9

The Nikon Z9 is a few years old now but it continues to match flagship cameras from competitors thanks to impressive performance, speed and its 45.7MP sensor. It only uses an electronic shutter, but to fully experience the EOS R1's speed of capture this is the shutter type you have to use in any case.

Read our in-depth Nikon Z9 review

Canon EOS R5 Mark II

The Canon EOS R5 Mark II was launched alongside the EOS R1 and offers many of the same features and functionality in a smaller and less expensive body. What's more, the control layout is similar and the EOS R5 Mark II offers a higher resolution 45MP BSI stacked sensor.

Read our in-depth Canon EOS R5 Mark II

Sony A9 III

Believe it or not, the Canon EOS R1 isn't the out and out fastest camera around – that award goes to the Sony A9 III, a flagship camera for sports that we called 'the high-speed camera to beat'. A true design innovation, the A9 III is the first camera of its kind with a global shutter which, among other things, realizes burst shooting speeds up to 120fps, plus extremely fast shutter and flash sync speeds. It's also Sony's best designed camera yet, though you'll want the optional grip to bulk it out like the EOS R1 when using telephoto lenses.

Read our in-depth Sony A9 III review

How I tested the Canon EOS R1

James Abbott shooting seals with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
  • I had the EOS R1 for a couple of weeks, along with three Canon lenses
  • I captured a range of subjects, from wildlife to landscapes
  • I tested Canon's in-camera Deep Learning features such as upscaling

I mainly tested the Canon EOS R1 for shooting wildlife, but also to capture landscape and night photography, and I had three Canon lenses to choose, including the RF 85mm F1.2L USM and RF 200-800mm F6.3-9 IS USM. It might not be the obvious choice for landscape photography, given it is heavy and bulky, but I gave it a go none the lens and it performs exceptionally well in this situation too.

I tested as many features and functions as possible were tested, with my main focus being the speed of the camera's autofocus and continuous burst shooting. It was also important to familiarize myself with the control layout so the camera could be used as if it were my own.

I also tested Canon's in-camera 'Deep Learning' features in order to provide a thorough overview of the camera in terms of professional image capture.

First reviewed January 2025

Blackmagic Pyxis 6K review – a filmmaker’s workhorse with quality full-frame sensor
3:20 pm | January 24, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: , , , | Comments: Off

Blackmagic Pyxis 6K: two-minute review

The Blackmagic Pyxis is the company's first venture into box-style cameras, and at its core lies a proven full-frame sensor, delivering up to 6K resolution and 13 stops of dynamic range. The key benefit of this high resolution is that you can use the full width and height of the 3:2 surface area of the sensor, allowing for much greater flexibility when you need to produce content for multiple platforms.

The camera’s UI is generally a triumph, with large touch controls, clear navigation, and sensible menu structures. However, when you turn the camera to film vertically, the UI stays fixed; on the older Pocket 6K, the UI rotates to suit the new orientation, so it’s clear that Blackmagic had thought about this problem and had come up with a simple solution, and it’s odd that they’ve yet to implement it on the Pyxis, which lends itself even more to shooting in different orientations. That said, even during my brief time with the camera the company released significant updates to both the camera and the Blackmagic Camera App that delivered functionality and performance improvements, so I’m confident that it will address smaller issues like this in time.

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

In terms of hardware, the camera's standout feature is its machined aluminum construction, which offers professional-grade modularity and heat dissipation. However, the positioning of its cooling mechanism draws air from the base of the camera and forces it out through the top, and while it’s great for warming your hands on a chilly day, it does leave the camera feeling particularly exposed to inclement weather.

It features a multitude of mounting points on its bottom, top and side, where you’ll find its modular accessory plate, which can be used to install a rosette plate for a grip or an SSD holder for example. While the $2,995 / £2,645 / AU$4,899 (approx) starting price is competitive, buyers should factor in additional costs for essential accessories like an EVF, monitor, handle, and other rigging solutions, although many people buying this camera are likely to already have some compatible accessories.

Blackmagic Pyxis 6K camera on set, with optional monitor

(Image credit: Jon Devo)

The camera excels in its versatility with its comprehensive I/O (input / output) options, including BP-U battery compatibility, a nice common standard, as well as a 12G-SDI port and USB-C connectivity. The USB-C port on the front of the camera can transmit a video signal out to an HDMI source (without visual assist tools like false color), and the one on the rear can be used to tether the camera to a mobile device for remote wireless control, monitoring and synced recording across multiple connected Blackmagic cameras. Other professional features like timecode sync, Ethernet connectivity, SSD recording, and cloud workflow integration are also included.

The Pyxis delivers impressive image quality with Blackmagic's highly regarded color science, though it lacks some features that mirrorless shooters will be used to, like advanced autofocus and optical image stabilization. Some form of internal ND filter system would have been a big bonus, but nothing in this price range or class offers that, so expecting it would be unreasonable. While its few limitations are worth consideration, if you’re in the market for a true workhorse camera that can be adapted to a wide range of shooting scenarios the Blackmagic Pyxis makes a strong case for itself, especially when you consider that the purchase of a Blackmagic camera includes a full license for the DaVinci Resolve Studio editing suite, worth $295 / £235 / AU$440.

Blackmagic Pyxis 6K: price and release date

  • Body-only price: $2,995 / £2,645 / AU$4,899 (approx)
  • Available now in three lens mount versions; EF-mount, L-mount of PL-mount (the latter costs $100 / £100 / AU$180 extra
  • You'll want additional accessories

The Blackmagic Pyxis 6K was announced at NAB Show Las Vegas in April 2024 and is available to order now. It can be picked up for a list price of $2,995 / £2,645 / AU$4,899 body-only in EF or L-mount, while the PL mount version costs $100 / £100 / AU$180 (approx) extra.

That price represents five star value given how the camera handles and what it is capable of for filmmaking. However, you will also need to factor in multiple accessories to improve the shooting experience, including an optional monitor, viewfinder, top handle and more.

  • Price score: 4.5/5

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

Blackmagic Pyxis 6K: specs

Blackmagic Pyxis 6K: design and handling

  • Excellent build quality with machined aluminum construction
  • Modular design, requires accessories to maximize its potential
  • UI doesn’t rotate as on the Pocket 6K

The Blackmagic Pyxis 6K is a relatively compact camera given what it's capable of, but it still weighs in at a hefty 3.3lbs / 1,500g, which is roughly the weight of two Lumix S5 IIX mirrorless cameras. Measuring 119 x 106 x 151mm (H x W x D), and with a fixed LCD display on its left side, the Pyxis feels like it needs an additional accessory for monitoring. If you want to stay on brand, your options include the Blackmagic URSA Cine EVF, the specially designed Blackmagic Pyxis Monitor, or a Blackmagic Video Assist. I had the chance to pair the camera with the Pyxis monitor, and it was ideal for run-and-gun-style shooting without being overly conspicuous, and its built-in pop-up hood is a nice touch. It’s a solid addition to the camera's accessory lineup, and provides full camera control via its touchscreen and the three customizable function buttons on its rear.

I also got to use the URSA Cine EVF, and it would be a great option for filming Electronic News Gathering (ENG) / documentary-style work, as it immerses you in the frame by blocking out off-camera distractions. The setup is highly flexible, with the EVF being easy to position. It comes with an extension arm, as well as USB-C to USB-C cables of various lengths, so that you can place the EVF in the most comfortable orientation possible for your style of shooting. A nice detail sees the EVF’s USB-C cables come with screw fixtures so that they can’t be easily pulled out, and I also like that the EVF has a tally light built into it.

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Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
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The Blackmagic Pyxis 6K camera's top handle, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
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Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
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Closeup of the Blackmagic Pyxis 6K camera's I/O options, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

Returning to the side of the camera, the Pyxis has physical controls for all key functions, and offers three customizable function buttons so that you can save your most commonly used tools – I set mine to focus assist, false color and LUT view. If you use the EVF, it also has physical buttons, three of which can be independently customized from the ones you’ve assigned on the body. I found that the buttons and control dial click and scroll responsively, and while I would have preferred an additional record button on the front or right side of the camera, the placement of the physical controls is generally logical, and will be swiftly committed to muscle memory with regular use.

People who are new to cinema-style box cameras may be in for a slight shock when they realize just how much additional kit they need to buy in order to make their camera functional – while its starting price seems competitive, the camera doesn’t even come with a battery in the box. So you will want to factor in additional costs, as they can stack up quite quickly. As well as power, the optional £165 / $199 (around AU$325) top handle feels like a necessity too, not least because it's critical for working with the EVF or Pyxis monitor. I’d most likely purchase the Pyxis monitor first, but the EVF is a nicely designed piece of kit; for me, as somebody who often shoots handheld outside, it definitely elevates the functionality of the camera.

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Memory card in the Blackmagic Pyxis 6K camera's card port

(Image credit: Jon Devo)
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Rear of the Blackmagic Pyxis 6K camera, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
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Top view of the Blackmagic Pyxis 6K camera, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
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Closeup of the Blackmagic Pyxis 6K camera's controls, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
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Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
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Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

The camera's layout is professional and purposeful, although the built-in screen’s position on the left side of the camera body forces you to touch it while holding it, quite a lot, which will undoubtedly jar some people. Helpfully, in the latest update (9.2) you’re able to lock the screen while still having full access to the camera’s physical controls, which is a welcome improvement in functionality. For audio, the camera offers a 3.5mm stereo input on the front, as well as a mini XLR input, which will give you phantom power. You can run the camera directly from mains power via its +12V 2-pin Lemo connector, which is handy for me, as someone who predominantly shoots in studios and controlled indoor environments. Its dual CF Express Type B card slots are protected by a rubber cover, and the locking USB-C ports add security for monitor connections. The overall build quality is excellent, especially given the camera’s competitive pricing, although the rubber media door could be more robust, and the lack of weather sealing is notable, albeit typical for this style of camera body.

  • Design score: 4/5

Blackmagic Pyxis 6K: features and performance

  • Internal 12-bit Raw video, but no ProRes
  • Filmic quality to footage
  • Versatile rigging options
  • Professional I/O
  • No in-body image stabilization
  • No continuous AF

The Blackmagic Pyxis 6K offers impressive connectivity options, including 12G-SDI output, USB-C, and Ethernet. The dual native ISO provides flexibility in various lighting conditions, while the dual card slots offer redundancy and extended recording times. Its best-in-class menu system is intuitive for newbies and familiar to Blackmagic users, offering logical functionality and decent customization options.

Professional features include built-in timecode, streaming capabilities, and cloud workflow integration. It also comes with a range of exposure tools that will ensure you’re gathering as much usable Raw imaging data as possible while recording. Typically, I would rely on false color, which I assigned to one of the camera’s three customizable function buttons. But it was great to see the addition of the RGB traffic light indicator system, which has possibly been borrowed from RED’s Komodo cameras. When any one of the camera’s pixel channels are beginning to clip, that light will stay illuminated, indicating that you need to lower your exposure. It’s a great at-a-glance exposure tool that’s been seamlessly integrated into the general display UI. Although it doesn’t work for underexposure, there are plenty of other tools, like false color, histogram, and zebra patterns available to help here.

Closeup of the Blackmagic Pyxis 6K camera's monitor, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

During my review window Blackmagic released a couple of relatively major updates, one for the Blackmagic Camera App (iOS v2.2) and the other for the Pyxis 6K. The improvements introduced with Firmware 9.2 included some handy connectivity features. If its running the latest firmware, the Pyxis can now use a compatible iPhone as a monitor when acting as a personal wireless hotspot and tethered via the rear USB-C port (the Pyxis itself has no Wi-Fi transmission module), and when functioning like this, you can use your iPhone to control multiple cameras and even initiate synchronized recording, which is a great solution for people who often rely on multi-camera setups. The new firmware also provided a significant boost to the camera’s power efficiency, adding roughly 30-40% more operating time in my experience. Of course, your mileage may vary, but before the update I was already able to get about 35 minutes out of a BP-U-30 (28Wh) battery, and after the update I was getting another 20-30 minutes or so extra. Battery life monitoring was also improved by the update, so the camera will now go all the way down to 1% before eventually shutting off.

