VistaPrint offers eight photo book sizes in square, portrait, and landscape formats, which range in size from 13 x 10cm (5.1 x 3.9 inches) to 39 x 29cm (15.4 x 11.4 inches). You can have up to 120 pages in a single photo book, although you’ll have to pay £1.50 extra for every two pages beyond 24. Layflat binding is also available on selected sizes for an extra £1.50 per page, and two stocks are available to choose from: Standard and Premium Glossy, the latter of which costs £10.50 more. A photo cover costs an additional £6.50.
The editor for creating a VistaPrint photo book is available both online in a browser and offline as an app for Windows or macOS systems. Books can be created from scratch or using VistaPrint’s Smart Assistant, which judges your best photos from those you’ve uploaded and automatically sets the layout, while still letting you edit as you wish.
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Navigating the editor is easy thanks to its clear interface and toolbars for easy access to common elements. I created a book from scratch, although, annoyingly, VistaPrint still thrusts a preset layout upon you, which adds to the labor as you delete the blocks you don’t want.
On the other hand, if you need some inspiration, a menu of template layouts is available for instant insertion, with options containing various combinations of image and text blocks.
Inserting photos is simply a case of inserting image blocks and adding your photos, which can be done in three ways: uploading them in bulk and selecting them from a menu, clicking on a block to bring up a file explorer, or dragging and dropping the file from your computer.
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You can then drag the corners and sides to resize your photos as you see fit. However, you’ll be disappointed if you want exact measurements, as there aren’t any, so you’ll have to rely on your eye. Thankfully, moving boxes can be made using the arrow keys, which certainly helps with fine-tuning layouts.
Other common keyboard shortcuts also work in the editor, such as those for copying, pasting, and undoing. However, you can’t select multiple blocks with Ctrl- or Shift-clicks, which is a shame.
Snap lines for horizontal and vertical centers are present, although somewhat frustratingly, they don’t always appear. For instance, I didn’t get a vertical center line when trying to align an image block on the back cover. However, both horizontal and vertical snap lines also appear when lining up a block with another, which is very useful.
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When you click on an inserted photo, a popup menu appears with a slider that lets you zoom in and out of the image within its box. You can also drag the image around within the box, allowing you to effectively crop photos with ease.
This menu also has options for moving your image to the front or to the back relative to other boxes, as well as rotate and flip functions. There’s also a filter menu with Black & White and Sepia effects to choose from.
There’s also an Auto Enhancement feature, but there’s no explanation as to how this actually works. As far as I could tell, it makes images brighter, which works well in some cases, but can lead to overexposure and oversaturation in others. More annoyingly, I couldn’t find a way to turn it off permanently; the best I could do was click the delete enhancement button in the top toolbar, but I had to do this every time I inserted a new photo, which was mildly irritating.
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Different background colors are available should you want them, but the options are limited since there’s no color wheel or hex code input for inserting any shade you like.
There are far more framing and masking options, ranging from basic looks to more ostentatious offerings. Various clip art stickers are available too. As for text, VistaPrint offers a good number of fonts to choose from as well, along with the usual point sizes, colors, and basic formatting options.
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There are a few snags with the editor that are worth pointing out. Firstly, I couldn’t find a way to remove a frame or mask once inserted, which was frustrating and meant I had to delete the block entirely to eliminate it. I also couldn’t scale our TechRadar logo small enough to fit along the spine, despite being able to fit text here.
Other issues include black backgrounds obscuring the margin lines of the spine, and smaller images appearing with strange artifacts, which thankfully remedies itself once you zoom in, so it seems this is merely a GUI issue.
Popups occasionally appear reminding you to save your work, although an autosave feature wouldn’t have gone amiss. Saving is usually quite quick, although it was somewhat sluggish when returning to a saved session.
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I also had a popup stating that photos were taking longer to load than usual when starting a new session, recommending I wait before making further changes to the book. Thankfully, this was only a momentary issue.
The projected delivery date for my order of a XL Square (30 x 30cm / 12 x 12 inch) photo book was two weeks, and unfortunately, unlike other services, there’s no expedited option for quicker turnarounds.
Such photo books cost £49.99. I was lucky to catch VistaPrint in a sale, so claimed a 40% discount, bringing my order to £35.69, which included a photo cover and a few extra pages beyond the default 24. Delivery cost an extra £5.50, bringing my overall total to £41.19, although orders over £40 have free delivery.
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The book arrived about four days earlier than estimated, which was a pleasant surprise. However, unfortunately there was some damage to the top of the spine and consequently the inside corners of nearly every page, as if it had been crushed from the top.
This wasn’t exactly surprising given how thin the cardboard sleeve was, with no bubble wrap or protective padding of any kind around the book. Thankfully, the damage was subtle, and much of it was hidden from view by the curve of the pages towards the binding.
The printing quality was excellent, though. Images were sharp with no blurring or artifacts. Colors were rendered with plenty of accuracy and vibrancy, which was especially noticeable on full-page spreads, making them a real highlight of the book.
However, some images and text had a slightly jagged edge to them, as did the solid blocks of color, which also contained a few outlines in a darker shade. There were also a few stray dots of color on white backgrounds, but these were infrequent and hard to notice owing to their minute size.
On the whole, though, the VistaPrint photo book delivers pleasing results, especially for those looking to showcase larger photos. Combined with its capable and intuitive editor, this is a service worthy of your attention.
Should I buy the VistaPrint photo book?
Buy it if…
You want an easy editor to use For the most part, the editor is clear and simple, and various standard keyboard shortcuts can be used to make things even easier.
You want a good price VistaPrint’s photo books are good value for money, undercutting many of its rivals, and by a considerable amount in some cases.
Don't buy it if…
You want precision and color options Unfortunately, VistaPrint’s photo book editor provides no photo measurements nor a color wheel or hex code input for backgrounds and solid blocks of color.
You want a quick turnaround Two weeks is the fastest delivery time VistaPrint provides, which is a shame since there are quicker services out there (I did receive mine earlier than expected, though).
VistaPrint photo book review: also consider
Shutterfly If you’re looking for precise control over photo resizing, then Shutterfly could be for you. It displays image dimensions in inches, which is very useful for those with specific layout requirements. The options for tailoring templates are limited, and we didn’t find its editor the easiest to use, but it’s still competent enough. Read our Shutterfly photo book review.
Mimeo Mimeo offers another simple and easy to use photo book creator, which we found helped to offset its rather limited design and material choices compared to the competition. We also thought the shipping costs were too steep, but if you prize a great user experience and a high-quality end product, this could be the service for you. Read our Mimeo photo book review.
How I tested the VistaPrint photo book
Made and ordered photo book
Followed TechRadar's photo book template
I used VistaPrint’s online editor to order a 12 x 12 inch (30 x 30cm) XL Square photo book with 28 pages, following our TechRadar template, which includes a variety of photos, containing both people and landscape, with varying colors palettes and exposure levels, as well as some black and white images.
Our template also contains various page layouts, in order to test the versatility of the service in question, both in terms of its editing capabilities and the final result.
I knew that the Sigma BF would frustrate me at times, but what I wasn't prepared for was how much I would enjoy making pictures with the camera.
This unique and boldly minimalist camera, which has been likened to Apple's products, oozes character, and despite its many design and performance concessions I've come to love it.
Yes, the 24.6MP full-frame Sigma BF's minimalist design polarizes opinion – for some it's an object of desire, for others it's a firm no. However, even hardened fans of the camera, who now include me, will admit there's maybe one concession too many.
Rated using a conventional scoring system, the Sigma BF comes up short because its limitations are many. It doesn't have a viewfinder; its touchscreen is fixed; memory is internal only (a 230GB SSD and no card slot); the 24MP full-frame sensor isn't stabilized; its ergonomics could be better; battery life is modest; and key connections ports for video, such as mic in and a headphone jack, are absent.
That said, cameras can't be reviewed purely by ticking boxes. They're creative tools, and if you find one that gets you, and brings out the creator in you, then what it scores in a review is less relevant.
Isn't she lovely? (Image credit: Tim Coleman)
A similarly-priced, conventional mirrorless camera like the Nikon Z6 III gives you all the tools you need, wrapped in a sensible design with superb ergonomics, and it 'scores' better. However, if you want a bit of excitement, and a stunning and unique camera that can delight, frustrate, then delight again from one beat to the next, the BF is the ticket.
For seasoned photographers, there’s a re-learning process with the Sigma BF in terms of navigating its nondescript controls and minimalist menus. You need to spend some time getting to know the BF. Familiarize yourself with its quirks and its joys, and most other cameras feel somehow dull and characterless by comparison.
It's also a sensational pairing with Sigma's Contemporary I-series lenses – I had a new silver version of the 35mm F2 DG lens to match the silver BF. Sigma, if you're reading this: producing a pancake lens next, that pairs with the BF's compact body, should be a top priority.
Sigma says the BF stands for 'Beautiful Foolishness', I've read other reviewers liken it to a 'Best Friend'. For me, it’s Brilliantly Flawed and I'm a Big Fan.
Whatever its technical compromises, the Sigma BF is a design masterstroke. It's a beautifully imperfect thing that deserves its place in your hand. Relationship status? Seeing someone.
Sigma BF: price and release date
The Sigma BF body-only costs $1,999 / £1,969 / AU$3,995
It's available for pre-order in silver or black versions
Sigma has also launched silver versions of multiple I-series lenses
Sigma lenses are typically around half the price of proprietary brand equivalents, but what of the brand's cameras? Well, the BF costs $1,999 / £1,969 / AU$3,995 body-only, which on the one hand is pretty steep for a 24MP full-frame camera with no viewfinder.
However, this is no ordinary camera. When you consider the BF's build quality – the chassis is machined from a single ingot of aluminum, and the camera has premium touch-sensitive controls – then suddenly it feels more reasonable.
Pre-orders are open now, and the BF is available in silver or black versions – interest in the silver version has been particularly high. However, reportedly Sigma can only make nine Sigma BF units per day, and so the lead times for orders could dwarf even those for 2024's most sought-after camera, the Fujifilm X100VI.
Price score: 4/5
Sigma BF: specs
Sigma BF: design and handling
Chassis machined from a single ingot of aluminum
Nondescript controls, some of which are touch-sensitive, plus simple menus
Internal SSD memory only, no card slot
No mic or headphone port, just a USB-C port
A camera that's machined from a single ingot of aluminum in a process that takes seven hours, with production limited to nine units per day, should be special. The BF is just that.
It's true that the Sigma BF's minimalist design won't be for everyone. It's distinctly Apple-like in terms of its design, at a time when retro cameras like the Fujifilm X100VI are trending. Personally, I've found the BF to be one of the most fascinating cameras in recent memory.
Its premium quality is obvious, right down to the smallest details – even the the metal body cap, which I dedicated an entire article to. The camera is weather-proof and feels rock-solid – I'd fear more for any surface it came into contact with, even though of course I wouldn't want to thrash such a lovely camera around.
With its clean lines and stripped-back control layout come various design concessions, particularly if you've been spoilt by other mirrorless cameras that place plentiful controls at your fingertips.
There's no grip to speak of, just a textured front half; a design choice that feels more aesthetic than anything else, and which complements the matte finish beautifully.
As such, the BF is best used with small lenses, especially Sigma's I-series of Contemporary primes. Sigma was on the ball in launching silver versions of some I-series lenses to match the new silver BF – I had the new silver 35mm F2 DG for this review.
These I-series lenses are pretty small, none more so than the 45mm F2.8. That said, there's no true pancake lens for Sigma's L-mount, and I'd like to see one to full complement the BF's ergonomics.
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The BF employs a back illuminated 24.6MP full-frame sensor (Image credit: Tim Coleman)
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Its textured front half provides a little grip, but is more for the looks (Image credit: Tim Coleman)
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Half textured, half matt finish – the striking BF from the front (Image credit: Tim Coleman)
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Notches on the body cap complement the camera's front (Image credit: Tim Coleman)
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Even the camera's body cap is beautiful (Image credit: Tim Coleman)
Each button and control is beautifully dampened, and – get this – two of the buttons are touch-sensitive: the menu button and the playback button. If you half-press the playback button, your latest image pops up on screen until you let go. Fully press the button in and you enter playback mode. Quality.
