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I tested Bird Buddy’s Smart Bird Feeder Pro camera in my garden for six months, and its 2K video and AI smarts are some of the best I’ve seen
11:00 am | April 18, 2025
Author: admin | Category: Cameras Computers Gadgets | Tags: | Comments: Off

Bird Buddy Smart Bird Feeder Pro: one-minute review

The Bird Buddy Smart Bird Feeder Pro uses the same Bird Buddy Smart Bird Feeder housing that features in our Best Bird Feeder Cameras round-up, but the camera has been upgraded to a new 'Nature Cam' unit.

Being the same size as its predecessor, the new camera unit simply slots into the housing and is held in place with a magnet. Installation and set-up proved easy and I was up and running in minutes. The new camera is noticeably better, offering an improved dynamic range and color, but most importantly it is now 2K in resolution which can be activated with a Bird Buddy Premium subscription.

There is a good level of control over the notifications you receive, with the options to receive every possible visit to your feeder, or just the smart notifications of the visits that may be of interest, such as new bird species. Within the app, visits, or 'Postcards' as they are called, are saved to Collections, where you can go in and see all of the different birds (and other animals) that have stopped by. You can also see other Postcards that users around the world have chosen to share.

A photo fo a European Robin taken with the Bird Buddy Smart Feeder Pro

(Image credit: Future)

The overall Bird Buddy system is very design-oriented and full of nice touches, from the way that the optional solar panel roof can be fitted, to the food hatch on the rear, the bright yellow or blue color of the feeder and the neat but stylish packaging and app design; everything has been thought out with a purpose.

There is a range of additional accessories for the Bird Buddy, including the solar panel roof. This neatly slots into position, and as long as it is angled into sunlight for a part of the day, it should provide enough power that you don't need to remove the camera for charging, especially during the summer. Other accessories include a 3-in-1 Nutrition kit, which provides a water bottle, a fruit spike and a 'Jelly Tray', each designed to meet different birds' nutritional needs.

One area that could be seen as lacking are the additional features that other cameras offer. For example, the Birdfy range is effectively repackaged home security cameras, with all the capabilities such cameras provide, such as built-in lights and alarm systems - both of which can also be used (usually unsuccessfully) to scare away squirrels. If you are looking for a birdfeeder camera that doubles up as a security camera for your garden, then Bird Buddy won't be the camera for you, it doesn't have those features.

For those who purely want to enjoy the avian visitors to their garden and share those images with family and friends on social media, the beautifully designed Bird Buddy app and high-quality photos and video footage will provide hours of pleasure. There is still the buzz of excitement when you get a notification of a new bird species stopping at your feeder.

Bird Buddy Smart Bird Feeder Pro: price and availability

  • Available now, lsit price $279/ £160
  • There are plenty of optional accessories
  • You'll need a premium subscription to unlock the best features

The Bird Buddy Smart Feeder Pro cost $279 / £219 but is currently reduced by 35% from its original price and can be had for $189 / £160.77 at the time of writing.

If you want the Solar Roof version, it is priced at a reasonable $219 / £186.29. The Bird Buddy can be purchased directly from the Bird Buddy website, which has US and EU store options. It is also available on Amazon via their Global Store, so it should be available worldwide. It can also be purchased from John Lewis and Curry's in the UK.

The optional add-ons are the Perch Extender ($24), Solar Roof ($59), 3-in-1 Nutrition Set ($39), Wall Mount ($29), and Suet Ball Holder ($14). Again, each of these is available via the Bird Buddy website or Amazon, depending on your location. Prices are converted to GBP.

There are two optional Premium subscription services available in Individual and Family versions. As detailed, these provide a range of new features, most importantly 2K Ultra video resolution and unlimited online storage of footage. The Family option allows you to grant family members access to the live feed from your camera. To find out more about the differences in the plans, see Bird Buddy Plans.

Bird Buddy Smart Bird Feeder Pro: specs

Bird Buddy Smart Bird Feeder Pro: design

  • Compact All-In-One design
  • Great design touches to keep everything neat and tidy
  • Solar Roof reduces the need to remove and recharge the camera

Setting up the Bird Buddy Smart Feeder Pro was straightforward. After reviewing the previous version of the camera, I already had the app installed, so installation was as simple as selecting "add a new Bird Buddy" in the app menu and following the on-screen instructions. The instructions are very clear and have a human feel to them. Setup is simple, and you don't need previous experience to easily pair the camera to your phone and then your Wi-Fi system.