Some may be disappointed to learn that the Pyxis 6K has no stabilization whatsoever, but it does record gyro data to offer reasonable stabilization in post. There’s also noticeable wobble caused by rolling shutter when you’re moving with the camera, particularly when shooting in 6K open gate mode; it’s not horrendous, but it would encourage me to shoot more static-style shots when using this camera in particular. The visible effects of rolling shutter diminish as you reduce the sensor area used for recording, and are barely noticeable when shooting at 4K/60p in 17:9 aspect ratio, so I’d say it’s worth being conscious of what your output may be. Shooting for your end output instead of belligerently spamming open gate may be the wiser choice – you can save open gate for shots with less camera movement that need the flexibility of the sensor’s full readout. It’s worth mentioning that Davinci Resolve is also able to use the camera’s gyro data to mitigate some of the warping that you may see when moving the camera around while recording.

Closeup of the Blackmagic Pyxis 6K camera's LCD monitor, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

Wrapping up my niggles, the autofocus system is basic and offers no continuous AF, but it does have some handy focusing tools, which can be adjusted to suit your preferences. You can also use the dedicated push-to-focus button at the top-left side of the camera, and there’s an Iris button above that, which can help you nail exposure in a pinch. The camera also works well with external focus solutions like the DJI Focus Pro, which would be a typical approach for working with a camera like this.

A final, positive operating observation is just how quickly the camera powers up. Within five seconds of switching it on, the camera is up and ready to record. If you’re not familiar with cinema cameras, this may seem like a long amount of time, but in this realm, the Pyxis is relatively speedy, and it’s refreshing.

  • Features and performance score: 4/5

Blackmagic Pyxis 6K: image and video quality

  • Excellent image quality in most conditions
  • Better noise-handling than the Z50 at the same ISO
  • 4K/60p video with a 1.5x crop

The Pyxis captures images that are typically attractive for Blackmagic cameras, if it’s a look you’re familiar with. By this, I mean that the footage looks detailed, without looking sharp, and highlights roll off softly, delivering a cinematic look that needs very little work to get it ready to publish. The quoted 13 stops of dynamic range provides good flexibility in post-production, especially if you expose for the highlights and utilize DaVinci Resolve’s highlight recovery in post, when needed. Color reproduction is excellent thanks to Generation 5 color science, and the OLPF effectively controls moiré, which is great for shooting buildings, or clothing like silk and denim.

Low-light performance is good within the camera’s limitations, though not class-leading. However, Resolve is armed with comprehensive tools for reducing the impact of sensor noise. If you have the time and the aptitude, Blackmagic RAW files are really easy to work with, and can be honed to deliver an attractive look in most situations. While it’s not a no-light camera, the Pyxis would be perfectly capable of delivering attractive video in bar/club lighting scenarios or other low-ambient-lighting scenarios. The ability to shoot up to 6K resolution with a full-frame sensor with frames for various aspect ratios provides excellent flexibility for different delivery formats.

  • Image and video quality score: 4.5/5

Blackmagic Pyxis 6K: testing scorecard

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

Should I buy the Blackmagic Pyxis 6K?

Buy it if...

You’re a solo filmmaker or a small production unit that needs a professional solution
The Blackmagic Pyxis 6K is clearly built with pro work in mind, and is incredibly versatile.

You value image quality and want RAW video
Blackmagic RAW is one of the easiest pro video formats to work with, and even at its lowest bitrate settings the Pyxis delivers sumptuous video when exposed well.

You have a higher-end cinema camera and need a B-cam
The combination of the Pyxis 6K’s sensor and Blackmagic’s color science provide an excellent starting point for delivering cinematic video. However, the camera produces an image that is robust and flexible. If you or your colorist has a basic understanding of grading, matching your clips with footage from another high-end camera should be straightforward enough.

Don't buy it if...

You need a compact all-in-one solution
The Pyxis is designed to be rigged up and utilized in a wide variety of ways. For this reason, it’s relatively stripped back, but provides users with plenty of options for customizing its form and functionality to suit their needs.

You don’t need RAW video
If color grading your footage is not something your work (or pleasure) typically requires, there’s no need to pick up a camera that offers no compressed recording formats. You’ll be adding an unnecessary step to your workflow, which will cost you time and may cost you enthusiasm.

You need high-frame-rate, high-resolution video
The Pyxis 6K can shoot 6K at up to 50/60fps in the 17:9 and 2:4:1 aspect ratio respectively. It also shoots 2K at up to 100fps. However, if high-frame-rate video is a must for you, there are other cameras to consider that are more specialized for this type of filmmaking

Blackmagic Pyxis 6K: also consider

Canon EOS C70

Canon's smallest cinema camera, the EOS C70 can be had for a similar price seccondhand to the Pyxis 6K. It's a Super 35 format camera (a smaller crop-sensor) with 4K video up to 120fps in 10-bit 4:2:2 plus 12-bit RAW recording. It boasts up to 16 stops dynamic range and utilizes Canon's RF-mount and features autofocus, while it features most of the I/O options demanded by serious filmmakers. Both the Pyxis 6K and EOS C70 put forward unique strengths.

Z CAM E2-F6 Mark II

Another cinema camera with modular box design iz Z CAM'S E2-F6 Mark II. Like the Pyxis 6K, it features a full-frame sensor and is able to record 6K video, but up to 60fps, plus it supports ProRes RAW and 10-bit color, with 15 stops dynamic range. There's SDI and full-size HDMI ports, plus a BNC timecode port and genlock. There's also the E2-S6 Mark II version which is largely the same, only it has a smaller Super 35 sensor. At $3,499, Z CAM's box camera is pricier than the Pyxis 6K

How I tested the Blackmagic Pyxis 6K

Blackmagic Pyxis 6K camera on set, with optional monitor

(Image credit: Jon Devo)
  • I had a briefing and sneak peak of the camera before its unveiling at NAB in 2024
  • I paired the camera with a variety of L-Mount lenses, and a IRIX T1.5 via a Viltrox PL-L adapter
  • I connected the camera to the Blackmagic Camera app

I was sent the Blackmagic Pyxis for review to test for a couple of weeks, due to a firmware update being released during my review window. The kit that came with the camera included the Blackmagic URSA Cine Handle, the Blackmagic URSA Cine viewfinder, a 1TB Angel Bird memory card and reader, as well as a Sigma 24-70mm F2.8 lens.

The first thing I did after receiving the camera was to conduct my endurance tests, which include battery run-downs and heat management. I set the camera up on a tripod in an ambient temperature environment of 70F / 21C, and left it filming continuously while connected to mains power and on battery power alone.

I then took the camera out with me on some street walks, and to a couple of family and evening events. I performed sound-quality tests in a small studio environment.

First reviewed January 2025

Fujifilm Instax Wide Evo review: is this the stylish instant camera we’ve been waiting for?
5:33 pm | January 22, 2025
Author: admin | Category: Cameras Computers Gadgets Instant Cameras | Tags: | Comments: Off

Fujifilm Instax Wide Evo: Two-minute review

The Fujifilm Instax Wide Evo is instantly striking with its retro design and ultra-wide body. If you're after the best instant camera for hybrid photography (i.e. the ability to print film images taken directly on the camera or sent from your smartphone) and prefer to shoot on wide format prints, then this really looks like it could be the model for you.

Although it doesn't come cheap, the Instax Wide Evo is very much the step-up from Fujifilm's other Instax hybrid, the Mini Evo, that was launched in 2021, offering most of the same great features, including an LCD display screen, 10 lens and 10 film effects that make 100 different creative combinations, and a microSD card slot, along with a few more new additions.

A hand holds up the Fujifilm Instax Wide Evo

(Image credit: Future)

A wider film print means this instant camera is a bit on the larger side, but it makes use of the extra real-estate by adding more physical buttons that let you quickly change settings. These include a dedicated wide angle button that lets you switch to a more standard field of view (FoV) if you don't want that cinematic look.

Speaking of, you can also switch between six different film styles, one of which puts black bars to give your pictures that IMAX feeling, using a button on top of the camera. There's also a dial on the left side of the camera to cycle through the 10 different lens effects, with another dial on the opposite right side to switch between the 10 different film effects. My favorite, though, is the crank that lets you manually print a picture by winding it, which is a nice design nod to the crank for winding back film on the best film cameras.

It gets five stars for fun for all the creative photo editing options it offers, but what about the image quality? I've only been able to try out the new Instax Evo Wide for an hour on the day of its launch, so I didn't test out that many settings. Although I did print out three photos, two of these were selfies (one unedited, the other cropped and enhanced before printing), which looked soft and rich with great contrast using the monochrome film effect.

The Instax Evo Wide will by no means replace your dedicated digital camera – and if you love the 'magic' of purely analog instant film cameras, then this might not be right for you either as your images will always be digital first – but it is a perfect piece of extra kit if you want to be creative with your photography and experiment with a larger field of view.

Fujifilm Instax Wide Evo: Price and availability

A hand holding the Fujifilm Instax Wide Evo

There's a dedicated button at the top of the camera for switching between six different film styles. (Image credit: Future)

The Fujifilm Instax Wide Evo was launched on January 21, 2025 with a price tag of $349.95 in the US and £319.99 in the UK. We don't yet have Australian pricing, but based on these initial figures it might cost around AU$560.

That makes the Fujifilm Instax Wide Evo one of the the priciest instant cameras of its kind, says TechRadar's cameras editor, Timothy Coleman. Indeed, for comparison's sake, the only other Instax camera that takes wide-format instant film prints is the Instax Wide 400 and that sets you back $149.99 / £129.99 / AU$229.99.

The Wide Evo is also almost double the price of Fujifilm's other Instax hybrid, the Fujifilm Instax Mini Evo, which retails for $199.99 / £174.99 / AU$299.99. Does the extra cost account for the more premium, larger features in the step-up model? We'll have to see once I've had a chance to weigh this up against its performance.

There's also optional accessories available for the Evo Wide, including a leather case that costs $49.95 in the US and £37.99 in the UK, but might be a necessary additional cost to make sure to protect the LCD display screen (if this gets too scratched up, then you won't be able to take let alone see your photos).

Fujifilm Instax Wide Evo: Specs

Fujifilm Instax Wide Evo: Design

A hand holding the Fujifilm Instax Wide Evo

The left dial on the Instax Wide Evo is for switching between the 10 different lens effects. (Image credit: Future)
  • A hybrid instant camera that can print directly or from your catalog of shots, stored on Micro SD
  • Plenty of dials and switches to select various film effects
  • Includes a mirror and switch to take selfies

When rumors started to circle about the Instax Wide Evo, there was talk that it would be "regarded as the best-looking Instax camera ever made" and that caught a lot of enthusiast's attention, including TechRadar's senior news editor Mark Wilson who said off the back of it that the "Instax Wide Evo sounded like my dream instant camera".

Considering that the only wide-format Instax camera alternative is the big and bulky Instax Wide 400, the Wide Evo's textured, minimal black design is definitely a lot more easy on the eye than the plasticky, dull green finish of its larger cousin. (Another alternative if you're set on a wide-format is 2024's Lomo’Instant Wide Glass – an attractive instant camera that we gave 4.5 stars in our in-depth review.) Indeed, I don't think many would be opposed to slinging the Wide Evo over their shoulder for the day.

The leather case that you can buy alongside the Wide Evo makes this very easy to do and might be a crucial accessory – not just for protecting it from nicks and scratches but – to make sure that it has a long life, as the LCD screen could easily get scuffed up over time. That's not great for a camera that doesn't have a viewfinder. Of course, I can't yet say that this will be an issue but it's worth considering.

A hand holds the Instax Wide Evo

This is how you would hold the Instax Wide Evo to take a selfie, with your thumb pulling down on the shutter switch button. (Image credit: Future)

It also helps that the Evo Wide is light – it weighs about half a kilo – making it very portable, but don't expect to be able to fit the Wide Evo in any pocket. As you would expect, because it takes wide-format instant prints, it's on the larger side.