Markings on the buttons are suitably nondescript, so it'll take you a while to workout what each one does. Also, once you're in a menu, it's not all that obvious how to make exposure changes – a prize goes to whoever works out how to select or deselect the auto option in exposure settings the fastest.
Finding commonly used settings is no problem, though. There are three simple menus to navigate: the main one with your most-used settings, and two sub-menus. This simple setup feels very Hasselblad X2D 100C.
In that top menu, you can scroll through the options using the control wheel, with the latest setting being displayed on a charming, tiny LCD. Via this, quick changes to settings like color profiles are possible.
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In bright sunlight, at various angles, there can be blinding glare from the silver version of the Sigma BF. (Image credit: Tim Coleman)
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Clean lines, just a single USB-C slot (Image credit: Tim Coleman)
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A large 3.2-inch touchscreen dominates the camera's rear (Image credit: Tim Coleman)
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There's a loop just on one side of the BF, suitable to attach a wrist strap (Image credit: Tim Coleman)
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Minimalism at its best – the top of the camera features a large shutter button only (and built-in stereo mics). (Image credit: Tim Coleman)
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The premium matt finish feels lovely (Image credit: Tim Coleman)
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There's that shutter button, and below it a thumb grip (Image credit: Tim Coleman)
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Watch out when in the sun - the silver version reflects sunlight, with particularly strong glare (Image credit: Tim Coleman)
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There's a recess in the BF's corner where the camera rests in your palm. (Image credit: Tim Coleman)
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Each control is beautifully dampened, while some are touch senstive. (Image credit: Tim Coleman)
Arguably Sigma's most controversial design choice was to limit storage to an internal SSD only. That's fine, so long as the SSD is reliable – and we've no reason to believe it won't be – but if there's an issue with it the camera becomes useless without a costly repair (assuming that is indeed possible).
I love cameras that include built-in memory as a fail-safe, but that's when it'sin addition to removable media such as an SD card. Internal memory only will be a dealbreaker for some people.
To upload photos from the BF you'll need to connect it via the USB-C port, which is also used to charge the camera. I found the upload process super straightforward, and speedy to a MacBook Pro.
The exterior is suitably stripped-back too, meaning there's no mic input, headphone jack, HDMI or even loops on both sides for a shoulder strap, just on one side for a wrist strap.
I don't mind all of the above. What I did miss the most is having a viewfinder or a tilt / vari-angle screen. In bright sunlight I naturally found myself bringing the camera up to my eye as if a viewfinder was there to compose the shot, while at awkward low angles I wished for a tilt screen.
Both or either of those display features would make the BF more practical, but I understand why they're absent – how could Sigma otherwise make such a beautifully minimalist camera?
Design score: 4.5/5
Sigma BF: features and performance
8fps with continuous AF, recorded onto rapid internal SSD
Below-average 260-shot battery life
No IBIS, just electronic stabilization for video
If you want an all-singing all-dancing mirrorless camera, the Sigma BF is not for you. Sure, its startup time is rapid, but it lacks many of the powerful features that we've come to take for granted in cameras at this price point and above.
Take the 24.6MP sensor – it's not stabilized. That's not a dealbreaker for what will surely be an everyday camera for photographers, and used with fast-aperture prime lenses, but I'd love to see it – after all, in-body image stabilization is part of an internal component, and so including it wouldn't impact the BF's minimalist design.
For video, there's the option for electronic stabilization, which imposes a 1.25x crop to the image area, meaning it's not available for the 6K option.
The burst shooting with continuous AF drive mode maxes out at 8fps, so it's not the quickest. However, sequences can run for longer than you'll likely ever need: up to 350 raw images or 1,000 JPEGs. Buffering time for those sequences, before the camera is ready once more to perform fully, is shorter than on most rivals too.
As mentioned, there's no card slot, and images are saved to an internal 230GB SSD. You can upload photos via the multi-purpose USB-C 3.2 port, which is rated up to 10Gbps and can also be used for any one of the following functions at a time: external video output, charging and power delivery, cable release, external mic, and headphone output.
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The 24.6MP full-frame back illuminated sensor; there's no stabilization (Image credit: Tim Coleman)
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The BF's multi-purpose USB-C port, with functions including image upload, charging and for external accessories (Image credit: Tim Coleman)
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The BF's underside, including a lock for the pop-out battery (Image credit: Tim Coleman)
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You'll need to crank the screen's brightness to its maximum when shooting in bright light (Image credit: Tim Coleman)
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Built-in stereo mics (Image credit: Tim Coleman)
Sigma has created a new BP-81 battery for the BF – it's a tiny 3,300mAh unit that's rated for a meagre 260 shots, although I don't mind the lower-than-average shot life when you consider how compact the BF is.
Autofocus is a hybrid phase-detection and contrast-detection system, with subject tracking for humans and animals. It's proven pretty reliable overall during my testing, especially for close-up portraits, but I've certainly used more sophisticated systems from the likes of Sony, Canon and Nikon.
Part of the issue with autofocus is relying on a fixed touchscreen that's not always the easiest to see, depending on the shooting conditions. You hope focus is spot on, but it isn't always.
Another element that limits autofocus performance is that the focus options you have to choose from are relatively basic – this is a minimalist camera in just about every way. I'd also say, based on my experience of both cameras, that the Nikon Z6 III is much better at picking up subjects that only take up a small portion of the frame.
As for video, the BF features built-in stereo mics, but no dedicated mic input, just mic connection via the multi-purpose USB-C; and the stereo mics are particularly susceptible to wind distortion. In short, many of the features that video users rely on are absent – the BF is more a photographer's camera that happens to shoot lovely-quality 6K video.
Features and performance score: 3.5/5
Sigma BF: image and video quality
24.6MP photos in detail-rich 14-bit raw universal DNG format
6K video from the full width of the sensor, no EIS available at this resolution
13 color profiles for photos, L-log for video
Despite its rather conventional-sounding 24MP full-frame sensor, the Sigma BF is capable of producing highly-detailed images with gorgeous color.
Special mention must go to the superb 35mm F2 DG lens I was testing the camera with – detail is pin-sharp from center to edges, with a lovely focus fall-off when you're shooting at the maximum f/2 aperture.
There are plenty of other superb L-mount lenses to pair with the BF, and Sigma lenses are reasonably priced too. That said, I do think that Sigma needs to prioritize producing a pancake lens that truly complements the BF's compact body, especially while sales for the camera are likely to be strong. A tiny 35mm f/2.8 should be doable.
The photos in the gallery directly below are a selection of the kind of everyday images that the Sigma BF is so adept at capturing.
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As with Leica, I always appreciate that a Sigma camera's raw files are the universal DNG format, meaning that just about any editor happily accepts the files; and they're detail-rich 14-bit files, no less.
Shoot in raw and JPEG simultaneously, and the standard color settings and full image area is kept for raw files, but your active color mode is applied to JPEGs. There are 13 modes to choose from for photos, and there are a few crackers amongst them.
The Calm color profile is Sigma's version of natural / muted, while Rich is a vibrant profile. I'm a fan of the BF's natural '709 Look' for photos, even though it's based on the Rec.709 profile traditionally used for video, plus the punchy and trendy Teal and Orange. It's easy to scroll through these options quickly to make your selection.
Here's the entire list of color modes: Standard, Rich, Calm, Powder Blue, Warm Gold, Teal and Orange, FOV Classic Blue, FOV Classic Yellow, Forest Green, Sunset Red, Cinema, 709 Look and Monochrome.
Street photography is a forte of the Sigma BF, as you can see from the collection of images below.
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Would I prefer the BF had a 61MP sensor, like the one in Sigma's own fp L? Sure. And a stabilized sensor too. Those extra pixels would give greater scope for cropping into images taken with a lens like the 35mm F2 I had for this test, for the times you can't get close enough, while in-body image stabilization makes handheld shooting easier in various conditions.
All the photos you can see below were taken with the BF's autofocus with subject tracking active, and the close-up portraits are reliably pin-sharp on the eyes. My hit ratio in low light was less reliable, but impressive nonetheless.
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Video specs are decent, with 6K 30fps video in Sigma's L-log profile looking particularly lovely after grading, though you'll miss out on electronic stabilization in 6K, which rules out handheld footage on the move – the sample video below includes shaky unstabilized clips as I walk through London, plus a selection of the color profiles so you can appreciate the different styles.
However, it's the distinct lack of supporting features for video that plants the BF firmly in the photography camp, rather than it being a hybrid model.
Image and video quality score: 4.5/5
Sigma BF: testing scorecard
Should I buy the Sigma BF?
Buy it if...
You love minimalist tech I thought the Hasselblad X2D 100C was peak minimalism, but the Sigma BF is another level – there isn't even a memory card slot!
You want a camera that stands out from the crowd The camera market is flooded with conventional DSLR-style mirrorless cameras; the Sigma BF couldn't be more different.
You want a small everyday camera Considering its full-frame sensor, the BF is compact, and pairs nicely with Sigma's dinky Contemporary I-series lenses.
Don't buy it if...
You value function over form Design is the BF's selling point... if you want something different. However, other cameras at this price point will offer more control and more features.
You shoot video a lot The BF can record lovely-looking 6K video with Sigma's L-log color profile, but it lacks most supporting features needed for video, such as in-body image stabilization, and mic in and headphone out ports.
You need removable storage The BF doesn't have a memory card slot, just an internal SSD, so if something goes wrong with the internal memory it's game over. We wouldn't expect any issues, but it's something to worry about.
Sigma BF: also consider
Sigma fp
The BF follows two other Sigma full-frame cameras with similarly compact form; the fp (24MP) and the fp L (61MP). The fp L is more readily available and has the pricier, higher-resolution sensor yet costs the same as the BF, while the fp costs around 20% less, but is harder to find new. The BF wins for design, while the fp models arguably have better features and more conventional controls, even if the BF has improved in certain areas, such as autofocus performance. All three cameras use the same L-mount.
Full-frame 24MP cameras at the BF's price point are plentiful. Most have a conventional design, such as the Canon EOS R6 Mark II and Nikon Z6 III. However, there are other cameras that pack a similar punch but whose design and user experience are key, such as the Nikon Zf. Unlike the modern, minimalist Sigma BF, the Nikon Zf is a retro model with exposure dials and faux leather finish.
Sigma loaned me the silver version of the BF for one week
I tested it with the Sigma 35mm F2 DG Contemporary lens
I mostly used it for everyday and street photography, taking between 500-1,000 photos and videos, and I also tested its video features
I tried to use the Sigma BF as much as possible during a oneweek loan period, taking it with me everywhere, including on city commutes and walks. As you can see from the photos, I had the silver BF, which was the version I was hoping for, together with a new silver version Sigma 35mm F2 DG Contemporary lens.
I've used the BF in bright sunlight and on cloudy days, as well as at night. I've made photos using the various color profiles and autofocus modes, as well as videos at the various resolutions.
Potensic has carved itself a strong reputation in the sub-250g drone category with the release of the Atom SE and Atom drones in recent years. The Potensic Atom 2 is now available, with this latest model taking the coveted title of best sub-250g DJI alternative. It's not perfect – few drones are – but it's an enticing drone for beginners, enthusiasts and more advanced pilots alike.
(Image credit: James Abbott)
Given the features on offer, and what's to come in firmware updates – more on those later – the Atom 2 will sit somewhere between the DJI Mini 3 and the DJI Mini 4 Pro, which is an impressive achievement, especially when the Standard Kit costs just $330 / £300 / AU$580. This makes it only just a little more expensive than the entry-level DJI Mini 4K, making it a strong contender for our best drones guide.
The Atom 2 lets you capture video up to 4K at up to 30fps, in Normal and HDR color profiles; there's also slow-motion video and timelapse capture. Photos can be captured in raw and JPEG, while the camera offers both automatic and manual control. There are also AI Quickshots and AI Track for subject tracking. These features are just the tip of the iceberg, and with great flight performance to boot the Atom 2 is a solid option for many pilots.
Potensic Atom 2: release date and price
Announced February 2025
The Standard Kit costs $330 / £300 / AU$580
The Fly More Bundle costs $430 / £400 /AU$785
The Potensic Atom 2 was announced in February 2025, and is available to purchase directly from the Potensic website and Amazon. The drone is reasonably priced considering the features and functionality on offer and will compete directly with other sub-250g models including the DJI Mini 4K, DJI Mini 3 and the Holy Stone HS900, although it exceeds all three in some areas.