As Bird Buddy sent me the new Nature Cam to install in my existing Bird Buddy feeder, I simply removed the cable linking the original camera to the Solar Roof and pulled out the camera, which is held in a recess with a strong magnet. Fitting the new camera was the reverse procedure, with the magnet reassuringly ensuring the camera was locked in tight. Again, the USB-C charging port was connected to the Solar Roof.

As supplied by Bird Buddy, the feeder has a mount that can be connected to a post, or it comes with a rope for hanging from a tree or feeding pole. I opted to hang the feeder from a branch of a tree and tried to position it so that the solar panel was oriented to get as much sunlight as possible.

The feeder itself is made from strong plastic. It has a small panel at the top of the rear that can be opened to pour in bird feed. In fact, the feeder comes with a Feed Scoop. It can be a little bit fiddly given I had to climb a ladder, with the feeder is swinging from a tree, but it is quite a neat solution. There is an optional Wall Mount that allows you to swivel the feeder around for easy access to the rear for loading food.

A selection of screenshots from the Bird Buddy app showing the setup and subscription features of the app

(Image credit: Future)

The feeder was placed around 12m from the nearest Wi-Fi access point, which was in my house and through a glass window. I had no problems connecting to the camera when wanting to view, although there was a short delay while I had to wait for the live view to appear on my phone. In reality, this was no longer than if I tried to connect to view my Ring camera live view.

If you have followed any of my previous bird feeder reviews, you will know I have an issue with squirrels raiding the feeders in my garden. The Bird Buddy has no Squirrel deterrents like the Birdfy feeder cameras. However, the good news is that little damage has been done to the housing despite it being scratched and chewed by squirrels, over the course of a year and a half hanging in my garden.

Having the feeder hanging rather than strapped or mounted to the tree has made it more difficult for the squirrels to get to it, but they still find ways of jumping and climbing to reach the food. At least the feeder is still intact.

The other thing worth noting is both Individual and Family subscriptions are possible. The primary reason for a subscription is to unlock the Ultra 2K resolution, which has noticeably better, less compressed image quality.

The subscription also adds the Remote Feeder Unlock to see feeders from around the world, Unlimited Cloud storage of your photos and video, the Name That Bird feature, which allows you to give a nickname to a specific bird individual bird, Bird Care which will alert you about injured or sick birds and offer advice on how to keep your birds healthy, and finally Bird Buddy Experiments which give the user access to new features that may be trialled.

Although you can add family and friends to your account to see video clips from your feeder, the Family Premium subscription allows friends and family to log in and see the live view from your feeder.

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Bird Buddy smart Bird Feeder Pro

(Image credit: Future)
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Bird Buddy smart Bird Feeder Pro

(Image credit: Future)
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Bird Buddy smart Bird Feeder Pro

(Image credit: Future)
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Bird Buddy smart Bird Feeder Pro

(Image credit: Future)
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Bird Buddy smart Bird Feeder Pro

(Image credit: Future)
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Bird Buddy smart Bird Feeder Pro

(Image credit: Future)

Bird Buddy Smart Bird Feeder Pro: performance

  • 2K video available via a subscription only

The image quality from the Nature Cam is noticeably better than that of the original camera if you fork out for a subscription which unlocks 2K resolution. Do so, and images have more fine detail, and the HDR image brings out more colour and detail.

There are limitations; the camera sensor is still 1/2.7", which is about on par with a smartphone camera. However, the low resolution offers reasonable dynamic range performance, which can be seen in shadow details.

Highlights are easily blown out, as you would expect, and direct sunlight can cause lens flares, so it is important to position the feeder, and therefore the camera, at an angle where these will be minimized, or at least at times of day when you are most likely to get footage from the camera.

Light is everything when it comes to photography, and the placement of the camera in relation to the sun can make a big difference in the images you get from the camera.

It should be noted that the Bird Buddy creates portrait-orientation videos, which are perfect for viewing on a smartphone. However, if you eventually want to view them on a TV screen or computer, you might want to look elsewhere for the best viewing experience.

Compared to other bird feeder cameras I have tested, there is more of a delay in receiving notifications, so you won't always catch the bird on the live stream. However, the Postcards you receive are a nice touch. You can turn notifications off entirely and check in on the app occasionally to catch up the action you have missed.

The camera focuses well on smaller birds, with plenty of room on the feeder for them to perch and pick at the feed. However, larger birds struggle to land and also to balance on my hanging feeder. The optional perch add-on would be a great addition for most users. It allows larger birds to land and their heads to be further from focus. If you want to capture larger birds clearly, I would recommend getting the perch as an accessory.