The shutter button is a lot different to the Mini Evo, which has a standard push button on top of the camera. Instead of this, the Wide Evo has a rocker style switch (like the ones you would use to turn on a light) that's situated on the front of the camera, beside the lens. I found this placement and style initially cumbersome, especially when taking a selfie as I couldn't immediately engage the auto focus by half pressing it down.

To be clear, this might be just be because it was my first time using it and could become more easier, but I will say it's not initially intuitive. That's also not to say that all the buttons are like this. The spin dials and crank for printing photos, for instance, are extremely tactile and easy to use.

Fujifilm Instax Wide Evo: Performance

The Fujifilm Instax Wide Evo being held by hand

This image was shot with the warm film effect and color shift lens effect settings turned on. (Image credit: Future)
  • Plenty of scope to try different looks, with 100 creative combinations
  • The widest-ever Instax lens and wide-format prints give extra breathing room for your subjects

The Fujifilm Instax Wide Evo's built-in film and lens effects make experimenting with different styles extremely easy. The fact that you can create 100 different creative combinations with these settings means there's plenty of room to play around.

Indeed, there's even an Instax Wide app for even more editing options as well as a 'Discovery Feed' for sharing and seeing fellow creations. While I haven't yet had a chance to test these out properly, I did find these effects to cover a lot of different styles during a brief session with the new camera.

When it comes to the picture quality overall, I'm most interested in testing out how the film prints compare to those taken on an instant camera as the images are digital first on the Evo Wide. This is a big deal for me because I'm split between analog and digital, and this in my opinion takes a bit of the magic away.

For context, I bought my first Instax in 2014 and of course quickly realised how expensive this style of photography is after discarding some duds, which made me even more selective with every picture I took. My boyfriend decided to buy me an Instax printer to solve this issue, but this for me took away what I loved about the style in the first place. I also found that picture quality wasn't on par.

A hand holding Fujifilm Instax Wide Evo

The dial on the right side of the Instax Wide Evo is for switching between the 10 different film effects. (Image credit: Future)

Could a hybrid instant camera offer the perfect middle ground? Or will it be just another printer? I'll be sure to report back as soon as I've had a chance to put the new Instax Wide Evo through its paces properly.

In terms of the wide-angle prints, the larger size makes them feel much more premium than the smaller rectangular formats that mimic your smartphone pictures and is much more akin to the classic square instant prints that were once more popular. The Wide Evo has a dedicated button on the front of it that turns off the wide-angle, but I can't see myself personally using this a lot, but it's a nice feature that nods to its hybrid functionality.

Could this replace the Fujifilm Instax Mini Evo as the best hybrid instant camera? I couldn't possibly say without having tested it, but I'll be sure to report back with more details once I've got a sample in.

How I tested the Fujifilm Instax Wide Evo

  • A one hour hands-on session at the UK launch event
  • I tried various filters, two lenses and selfie mode

My time with the Fujifilm Instax Wide Evo was very brief – just a one hour session at the UK launch event in London. However, during this time, I had decent chance to get a feel for the camera; how it handles for regular photos and selfies, plus the various filter and film effects possible through the physical controls on the camera.

FeatherSnap Scout bird feeder camera review: superb design and performance, somewhat modest camera experience
12:00 pm | January 16, 2025
Author: admin | Category: Cameras Computers Gadgets | Comments: Off

FeatherSnap Scout bird feeder camera: one-minute review

If you're new to bird feeder cameras and want an easy and affordable starting point, the FeatherSnap Scout is just the ticket. It's easy to set up, and offers a robust design, reliable Wi-Fi connectivity, durable battery performance with solar charging, plus a straightforward app through which you can enjoy watching your garden visitors. These attributes combine to great effect, and made this review both easy to write and highly enjoyable, while assuring me that the FeatherSnap Scout is one of the best bird feeder cameras available.

I live in the countryside in the UK, and we get plenty of feathered visitors in the garden. I already have regular bird feeders set up in various spots, so why not swap one out for a feeder with a camera? Doing so enabled me to get a closer look at the birds I otherwise only see from a distance, from the comfort of my home, and has been a wonderful experience.

In fact, while writing this review at TechRadar's offices, many miles from home, I've been able to keep the FeatherSnap Scout's live feed active on my phone to see (and hear) which birds are stopping by – a welcome distraction that puts a smile on my face.

Setting up the FeatherSnap Scout is simple. Having pinpointed the best spots to position the bird feeder, it took me a matter of minutes to unbox the camera, head into the garden and fix it to my chosen tree using the supplied strap. I've tried placing it in a couple of spots, and once I've established the best position I'll screw it in place more securely.

FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)

With the FeatherSnap Scout in place and filled with feed, I connected it to my home Wi-Fi network via FeatherSnap's free app (available for iOS and Android) – I was able to get connected promptly, despite there being a large distance between the camera and my home router.

The app is easy to navigate, though you'll want the paid-for subscription to get the very best features – for me the video downloads proved the real highlight. Still, without the subscription you can still receive pictures that the camera takes when it detects movement, plus enjoy the live feed, complete with audio.

Image quality is what I'd expect from a basic camera with ultra-wide angle lens; color depth and resolution are limited. However, the same can be said of all bird feeder cameras, and the detail here is pretty sharp. Over the weeks using the FeatherSnap Scout I've learnt that it's a breeze to get started, reliable, offers decent battery life, and comes in at a highly competitive price point. Top stuff.

FeatherSnap Scout bird feeder camera: price and availability

  • $179.99 / £159.99 / AU$TBC
  • App subscription plan $59.99 / £49.99 per year or $6.99 / £5.99 per month

Compared to a premium option such as the 5 star-rated Birdfy Feeder 2 Duo, the FeatherSnap Scout is a snip at just $179.99 / £159.99 (availability and pricing for Australia is TBC), especially when you consider that it features two built-in solar panels. That said, to get the most out of the camera features, you'll want the paid-for Unlimited Plan, which costs $59.99 / £49.99 per year, or $6.99 / £5.99 per month. Without it you can't access some of the best features, which for me means video downloads, although personally I can take or leave the bird identification features, which didn't always prove to be accurate. At the time of writing, the best price can be found on the FeatherSnap website and Amazon – for the latter make sure to select FeatherSnap as the seller to get the prices above.

FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)

FeatherSnap Scout bird feeder camera: specs

FeatherSnap Scout bird feeder camera: design

  • Motion detection camera with ultra-wide lens and stable 2.4Ghz Wi-Fi connection
  • Strap or screw-in mount
  • Potentially unlimited battery life thanks to twin solar panels

The FeatherSnap Scout arrives fully assembled, with no construction needed, complete with twin solar panels built into its roof. The camera unit is packaged separately and snaps securely into place, attached through its USB-C port which connects it to the solar panels for continuous power.

The fiddliest part of setting the feeder up was strapping it to a tree. For a tree with thinner trunk I wrapped the strap around twice, and it feeds through a lock that's completely secure and stable. For another, larger tree, I wrapped the strap once and the setup was equally secure. I wouldn't be against attaching the camera to a tree using screws, once I know I'm fully happy with its position for year-round coverage, and if I can do that without damaging the tree.

My review period took place over the winter months in the UK, which means cold weather, short days and limited sunlight. The rugged device has withstood inclement weather, including a category 2 storm, and countless visitors (although I'm lucky that the squirrels haven't discovered it yet), and all remains well.

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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)

Initial pairing to my home Wi-Fi network took no time at all through FeatherSnap's app, and I was impressed with the stability of the connection considering the distance between my router and the device. In one position the app showed a strong connection with a distance of around 50ft / 15m, while from another side of the house, as much as 82ft / 25m, the connection was weaker but still worked.

A large battery unit is supplied, and this has a USB-C port built into it for direct wired charging. In one of the locations where I set the feeder up it was almost entirely in the shade and daylight hours were few, with the weather hovering around 32F / 0C, plus the camera was regularly active snapping visitors, and the battery was losing about 15% of its charge each day, so that's good for about a week of use.

I repositioned the camera where it would get more sunlight on sunny days, and the battery life increased. By my reckoning, provided the camera has reasonable exposure to daylight, it'll maintain its charge thanks to the twin solar panels, and most people will seldom if ever need to charge the battery.

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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)
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FeatherSnap Bird Feeder camera strapped around a tree with bamboo backdrop

(Image credit: Tim Coleman)

FeatherSnap says the bird feeder camera has a -20F to 130°F / -29C to 54.4C operating temperature. Such extremes have never been recorded where I live, but the device has worked flawlessly in freezing temperatures. It's also proved durable, in the wind and rain, and I have little doubt that it'll be up and running in my garden for a long time to come.

I will caveat any notes about durability by saying the feeder has only had feathered visitors during my review period, the largest of which was a curious magpie. Squirrels could be a different matter – they have tormented other bird feeder camera reviewers for TechRadar, damaging the likes of the otherwise-stylish Netvue Birdfy Bamboo. The FeatherSnap Scout's open trays mean that squirrels aren't likely to root around too much and damage it, and from what I can tell the extendable perch is the most likely weak point.

Something the FeatherSnap Scout lacks, which can be found in some other premium bird feeder cameras from the likes of Bird Buddy, is a speaker to project sounds, which is typically used to deter and scare away unwanted visitors. That's not been an issue in my case, but it could be for you if you get a lot of squirrels.

FeatherSnap Scout bird feeder camera: performance

  • 4MP photos are sharp enough, though color depth and dynamic range is limited
  • Full HD videos of up to 15 seconds in length taken from photo gallery in app
  • Excellent Wi-Fi performance and stable connection for a live feed, complete with sound

The FeatherSnap Scout relies on a single camera with an ultra-wide field of view. It's motion sensitive, and it snaps into action when visitors come, capturing 15-second video clips distilled into a set of three photos in the 'Snaps' gallery. Should you like any of those photos, which you can view in a chronological feed in the app, you can download them at an image size of 4MB.

That image size is pretty modest, but so far as bird feeder cameras go, it's respectable. As someone who's spoilt by using the best professional cameras, however, I've been underwhelmed by the image quality of the FeatherSnap Scout. Color depth and dynamic range is very limited, with little latitude for bringing back highlight details during sunny days or adding punch on cloudy days, to the JPEG-only files.

I'll qualify those disappointments by saying that the same is true from all bird feeder cameras that I've seen – don't get your hopes up regarding image quality. In its defense, the FeatherSnap Scout's images look pretty sharp, especially if you're mainly viewing them on a smartphone.

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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

One of my more exotic visitors – a great spotted woodpecker (Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)
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Garden bird on a bird feeder, taken with the FeatherSnap Scout bird feeder camera

(Image credit: Tim Coleman)

In addition to photo downloads, you can request the video captured by the camera. These Full HD 1920 x 1080 pixel sequences are 15 seconds in length, and can be viewed at 1x or 5x slow motion, but you can't download the latter. Video downloads are only available with the paid-for subscription. The camera's live feed is another way to enjoy feeder's visitors in real time.

During my review, I've accumulated hundreds of videos / image sequences, and these are stored / viewed in the app. You can request a download of those images, and they'll remain in the app for up to 72 hours (with the free plan) or 10 days (with the paid-for subscription) before being wiped from the gallery.

I'd love an easier way to manage all of those files, especially considering that 95% of the content in my gallery is of the same five bird species. There are bird identification functions in the app – which by the way incorrectly identified a rare visit of a great spotted woodpecker to be that of a great tit – so I'd assume there's potential for AI to play its part in managing files.

It would be nice to get a highlights of the day reel, or have a method of selecting which birds are snapped and which ones are ignored – say based on your own Bird Book (which is used to log your sitings in the app). Perhaps that's too complicated an ask, and in fairness the present setup of wiping the gallery after 72 hours / 10 days is a sensible and simple approach.

Should you buy the FeatherSnap Scout bird feeder camera?

Buy it if...