The Atom 2 is available in two kits, with the Atom 2 Standard Kit costing $330 / £300 / AU$580 and comprising the drone, controller, one battery, two sets of spare propellers, phone cables and other accessories.
The Atom 2 Fly More Combo includes all of the above plus two additional batteries, a fast-charging hub, a shoulder bag and two extra sets of spare propellers for $430 / £400 /AU$785. This kit offers excellent value for money.
Price score: 5/5
(Image credit: James Abbott)
Potensic Atom 2: specs
Potensic Atom 2: design and handling
Folding sub-250g design
Solid build quality
Excellent controller
With the exception of the DJI Neo, DJI Flip and the HoverAir X1 models, drone design has remained relatively unchanged for years, which is no bad thing – if it isn’t broken, why fix it? The Potensic Atom 2 makes no bold statements in terms of design with its light gray airframe and folding propeller arms, but it is solidly made. Its dimensions extend from a palm-sized 5.63 x 3.46 x 2.28 inches / 143 x 88 x 58mm when folded to 8.3 x 5.98 x 2.28 inches / 210 x 152 x 58mm unfolded.
The main difference with the Atom 2 design-wise is that Potensic claims the new propellers are 40% quieter, and they undoubtedly appear to be quieter, with a lower pitch hum during flights, rather than the higher-pitch whirr we're used to with smaller drones like this.
There's also a green flashing LED on the rear of the drone that's visible over long distances, so it may be bright enough for night flying. Drone strobes must be visible at three miles in the US for night flights, but this distance couldn’t be legally tested.
The only other notable external aspects of the drone are the 3-axis mechanical gimbal, which can be tilted between -90 and +20 degrees so the camera can look up slightly as well as straight down. Plus, there's a basic downward vision system, although I didn’t notice this doing anything when flying low to the ground with an undulating surface. As you'd expect for the price, there's no collision avoidance.
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The controller follows the same design as the controller for the Atom and Atom SE, but has been upgraded and now features a directional antenna that helps maintain a control and video-transmission distance of up to 6.2 miles. During testing, there was occasionally some pixelation and stutter of the video feed, but ensuring the antenna was facing the direction of the drone alleviated this.
Moving back to the design, the controller holds your smartphone between the two comfortable handgrips that extend outwards to insert and then grip the phone. This makes the whole package look more like a smart controller, and the positioning of the phone in the centre between the controllers is much more comfortable than a top-heavy top-mounted phone.
There are six direct-access controls for accessing commonly used functions including the gimbal tilt, digital zoom, a shutter button and a Return to Home button. The two remaining buttons are set to switch the gimbal angle between 0 and -90 degrees and to change the flight mode by default. These two buttons are customizable if you'd like to change them, while the control-stick modes and stick sensitivity are also customizable.
Design score: 4/5
Potensic Atom 2: features and performance
Level 5 wind resistance
AI subject tracking
AI Quickshots
The Atom 2 is a fantastic flier, with responsive and smooth controls that facilitate seamless maneuvers when capturing video. GPS provides a stable hover, with no drift detected during testing, alongside providing Return to Home functionality which comes with standard RTH functionality and a new smart version.
Dynamic Home Point, when enabled, brings the drone back to the controller location rather than the take-off point when Return to Home is initiated. This may not sound like much, but it's an incredibly useful feature because it's sometimes useful to walk along behind drones during flight to maintain visual line of sight and to help with the performing of precise maneuvers.
This may be a small and lightweight drone, but the Atom 2 offers Level 5 wind resistance, which equates to speeds of up to 23.6mph. Flight modes include Video, Normal and Sport, with Sport mode offering a top speed of 35.8mph, while Video is for slower and smoother flight. There's also built-in Remote ID, which will be a welcome feature for US-based pilots.
Subject tracking is a feature that's becoming increasingly important and popular. It's been around for a while, but the introduction of AI in drones has made it more effective than ever before. The Atom 2 isn’t a selfie drone by any means, but its AI Track options for subject tracking include AI Spotlight, AI Follow and AI Parallel. These all work incredibly well.
(Image credit: James Abbott)
Then there's AI Quickshots, which includes Pull-Away, Spiral, Rocket, Circle, Boomerang and Dolly Zoom. All of these perform well, and most create professional-looking videos.
Dolly Zoom produces a great effect, thanks to combining the digital zoom with flying backwards, but it's not perfect. At the end of the dolly zoom, when the digital zoom is at its maximum, image quality is noticeably reduced, and while it's still a fun feature, it's not for professional use.
All of these effects can be applied to human subjects and inanimate objects simply by drawing around the desired subject in the Potensic Eve app.
Flight times are advertised as being up to 32 minutes per battery, but during testing the batteries typically lasted around 22 minutes before Return to Home was suggested by the drone at 15% battery level. This isn’t too bad, but it does make the Fly More Combo with three batteries and a fast-charging hub an attractive option. The fast-charging hub is claimed to be able to charge three batteries at once in 1.3 hours, and in my experience it was faster with batteries at a 15-30% charge.
Other features pilots will find useful are the Interval Timer for timelapse capture, and Cruise Control. There's also SmartTransfer, which enables you to transfer media files to your phone at speeds of up to 25MB/s. This makes it easier to share photos and videos directly to social media if you like to do this on the go.
Performance score: 4/5
Potensic Atom 2: image and video quality
1/2-inch sensor
Fixed focus 26mm f/1.8 lens
4K video and 12MP Raw photos
(Image credit: James Abbott)
The Atom 2 camera is an improvement on the Atom with improved image quality and additional features, but before we delve into those, let's take a look at the specs.
The camera features a 12/48MP Sony 1/2 in CMOS sensor with 4-in-1 pixels, which is claimed to reduce noise and enhance low-light performance, although if I'm honest I wasn't overly impressed with low-light performance.
The camera lens provides a 26mm equivalent focal length with a fixed f/1.8 aperture. The lens is fixed-focus from 4m to infinity, relying on hyperfocal focusing to achieve a large depth of field.
When it comes to image quality, sharpness is greatest in the center of the frame, with fall-off towards the edges. There's also some vignetting, and white balance can be inconsistent when using Auto and Manual settings, but this can be easily fixed in Lightroom when shooting raw.
Videos are consistently better quality and don’t suffer from these issues. Strangely, even white balance is more reliable for video capture. Moving back to photos, JPEG processing is heavy with strong and noticeable sharpening applied, so the best image quality will always come from raw files.
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You also have the ability to switch between 12MP and 48MP photo capture, but doing so isn’t a straightforward decision when JPEG processing is as it is.
The caveat with 48MP/8K photo capture is that it's only available in JPEG format, and not in raw. This is an odd omission, and one that will hopefully be fixed in a future firmware update, alongside adding a histogram for aiding exposure. You also have the option of 9:16 vertical photo capture, in JPEG only, with file sizes at 1520 x 2704 pixels.
Video can be captured in 4K at 24/25/30fps, 2.7K at 24/25/30fps, FHD at 24/25/30fps, and slow motion FHD at 2/3/4/5x. The maximum video bit rate is 80Mbps, while color profiles currently include Normal and HDR. In a future firmware update, a flat P-Log color profile will be delivered to the Atom 2 for more advanced video capture.
A digital zoom is available at 4K up to 2x, 2.7K up to 3x, and FHD up to 4x. Photos can be zoomed in up to 2x. Image quality reduces but the feature can be useful. Additional photo features include Bracketing, Burst Shooting and Panorama.
The Panorama mode includes Wide Angle, 180 Degree and Vertical options, with Sphere set to be delivered in a future firmware update. Panoramas are stitched in-camera, and saved as JPEGs alongside the constituent images in JPEG format. There's also a Defog mode for shooting in hazy conditions, and an AI Night mode for capturing video at night. The latter reveals more shadow detail at night, but image quality is questionable.
Image and video quality score: 4/5
Main example video
AI Night video
Potensic Atom 2: testing scorecard
Should I buy the Potensic Atom 2?
Buy it if...
You're on a budget The Atom 2 is one of the most feature-packed 'mini' drones available for such a competitive price, so you can get a lot of bang for your buck with this drone.
You’re a drone beginner This is a great drone for beginners, but also one that will meet your needs for years to come. In a nutshell, the Atom 2 won’t require an upgrade any time soon.
You'd like log footage The P-Log color profile will be delivered in a firmware update, making the Atom 2 one of the least-expensive drones to be able to capture video in a flat Log color profile.
Don't buy it if...
You'd like 48MP raw files Despite the 48MP sensor, 48MP photos can only be captured in JPEG format, with raw capture available at 12MP. If you want higher-resolution raw files you'll have to look elsewhere.
You'd like a telephoto camera If you'd like a dual-camera drone with a wide-angle and medium telephoto lens the DJI Air 3S is a great option, albeit much more expensive. The Atom 2 does, however, have a digital zoom.
You need collision avoidance If you'd like collision avoidance for flying confidently in complex environments, the DJI Min 4 Pro is going to be a much better option for you.
Potensic Atom 2: also consider
DJI Mini 4K
The DJI Mini 4K is slightly less expensive than the Potensic Atom 2, and offers similar features at a basic level. It doesn't offer the same subject-tracking, or more advanced features such as an interval timer for capturing timelapse videos, but if you'd like an inexpensive DJI drone capable of capturing 4K video and photos in raw and JPEG formats, it's a great budget option.
I tested the Potensic Atom 2 over several days of flying in a range of locations, environments and weather conditions (excluding rain) to test flight performance, flight features, overall handling, and image quality for both photo and video capture. All testing is conducted in a way that meets local aviation laws and restrictions to ensure that all flights are safe and legal.
Drones are always tested using manual flight patterns for videos that are typical of professional aerial video techniques for capturing visually interesting footage. This also provides the opportunity to test variables such as the connection between the drone and controller, latency between the two, and the accuracy of the controls and flight accuracy in general.
There's been a buzz surrounding the PowerShot V1, principally because the compact V-series vlogging camera is like a bigger sibling to the trending (and dated) PowerShot G7X Mark III, with an all-new 1.4-inch sensor and 16-50mm lens.
Put the two cameras side by side and the design / control layout similarities are clear (see below) – these are pocketable compact cameras, with the PowerShot V1 being the bigger of the two, and both offer impressive suites of video features.
The PowerShot V1's most obvious rival is the Sony ZV1-II, while the DJI Osmo Pocket 3 is a gimbal-stabilized alternative, and in many regards the well-rounded PowerShot V1 is a clear winner, even if there's a strong case to be made for DJI's take on the format.
Headline features include that 22.3MP, 1.4-inch sensor. That's a rare sensor size – it's essentially the same as Micro Four Thirds, but in 3:2 aspect ratio rather than 4:3. It measures 18.4 x 12.3 mm – much bigger than the 1-inch type used in the aforementioned rivals, which measures 13.2mm x 8.8mm.
A bigger sensor size in general means better image quality, but there are caveats. The notable PowerShot V1 drawback for me is the f/2.8-4.5 maximum aperture of its 3.1x optical zoom lens. Compare that to the ZV-1 II's f/1.8-4, and the PowerShot G7X Mark III's 4.2x zoom with a f/1.8-2.8 maximum aperture, and the V1 comes up short for light-gathering capabilities, which in some respects counters the image-quality advantage of its larger sensor.
Still, it's the widest lens of the bunch, with a 16-50mm range that's ideal for vlogging. Even with digital image stabilization active and the consequent image-area crop applied, the framing is plenty wide enough for vlogging with the camera at arm's reach – that extra 2mm at the wide end goes a long way.
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Here's the Canon PowerShot V1 compact (left), alongside the PowerShot G7X Mark III (right) (Image credit: Tim Coleman)
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From left to right: Canon PowerShot V10, Canon PowerShot V1 and Canon PowerShot G7X Mark III. (Image credit: Tim Coleman)
The comprehensive suite of video features includes cooling vents and unlimited 4K 30fps video recording times, a built-in ND filter, Canon's best-ever autofocus for a PowerShot compact, plus mic and headphone ports.
Photographers are well catered for too, with a hotshoe accepting an external flash (but not 5-pin ones), and a rapid 15fps burst shooting speed that's doubled when using the electronic shutter, ably supported by that reliable subject-tracking autofocus.
Image stabilization is unavailable when shooting 4K video at 60fps, plus there's a 1.4x crop using this setting – I'm sure I'll discover a few more drawbacks when I have the camera back in for in-depth testing.
However, the PowerShot V1 makes a strong first impression. As a complete package with Sony-beating features and a relatively decent price, it looks set to be a vlogging star.
Canon PowerShot V1 specs
(Image credit: Tim Coleman)
Canon PowerShot V1: Price and availability
£959.99 (US and Australia pricing TBC)
Available from early April, exact date TBC
The Canon PowerShot V1 costs £959.99, with US and Australia pricing to be confirmed, and is due to hit the shelves in early April, with an exact release date also yet to be confirmed by Canon.
That starting price is less than what the older G7X Mark III currently goes for, with scalpers are capitalizing on the smaller model's popularity. However, the Sony ZV-1 II costs around 20% less than the V1, while the DJI Osmo Pocket 3 is about half the price.
Canon PowerShot V1: Design
16-50mm f/2.8-4.5 lens with customizable ring and 5EV optical stabilization
Similar design and control layout to the PowerShot G7X Mark III
Includes hotshoe, tally lamp, headphone and mic ports
Canon has created a well-rounded and solid compact camera with a focus on video, but which also packs a solid suite of photography features.
Its design and control layout are strikingly similar to the PowerShot G7X Mark III's (see below), but on a larger scale that has enabled extra features such as a hotshoe, vari-angle screen, plus of course that larger sensor.
The camera sits nicely in the hand thanks to a generous handgrip, and is adorned with a number of customizable buttons and controls, with special mention going to the lens ring, which is ideal for making quick changes to aperture or your desired setting.
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From left to right: Canon PowerShot V1, Canon PowerShot G7X Mark III (Image credit: Tim Coleman)
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From left to right: Canon PowerShot V1, Canon PowerShot G7X Mark III (Image credit: Tim Coleman)
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From left to right: Canon PowerShot V10, Canon PowerShot G7X Mark III, Canon PowerShot V1 (Image credit: Tim Coleman)
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From left to right: Canon PowerShot V10, Canon PowerShot G7X Mark III, Canon PowerShot V1, Canon EOS R50 V (Image credit: Tim Coleman)
With the camera off and the lens retracted, I'd call the PowerShot V1 pocketable, which is impressive given the decent-size 1.4-inch sensor within.
A vari-angle touchscreen is pretty much the norm in 2025 for video-focused cameras – it can be flipped out and tilted upwards for easy viewing from awkward angles when shooting horizontally, and flipped around for vlogging.
Another handy feature for vlogging is a tally lamp, which lights up red to confirm when you're recording. You can also opt for manual focus peaking and zebra display, plus timecode – again, all handy video features.
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Cooling vents are found on the top and left-hand side of the camera, and these effectively enable unlimited 4K video record times. This isn't the sort of feature I'd expect in a camera at this level and price point, so kudos to Canon for that.
There's a decent internal mic, and Canon provides a wind muff with the camera that slots into the hotshoe to be positioned over the mic for clearer audio on breezy days.
When using the internal mic, the wind muff feels like a must, even if it somewhat obstructs some of the camera controls, such as the on/ off switch.
Still, if you're a serious creator you'll be using an external mic instead, and these can be connected using the 3.5mm mic input, with sound monitoring possible through headphones and on-screen.
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The lens is equipped with optical image stabilization (OIS) that's rated up to 5EV. That's a decent performance for photography, though it's of little use for video. For that, there's digital (or electronic) image stabilization (DIS). There's a small crop of the image area with DIS active, and even more with the enhanced DIS option, and that's where the V1's wider-than-most 16mm wide focal length is particularly handy – you'll still be able to frame yourself nicely in the shot with stabilization active.
Canon PowerShot V1: Performance
Canon's best-ever autofocus for a PowerShot
Digital image stabilzation only for video
4K video 30fps, 4K 60fps with a 1.4x crop, Full HD 120fps
I haven't had enough time with the PowerShot V1 to run full tests, but during my two-day hands-on time I have been able to use the various video record modes, snap a few photos, check image stabilization performance and shoot a few short vlogs using the internal mic.
In the sample footage below, I cover 4K 30fps, 4K 60fps, image stabilization, and the 3.1x optical zoom among other things.
Overall, 4K video footage is crisp, and subject-tracking autofocus is reliable – and that's something that's not to be taken for granted. Canon says it has put its best-ever autofocus for a PowerShot compact in the V1, and it really does perform well.
Usually, the camera's exposure metering and color are linked to the focus area. When focus was locked onto me, exposure looked fine with the help of an auto ND filter, although I have seen shifts in the color of my skin in vlogs – some look spot on, others a little green, others too magenta. It's a good practice to set white balance manually, rather than rely on auto white balance.
4K 60fps video looks great too, although you'll lose out on the option for Digital Image Stabilization at this setting, while there is also a 1.4x crop of the image area.
I don't mind the crop so much, as it effectively extends the lens for close-up B-roll. There's also a crop when you employ enhanced DIS (not available with 4K 60fps), but the V1's widest 16mm focal length gives a lot of scope for cropping into the image area for vlogging. Lens focal length might sound like a small thing, but Canon has been smart with its choice of 16mm focal length for the wide setting.
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General detail in this selfie is really sharp, plus subject-tracking autofocus has delivered pin-sharp focusing on the eyes (Image credit: Tim Coleman)
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Close focusing capabilities are impressive (Image credit: Tim Coleman)
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There's a trippy feeling to this image when the focal length is at the widest setting and the focusing is close-up. (Image credit: Tim Coleman)
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Taken at the 50mm focal length and maximum f/4.5 aperture, there's still a reasonable focus fall off here (Image credit: Tim Coleman)
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This close up at 50mm f/4.5 shows what the 1.4-inch sensor is capable of (Image credit: Tim Coleman)
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Here's the same subject but with the aperture set to f/11 – this depth of field is what you could expect from a standard smartphone. (Image credit: Tim Coleman)
Canon's 22.3MP 1.4-inch sensor is new, but we get Canon's familiar color science, and that's a good thing. Full-size photos look natural and are packed with detail – my skin and facial hair are super-crisp in the selfie above.
The PowerShot V1 also has decent close-focusing skills, so you can create photos and dynamic video cutaways for vlog footage – check out the flower closeups, again in the sample gallery above.
Would I have preferred a faster maximum aperture, say f/1.8-2.8? Yes, but that wouldn't be possible within the same compact lens dimensions. In any case, with the lens set to its maximum aperture (f/2.8-4.5) and when the focus distance is close, it's possible to get a lovely shallow depth of field.
I'll share more findings in my upcoming in-depth review.
How I tested the Canon PowerShot V1
Tested for two days, full production model
I shot various handheld video clips using a range of resolutions and frame rates, and with stabilization active and off.
I recorded vlogs using the in-camera mics only
I've not had long enough with the PowerShot V1 to give a definitive verdict. However, the two days over which I tested the compact vlogging camera gave me enough time to have a play with the various video modes on offer, including 4K and Full HD videos, and 60fps and 30fps frame rates, make short vlogs using the in-camera microphone, and shoot comparison videos with the stabilization active and turned off, to see how effective digital stabilization is for video. I've also made several photos in full quality.
Leica has taken the same product approach as other mirrorless camera makers, offering a high-resolution model in the 60MP Leica SL3 and a lower-resolution but more effective hybrid camera in the 24MP SL3-S.
Leica has had a long technology partnership with Panasonic, and the SL3-S has a lot (no, really, a lot) in common with the Lumix S5 IIx on a technical level. Physically, though, it’s very different. The SL3-S has a bigger, heavier body but with a super-streamlined control layout, with only three buttons on the rear having a specific labelled function.
It’s customizable to the nth degree, and it’s easy to assign new functions to the buttons as you go along, too. This approach does mean, however, that you'll need the patience to set it up to your liking in the first place, and a good memory for the functions you’ve assigned to the various buttons and dials.
It’s a nice camera to use, if heavy, and the info display panel on the top plate is a welcome feature when so many mirrorless camera makers don’t bother with these any more. The 5.76m-dot EVF may not have the very highest resolution on the market, but it’s clear and sharp and easily good enough. The rear screen is slightly disappointing. It has a tilt mechanism only, not a vari-angle pivot, and in our tests it just wasn’t bright enough for easy viewing outdoors, even with the brightness pushed up to maximum.
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I tested the SL3-S with the Leica Summilux-SL50mm f/1.4, and between them, the combo produced images of exceptional clarity and definition for a 24MP camera. The dynamic range seems about average for a camera of this type, but the JPEGs have very good tonal range from shadows to highlights, and at ISO 6400 (and beyond) noise levels are remarkably low.
The autofocus performance seemed pretty good when tracking humans and animals for video, though this isn't really a run-and-gun camera, and it's probably a little heavy for a gimbal too. It’s probably fair to consider this a filmmaking tool, not a vlogging camera.
The stabilization is only rated at five stops but seems to deliver its claimed maximum reliably, which you can’t always say for other cameras. This provides a very steady platform for handheld static shots, and can even cope with careful camera movements and walking-while-filming, though the results can soon get a little ‘choppy’.
Overall, the SL3-S is very expensive if you consider its specifications alone, but what you are also buying is quality – not just in the camera’s build and finish, but in the thought that’s gone into its control layout and interface. The results, too, are absolutely first rate. The Leica SL3-S is truly a class act in every sense.
Leica SL3-S: price and release date
Leica SL3-S body only: $5,295 / £4,500 / AU$8,990
Leica SL lenses start from around $2,195 / £1,850 / AU$3,490
On sale now
The Leica SL3-S is undeniably expensive, costing almost three times as much as the Panasonic Lumix S5 II / S5 IIx, which many would say it’s based on. Despite the technical similarities, however, this is a very different camera physically, with all the build quality and design finesse that you would expect for the brand. Also, this is by no means the most expensive full-frame mirrorless camera on the market; there are several which cost a good deal more, albeit with higher or more specialized specifications.
The overall cost of ownership of the SL system is perhaps not quite as high as many might expect, either. Leica’s own SL lenses are more expensive than similarly specced alternatives from other brands, but still in the same ballpark – and not as terrifyingly expensive as some M-mount optics, either. And you can, of course, use any Sigma or Panasonic L-mount optics – though anyone prepared to invest in the SL3-S would probably prefer to stick to Leica SL glassware.
Price score: 3/5
Leica SL3-S: specifications
Leica SL3-S: design and handling
All-metal magnesium and aluminum body, synthetic leather cover
IP54 weather sealing
Tilting rear screen
The Leica SL3-S's physical controls are minimalist in the extreme. Apart from three buttons on the back, none of the control dials or function buttons are labelled. You can make up your own control layout! (Image credit: Rod Lawton)
The menu system is superb. One press of the Menu button displays a quick settings screen and a second press displays the full menu system. Leica has a knack of making every camera feature quickly accessible (Image credit: Rod Lawton)
The first thing you notice about the Leica SL3-S is the simplicity of its external design and controls. On the back there are buttons marked Play, Fn and Menu, but beyond that every other control is unmarked, and can be set to any function you choose. These include two large control dials on the top, a thumb dial on the back and five function buttons on the front, top and back of the camera. There’s also a joystick for AF point selection, menu navigation and more.
Customization is super-easy. A long press on a function button brings up a menu where you can change the assigned function to something else. It’s a clever and efficient bit of interface design that’s typical of Leica, although it might not suit everyone. Some will prefer labelled buttons and dials that have a definite function, even if you can’t change them, to having to remember how you set the various buttons up.
Also, given that this is a hybrid camera where you need to be definite about whether you're in stills and video mode, wouldn’t it have been better to have a clearly labelled switch for that? An unmarked function button hardly seems adequate.