You want a close-up view of your feathered visitors
Bird feeder cameras remain one of the more affordable bits of gear for getting a close-up view of the wildlife around you, and for me the live feed provided welcome entertainment / distraction.

You're after a gift that keeps on giving
The FeatherSnap Scout is relatively affordable, and could make a great gift for a nature-loving family member.

You're looking for your first bird feeder camera
The FeatherSnap Scout is super-easy to get started with, and performs flawlessly thanks to a stable wireless connection and stellar battery life. View Deal

Don't buy it if...

You're expecting award-winning garden wildlife images
Bird feeder cameras in general are better seen as viewing and documenting devices – their basic cameras can't match the quality of even your smartphone's.

You don't want to be tied down to a paid-for subscription
The FeatherSnap Scout can be used completely for free through the app, but to get its best features – namely video downloads – you'll need the premium package.

You'll likely need to deter unwanted visitors

Unlike the best bird feeder cameras from the likes of Bird Buddy, FeatherSnap Scout lacks features designed to deter squirrels.

How I tested the FeatherSnap Scout bird feeder camera

  • Mounted to a couple of different trees and connected to my home Wi-Fi
  • Operated through cold winter months, with little daylight / sunlight
  • I monitored the visiting birds daily using the FeatherSnap app, with the paid-for subscription unlocking premium features

I set up the FeatherSnap Scout by strapping it to two different trees over the course of several weeks. Screwing the feeder into place is another option, provided you take the necessary steps to avoid damaging the tree.

My test was conducted in the UK over cold winter months, when days were short and sunlight limited. I was able to connect the FeatherSnap Bird Feeder camera to my home Wi-Fi and monitor any visitors the camera detected via the live feed, and the pictures stored in the gallery.

I used the paid version of the app to unlock all the premium features, including video downloads and bird identification.

  • First reviewed January 2025
DJI Flip review: a new breed of beginner drone
4:45 pm | January 14, 2025
Author: admin | Category: Cameras Computers Drones Gadgets | Tags: , | Comments: Off

DJI Flip: one-minute review

In true DJI fashion, the world's leading drone manufacturer has surprised us by announcing a new kind of drone that also feels somewhat familiar: the DJI Flip is an all-in-one camera and vlogging drone with a unique, first-of-its-kind folding design that features four built-in propeller guards rather than propeller arms. This is part of a safety-first approach that ties in perfectly with the vlogging aspect of the drone, but there's no getting away from the fact it also looks, well, quite odd.

Folded, the Flip looks like a spacecraft from Star Wars, and when unfolded, it looks like a mashup between a cinewhoop FPV drone and a camera drone. From my point of view, in terms of design, functionality and performance, it sits somewhere between the DJI Neo and the DJI Mini 4 Pro, although the Mini 4 Pro is a far superior drone for photo and video capture as well as for overall flight performance.

DJI Flip ready for palm take-off

(Image credit: James Abbott)

That said, the Flip is ultimately a beginner drone that comes in at a beginner-friendly price, and the Flip and Mini 4 Pro are completely different propositions – it's the camera drone functionality with the ability to capture photos in JPEG and raw, alongside up to 60fps 4K video capture in both Standard and D-Log M profiles, that led me to make the vague comparison. The Flip is certainly also a much more versatile drone than the Neo, but incorporates the same subject-tracking capabilities and some of the Neo's varied control options.

DJI Flip: release date and price

  • Released January 14 2025
  • The DJI RC-N3 base kit costs $439 / £369 / AU$699
  • The DJI RC 2 Fly More Bundle costs $779 / £659 / AU$1,159

The DJI Flip was announced on 14 January 2025 and is available in three kit options: the standard DJI Flip kit includes the drone, DJI RC-N3 controller, one battery, a pair of spare propellers and other basic accessories and costs $439 / £369 / AU$699, while the kit with the DJI RC 2 (smart) controller is $639 / £549 / AU$949.

At release, there isn't a Fly More Bundle that incorporates the simpler DJI RC-N3 controller, just one with the DJI RC 2 controller that costs $779 / £659 / AU$1,159. This more comprehensive kit includes all of the above plus two additional batteries, a four-battery charging hub, a shoulder bag and two additional pairs of spare propellers. The Fly More Combo is decent value when you consider the advantages it delivers when compared to the base kit.

DJI Flip and DJI RC 2 controller side by side

(Image credit: James Abbott)

DJI Flip: specs

DJI Flip: design and handling

  • Unique folding design
  • Enclosed propellers
  • Regulator-friendly sub-250g weight

DJI's folding drone design has followed a linear path until now, and why not? It's tried and tested, and works exceptionally well. But with a drone that incorporates propeller guards into the design rather than propeller arms, something was always going to be different.

The Flip has four propeller guards that fold out from beneath the airframe, front propellers first and then the rear. The front guards also have fixed short legs attached to raise the front of the drone when it's on the ground.

So, despite the regulator-friendly sub-250g weight, the Flip is larger than DJI Mini models when folded, and has a much larger footprint when unfolded. Unfolding the Flip also brings it to life and powers it up, so it's best to remove the gimbal protector before unfolding the drone from its 5.35 x 2.44 x 6.5 inches / 136 x 62 x 165mm folded size to its 9.17 x 11 x 3.11 inches / 233 x 280 x 79mm unfolded dimensions.

The propeller guards are made of polycarbonate around the edges, with lightweight and strong carbon fiber string top and bottom. This makes the drone safer for flight close to people – yourself rather than others – and also allows for palm take-off and landing, which is useful as it negates the need for a landing mat, and means you can take off and land almost anywhere that's safe and legal.

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DJI Flip top view

(Image credit: James Abbott)
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DJI Flip bottom view

(Image credit: James Abbott)
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DJI Flip folded side view

(Image credit: James Abbott)
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DJI Flip propeller guards

(Image credit: James Abbott)
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DJI Flip front of drone

(Image credit: James Abbott)
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DJI Flip DJI RC 2 controller

(Image credit: James Abbott)
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DJI Flip carry bag

(Image credit: James Abbott)
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DJI Flip ND filter set

(Image credit: James Abbott)
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DJI Flip battery charging hub

(Image credit: James Abbott)

The airframe is tall for a drone in this weight category. There's a 3D infrared sensor at the front of the drone above the gimbal, and the black plastic panel also shows which intelligent shooting mode is currently active.

This is particularly useful when using the drone independently without the DJI Fly app or a controller, although the drone does 'tell' you which mode is active when you press the mode button on the side to switch.

Like the DJI Neo, the Flip can be flown using the intelligent flight modes app-free, with the app and using voice control, or with either the DJI RC-N3 controller or the DJI RC 2 smart controller.

Both controllers are great, although the DJI RC 2 is the most convenient option because it has a bright and clear built-in 5.5-inch display, so there's no need to connect your smartphone.

DJI Flip: features and performance

  • Not great in wind
  • Intelligent flight modes
  • AI subject tracking

The Flip specs available before launch didn’t specify a maximum wind resistance, but even in a moderate headwind the drone was severely slowed down. This could be a result of the size and shape of the propellers as well as the propeller guards themselves, but the Flip can still fly at a reasonable maximum speed of 27mph in Sport Mode, with Cine and Normal providing slower flight speeds.

In terms of flight, when using the Flip like a camera drone using one of the two traditional controller options, the drone flies well except for the aforementioned wind issue. It's certainly not as agile as a Mini 3 or Mini 4 Pro, but the controls are the same, and the ability to take off and land from the ground or the palm of your hand is extremely useful.

Just like the DJI Neo, the Flip is a selfie drone, but is marketed as a vlogging drone. This is because audio can be captured via the DJI Fly app when enabled, so you can record your voice while capturing video, or with the DJI Mic connected to your smartphone for improved sound quality. Propeller noise is filtered out or reduced in both situations.

DJI Flip front view

(Image credit: James Abbott)

Just like the Neo, the Flip's Intelligent flight modes include Follow, Dronie, Circle, Rocket, Spotlight, and Helix. Within the app there's also Manual Control, which allows you to fly the Flip using on-screen controls, and when using a standard controller you can also access Quickshots, which include Dronie, Circle, Rocket, Spotlight, Helix, and Boomerang.

AI subject tracking aims to keep the subject in the centre of the frame during photo and video capture using the intelligent flight modes, which utilize ActiveTrack 4.0, Spotlight 2.0, and Point of Interest 3.0; this is highly effective, and cannot be faulted. What's more, when tracking, the Flip was able to navigate complex environments successfully thanks to the 3D Infrared Sensing System.

The Flip is as feature-packed as any other DJI drone, and the 3D Infrared Sensing System appears to work well, with forward-facing sensors that enable limited collision avoidance. This can be seen in action on the controller screen when using Return to Home, where the planned direction and route of the drone are shown as a green overlay. DJI also claims that this system makes flight safer at night.

Other features include Hyperlapse with Free, Circle, Course Lock and Waypoint options that can capture hyperlapse videos at up to 4K horizontally or 2.7K vertically. There's also Panorama photo capture, but this is fairly basic panorama functionality, and manual panos typically produce superior results.

More useful additional features include fast charging, with the charging hub able to charge two batteries simultaneously, and data transfer speeds of up to 30MB/s via the DJI Fly app to move photos and videos captured with the Flip to your phone. The Flip can also be plugged into a computer via USB-C, and you can transfer data from the 2GB internal storage and / or microSD card without having to switch the drone on.

DJI Flip: image and video quality

  • 1/1.3-inch sensor
  • Up to 4K 60fps video
  • 12MP / 48MP raw and JPEG photos

DJI Flip camera close-up

(Image credit: James Abbott)

The Flip features a 3-axis mechanical gimbal for smooth footage, while the camera offers a 24mm equivalent focal length with a fixed aperture and focus from 1m to infinity. The 12MP / 48MP 1/1.3-inch Quad Bayer 4-in-1 sensor features large pixels and Dual Native ISO Integration for improved low-light capture. Then there's up to a 4x digital zoom, depending on the shooting mode and capture resolution.

Image quality is good, but it's not anywhere near as good as what you'll get from the DJI Mini 3 or Mini 4 Pro. The photos and videos you can see here were captured with a prerelease version of the DJI Fly app and prerelease firmware, so this has to be considered, but it's unlikely that post-release software will make a dramatic difference in this area. Photos and videos exhibit a slight murkiness, with images captured being sharpest in the center of the frame, and softer at the edges.

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Photo of houses and a river taken with the DJI Flip

(Image credit: James Abbott)
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Photo of a lake at sunset taken with the DJI Flip

(Image credit: James Abbott)
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Photo of empty boat moorings taken with the DJI Flip

(Image credit: James Abbott)
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Photo of a town taken with the DJI Flip

(Image credit: James Abbott)
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Photo of an industrial site taken with the DJI Flip

(Image credit: James Abbott)
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Photo of a town taken with the DJI Flip

(Image credit: James Abbott)
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Photo of houses and apartments taken with the DJI Flip

(Image credit: James Abbott)
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Photo of an industrial site taken with the DJI Flip

(Image credit: James Abbott)
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Photo of an industrial site taken with the DJI Flip

(Image credit: James Abbott)

The Flip is a beginner model, so this level of image quality is to be expected. And as always, deficiencies in image quality are less visible in video, when the drone is moving. Despite the drone's beginner nature, it's also aimed at vlogging, so video can be captured in 4K at up to 60fps, 4K at 100fps in Slow Motion mode and 1080p up to 100fps, and vertical video can be captured at 1080p and 2.7K at 30fps.

The latter is cropped from the horizontal camera / sensor rather than you having the ability to rotate the camera into portrait orientation, as with the DJI Mini 3 and Mini 4 Pro. This capability would be a fantastic feature, as would it allow for not only 4K vertical capture, but also for portrait-format photos. With social media video content so heavily focused on vertical video, however, the cropped upright video is still a useful feature for a drone aimed at vlogging.

For beginners, and those aiming for straight out-of-camera footage, you can capture video in the Normal color profile. More advanced users can capture in the 10-bit D-Log M flat profile for greater control and the ability to color-grade footage.