The tilting rear touchscreen is fine for indoor use, but can be hard to see outdoors, even with the brightness turned up to maximum (Image credit: Rod Lawton)
The status LCD on the top plate is a major bonus, allowing you to see key camera and exposure settings at a glance (Image credit: Rod Lawton)
The SL3-S offers two card slots, one for CFexpress Type B and one for SD UHS II cards (Image credit: Rod Lawton)
Another issue I had during testing was that I was constantly finding the focus point was somewhere other than where I left it – a common issue with touchscreens, of course – and on one occasion I found the focus area type had changed, and I don’t know why. I also found the zoom magnifier activating randomly while the shutter release was half-pressed, and I never could figure out what I was pressing to make that happen. All this is user error, of course, but it’s just a pity that the SL3-S design, beautiful as it is, leaves so many opportunities for such mistakes.
The 5.76m-dot EVF is excellent, but the 2.33m-dot rear screen less so. Even at full brightness it’s not always easy to see clearly for outdoor shooting. For video, you might have to rely more on the EVF than you would like – though of course for any kind of serious filmmaking you would quite likely have the SL3-S rigged up with an external monitor anyway.
Design and handling score: 4/5
Leica SL3-S: performance
Superb stills quality
Great high-ISO performance
Excellent JPEGs
Highly effective stabilization
Good AF tracking, though not the best
The SL3-S's single-shot autofocus is fast and effective, even when shooting wide open at f/1.4 – the depth of field here was razor-thin (Image credit: Rod Lawton)
This image was shot at ISO 16,000 and the quality is holding up extremely well, with perfectly acceptable noise levels and good fine detail. A little lower down the ISO scale at ISO 6,400, the image quality is remarkable (Image credit: Rod Lawton)
Leica SL lenses are more expensive than Panasonic or Sigma L-mount alternatives, but all the ones I've tried have been optically superb. This was taken with the Leica Summilux-SL50mm f/1.4 supplied for this review (Image credit: Rod Lawton)
This image shows the kind of spatial depth you can achieve with a full-frame camera and a fast prime lens. I didn't need to shoot this scene at f/1.4, but doing so has separated the trees in the middle distance from a beautifully blurred foreground and background. (Image credit: Rod Lawton)
You might argue that the SL3-S is ‘only’ a 24MP camera, but it produces the crispest, clearest images you’re ever likely to see from a camera with this resolution. Part of the credit undoubtedly has to go to the 50mm f/1.4 Summilux lens Leica provided for this review – this is a massive lens for a 50mm f/1.4, but it’s spectacularly sharp and aberration-free, and from edge to edge too. This is a lens you can confidently use wide open at f/1.4 without any hesitation.
The JPEGs from the SL3-S are very nice indeed. The camera achieves an excellent tonal range right into darker areas without seeming to sacrifice any midtone contrast. You can get blown highlights in JPEGs from overexposed skies, but you can recover highlight detail from the raw files, of course – though the SL3-S’s raw dynamic range seems no better or worse than that of rival cameras.
High-ISO performance is excellent. I shot a series of low-light interiors at ISO 6,400 expecting to see some significant deterioration in image quality, but the images looked really, really good. I should have set the ISO a lot higher!
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I was impressed by the IBIS too. Leica only claims five stops of compensation, but I think you probably get all of this pretty reliably, so this is perhaps Leica just being conservative. I’ve used plenty of other brands that claim higher levels of shake compensation but simply don’t deliver it.
Some have remarked that the SL3-S's AF tracking isn't quite as good as that of the Lumix S5 II/S5 IIx, but I couldn’t see any obvious weaknesses in my testing with human face / eye tracking, and the animal tracking, even though it’s still only in beta, was extremely good at keeping up with my feisty young terrier on a beach walk. Of course, it’s one thing the AF system knowing what it should be focusing on, but it will also depend on your lenses having fast enough AF actuators to keep up.
I honestly think, though, that if you’re into fast and immersive POV filming, this isn’t the kind of camera you would choose; the SL3-S will be much more at home on a tripod for more staged video productions.
Performance score: 5/5
Leica SL3-S: testing scorecard
Should I buy the Leica SL3-S?
(Image credit: Rod Lawton)
Buy it if...
You're more concerned with quality than cost And by that I mean not just quality of output, but quality of design, construction and operation.View Deal
You're already invested in the Leica SL system If you're a Leica shooter looking for a more adaptable and versatile content tool than the SL3, this is it.View Deal
You have an SL2-S If you're struggling a little with the contrast AF tracking performance of the older Leica, upgrading to the SL3-S is a clear win.View Deal
Don't buy it if...
You primarily need the video capabilities The SL3-S is not a good buy if you’re not interested in Leica’s premium design aesthetics – the Lumix S5 II/S5 IIx will do a grand job for a lot lessView Deal
You’re going to use Sigma or Panasonic lenses The SL3-S makes the most sense with Leica’s own SL glassware, which is typically big and expensive, alas.View Deal
You’re going to shoot in hazardous conditions Yes, the SL3-S does have IP54 weather sealing but, frankly, its sheer cost makes it a slightly nerve-racking choice for extreme filming. Use something cheaper!View Deal
(Image credit: Rod Lawton)
How I tested the Leica SL3-S
I had a one week SL3-S loan from Leica
It was sent along with the Leica Summilux-SL 50mm f/1.4 ASPH lens
I made photos and videos of various subjects, including animals and landscapes
I was able to use the Leica SL3-S for a few days to shoot a variety of subjects. For one shoot I chose a country walk via a yachting marina, and for another I took the SL3-S to a country estate to check out its low-light capabilities for interior shots. I also took it on an urban architecture expedition to get an idea of its dynamic range and detail rendition.
I tested its video capabilities too, particularly its stabilization and autofocus tracking, with a dog-walk on a windy beach. The aim was to find out how well the stabilization worked for static handheld shots and also a walking run-and-gun style. My pet dog was a big help in testing the AF tracking performance, including Leica’s animal tracking AF system, which is still in beta.
In particular, I wanted to try the SL3-S in shooting conditions that required a variety of settings changes, often from one shot to the next, to get a proper idea of how the Leica’s innovative control system actually worked in the field.
Viltrox's first professional LAB lens gets the Z-mount treatment, and I've already had the chance to test the lens for several weeks, pairing it with my Nikon Z6 II for supreme shallow-depth-of-field portraits and more.
At $899 / £829 / around AU$1,500 (discounts are available on the Viltrox website too), it's half the price of the Sony lens, and just a third of the price of Nikon's Plena, which originally cost around $2,600 / £2,700 / AU$4,600. For Nikon Z users like me, that's clearly a huge difference.
135mm is an ideal focal length for portraits, but I also love the perspective for landscape photography, together with the excellent light-gathering capabilities of a fast f/1.8 aperture prime lens like this.
So what do I think of the Viltrox 135mm f/1.8 LAB now that I've tested it? It's a truly stunning lens, although it does have one significant drawback that has me thinking twice.
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Viltrox 135mm f/1.8 LAB specs
Viltrox 135mm f/1.8 LAB: Design
Premium design and build quality
Very heavy
Unique customizable LCD screen is a fun touch
It's clear that the Viltrox 135mm is built for pros. The build quality is top-drawer, from the weather-resistant metal barrel, front lens element and rear mount to the reassuringly secure connection to the camera – you'll need some muscle to click the lens into place – and the premium controls dotted around the exterior.
There's a smooth focus ring, a second ring that can be set to smooth or clicked and which by default is set to control aperture, plus custom buttons and a customizable top LCD.
It's possible to customize the welcome screen of the top LCD (seriously), which is a nice touch, even if I can't see myself creating my own welcome screen... yet. It's also possible to apply firmware updates easily through the USB-C port built into the rear mount.
Focus distances are marked precisely on the LCD, down to the centimeter, which is something you don't get with other lenses. There's also a AF / MF switch plus a focus-range limiter. These exterior controls cover all the bases for the scenarios in which I see myself using the lens.
Autofocus is smooth and essentially silent. Viltrox says focus speeds are "150% faster", although I'm not sure what that's in comparison to, and I wouldn't say this is the fastest-focusing lens I've used, even if it is smooth. I'll touch on why I think so in a bit.
In the box is a decent-sized lens hood and a soft lens pouch for packing the lens away safely. So, all in all, the Viltrox 135mm F1.8 sounds great, right? And it is, but for one thing.
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As I mentioned in my verdict at the start of this review, this lens is heavy – very heavy. It's the first thing you notice as you take it out of the box. How heavy? 43.6oz / 1,235g, without the lens hood. Ouch.
To be clear, quality 135mm f/1.8 lenses like this are heavy, but the Viltrox is another level; it's about 25% heavier than the Sony and Nikon lenses I've mentioned.
I wish the Viltrox was lighter, at least for using it with my Z6 II. The balance is so front-heavy that this is a lens that's best used in short bursts, which is a shame because I could see myself using a lens like this for event photography, and those jobs are long hours.
If you shoot with a larger camera such as the Nikon Z8, or more so the Nikon Z9, the balance of the Viltrox lens will be much better.
Still, there's also a very good reason why this lens is so heavy – its supreme optical quality.
Viltrox 135mm f/1.8 LAB: Performance
135mm focal length ideal for isolating subjects
Virtually flawless optical quality
Precise and smooth autofocus, but not the fastest
The optical quality of the Viltrox 135mm f/1.8 LAB lens is virtually flawless, much like the Nikon Plena lens, and the MTF charts shared by Viltrox back this up.
Detail is sharp from center to edges, even when using the maximum f/1.8 aperture. There's not a huge amount of vignetting either – it's hardly noticeable if you stop the aperture down to f/2.8, while at f/1.8 it's easily corrected if you don't want those darker corners that help your subject stand out all the more.
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A portrait taken with the aperture set to f/1.8 (Image credit: Tim Coleman)
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The same portrait, but at f/2.8 (Image credit: Tim Coleman)
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With aperture set to f/1.8, bokeh is smooth, big and round (Image credit: Tim Coleman)
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Even at f/2.8, bokeh quality is lovely. (Image credit: Tim Coleman)
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I tried my hardest to induce lens flare, and even then the quality of shots is top drawer (Image credit: Tim Coleman)
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Another lens flare attempt (Image credit: Tim Coleman)
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135mm is an excellent focal length for isolating subjects, and focus fall-off at f/1.8 is smooth. (Image credit: Tim Coleman)
I purposefully pushed the lens in tricky scenarios, such as backlit portraits at golden hour, and it handled flare admirably. It also focused precisely, no mean feat when its VCM motors are working hard to shift those weighty lens elements, of which there are 14 in nine groups, although focusing is slightly snappier with Sony's and Nikon's lenses in my experience.
Most photographers splashing the cash on a lens like this do so for its ability to produce attractive bokeh, and the Viltrox lens impresses on this front, especially for the price.
The 11-blade circular aperture delivers buttery smooth and circular bokeh in out-of-focus areas of dappled light, as you can see in the sample images. This kind of bokeh quality is the holy grail for pro portrait photographers, and it's now available in a lens that costs a fraction of the price of Nikon and Sony's own lenses.
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f/1.8 (Image credit: Tim Coleman)
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f/2.8 (Image credit: Tim Coleman)
The top-drawer optical quality, especially for the competitive price, cannot be overstated, and Viltrox has really given me something to think about. Would I buy this lens? Absolutely. I'll just hit the gym first, or upgrade my gear with the chunkier Z8 for better balance, or – more cost-effectively – the Z6 II battery grip.
Its weight and slightly sluggish autofocus are the only drawbacks to an otherwise flawless lens.
Should you buy the Viltrox 135mm f/1.8 LAB?
Buy it if...
You want a long portrait lens
The telephoto 135mm focal length is ideal for head-and-shoulder portraits and for isolating subjects.
You want top-drawer optical quality
Supreme sharpness, buttery smooth bokeh, excellent control of flare and lens distortions… optically this lens is essentially flawless.
You want a well-made lens
Build quality and handling (aside from the weight) are excellent – this is a lens that's built to last and which offers you all the controls you need.
Don't buy it if...
You want a lightweight lens for long shoots
Weight is the lens's Achilles heel – at 45.6oz / 1,235g, you'll only want to use it in short bursts.
You want class-leading autofocus performance
Autofocus speeds are slightly on the sluggish side, even if the end results are precise and reliable.
You like to include surroundings in your portraits
The 135mm focal length is designed to isolate a subject, with little room for including surroundings unless you're shooting from some distance.
How I tested the Viltrox 135mm f/1.8 LAB
Tested intermittently for a few weeks
Paired with a Nikon Z6 II
Used in a range of scenarios and at different times of day
I received the Viltrox 135mm f/1.8 LAB lens for Nikon Z-mount a few weeks ahead of its official unveiling on March 19, 2025. It's already available for Sony E-mount.
I've paired the lens with a Nikon Z6 II body, and used it in a range of challenging scenarios to test its optical quality. These situations included backlit portraits during golden hours, with the light dancing around the sun included in some photos.
I haven't yet had the opportunity to test the lens during inclement weather yet, so I can't comment on its weather-resistance credentials.
The Fulaim X5M is yet another option in what has become a boom area of content-creation tech: the miniature wireless digital microphone. Designed for vloggers, podcasters and the like, this set is a competitor to the likes of the DJI Mic 2 and Rode Wireless Micro, with clip-on transmitters wirelessly beaming an audio signal to a receiver that can be connected to a smartphone, computer or camera.
Perhaps the main selling point of the X5M is its budget-friendly price, which undercuts premium rivals like DJI, Rode and Sennheiser by a wide margin. That makes it a tempting purchase for newbie content creators who are just getting started, particularly given the flexibility offered by its adapters, along with the ability to record directly onto the transmitter's own 4GB of internal storage.
I'd expect some concessions to be made with any budget product, and with the X5M I'd say the main ones are its rather cheap-feeling build quality, and the fact that its audio quality tops out at 16-bit where premium rivals offer 24-bit and even 32-bit float options. The display on the receiver could do with some tweaks to make it a little more readable too, but none of the above are what I'd call deal-breakers.
If more premium mics are out of your reach, and you want something a little more flexible than the smartphone-only Boya Mini, the Fulaim X5M is well worth a look.
The core Fulaim X5M set with two transmitters, the receiver and charging case (Image credit: Future | Sam Kieldsen)
Fulaim X5M: price and release date
List price is $199 / £150 / AU$310 for dual TX set
Cheaper non-recording edition available
Sold only as a set
Dual-transmitter kits with a charging case don’t come much cheaper than the Fulaim X5M. Its list price is $199 / £150 / AU$311, but I’ve found it for far less at many online stores including Amazon US for around $90 / Amazon UK for around £100, so you’ll be paying a lot less than you would for the likes of the DJI Mic Mini or Rode Wireless Micro.
That’s the price for the version of the X5M I was sent for review, which includes built-in recording on the transmitters. An even cheaper version lacking that feature is also available, for around $30 / £22 / AU$35 less.
Both sets are available to buy now from a range of online stores, but it’s worth noting that you can only get the X5M in a full package that also includes two transmitters, one receiver, a charging case, USB-C / Lightning / 3.5mm adapters, two furry windscreens and a USB-C cable; aside from replacement bits like the adapters and magnets, the elements of this kit aren’t available for individual purchase, at least as far as I could tell.
The charging case with two transmitters, the receiver and all three adapters inserted (Image credit: Future | Sam Kieldsen)
Fulaim X5M: specs
The receiver with its three adapters for Lightning, USB-C and 3.5mm devices. (Image credit: Future | Sam Kieldsen)
Fulaim X5M: Design
Most elements slot into charging case for transport
Entire package weighs 8.5oz / 240g
Adapters for USB-C, Lightning and 3.5mm included
The X5M, like many wireless mic packages, comprises two wearable transmitters, a receiver that can be connected to smartphones, tablets, computers and cameras, and a case that not only holds them but recharges their internal batteries. The case also has space for three connector adapters for the receiver (USB-C, Lightning and 3.5mm), a USB-C port for charging, and four LEDs on the front to give you a quick indication of its own battery life.
The whole kit will fit easily in your coat pocket, making the X5M wonderfully portable. I would have liked some kind of pouch or carrying bag to be included in the set though, as there’s nothing to stop the case flipping open in your bag and disgorging its contents. Also, there’s no room in the charging case for included accessories like the two furry windscreens or USB-C cable, so having a bag to hold everything would have made a lot of difference.
I found the general build quality to be okay, if a little cheap and plasticky. Pricier mic sets like the DJI Mic 2, Sennheiser Profile Wireless and Saramonic Ultra are all much sturdier than this – but that’s one reason you have to pay more for them, I suppose. There’s also no waterproofing on any of the elements here – at least nothing mentioned by Fulaim – so if you want to record outdoors in inclement weather you’ll need to exercise caution.
A Fulaim X5M transmitter with its furry windshield attached. (Image credit: Future | Sam Kieldsen)
The transmitters are small and lightweight, and can be attached to clothing via a clip or magnet. The clip is nice and strong, but I found the magnet pull to be a little weak, and I wouldn’t want to risk using it on any garment thicker than a lightweight T-shirt, lest it fall off.
Each transmitter has a USB-C port for charging and data transfer, as well as two buttons: one to switch power on/off and another that can be tapped to engage noise reduction tech and held down to start recording. It also has a 3.5mm input, enabling users to attach a third-party lavalier mic.
The receiver has a USB-C port for charging, plus an interface on the back that can accept one of the adapters, allowing it to be connected directly to products with Lightning, USB-C or 3.5mm ports. I tried it on my iPhone 13 and Panasonic GH6 II camera (with the Lightning and 3.5mm ports respectively) and found it to be a secure and fairly low-profile fit.
It also has a small non-touchscreen display that indicates battery life, recording mode, connection status and audio gain. This is a little hard to see from a distance at times, due to the choice of font and icons and its tiny size, but better to have than to not, I suppose.
The receiver also has two hardware buttons: one for power and one to toggle through five levels of gain adjustment.
Fulaim X5M: Performance
16-bit audio quality with noise reduction
Stereo, mono and safety recording modes
Transmitter can be used solo
There’s no sign of 24-bit or 32-bit audio here. The X5M, as befits its budget status, sticks with 16-bit audio – and I think that’s fine for a cheap wireless mic. Having tested the recording quality both indoors and outdoors on a blustery day, I’m more than happy with it – and I strongly suspect anyone who’s upgrading from a built-in mic on their phone or camera will feel the same. The sound is so much richer and fuller from a dedicated mic, while the furry windshield succeeds in cutting out wind noise when you're recording outdoors.
There’s even a noise reduction mode that, while I wouldn’t rely on it in truly challenging conditions, is very effective at reducing background hums – the likes of fans, air conditioners and road noise.
The X5M can record in three different modes: mono (which uses a single transmitter), stereo (where both transmitters record in tandem to create a single recording) and safety (where the second transmitter records at a slight gain reduction, as a backup track in case of the primary track experiencing a sudden loud noise or similar).
Each transmitter can be used for solo recording too, so you can ditch the rest of the set if you’re traveling really light. With 4GB of internal storage, it can record around nine hours of audio.
The X5M's receiver attached to an Apple iPhone 13 via its Lightning port. (Image credit: Future | Sam Kieldsen)
Battery life runs closer to six hours, however, with two full-recharge cycles being held in the charging case. In theory, with the charging case in your pocket you can get 18 hours of use out of the X5M before having to track down a wall socket or power bank, which is about average for a wireless mic set.
As for wireless range, Fulaim claims the X5M can work up to a range of about 650ft / 200m – that is, the distance between the transmitter and receiver. That’s in perfect conditions, of course, and I would expect the real-world figure to be a lot lower, although for the vast majority of users range is never going to be an issue. I certainly had no problems with connectivity or transmission during my review period.
Should I buy the Fulaim X5M?
Buy it if…
You want a versatile wireless mic on a budget
With its trio of adapters for connecting to all types of smartphone plus laptops and cameras, plus solo recording, this is a cheap package that isn’t restricted to a single mode of audio capture.
You’re a beginner content creator
The 16-bit audio recorded by the X5M is so much crisper, weightier, and richer than the sound you’d get from a smartphone or camera’s built-in mic, making it a cheap and simple way to elevate vlog audio.
Don’t buy it if…
You want to record in pro-quality audio formats
The X5M sticks with ‘good enough’ 16-bit audio recording, so demanding professionals who require 24-bit or even 32-bit float recording should look elsewhere – and be willing to spend more money.
You want super-tough build quality
The plasticky build quality, lack of weatherproofing, and lack of a carrying case or bag make this a mic set that needs to be handled with a little care. It’s not necessarily designed for the rough and tumble of frequent outdoor use.
Fulaim X5M: also consider
Boya Mini
This ultra-cheap, ultra-compact and ultra-lightweight wireless microphone is designed to work only with smartphones, meaning you can’t connect it to a camera. Like the Fulaim X5M, it records at 16-bit quality rather than the 24-bit offered by some pricier alternatives.
DJI Mic Mini A premium and versatile alternative that’s currently quite a bit pricier than the Fulaim X5M, the Mic Mini features 24-bit audio and Bluetooth connectivity, meaning you can bypass the receiver altogether. Its transmitters are quite a bit smaller than the Fulaim X5M’s too, which is handy if you want something a little more discreet.
I used it solo, and paired with iPhone 13 and Panasonic Lumix GH6 II
In order to see how it fared in different environments I tested the Fulaim X5M in a range of scenarios, from the quiet and relatively controlled environment of my home office to the windy coast of southeast England.
I also recorded with it in several different ways: using the transmitter’s built-in recording capability; with the receiver connected to my Apple iPhone 13 using a Lightning adapter; and with the receiver connected to my Panasonic Lumix GH6 II mirrorless camera via its 3.5mm analog adapter.
Every lens comes with some kind of compromise, but Sony’s done well to disguise it on the FE 16mm F1.8 G. Yes, it lacks the versatility of a wide-angle zoom like the FE 16-35mm F2.8 GM II. But if you’re in the market for a super wide-angle prime with plenty of creative potential, it’s a real box-ticker.
You’ve got the 16mm focal length favored by architecture and landscape fans, plus a fast f/1.8 aperture to satisfy night-sky enthusiasts. You’ve got speedy autofocus and a good set of manual controls. Then you’ve got the dimensions: Sony has cleverly packaged the FE 16mm F1.8 G to make it a lens that’s easy to travel with. All at a price that’s firmly in the reasonable bracket.
Sony might be marketing its 16mm prime at your traditional wide-angle users, but that list makes it a compelling proposition for anyone keen to experiment with a wider field of view. So where’s the catch?
In the minor category, there are a couple of marks against the FE 16mm F1.8 G. To achieve its low weight and matching price, Sony has used a fair amount of plastic in the build. And while it’s a moisture-resistant lens, it doesn’t have full weather seals. But this isn’t a G Master lens. For the money, neither one of those factors should be a dealbreaker.
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What could be is the barrel distortion. While prime optics mean the FE 16mm F1.8 G can shoot sharp in the center at its widest aperture, detail drops off to softness in the corners. This is because of how much correction is taking place at the very edges of the frame. Shoot in RAW and you’ll need to compensate quite heavily, costing you sharpness in the stretched pixels.
While this reliance on lens corrections might not sit well with purists, Sony is not alone in leaving software to address optical imperfections. Nor is it an issue which only affects prime glass. It’s a growing trend among wide-angle lenses as a whole, as we found in our review of the Canon RF 15-35mm F2.8L IS USM. Sony’s own FE 16-35mm F2.8 GM II is guilty of it, too.
In reality, if you’re willing to live with some corner softness, the FE 16mm F1.8 G is an excellent super wide-angle prime for the price. Shooting at f/1.8 not only lets you make the most of the available light, but also allows you to play with defocused backgrounds when your subject is close to the lens.
It’s true that videographers and travel photographers will probably be better served by a 16-35mm zoom, even if that means accepting a slower maximum aperture. The Sony FE 16-35mm F2.8 GM II has the versatility to cover both wide angles and tighter 35mm street shots with edge-to-edge detail. For those who want get creative at 16mm, though, the FE 16mm F1.8 G isn’t far off the sweet spot.
Sony FE 16mm F1.8 G specs
Sony FE 16mm F1.8 G: Design
Compact and lightweight for a wide-angle prime
Protected against dust and moisture
Tactile focus and aperture control rings
It’s not a pancake prime, but Sony’s done some very clever packaging to keep the FE 16mm F1.8 G compact. By super wide-angle standards, this is about as small as they come with an f/1.8 aperture. It weighs in at a very manageable 10.7oz / 304g and measures just 73.8 x 75 mm (or roughly 3 inches on each axis). That makes it almost 10mm shorter than the Sony FE 20mm F1.8G.