With this profile, the maximum bitrate is 150Mbps. Photos can be captured in both JPEG and raw, so in terms of photo and video capture the Flip offers more impressive options than the Neo, despite its flight mode and control similarities.

DJI Flip 4K 30fps video

DJI Flip: testing scorecard

Should I buy the DJI Flip?

Buy it if...

You'd like multiple control options
With the ability to fly the drone app-free, with the app, or with one of two controller options, the Flip can be used as both a vlogging / selfie drone and a camera drone.

You’re a drone beginner
The intelligent flight modes for easy and effective subject tracking, alongside the Flip's capabilities as a camera drone, make it a compelling option for beginners.

You'd like palm take-off and landing
Thanks to the overall design of the Flip, including the propeller guards, the drone can take off from and land in the palm of your hand, which is incredibly useful in tricky or muddy locations.

Don't buy it if...

You'd like superior image quality
The Flip's image quality is good but not outstanding, so if you're looking for great image quality on a budget the DJI Mini 3 is far superior, and offers additional features such as a rotating camera.

You don’t require subject tracking
If you don’t intend to use the intelligent flight modes, there are much better DJI drones available for a similar price or lower, and overall flight performance is typically better than the Flip.

You'd prefer a first-person view
The Flip may look like an FPV drone, but it's not. If you'd prefer to capture immersive FPV video, the DJI Avata 2 is a beginner and expert-friendly FPV drone.

DJI Flip: also consider

DJI Neo

The DJI Neo is a selfie drone that features the same intelligent flight modes as the DJI Flip, alongside propeller guards for safety. It can also be controlled in multiple ways, but exceeds the Flip in this department with DJI FPV accessory compatibility. The camera functionality is limited in comparison, but the Neo can capture 4K video, and costs less than the Flip.

Read our in-depth DJI Neo review

How I tested the DJI Flip

  • All features and functions tested
  • Flown app-free, with the DJI Fly app, and the DJI RC 2 Controller
  • Tested in different conditions

I tested the DJI Flip using all of the control methods available to see how it performed as both a vlogging and selfie drone, as well as a camera drone.

Photos and videos were captured in a range of conditions including overcast, sunny, and windy to see how well it performed in these situations.

All features and functions that were available in the pre-release app and firmware, including flight, photo and video capture, were also tested to assess their effectiveness in real-world situations.

First reviewed January 2025

Akaso Brave 8 review: a solid, cheaper GoPro alternative
3:00 pm | January 9, 2025
Author: admin | Category: Action Cameras Cameras Computers Gadgets | Comments: Off

One-minute review

It looks like a GoPro with its mounting case and front-facing screen, but the Akaso Brave 8 comes at a more modest price, with image quality that will meet the demands of most users. With 2x batteries, a dual charger, a remote control, and a range of mounts, it has everything you need out of the box.

During my review, the small front-facing screen made it easy to vlog adventures, whilst the rear touchscreen was responsive enough to touch to make changing settings easy. However, there are also negatives; the image stabilization in-camera is good, without being great, but the so-called SuperSmooth option, which requires processing in the accompanying camera app, isn't a patch on what GoPro offers; and the improvement over the Brave 8's in-camera stabilization is modest. The app is useable but clunky in places, and the sound recording could also be improved.

Overall, the Akaso Brave 8 is a solid little action camera with all you need to get started; the video quality is good, and the stabilization ok if you aren't hammering the camera on a bike, be it pedal or motorized. The problem is that older generation GoPro Hero cameras can still be purchased new in some places for around the same price, and more recent ones will solve many of the faults of the Akaso Hero 8. So, whilst it is cheaper than the GoPro Hero 13 Black, those thinking about the Akaso Hero 8 may want to step back a GoPro generation or two instead. For ideas of other options check out our best action cameras guide.

That said, Akaso is an emerging brand, and its products regularly seem to be discounted or have extras, such as memory cards, also offered as part of the package. So if the stabilization and audio issues won't affect you significantly, it may be worth keeping your eyes open for an offer.

Akaso Brave 8: price and release date

The Akaso Brave 8 is available via Amazon and, at the time of writing, is priced at $289.99, but there is the option of a promotional $50 money-off voucher. In the UK, the kit also includes at 64GB Micro SD card and is £244.99, not including a £40 off voucher promotion.

Keep an eye out for deals and limited-time offers on Amazon, particularly during sales periods when additional memory cards or money-off vouchers may be applied.

Akaso Brave 8 specs

Akaso Brave 8 in-hand

(Image credit: Future)

Akaso Brave 8: design

The Akaso Brave 8 action camera adopts a familiar design: let's be honest, it is a GoPro clone in a market that is already flooded with GoPro competitors. However, even at a glance, you can tell that it is far from a cheap knock-off, with a rear touchscreen, front facing screen, all packaged in a body that is waterproof up to a depth of 33ft / 10m.

Size-wise the Akaso Brave 8 measures 63x45x36.5mm which overall makes it slightly smaller than the GoPro Hero 13 Black, which measures 71.8 x 50.8 x 33.6mm

Behind the 16mm f/2.5 lens sits a 1/2 inch size sensor. As a comparison, the GoPro Hero 13 uses a 1/1.9inch sensor, which means the two sensor sizes are comparable. The sensor can capture images at up to a 48MP resolution, and video can be captured at up to 4K 60fps. If you want to shoot timelapse videos, then these can be captured at 8K resolution, whilst moving timelapses (hyperlapses) can be captured at 4K 30fps.

If slow motion is more your thing, then 2.7k footage can be captured at up to 120fps and Full HD can go to an impressive 200fps.

All of that footage is saved on to Micro SD cards, and the Brave 8 can accept cards with a capacity of up to 512GB. In terms of speed, my review sample of the Akaso Brave 8 was supplied with an Akaso-branded 64GB Micro SD XC UHS I card with U3 rating, meaning the card had a minimum write speed of 30MB/s - which is the same as a V30 card.

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Image of the Akaso Brave 8 Action camera

(Image credit: Future)
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Image of the Akaso Brave 8 Action camera

(Image credit: Future)
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Image of the Akaso Brave 8 Action camera

(Image credit: Future)
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Image of the Akaso Brave 8 Action camera

(Image credit: Future)
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Image of the Akaso Brave 8 Action camera

(Image credit: Future)
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Image of the Akaso Brave 8 Action camera

(Image credit: Future)

The layout of the camera is straightforward; there is a rear touch-sensitive screen, as well as a smaller square front screen that sits alongside the lens. There are just three buttons on the camera with the power/display button on top and a Recording start/stop button. On the side is the Mode button.

The Micro SD card socket and a USB-C socket are located on the side of the camera, behind a well-sealed waterproof door. The USB-C socket can be used to power the camera or charge the battery.

On the bottom of the camera is an equally well-sealed battery compartment. Akaso supply two batteries, each with a capacity of 1,550mAh, which is a little less than the 1,900mAh batteries of the GoPro Hero 13 Black. However, credit to Akaso for supplying two batteries so that you can always been filming and charging, which, as I found out, is needed with this camera.

The extra battery is just one of a whole host of supplied accessories, including a tiny USB-C dual battery charger, so you can charge both batteries at the same time. A remote control is also included, as well as a camera mounting frame/case, a GoPro style mount, a helmet mount, a handlebar mount, an adhesive pad, a zip tie, a strap, and a lens cloth. It is a very solid set of accessories.

Akaso Brave 8: performance

Overall, the Akaso Brave 8 performed very well, especially considering its price. However, it wasn't without its quirks, and we will discuss those shortly.

Of course, the main thing is the video quality. I did most of my shooting in the 4K / 30fps setting, which produced quite nice footage that is on par with what you would expect for an action with a sensor of this size.

Key to a lot of action cameras is, of course, stabilization performance, and there are three different modes to choose from. The first is no stabilization. Then, there is a Normal, an in-camera stabilization mode with a six-axis gyroscope that applies the EIS 4.0 algorithm to stabilize the footage electronically. Finally, there is a Super Smooth option. This mode records all of the gyroscopic information but doesn't apply any of it in the camera; instead, you upload your clip to the app, where the gyroscopic data is read, and then stabilization is applied.

I found that the difference between the Normal stabilization and the Super Smooth stabilization wasn't as dramatic as I thought it would be. In most circumstances, I believe that users are probably better off just sticking to the Normal option, which softens rather than completely smoothing out any bumps or shakes. The extra step of uploading and applying Super Smooth in the app seems like a significant additional effort for a very little extra reward. Here, the camera falls way behind the stabilization that the latest GoPro cameras offer.

A decent amount of settings allow control of the video image. You can change the exposure metering to any one of several modes, and there is exposure compensation should you wish to make adjustments, which I did.

Generally, the camera produced images with a good exposure. I did tweak it a few times in extreme conditions. For example, filming in a forest could be pretty dark, with the bright light coming through the trees, causing the image to be dark, and then at other times, with no sky in the shot, it lightened the image quite a lot. I found myself making +/-0.3EV changes to the image to balance this out. What it was good at was getting the exposure correct when a face was in the scene, which is great for vlogging and filming your adventures. I advise experimenting with the different metering settings and seeing what suits your needs best.

In addition to exposure compensation, you can also change the ISO sensitivity, sharpness, plus there are two color settings - Normal or Vivid. It may not be the most comprehensive in terms of all the color settings or image styles. Still, it is good enough for the basics, particularly if your goal is capturing memories rather than producing cinematic experiences.

Some lasting memories I captured included filming my children running in and out of the sea on holiday. I put the Brave 8 on a selfie stick and shot low-angle shots of them running and jumping over the waves. The waves sometimes smashed over the camera, completely submerging it in salty Atlantic water. After a few months, the camera still works perfectly fine, with no adverse effects from the sand or saltwater.

The in-camera microphone recorded voices clearly enough, but it should be noted that wind noise was picked up quite significantly, even when it wasn't obviously windy. I wouldn't think of using the audio if I was on a motor or pedal bike. Additional microphones can be attached via USB-C, but sadly, the camera has no mounting points.

The touchscreen worked well and was responsive, with onscreen buttons and navigation presenting no problem. I found it was easy to change settings and navigate the menu.

As well as the included remote control, there is also the option to control the camera via voice commands. Again, I tried this - it is especially useful when you have the camera mounted to a helmet. The real trick is remembering the exact commands that you have to say to start and stop recording and to make sure that you say them clearly.

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Image taken with the Akaso Brave 8 Action Camera

(Image credit: Future)
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Image taken with the Akaso Brave 8 Action Camera

(Image credit: Future)
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Image taken with the Akaso Brave 8 Action Camera

(Image credit: Future)
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Image taken with the Akaso Brave 8 Action Camera

(Image credit: Future)

I didn't take many images with the camera as the video aspect is more appealing to people, but the photos look okay. There are problems with exposure, which is largely due to the sensor's small size. There didn't seem to be much HDR processing going on in terms of lightening shadow areas or pulling back highlights like you would get with a smartphone these days.

Given it is a wide-angle lens, you probably want to stick to the 48MP resolution just in case you do want to crop in a little bit more as images are very very wide on the camera.

As you would expect, there are further record modes, such as being able to shoot a time-lapse video or a time-lapse photo, that I'll be honest I didn't delve too much into, however, I did have a quick play around with them, and there seems to be quite a long interval between the images taken to create a time-lapse video, so I wouldn't use it for any activities such as mountain biking or running or skiing or anything like that. If you want to create a little clip of a ride, you're better off using the Hyperlapse setting for that, while the timelapse mode is better for things you would traditionally use a timelapse for, such as clouds passing over city scenes.

Overall, I am pretty impressed with the image quality and features that the Akaso Brave 8 offers. However, it lacks the finesse and quality you expect from a GoPro, DJI, or Insta360 action camera. Sadly, the image stabilization will be a letdown for those wanting super steady footage. Similarly, the microphone and audio processing need some tweaking to bring it up to scratch.