Its lean build is achieved in part by use of plastic in the construction. The result is a barrel that doesn’t feel especially premium, but Sony hasn’t done a cheap job either. There’s no sense that corners have been cut here: the body is creak-free and the controls are nicely tactile. While you don’t get the weather seals of the G Master series, resistance against dust and moisture also adds to the sense of robustness.
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The overall impression is one of functionality. That extends to the controls, most of which are thoughtfully placed within a finger’s reach. This is an easy lens to feel your way around one-handed. A few touches help to elevate the user experience above that of a basic prime, too: you’ve got a switch which gives you the option of clicked or smooth aperture ring rotation, for example, plus a programmable function button.
Some users might like a little more weight to the manual focus ring, but the resistance of the aperture ring feels perfectly judged. Together with switches for focus mode and Iris Lock, the FE 16mm F1.8 G is a lovely lens to use. It paired neatly with a Sony A7C II body in testing for a convenient wide-angle shooting setup.
Sony FE 16mm F1.8 G: Performance
Fixed ultra-wide 16mm focal length
Fast f/1.8 maximum aperture
Rapid autofocus with two linear motors
Frame up with the FE 16mm F1.8 G and you’ll instantly see just how wide a 16mm focal length really is. Whether you’re shooting buildings, interiors or landscapes, this is a lens designed to give you dramatic perspectives. And thanks to its wide maximum aperture, you can shoot those perspectives in a range of scenarios.
At f/1.8, this is pretty fast glass. Fast enough to capture sharp results in low lighting, whether that’s an evening street scene or a starry sky. Sony reckons the FE 16mm F1.8 G is a good option for astrophotography. Paired with a full-frame Sony E-mount camera, the 16mm’s light-gathering abilities certainly mean you can make the most of any available lumens.
The wide aperture also means you can play with a very shallow depth of field. The effect is strongest when shooting close-ups: with the right composition, you can draw a near subject into clear focus against a striking defocused background. This impression is enhanced by the fact that the wide field of view includes more of the backdrop than a standard macro lens.
Bokeh could be smoother and we did encounter some false color in blurred backgrounds. All the same, its close-focusing abilities add an additional string to the bow of Sony’s super wide-angle prime. It’s not a macro lens, but with a minimum focus distance of just 0.15m, the FE 16mm F1.8 G lets you get very close.
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It helps that the autofocus system is rapid in all conditions. Driven by dual linear motors, focusing response is pretty much instant. That’s just as true up close and in low light as it is when shooting big subjects in broad daylight. Paired with a Sony A7C II, the lens demonstrated a commendable hit rate, giving no reason to doubt that it would find its target.
All of that translates to video, too. It’s easy to see why Sony touts the FE 16mm F1.8 G as a lens with vlogging potential. Its ultra-wide focal length and close-focusing abilities are both well-suited to self-shot videography, allowing users to comfortably record themselves at arm’s length. The proportions of the lens itself also make it easy to wield when paired with a vlogging-first camera like the Sony ZV-E1.
Focus breathing is kept to a minimum: shift focus while recording and the field of view stays consistent enough for most eyes. If you have a compatible Sony body, you can use the breathing compensation function to eradicate it entirely by applying a slight crop. Shooting video with a 16:9 aspect ratio also crops out any softness in the corners from the application of distortion correction (see below).
Sony FE 16mm F1.8 G: sample images
Images shot with the Sony FE 16mm F1.8 G are broadly superb. As with most prime lenses, there’s a sweet spot in the aperture range that nets you edge-to-edge sharpness with no vignetting. That’s exactly what you’ll find at f/4.
Wide open at f/1.8, the story is a little bit different. There’s some minor vignetting evident in RAW stills, which can be addressed in post or reduced significantly by stopping down to f/2.8. That’s unless you want the effect to complement the wide-angle look, leading the eye to the center of the frame.
More problematic is barrel distortion. This isn’t a surprise for such a wide-angle prime, but the result is a loss of detail where correction stretches pixels in the corners. Whether this is applied in-camera to JPEG stills or in the edit for RAW files, the result is the same: softness at the far reaches of the frame.
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How much this loss of corner clarity is an issue will often come down to the composition. Naturally, the results of distortion correction are less noticeable when the area is defocused. In any case, you still get excellent center sharpness at f/1.8 and resolution remains decent across the frame up to f/11. Venture beyond that and you’ll find that sharpness drops off significantly, particularly as you approach f/22.
In stills captured facing into the sun, the FE 16mm F1.8 G displays a strong ability to deal with backlighting. There can be some washout at the widest apertures, but contrast is retained at f/4. The lens also keeps flaring under tight control and renders soft but attractive sunstars at narrower apertures.
Should you buy the Sony FE 16mm F1.8 G?
Buy it if...
You want to shoot wide angles in different lights
Thanks to its fast maximum aperture, Sony’s super-wide prime has the light-gathering abilities to shoot sharp in dim conditions. It can handle the bright stuff too, with attractive sunstars and decent flaring control.
You want a wide-angle that’s easy to wield
Courtesy of a polycarbonate construction, the 16mm weighs in at a relatively light 304g. It’s also compact for a super wide-angle prime, making it a tidy choice for shooting both travel stills and video.
You want to experiment with soft backgrounds
Blurred backgrounds aren’t a speciality for wide-angle lenses, but its wide aperture and short minimum focus distance mean the FE 16mm F1.8 G can produce strikingly soft backdrops when shooting close to a subject.
Don't buy it if...
You need total sharpness across the frame
Center sharpness is good on the whole and strong at the center of the frame, but drops off heavily in the corners when shooting at wide apertures, resulting in softness and a loss of detail.
You want perfection out of the camera
Substantial barrel distortion is the trade-off for a compact design. In-camera correction takes care of this for JPEGs, but it needs to be fixed in post for RAW files, along with noticeable vignetting.
You want the versatility of a zoom
Prime optics might be brighter, but a fixed focal length is less versatile. Many users will find the Sony FE 16-35mm F2.8 GM II zoom lens a more flexible choice for travel and video.
How I tested the Sony FE 16mm F1.8 G
Tested comprehensively for a week
Paired with a Sony A7C II body
Used in a range of conditions
Sony was only able to loan the FE 16mm F1.8 G to me for a seven-day period, during which time I shot with it extensively. Thankfully the weather was good during my time with it, so I was able to fully assess how it handles different lighting conditions, from bright backlighting to dimmer evening scenes.
As a 16mm would traditionally be considered a lens for shooting landscapes and architecture, I did both of those. But because Sony’s super wide-angle prime also boasts the defocusing potential of a fast maximum aperture, I also made sure to shoot up close with a range of subjects.
I used the lens with a Sony A7C II body. By shooting with it heavily over the course of a week, I was able to get a good understanding of the build quality and usability of the lens, particularly the feel of its focus and aperture rings.
Closer is better when it comes to wildlife photography, and that’s where Sony’s super-telephoto zoom delivers in spades: with a reach of 400-800mm, it’s the longest lens of its kind in Sony’s E-mount lens lineup. Trumping the 200-600mm F5.6-6.3 G OSS by a full 200mm at the telephoto end, it sacrifices wide-angle flexibility to give you a significantly tighter shot of distant subjects.
Comparable in many respects to Canon’s RF 200-800mm F6.3-9 IS USM, Sony’s super-telephoto is a win for capturing wild and winged creatures. It's less effective in the sports arena though: a slow f/6.3-8 maximum aperture makes it harder to work at the kinds of shutter speeds needed to freeze fast-moving subjects, especially in low-light scenarios, and also limits your scope for blurring busy backgrounds.
Still, in bright conditions, the 400-800mm excels. You don’t get the absolute pin-sharp detail of a telephoto prime, but it’s still sharp both throughout the zoom range and across the frame. Effective image stabilization also helps to keep things crisp when shooting handheld, with motion blur only becoming noticeable at the long end. Chromatic aberrations are kept under tight control, too.
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Tipping the scales at the best part of 2.5kg, this is not a lightweight lens. Nor is it small by anyone’s standards, especially with the lens hood attached. Yet Sony has made it a surprisingly manageable telephoto zoom to shoot with. For starters, internal zoom keeps the weight balance relatively centered over the tripod foot, which usefully doubles up as a handle.
Then you’ve got the tactile, accessible controls. With well-judged resistance, the focus ring makes manual adjustments a joy. Similarly, the short throw and smooth action of the zoom ring mean it’s swift and easy to shift through the full spectrum of focal lengths. Add a trio of programmable focus hold buttons, and the 400-800mm becomes a super-telephoto that’s easy to handle.
It’s also a lens with superb focusing skills. This isn’t G Master glass, but you wouldn’t know it from the responsiveness of the autofocus: driven by two precision linear motors, it moves fast and very rarely misses, and only when shooting busy scenes at a serious distance will you need to consider manual fine-tuning. At the wide end of the range, it also has the versatility to focus on subjects just 1.7m away.
This isn’t a perfect lens. Professional wildlife photographers will get better fine detail from a premium telephoto prime, while serious sports coverage requires the faster maximum aperture of something like the Sigma 150-600mm F5-6.3 DG DN OS Sports. But compromise is inevitable with a lens that's designed to cover several bases, and if you want a super-telephoto zoom that gets you closer than any other Sony E-mount glass, the trade-offs here are more than palatable.
Sony FE 400-800mm F6.3-8 G OSS specs
Sony FE 400-800mm F6.3-8 G OSS: Design
Heavy but well-balanced lens
Robust build with weather seals
Internal zoom with smooth ring rotation
There’s no escaping the fact that the Sony FE 400-800mm F6.3-8 G OSS is a hefty lens. At the best part of 2.5kg, you’ll feel its weight when wielding it. That said, it’s not too much bigger than the 200-600mm: it's 358g heavier, 29mm longer and just 8.3mm wider. Those don’t feel like huge trade-offs for the extra reach at the long end, although you will need to invest in costly 105mm front filters.
It helps that Sony has done a good job of balancing the lens. Rather than telescoping out in front, the zoom mechanism is all packaged internally. That keeps the weight distribution fairly consistent, whether you’re shooting handheld or on a tripod. It also means that the zoom control ring only requires a light touch, which contributes to the sense that this is a manageable lens.
So does the tripod foot, which sits pretty squarely beneath the lens and body’s center of gravity. Its collar isn’t removable, but you’ll likely find the foot useful to have more often than not. The design isn’t exactly ergonomic, but the foot makes for a natural handle, both when carrying and framing. The collar can be easily rotated, with markers for landscape and vertical orientation.
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While this isn’t a pro-grade lens, it’s more than robust enough to survive a lifetime of shoots in the wild. Besides its general weightiness, everything feels well-assembled: the barrel is solid, the control rings turn smoothly, and the switches have a nice, affirmative action. Weather seals are there to keep dust and moisture out, too.
Despite its size, Sony has tried to make the 400-800mm an accessible lens. The hood, for example, attaches with a simple button release, and features a sliding window, so you can make filter adjustments without removing it. Around the barrel, three focus-hold buttons sit at 90-degree intervals, and each can be programmed with custom functions. Then you have its stack of five focus and stabilization switches. As heavyweight telephoto zoom lenses go, this is one of the most user-friendly.
Sony FE 400-800mm F6.3-8 G OSS: Performance
Fast autofocus with two linear motors
Relatively slow f/6.3-8 maximum aperture
1.7m minimum focus distance at 400mm
When it comes to focusing performance, the 400-800mm impresses. Driven by a pair of high-speed linear motors, autofocus is both rapid and reliable, with zero delay between button press and motor response. According to Sony, the telephoto zoom can handle the 120fps maximum burst speeds of the A9 III. We didn’t have Sony’s sports star to hand during testing, but our chosen body – the A1 II – is no slouch, and the 400-800mm had no trouble keeping up.
It’s not immune from the odd miss, particularly when shooting over significant distances, but two features help here. The first is the focus limiter switch, which lets you give the 400-800mm a helping hand. By switching from the full range to one of two restricted modes, based on your distance from the subject, the lens has to hunt around less to find focus.
The second is full-time direct manual focus, which allows you to manually fine-tune focus in any mode by twisting the control ring. There aren’t many occasions where you’ll need to do this, but if the autofocus is having trouble with branches, for example, you’ll find the focus ring has just the right amount of resistance to let you make careful adjustments.