However, Akaso will be a budget action camera brand to keep an eye on as they have a solid foundation on which to build, particularly as some of the issues can be updated via firmware or more power processing in a future camera.

Should I buy the Akaso Brave 8?

photo of the Akaso Brave 8 action camera

(Image credit: Future)

Buy it if...

You can't afford GoPro
Although GoPro has faced competition from DJI in recent years, they are still the leading action camera brand. However, if you can't stretch to a GoPro the the Akaso Brave 8 provides most of the features at a cheaper price.

You want an all-in-one solution
With so many accessories included in the box, the akaso Brave 8 is great for those who want to get started filming straight away rather than trawling Amazon for the mounts and extra batteries that they need.

You want to stand out from the crowd
If you don't want to go with the usual brands and try something new, Akaso seems to be a brand to keep an eye on in the action camera world.

Don't buy it if...

You want to take photos
Although the Akaso Brave 8 can capture photos, its quality falls way behind that of most contemporary smartphones. If you think you will be taking more pictures than videos, then it is probably best to avoid the Akaso Brave 8.

You don't mind having an older kit

If you don't mind an older action camera, then the GoPro Hero 10 Black has many of the same features, but with with better stabilization, for around the same price new, or significantly cheaper if you go with a used camera.

You won't be getting wet.
If you like to keep your feet dry, then something like the DJI Osmo Pocket 3 offers superior image quality and stabilization but obviously lacks the ability to be used underwater.

Image of the Akaso Brave 8 in its case with a GoPro style mount

(Image credit: Future)

How I tested the Akaso Brave 8

  • I used the camera for a couple of months in a variety of situations
  • I filmed a hike I did in British Columbia
  • I tested the waterproof properties by filming on the beach and in the sea

I used the Akaso Brave 8 for several months as a compact camera to film family events and vacations. I even used it a few times to film my kids playing in the sea, which allowed me to test the camera's waterproof qualities.

On a trip to British Columbia, Canada, I turned the camera on myself, using a selfie stick to film myself while hiking and mounting it on a small tripod while swimming in a glacial lake.

Finally, I used one of the included mounts to attach the camera to my bike helmet. With my iPhone mounted to the bike, I could monitor what was being filmed using the Akaso app.

At various points during the camera's use, I connected it to my smartphone to check footage and add stabilization to specific videos. I also used the voice control options and the physical remote control.

First reviewed January 2025

Nikon Z50 II review: a pocket rocket at a competitive price
7:03 pm | January 7, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: | Comments: Off

Nikon Z50 II: two-minute review

A tidily packaged APS-C camera with great handling and plenty of features at decent price, we rated the original Nikon Z50 highly. Its successor takes that recipe and supercharges it, with the help of an Expeed 7 processor. The result is a versatile mirrorless camera that’s perfect to learn and grow with.

Its dimensions are neat enough to compete with the best travel cameras, yet Nikon hasn’t sacrificed ergonomics. Slightly larger than the original, the Z50 II feels fantastic in the hand. With a deep grip and plenty of direct-access controls, as well as a useful vari-angle touchscreen and upgraded viewfinder, it’s a satisfying camera to shoot with, whether you’re capturing stills or video.

Under the hood, Nikon’s latest Expeed 7 processor runs the show – the same silicon found in the Nikon Z9 and Z8. It might be pitched as an entry-level option, but that chip gives the Z50 II some serious pace. The interface is quick as you like, while autofocus performance is superlative. Equipped with detection modes for nine different subject types, including people, animals and vehicles, it’s as fast and accurate as many of Nikon’s more expensive models.

Processor aside, a lot remains unchanged from the Z50. That includes the APS-C sensor which, at 20.9MP, is bettered by many of the best beginner mirrorless cameras. That said, it’s still capable of producing detailed and realistic images when paired with a quality Z mount lens. If you already own a Z50, you won’t notice a huge difference in overall quality – although noise performance has been improved thanks to the Expeed 7 processor, meaning stills are cleaner at the same ISO settings.

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

Nikon has also bolstered the video capabilities of the Z50 II, boosting its status as an all-rounder. 4K frame rates now top out at 60fps, albeit with a 1.5x crop, and it becomes the first Nikon APS-C camera to support 10-bit N-log video – giving videography enthusiasts more flexibility when color grading in post. A headphone socket is a welcome addition, too.

The features above are complemented by a new Product Review mode, which allows influencers to produce content where the focus shifts seamlessly from presenter to product. There’s also a Picture Control button on the top plate, which gives easy access to color presets, with the option to add downloaded Creator Recipes alongside the built-in presets.

Taken as a whole, the Z50 II proves that one camera can work effectively for different creative styles and experience levels. Buy it as a beginner and it will quickly yield impressive results. Stick with it as you improve and the Z50 II has the controls and capabilities to continue delivering.

Nikon Z50 II: price and release date

  • Body-only price: $909.95 / £849 / AU$1499.95
  • With the 16-50mm kit lens: $1,346.95 / £1,199 / AU$ N/A
  • Available now

Like the original Z50, the Z50 II is positioned at the entry-level end of Nikon’s Z mount line-up. With a body-only price of $909.95 / £849 / AU$1499.95, that feels like a competitive offer for such a well-rounded APS-C camera.

In Australia and the US, the Z50 II costs pretty much the same as the original did at launch. In the UK, it’s cheaper by £50. That makes it excellent value. While the Z50 can now be found at a discount online, we think the second-gen version is the smarter buy: it’s not a total upgrade, but its powerful processor and video upgrades make it the more accomplished all-rounder.

That price also makes it slightly cheaper than the Canon EOS R10, our current favorite camera for beginners and arguably the Nikon Z50 II’s closest rival. Both are compact APS-C cameras with modern autofocus and comparable video skills. Which is right for you will come down to more than cost alone, but the Z50 II wins on price.

The Z50 II can also be picked up with bundled lenses. If you’re not already bought into the Z mount system, this is a great way to save on entry-level glass. Options include a single-lens kit with a 16-50mm VR lens for $1,049.95 / £999, and a twin-lens kit which throws in a 50-250mm VR number for $1,299.95 / £1,199. There’s also an 18-140mm kit in the UK and Australia for £1,299 / AU$2,279.

  • Price score: 5/5

Nikon Z50 II: specs

Nikon Z50 II: design and handling

  • Upgraded viewfinder and vari-angle touchscreen
  • Slightly bigger dimensions with a deeper grip
  • Dedicated Picture Controls button for style presets

At first glance, the Nikon Z50 II bears a strong resemblance to the original Z50. It’s a tidily packaged camera, very much in the established mold of entry-level mirrorless models. Its dimensions are compact enough to be travel friendly, yet it also benefits from a sturdy build and comfortable ergonomics.

That’s in part because the Z50 II is marginally bigger and heavier than the first version. In the hand, we found its grip substantial enough to wrap our fingers around, without being cumbersome. We also appreciated the extra grams: the body features plenty of plastic, but doesn’t feel flimsy in use.

Look closer at the Z50 II and you’ll find several welcome refinements. The tilting screen of the original has become a fully articulating display, a much more flexible solution for framing on the move. This is especially useful for videography and vlogging, as it can flip all the way around to face the front. So is the addition of a headphone port, which allows aspiring filmmakers to monitor audio in real time when recording footage.

The viewfinder has also received the attention of Nikon’s product developers. It has the same 2.36m-dot resolution as before, but is now twice as bright at up to 1000 nits. In practise, that makes the EVF an easier adjustment for the eyes when framing and shooting in daylight conditions.

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Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
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Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
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Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
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Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

Eagle eyes will also discover new additions to the control layout. In our review of the Z50, we complimented the layout and balance of its buttons and dials, praising its resemblance to full-frame Nikon siblings like the Z6 and Z7. The Z50 II gets closer still, with the addition of five new buttons.

You still don’t get a joystick, which means selecting the AF point requires use of the touchscreen. What you do get are zoom buttons, a display button and a dedicated drive button. These aren’t game-changing additions, but we valued their presence: they bolster the Z50 II’s chops for aspiring enthusiasts, making it easier to change key settings, without cluttering the interface.

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Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
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Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
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Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
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Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

The fifth new button sits on the top plate. A first for any Nikon camera, it gives instant access to Picture Controls – a library of aesthetic presets. To seasoned users, this might sound like a fad, but we think it will appeal to learners who want to get creative while shooting JPEGs. 31 profiles come pre-installed, with the option to adjust them through NX Studio. You can also download Creator Recipes from Nikon Imaging Cloud, and select which appear in the list.

The button’s presence leans into the Z50 II’s status as a camera for all kinds of creators. So does the fact that you can re-program its function, a useful option which will appeal to users as they move into shooting RAW stills and making color edits in post.

  • Design score: 4.5/5

Nikon Z50 II: features and performance

  • Expeed 7 processor drives subject-recognition AF
  • Same 20.9MP APS-C sensor as the Nikon Z50
  • First Nikon APS-C camera with 10-bit N-log video

If you already own a Nikon Z50, you’ll find a lot of familiar numbers on the spec sheet. The Z50 II uses the same 20.9MP APS-C sensor as its predecessor. Its mechanical burst speeds max out at 11fps. And, like many of the best mirrorless cameras for beginners, it still doesn’t offer in-body image stabilization. What it does have is a new engine.

The headline upgrade for the Z50 II is its Expeed 7 processor – the same chip used by the flagship Nikon Z9 and, subsequently, the Z8. This is the first time it’s been fitted to an APS-C body. As the motor that drives everything from autofocus to burst shooting speeds to video frame rates, it has a lot to do. Based on our experience, the Expeed 7 makes the Z50 II a proper pocket rocket.

Chief among the benefits of that new chip is top-spec subject-recognition autofocus. It might be an entry-level model, but the Nikon Z50 II can detect and lock on to targets rapidly and reliably. It has dedicated detection modes for nine different subject types, including people, animals, birds and cars, as well as an auto setting which can pick up a range of subjects at the same time.

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

In our experience, the Z50 II’s autofocus performance feels just as snappy in action scenarios as many of Nikon’s more expensive full-frame Z series models. With a new High-Speed Frame Capture+ mode which allows you to shoot at up to 30fps using the electronic shutter, this is a camera that’s perfectly comfortable covering action. We did encounter some rolling shutter when using this mode, but it's nevertheless an impressive feature for an entry-level camera.

It helps that the SD card slot now supports UHS-II cards for faster read and write speeds. The USB port has also been upgraded to a Type-C number, which brings a host of benefits: as well as 5Gbit/s transfer rates, it can be used to charge the camera directly, while UVC/UAC compatibility means it can be used as a webcam without the need for additional software.

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

Nikon has pitched the Z50 II as a hybrid, which is reflected in its video skills. Even with the same sensor as the Z50, Nikon has harnessed the power of the Expeed 7 to squeeze more recording performance out of it. That includes the ability to capture 4K/60p video, albeit with a 1.5x crop. Uncroppped 4K footage is shot at 30fps, oversampled from 5.6K.

It’s also the first Nikon APS-C camera to support 10-bit N-log video, as well as the option to use RED Luts. This makes the Z50 II a camera with the flexibility for budding filmmakers to grow with, as they learn the ropes of videography and start to explore the possibilities of color grading.

These enthusiast-grade video capabilities might go beyond what most beginners need, but the Z50 II is also well-equipped for first-timers. A new Product Review mode seamlessly adjusts focus from the presenter to an object brought into the frame, similar to the Product Showcase feature found on cameras like the Sony ZV-1. It won’t be relevant to everyone, but if you have ambitions of becoming an influencer, it’s an effective tool.

Like the Z50, the Z50 II features electronic vibration reduction to help steady handheld footage. As before, this applies a 1.3x crop to video. Nikon claims that the feature has been improved for the Z50 II, though our tests found that it still isn’t a replacement for full in-body image stabilization.

  • Features and performance score: 4.5/5

Nikon Z50 II: image and video quality

  • Excellent image quality in most conditions
  • Better noise-handling than the Z50 at the same ISO
  • 4K/60p video with a 1.5x crop

On the whole, images from the Z50 II are as they were with the Z50: realistic, vibrant and clear. While its competitors offer higher resolutions, the 20.9MP sensor inside the Z50 II still does an admirable job of capturing detail.

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Sample images shot with the Nikon Z50 II

(Image credit: Chris Rowlands)
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Sample images shot with the Nikon Z50 II

(Image credit: Chris Rowlands)
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Sample images shot with the Nikon Z50 II

(Image credit: Chris Rowlands)
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Sample images shot with the Nikon Z50 II

(Image credit: Chris Rowlands)

With the white balance on automatic, we found stills out of the camera to be nicely saturated and just the right amount of dynamic range, without straying too far from neutral. The metering system coped well in a range of lighting scenarios, delivering well-judged exposures. We found that skin tones in particular were rendered faithfully in natural lighting, with a touch of warmth only detectable when shooting under heavy artificial lighting.

While its sensor size and ISO range are unchanged, we found that the Nikon Z50 II handles noise better than the Z50, thanks to the Expeed 7 processor. It was always going to lose out to its full-frame siblings, but you can get away with pushing the ISO number higher on the Z50 II before significant smoothing becomes an issue. ISO 12800 is still the upper limit, but you can comfortably lean on ISO 6400 if the conditions demand it.

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Nikon Z50 II sample images

(Image credit: Chris Rowlands)
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Nikon Z50 II sample images

(Image credit: Chris Rowlands)
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Nikon Z50 II sample images

(Image credit: Chris Rowlands)
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Nikon Z50 II sample images

(Image credit: Chris Rowlands)
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Nikon Z50 II sample images

(Image credit: Chris Rowlands)
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Nikon Z50 II sample images

(Image credit: Chris Rowlands)

If you’re purely a stills photographer, you will get better resolution elsewhere. What sets the Z50 II apart as a value offering is its autofocus performance, as well as its hybrid video abilities. As noted above, stabilization isn’t perfect, but the same adjectives are true of 4K footage from the Z50 II as for its stills.

We found 4K/60p video to be well-defined and nicely balanced. In our tests, the Z50 II adapted well to different light sources and levels, producing lifelike footage that’s good for grading. Used with a tripod, we can’t see content creators having any issues with the video that the Nikon Z50 II captures.

  • Image and video quality score: 4.5/5

Nikon Z50 II: testing scorecard

Should I buy the Nikon Z50 II?

Buy it if...

You want top-spec autofocus
Driven by Nikon’s Expeed 7 processor, the Z50 II offers autofocus performance to rival the flagship Z9. With subject detection modes for people, animals and more, it’s rapid and reliable.

You value ergonomics and handling
A deeper grip makes the Z50 II even more comfortable to shoot with. A vari-angle touchscreen is helpful for framing, while new buttons bring its control layout in line with full-frame Z models.

You want to shoot a mix of stills and video
With 4K/30p footage oversampled from 5.6K, plus support for N-log 10-bit recording and a useful Product Review mode for vloggers, the Z50 II has the video capabilities of a proper hybrid.

Don't buy it if...

You already own the Z50
Performance improvements from the Expeed 7 processor are notable, but with few other changes to the overall package, there’s probably not enough here to justify upgrading from the original Z50.

You need in-body image stabilization
Like many entry-level mirrorless cameras, the Z50 II lacks in-body image stabilization. Electronic video stabilization is available with a crop, but you’ll need a VR lens for optical shake reduction.

You want high-resolution stills
At 20.9MP, the Z50 II’s APS-C sensor doesn’t have the highest pixel count. If the number of megapixels matters to you, other entry-level mirrorless cameras offer more for similar money.

Nikon Z50 II: also consider

Canon EOS R10

Our top pick for beginners, the R10 is a similarly priced entry-level mirrorless camera with a compact design, impressive autofocus and rapid burst speeds. It also benefits from a deep grip. Like the Z50 II, it has no in-body image stabilization and puts a crop on 4K/60p video.

Read our in-depth Canon EOS R10 review

Olympus OM-D E-M10 Mark IV

Its 20MP Micro Four Thirds sensor is smaller than the APS-C type inside the Z50 II and has (fractionally) fewer megapixels, but the Mark IV impresses in other ways. It offers excellent in-body image stabilization, classic styling and a compact body, all at a more accessible body-only price.

Read our in-depth Olympus OM-D E-M10 Mark IV review

Nikon Z fc

Another APS-C Nikon Z mount camera, the Z fc offers a stunning blend of old and new. It uses the same sensor as the Z50 II, packaged in a body inspired by the retro FM2. You also get a vari-angle touchscreen, making this a great value casual alternative.

Read our in-depth Nikon Z fc review

How I tested the Nikon Z50 II

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
  • Tested a production model over a fortnight
  • Shot with multiple Nikon Z mount lenses
  • Used with Nikon’s SnapBridge smartphone app

I tested the Nikon Z50 II for a fortnight, shooting with it on a daily basis. Nikon supplied me with three Z mount lenses for this review: the Z 35mm f/1.4, the Z 85mm f/1.2 S and the Z 70-180mm f/2.8. This allowed me to cover a range of subjects and scenarios with the Z50 II, from street scenes to portraits.

To assess its hybrid capabilities, I used the Z50 II to shoot a combination of stills and video. I also shot fast-moving subjects, including children and dogs, to put its autofocus and burst speeds to the test. During testing, I used one of the best SD cards, a SanDisk Class 10 U3 model, to ensure that performance wasn’t throttled by the memory card.

I also tested the Z50 II at various times of day and in different weather conditions, from bright sunlight to overcast skies. The resulting stills let me assess the white balance out of the camera, as well as how effectively the Z50 II handled noise at different ISO settings.

First reviewed January 2025

Sennheiser Profile Wireless review: a well-designed DJI alternative
9:00 pm | January 3, 2025
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Sennheiser Profile Wireless: one-minute review

With relative upstarts likes DJI, Rode, Hollyland and more all releasing tiny wireless microphones recently, veteran audio manufacturers have started to get in on the action. Sennheiser’s Profile Wireless is an attempt by the company – long famed for its excellent studio mics and headphones – to muscle in on the market, and I’ve found it to be yet another very impressive compact mic, ideal for anyone who wants to elevate their recorded content for vlogs, podcasts, interviews and more.

With a lightweight, compact design (each of the two transmitters weighs just 27g, while the whole package including a charging bar weighs 290g) and a solid 20-ish hours of battery life, the Profile Wireless is easy to carry around all day, and its 24-bit audio quality beats the pants off the internal mics used by smartphones, laptops and cameras – the things you’ll likely be pairing it with when recording content. It can also be used completely independently of other hardware, thanks to each of the transmitters having internal storage space for recordings.

While its lack of so-called ‘premium’ features like Bluetooth recording, 32-bit float and automatic noise cancelling might give would-be completionists and professionals pause, I don’t think there’s much wrong with Sennheiser’s less-is-more approach. By keeping things simple and effective, the Profile Wireless makes for a worthy affordable alternative to the likes of the DJI Mic 2 and Rode Wireless Pro.

Sennheiser Profile Wireless microphone full set including cables, wind shields and charging case

The whole kit includes two transmitters, one receiver and a charging bar (Image credit: Future | Sam Kieldsen)

Sennheiser Profile Wireless: price and release date

  • $299 / £259 / AU$549 for 2-Channel Set with receiver, two transmitters and charging bar
  • Replacement receivers and transmitters sold separately
  • Available now

I think the best way to purchase the Sennheiser Profile Wireless, which is on sale now, is as a complete kit. The 2-Channel Set package includes a receiver, two transmitters, a charging bar/interview mic, three adapters (for mounting the receiver on a camera cold shoe, or on a USB-C or Lightning device), two magnets for attaching the transmitter to clothing, a 3.5mm to 3.5mm cable, a USB-C to USB-C cable, three windscreens (two for transmitters, one for the interview mic) and a soft zip-up carry case to hold everything securely.

The transmitter and receiver components can also be purchased separately, but I’d see that more as an option for replacing damaged or lost components (or buying spares) rather than for building a wireless mic setup.

The Sennheiser Profile Wireless is a bit cheaper than premium rivals like the DJI Mic 2 and Rode Wireless Pro, but more expensive than the compact DJI Mic Mini and Rode Wireless Micro. I think the pricing is about right, as the Profile Wireless can’t match the premium models on features such as 32-bit float recording.

Sennheiser Profile Wireless microphone transmitter in hand

(Image credit: Future | Sam Kieldsen)

Sennheiser Profile Wireless: specs

Sennheiser Profile Wireless microphone receiver attached to iPhone 13

(Image credit: Future | Sam Kieldsen)

Sennheiser Profile Wireless: Design

  • All main elements slot into charging bar
  • Entire package weighs 290g
  • Adapters for USB-C, Lightning and cold shoe included

The main two elements of the Sennheiser Profile Wireless package are the transmitter and receiver units. The transmitter is a small and lightweight mic that can be attached to clothing via a built-in clip or a magnet (the latter being suitable for thin fabrics like t-shirts only), and can be used in tandem (for stereo or two-person recording) or solo (for mono recording). It links wirelessly to the receiver, a slightly larger unit that can be attached to smartphones, tablets, laptops or cameras; the receiver takes the audio signal and converts it to digital audio data on a video or audio recording, and also features an OLED touchscreen for adjusting settings and viewing input levels in real-time. The touchscreen is tiny, which can make tweaking things tricky at times, but given one of the key features of the setup is its compact size, I think this is just par for the course.

Sennheiser Profile Wireless microphone charging bar

The charging bar doubles as a handheld broadcast mic, perfect for thrusting into the faces of interviewees (Image credit: Future | Sam Kieldsen)

Both the transmitter and receiver elements are handsome (if not showy or fancy) to look at and constructed well, just as I would expect from a Sennheiser product. They also come with a cleverly designed charging bar, which features space to dock them for storage and recharging, plus room to store adapters and magnets. Its long, narrow shape, and the fact that the transmitters are stored at one end, means it can be repurposed as a traditional handheld microphone, held by the user and pointed towards interviewees – much like you’d see a news reporter wielding for a vox pop or red carpet interview. That’s something I’ve never seen on other wireless mics, and a good reason to consider buying the Profile Wireless if you’re planning on creating that sort of content. The charging bar also has a standard tripod mounting point on one side, so you can attach it to a tripod or mic arm if you wished.

As with most small wireless microphone packages, the Profile Wireless can be attached to various devices. Included in the box are adapters to attach the receiver to Lightning devices, USB-C devices and cameras (the latter using a cold shoe mount). The transmitters can also be used completely independently, thanks to onboard recording controls and 16GB of built-in storage space – enough for about 30 hours of audio. Each also has a 3.5mm input for attaching an optional lavalier mic, and it’s a nice high-quality metal connector too, with a screw fit for firmly securing the lav mic cable. Again, that’s a nice premium touch that I haven’t seen on similar wireless mic systems – the DJI Mic 2 has a lav input, but it’s just plastic with no screw fit.

Sennheiser Profile Wireless microphone receiver attached to an Apple iPhone

The receiver can attach directly to your smartphone, tablet, camera or laptop (Image credit: Future | Sam Kieldsen)

Sennheiser Profile Wireless: Performance

  • 24-bit audio quality
  • Automatic backup recording
  • Wireless range of up to 245m

Like most 2.4GHz wireless mics, the Profile Wireless records audio at 24-bit quality. Some recent mics, like the DJI Mic 2 and Rode Wireless Pro, offer an option to record at a higher 32-bit float quality, but that’s not available here. I don’t think most users will find that a huge loss, as the 24-bit audio sounds great here, and 32-bit float (the files of which take up a lot more space than 24-bit files) is something that’s really designed for professionals and uncompromising perfectionists rather than regular users.