Close focusing is another key selling point of the 400-800mm, with a minimum distance of 1.7m at the wide end. In practice, that lets you get the shot even when your subject is relatively close. 400mm is probably too tight to practically shoot from the sidelines of a sports event, but that distance does mean you can capture small creatures that are near the end of the lens.
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Of course, it’s the super-telephoto number that grabs the headlines – and for good reason: 800mm is a long way in. Compared to a barrel that maxes out at 600mm the extra reach gets you significantly tighter in on your subject, and whether you’re shooting a kingfisher or a kickabout the difference is dramatic.
Almost as important as the range itself is the short throw of the zoom ring, which is optimized for quick shifts in focal length, and has a wonderfully smooth action; the internal zoom mechanism helps here, because the control ring isn’t responsible for telescoping elements. The net result is that it's pretty effortless to move through the full 400-800mm range, and together with the swift autofocus it enables you to readily switch between subjects near and far.
What does hold the 400-800mm back in some scenarios is the slow f/6.3-8 maximum aperture. This isn’t an issue in good light, where the lens performs well (see the sample images below). Under darker skies, though, it can struggle to keep up with rapid action, and at the shutter speeds required to freeze movement you’ll need to crank up the ISO setting or risk underexposed stills.
As a result, this isn’t a lens for shooting sports, especially not indoors. Even in the dimmer conditions of undergrowth, it can be a challenge to capture blur-free animal motion.
That slower maximum aperture also makes the lens less effective at blurring backgrounds. It’s not a major issue with leafy scenes or distant backdrops, but it does demand more care when composing against busy settings. At f/5.6-6.3, the 200-600mm has better light-gathering abilities and enables a tighter depth of field.
Sony FE 400-800mm F6.3-8 G OSS: sample images
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Optically, there’s a lot going on inside the 400-800mm. There are 27 elements in 19 groups, six of which are extra-low dispersion, which translates into sharp stills which are pretty much free from chromatic aberrations.
At a pixel level, you’ll get finer results from a telephoto prime, but for a super-telephoto zoom, the 400-800mm exhibits decent sharpness. Detail is crisp at both the center and the edge of the frame, across the full zoom range. Again, the lens delivers its best results in good lighting, where you can work at shutter speeds fast enough to eliminate motion blur.
SteadyShot stabilization helps to keep things sharp. Sony hasn’t published the official rating of its OIS system, but with a trio of modes covering static and panning shots, as well as active subjects shot using the viewfinder, we found it pretty effective at counteracting hand shake. Blur did become noticeable at the extreme end, but panning handheld at 800mm is never going to bag you the sharpest stills.
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Chromatic aberrations are tightly controlled, with just a hint of purple fringing creeping in at super-telephoto focal lengths. Pincushion distortion is minimal, too, leaving you with very little to fix in raw images. The 11-blade aperture diaphragm also produces bokeh smooth enough to satisfy most enthusiasts.
Should you buy the Sony FE 400-800mm F6.3-8 G OSS?
Buy it if...
You’re a bird or wildlife photographer
The spec sheet of the 400-800mm reads like a wish list for bird and wildlife photographers, with rapid autofocus, a long reach, and internal zoom, plus short minimum focus distances at the wide end.
You need maximum telephoto reach
Sony’s longest telephoto zoom to date gets you closer than any other E-mount zoom lens. It has an additional 200mm on Sony’s next-longest telephoto, which gets you significantly closer to the action.
You want easy zooming and focusing
Internal zoom contributes to a smooth control ring action, while a relatively short rotational range lets you move easily through focal lengths. Full-time direct manual focusing means precision adjustments are slick and quick, too.
Don't buy it if...
You’re a sports photographer
With a slow f/6.3-8 maximum aperture, the 400-800mm F6.3-8 G OSS struggles to keep up with action on dull days. Indoors or in low lighting, it’s simply not fast enough for sports.
You’re happy with a shorter reach
If you shoot relatively close to your subjects or simply don’t need the extra reach at the telephoto end, you’ll find better value in the Sony FE 200-600mm F5.6-6.3 G OSS.
You don’t want an unwieldy lens
Its zoom range might be unrivalled, but there’s no escaping the fact that the 400-800mm is a large and weighty lens. Internal zoom makes it easier to handle, but 2.5kg is still a lot to carry.
How I tested the Sony FE 400-800mm F6.3-8 G OSS
I used the lens extensively for a week
I paired it with the Sony A1 II
I tested it in a range of scenarios
Sony only made the FE 400-800mm F6.3-8 G OSS available for a short loan period, so I made the most of my week with it. I was blessed with a several days of clear skies and winter sun, allowing me to test the telephoto zoom in ideal conditions.
Given the lens's wildlife credentials, animals were obviously a focus of my test shots. That said, I also made sure to assess its capabilities as a sports lens, shooting on-track action at the Goodwood motorsports circuit near my home in the UK. To be thorough, I also shot architectural details, flowers, and a handful of portraits.
Paired with a Sony A1 II, I took the FE 400-800mm F6.3-8 G OSS on several walks to get a good understanding of how easy it was to move and shoot with the lens handheld, taking into account not just its weight, but also its full complement of controls, as well as the collar.
There are typically two types of outdoor backpacks for photographers: those that follow a traditional photography backpack design and those that are based on hiking backpacks and feature a modular ICU (internal camera unit) design where you can customize the camera storage within the bag. The f-stop Tilopa 50L DuraDiamond is a high-end modular bag that fits into the latter camp and is designed specifically for outdoor photographers like me, for whom it's one of the best camera bags available.
The f-stop Tilopa 50L DuraDiamond has been available for a few years and is a newer, tougher version of the original Tilopa. It's a large bag with a 50-liter capacity, and this can be paired with large ICUs for carrying mostly camera gear alongside other items in the additional compartments, or with a smaller ICU for less photo gear and lots of outdoor kit including camping equipment for a one- or two-night wild camping trip.
This cavernous bag is built to an incredibly high standard and it's versatile too – as well as offering compatibility with f-stop ICUs, there are lots of pockets and compartments to store your essentials, including space for a three-liter hydration bladder and up to a 16-inch laptop. The bag also features an internal frame like traditional hiking backpacks alongside being made of tough waterproof material.
I've been an outdoors photographer for more years than I can count, exploring tough terrains in inclement weather, and the f-stop Tilopa 50L DuraDiamond has been a reliable and versatile backpack throughout. It might cost a lot, but for me its decent value given the years of service.
(Image credit: James Abbott)
f-stop Tilopa 50L DuraDiamond: price and availability
Several kit options
Available in three colors
Available direct and from third parties
The f-stop Tilopa 50L DuraDiamond has been available for years directly from the f-stop website, Amazon and other online retailers. Pricing on the f-stop website is in US Dollars and Euros, with the bag coming in three colors: Anthracite Black, Cypress Green and Magma Red. You can purchase the pack/bag only, which is ideal if you already own f-stop ICUs, or in three bundles which include Essentials, Elite and Master. You can, alternatively, buy the pack/bag only and purchase the desired ICU separately.
The pack Only costs $399.99 / €399.99, while the Essentials bundle costs $499.99 / €499.99 and also includes a Pro Large ICU, Gatekeeper Straps and Large Rain Cover. Step up from Essentials to the Elite bundle ($579.99 / €579.99) and you'll also get a Shallow Small ICU, while the Master bundle costs $769.99 / €769.99 and further adds a Slope Medium ICU, Large Accessory Pouch and Packing Cell Kit.
Mindshift Backlight 26L: specs
f-stop Tilopa 50L DuraDiamond: design
Extremely comfortable
Built for the outdoors
Modular design
The f-stop Tilopa 50L DuraDiamond is a modular backpack so you can change the ICUs depending on your photography needs. There are also lots of additional accessories available including packing cells, straps and accessory pouches, so you can build the perfect bag system for you and your outdoor photographic adventures.
This is a large backpack – not the largest f-stop option available, but at 50 liters the Tilopa has a huge amount of storage space on offer. Just to give you an idea of its dimensions, the bag is 62.3 x 34.8 x 24.4cm / 24.5 x 13.7 x 11.1in with an empty weight of 4.2lb / 1.9kg.
That empty weight is as heavy as some traditional outdoor backpacks that are half the capacity of the Tilopa with fixed camera compartments, but obviously increases depending on what ICUs you're using; they don’t weigh much, but the Pro Large I tend to use weighs 1.71 lbs / 0.76 kgs.
When you consider the weight in this context, the Tilopa is lightweight given the capacity of the bag. The overall capacity is obviously fixed, but you can extend the amount of additional space for personal/outdoor items by using smaller ICUs. There are also pockets in the lid of the bag and on the sides with one able to accommodate a three-liter hydration bladder, complete with a guarded hole for the tube to maintain water resistance.
There's also a large front pocket on the bag with further compartments in the flap; this is quite large and can hold a wide range of items including a jacket. There's a slot to accommodate a 16-inch laptop in the padded rear-entry back panel as well as two larger pockets and four memory card slots that secure magnetically.
On the front of the bag, there are attachments for two walking poles or ice axes as well as the ability to carry a tripod on the front or sides of the bag. There are also pockets and netted straps on the waist belt and shoulder straps, while there are plenty of loops for attaching straps to carry items such as a tent outside of the bag.
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The build quality of the bag is excellent and the proprietary DuraDiamond material is both extremely tough and also water-resistant. Tougher Hypalon material is used as reinforcement in a few areas where additional strength is required and the large and comfortable-to-use zippers feature weatherproofing to keep moisture out.
On the inside, the Tilopa features an aluminum frame like traditional hiking backpacks to add rigidity and comfort. This, I have to say helps to make the Tilopa incredibly comfortable to wear.
For the purposes of this test, I paired the Tilopa with the Pro Large ICU which provided enough storage for my standard kit; two full-frame camera bodies with 70-200mm f/4 and 16-35mm f/2.8 lenses attached, a third lens, square filters, shutter remotes and lens cleaning accessories. It could be reconfigured to carry more if lenses weren't attached to the camera bodies, but this is a setup that works perfectly for me.
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The only negative with the Tilopa is that it doesn’t have a pouch/pocket that can carry a water bottle, like the side pouches on the smaller 37-liter f-stop Ajna. It's not the end of the world because you can put a bottle in the main front pocket, and one of the side pockets is designed to be used with a hydration bladder. You can also purchase the Mano Water Bottle Pouch separately and this will carry a 17 fl oz / 500ml bottle.
One of my favourite features of the bag, alongside the versatility of the ICUs and its comfort in use, is that you can access gear without fully removing the bag and putting it down on the ground. This is ideal when shooting in water or muddy locations. To do this, you simply remove the shoulder straps and rotate the Tilopa to your front with the waistbelt in use. This allows you to access your kit via the rear panel – perfect for outdoor photography.
Should I buy the f-stop Tilopa 50L DuraDiamond?
(Image credit: James Abbott)
Buy it if...
You'd like a modular backpack Having a backpack that can accommodate several different modular units allows you to configure the bag to your needs on a day-by-day or trip-by-trip basis, so it's like having several backpacks in one.
You want a bag you don’t have to put down Gear can be accessed without removing the Tilopa from your body, which is great when you're standing in mud, water or snow. DuraDiamond material can be easily wiped clean, but it's still a useful feature.
Don't buy it if...
You don’t require modularity If you don’t require the ability to customize camera storage / utilize modular units, then the Tilopa may not be for you. Just know that the Small ICUs do allow for a great deal of non-photographic kit to be carried.
You'd like a smaller bag With 50 liters of total storage, the Tilopa will be too large for some people. If you only need a medium-size backpack, the 37 Liter f-stop Ajna may be a better option.
How I tested the f-stop Tilopa 50L DuraDiamond
Long term review based on several years hands-on use
All features tested
Used in outdoor locations, including mountains and coast
I've owned the f-stop Tilopa for several years and use it either when I'm on a wild camping photography trip or when I need to carry more kit alongside outdoor gear. The Tilopa has been tested over an extended period where all of its strengths and weaknesses have been exposed, and it has been used in all weather conditions in the hills, mountains and at the coast. While the Tilopa would function perfectly in urban environments, I typically use lower-capacity backpacks in the city.