As stated above, I found the Profile Wireless’s audio quality to be excellent, having tested it both in and outdoors in various ambient noise conditions. The lack of active or intelligent noise cancelling means you may want to consider alternative microphones if you’re likely to be consistently recording in loud environments, but as long as you can live with some background noise I don’t think it’s a feature you’ll miss too much. There are removeable furry wind shields included to help reduce noise on blustery days, too.

The 24-bit audio does a fine job of making voices sound clear and weighty, whether you’re recording onto an external device via the receiver or directly onto a transmitter using the on-board controls. There are adjustable gain controls included on the receiver, plus a Safety Channel mode that, when using two transmitters, records a second version of the recording at -6dB in case the main channel clips out due to an unforeseen loud noise.

Sennheiser Profile Wireless microphone adapters inside the charging bar

Adapters for Lightning, USB-C and camera cold shoes are included in the charging bar (Image credit: Future | Sam Kieldsen)

Another feature not included here but present on some rivals is direct Bluetooth recording, where you can pair a transmitter directly with your mobile device to record audio, bypassing the receiver altogether.

One great audio feature Sennheiser has added is Backup Recording Mode, which automatically switches to on-board recording when the wireless signal is weak or drops. The wireless range is good (up to about 250m in clear conditions) but having this as a fallback option in case of connection issues may turn out to be a godsend for some.

Battery life is fairly decent, with around 7 hours of operating time on each transmitter and the receiver, plus an addition 15 or so hours in the charging bar. So you’re looking at an overall recording time of around 21 hours when using a single transmitter at any one time – roughly the same as you’d get from the Rode Wireless Micro.

Should I buy the Sennheiser Profile Wireless?

Buy it if…

You want a no-nonsense way to improve your recordings

With no app required, auto-pairing and everything included in one small package, the Profile Wireless’s simplicity makes it a great one-stop way to get great audio.

You want protection against signal drops

Profile Wireless comes with an automatic backup mode, which kicks in to rescue recordings that might otherwise be lost if the wireless signal becomes weak.

You want to interview people while out and about

The charging bar’s ability to double as a handheld broadcast-style microphone makes it ideal for recording vox pops and similar interviews.

Don’t buy it if…

You need 32-bit float recordings

32-bit float recordings are overkill for most users, but those perfectionists who do want them will need to opt for a pricier alternative such as the DJI Mic 2.

You often record in very noisy places

With no noise cancellation tech included, you’ll be hearing background sounds in the Profile Wireless’s recordings. If recording in noisy environments is commonplace for you, it might not be the best choice.

You want to buy components separately

The Profile Wireless is only available as a two-transmitter kit with the charging bar, with extra transmitters and receivers being sold separately – but only as replacements or backups.

Sennheiser Profile Wireless: also consider

DJI Mic 2
If you're operating at a pro level, want audio quality a cut above the Profile Wireless’s, and are prepared to do a little work in the editing suite, then the pricier Mic 2 is the better bet thanks to its 32-bit float audio option and built-in environment noise cancelling. It is slightly pricier than the Sennheiser, accordingly.

Read our in-depth DJI Mic 2 review

Rode Wireless Micro
If you're keen for a fuss-free mic and only shoot with a smartphone, the tiny Rode Wireless Micro is a sensible choice. However, if you might branch out to vlogging with a camera, or want more flexible buying choice, the Sennheiser Profile Wireless remains a better bet.

Read our in-depth Rode Wireless Micro review

Sennheiser Profile Wireless microphone kit inside soft carry case

The whole kit and caboodle fits into a nice zip-up carrying case (Image credit: Future | Sam Kieldsen)

How I tested the Sennheiser Profile Wireless

  • Used regularly for two weeks in quiet and noisy environments
  • Paired with iPhone 13 and Panasonic Lumix GH6 II

I tested the Profile Wireless both in and outdoors, both with its receiver physically connected to devices (my Apple iPhone 13 smartphone and Panasonic Lumix GH6 II camera) and in solo mode, making sure to record in a variety of environments, in order to see how it handled different background noises and weather conditions.

Shutterfly photo book review: glitchy, dated software makes for messy photo book building
12:15 pm | December 13, 2024
Author: admin | Category: Cameras Computers Gadgets Photography | Comments: Off

Shutterfly photo book review

Shutterfly’s photo book service appears to be pretty standard out of the blocks. It offers a neat selection of templates as well as enticing cover and page type options. However, when you delve into the editing process, things take a turn. What at first seems to be a simple, customizable beast eventually rears its head, exposing its messy, clunky tendencies.

I’ll be upfront, reader, I had a rough time taming Shutterfly’s software in order to create our standardized TechRadar photo book. But allow me to be more specific. After selecting my photo book sized (12 x 12 inches) and page/cover type, I chose Manual mode and was immediately met by what can only be described as a pretty rudimentary, outdated-looking editing page.

There’s a toggle in the top-right for ‘Advanced Editing’, which you need to flick on to do… well basically anything. On the left side of the page, there’s also a ribbon with four options: Layouts (which includes templates for individual pages); Backgrounds (which lets you alter the background/background color); Embellishments (which enables you to insert Stickers, Ribbons or Frames); and Idea Pages (which includes some different individual page layouts).

Now, this isn’t inherently bad, but the actual options within these menus are poor. For instance, you can’t use a hex code to select a particular background color and you can’t even select from a list of colors. Instead, you have to type in the hue you want and scroll until you find a background color that looks as close to what you want as possible. This is pretty archaic and something that you won’t have to put up with when using some of the best photo book services.

Reverse side of the Shutterfly Photo Book

(Image credit: Future)

In a similar vein, adding embellishments, like shapes and ribbons, was extremely clunky. I wanted to add a salmon-colored rectangle against one of my photos, but ran into two key issues. Firstly, I wasn’t able to change the color of shapes – I had to once again just accept the closest shade available from a manual search.

Secondly, I wasn’t able to alter the shape of the rectangle once I found one that was relatively close to the shade I needed. Sure, I could make it larger or smaller, but I wasn’t able to adjust its width or height independently. These rigid, overly simple design choices made the editing process frustrating to say the least.

But some may argue that all of this is only an issue if you’re making a more detailed photo book. So, what about the fundamental act of adding photos? I found this, too, to be a mixed experience. Firstly, the upload process is pretty easy. You can drag and drop images (in the JPG, JPEG, PNG and BMP file format) from your computer and they fill out a section at the bottom of the editor, which includes all of your photos. You can then move photos around the pages easily, adjust their size (with length and width displayed in inches) and position. Alternatively, you can add a Photo Area block and assign an image to that designated area.

Shutterfly Photo Book displaying a couple standing beside eachother one one side, and a man with a reversed cap on the other

(Image credit: Future)

However, it’s not all plain sailing. I was totally unable to reverse images, which you’d assume to be a given with a tool such as this. There was also an irritating glitch, where I would place an image and, after moving to a different part of the photo book, would later find that such image had moved or changed size without my input. This meant that I had to constantly check that the position of photos was in line with my intention, resulting in an overlong editing process.

I was also unable to add the TechRadar logo onto the photo book’s spine – even after resizing it and dragging it into the correct area. But perhaps most bizarrely, the editing screen would sometimes flash white, indicating that my pages were totally blank, even if I’d added text or photos. After refreshing the page, my design would often reappear, but I was still unhappy about the software creating unnecessary stress about lost progress.

Shutterfly Photo Book on wooden surface

(Image credit: Future)

Really, the pure volume of glitches like this was far too high. And I wouldn't expect this, especially given the photo book would typically cost just over $130 (around £100 / AU$200). However, it’s worth noting that thanks to savings, we grabbed our photo book for only $98.84, without shipping costs. Ultimately, this is quite a lot to spend on a 12x12 inch, 27-page book, so I anticipated a more seamless user experience.

It is important to note, however, this price isn’t especially steep against competitors. A rough estimate of the price using envelope figures suggested that the same would cost just over $145 using Printique and $133 via Mixbook.

So, if you’re keen to use Shutterfly your best bet is to use a template. There will still be some user issues, like the fact you can’t use a manual text size (there are just a list of options) and fonts are restrictive. But it will let you get past some of the annoying photo editing issues. If you don’t want to use an overarching template, however, there is something of a middle ground. Just use the aforementioned Layouts option on the left side of the screen and you can auto-add photos to specified areas – this works nicely and I didn’t experience items glitching around the screen or changing shape when using this.

Shutterfly Photo Book displaying three fish on some pebbles

(Image credit: Future)

Let’s finish, then, by taking a look at the actual product. Did it live up to my expectations? Actually, it looked OK overall. I compared it side-by-side with our Mixbook photo book and found that Shutterfly’s alternative offered brighter, more vibrant colors and solid overall clarity. On one page, a man’s face was almost impossible to make out in the Mixbook photo book, whereas the added brightness made his features visible in the Shutterfly alternative.

Colors like pinks and greens were a bit more saturated in the Shutterfly photo book, allowing for more definition and contrast. There were, unfortunately, some instances of patchiness in color. On one page, there was a line of pink missing in a rectangle and there were some inconsistencies in the football image. These weren’t awful errors, but for more than $100 / £100, you’d likely expect better.

At the end of it all, would I recommend Shutterfly for photo book creation? I don’t think so. There is certainly a route to a decent user experience if you’re happy using built-in templates and just want a quick, easy solution. But if you want a more personalized layout, this site is not the most user friendly. With its frequent glitches and constrained editing options, Shutterfly unfortunately falls short of similarly priced competitors, even with solid overall print quality. So, I’d recommend building a photo book using a service like Printique instead, which offers a far smoother user experience – more on this in the ‘Also Consider’ section below.

Shutterfly Photo Book displaying erroneous white mark on pink-colored rectangle

(Image credit: Future)

Should I buy the Shutterfly photo book?

Buy it if…

You’re happy using a pre-made template
If you have a solid selection of photos and you aren’t too fussy on layout, Shutterfly could work just fine for you. There’s a decent selection of pre-made templates to choose from here, so if you want a quick, easy process, it will be better to use one of these.

You don’t want to pay top dollar
I would argue that the cost of this photo book was too high, but this doesn’t change the fact that it’s pretty standard against competitors. The likes of Mixbook and Printique offer photo books at a very similar price point.

Don't buy it if…

You want a seamless editing experience
My biggest gripe with Shutterfly’s photo book service was the clunky editing experience. There were a number of glitches that ruined the user experience, such as photos randomly moving across the page. But more frustratingly, altering the shape of embellishments and finding the right colors for page elements was either impossible or messy.

You want to use a bespoke template
If a pre-made template isn’t going to cut it and you want to make a totally bespoke photo book, Shutterfly might not be your best option. It can be quite restrictive in terms of selecting background colors and page elements, making it far from ideal if you have a unique vision in mind.

Shutterfly photo book review: also consider

Mixbook
At the moment, Mixbook sits at number one on our list of the best photo book services around. Why? Well, it offers a wide range of templates, plenty of paper or cover options and a good overall user experience. It’s also well-priced, making this site a worthy candidate for your photo book needs. Read our full Mixbook photo book review.

Mimeo
It may not have all the flashy features you get with other photo book services, but still, Mimeo is an easy-to-use, reliable option. You likely won’t have to put up with frustrating glitches here, but watch out for the shipping cost, which can be a little steep. Read our full Mimeo photo book review.

How I tested the Shutterfly photo book

Shutterfly Photo Book displaying boot on top of football

(Image credit: Future)
  • Built a photo book using TechRadar template
  • Compared against other websites' photo books

I used the Shutterfly website to build a photo book and test out its various templates. Here at TechRadar, we have selected a standardized set of photos to use across all photo book services, in order to make a fair comparison of the platforms. We also use the same layout for our photo book designs, ensuring that we can uncover which service is truly superior.

As well as comparing software features, I ordered the Shutterfly photo book in order to assess print quality, color fidelity and whether there were any scuffs or scratches to the finished product. For reference, the finished photo book I created was 12 x 12 inches, had a matte finish, a hard photo cover and used the standard page type. Any photo books I compared Shutterfly’s to were as similar in design to this as possible.

  • First reviewed: December 2024
  • Read more about how we test
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