I have had the original Bird Buddy Smart Feeder hanging outside in my garden for over a year. It has seen bright sunshine and freezing snow, and the recyclable plastic structure is in tact, although the color has faded slightly from the UV light. I had the new Nature Cam installed for a few months for testing, and it has also seen heavy rain, freezing conditions, and bright sunshine. It is in great condition, and it is still performing perfectly.

The Solar Roof has been a great accessory, and in the winter months, the camera doesn't need to be taken in and charged despite the lower light levels. In the summer, I know I might have to reposition it to avoid foliage casting shadows on the roof, but this may be negated by the fact that there will be more daylight hours.

Video and photo samples

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A selection of images of birds and wildlife feeding from the Bird Buddy

(Image credit: Future)
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A selection of images of birds and wildlife feeding from the Bird Buddy

(Image credit: Future)
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A selection of images of birds and wildlife feeding from the Bird Buddy

(Image credit: Future)
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A selection of images of birds and wildlife feeding from the Bird Buddy

(Image credit: Future)
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A selection of images of birds and wildlife feeding from the Bird Buddy

(Image credit: Future)
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A selection of images of birds and wildlife feeding from the Bird Buddy

(Image credit: Future)

Should you buy the Bird Buddy Smart Bird Feeder Pro?

Buy it if...

You love garden tech

If you love gadgets, the Bird Buddy Smart Bird Feeder Pro is a great addition to your garden. If you have the premium subscription it is possible to link to Alexa to get a summary of daily visits, with more features on the way. However, I struggled to get this feature to work.

You love birds and wildlife

This one is obvious, but if you love the wildlife in your garden, the Bird Buddy Smart Feeder is great. You can collect the Postcards from birds that have visited almost like they are Pokémon, with a daily round-up of the number of different species and visits you have had each day. The small AI generated information about the birds is also a great way to learn and engage with the nature in your garden.

You want a stylish feeder cam

Of all the bird feeder cameras available, I think the Bird Buddy Smart Bird Feeder Pro is the most neat and stylish both in the physical design of the feeder and also the app.

Don't buy it if...

You want to view on TV

The video quality is good, however, as it is recorded vertically, it is better for viewing on a smartphone and sharing on social media. If you want to watch footage on a television it may not be the best choice.

You have squirrels

I have tested quite a feeder feeders and squirrels have fed from all of them. And despite the design and materials of the Bird Buddy withstanding damage from squirrels, it doesn't have the squirrel deterrents like some other feeders.

You don't want to buy accessories

For the best experience I would recommened that you buy the Solar Roof and the Perch for the Bird Buddy; the solar roof virtually elimates the need to charge the camera, the perch addition makes a better experience for larger birds to land - resulting in better photos and video.

How I tested the Bird Buddy Smart Bird Feeder Pro

  • I hung the feeder in a tree for 6 months
  • It was connected to my home Wi-Fi
  • I monitored the birds visiting daily via the Bird Buddy app

I tested the Bird Buddy Smart Bird Feeder Pro by hanging it from a tree in my garden that birds (and squirrels) regularly visit. The feeder was strapped to the tree, and the camera was set up using an iPhone and the Bird Buddy app.

I left the feeder up there for months through all weather conditions. During that time, I monitored the birds visiting via the app in real-time and reviewed photos and videos that had been captured.

I have also looked at AI recognition and the various capabilities of the app.

  • First reviewed April 2025
I tested the affordable Polaroid Flip for over a week – its unique design and signature prints impress
4:00 pm | April 15, 2025
Author: admin | Category: Cameras Computers Gadgets Instant Cameras | Comments: Off

Polaroid Flip: Two-minute review

Like many tech journalists and photographers of a certain vintage (aka born in the early 90s), I always remember there being a Polaroid at family parties when growing up. Later in my teenage years, when studying photography at university and trying my hardest to be cool, I bought a secondhand Polaroid Sun 600 on eBay, but finding decent film then was harder than it is now. Eventually, the cost superceded the cool, and I gave up.

Polaroid has come a long way since then, and has been revisiting its heritage with the aesthetic of newer releases. We had the Polaroid Go 2 in late 2023, similar in looks to the Polaroid 1000 Land Camera. In March this year, the brand refreshed its Now instant series with the Now 3 and Now 3+, cameras that I think share the character of the original OneStep SX-70.

I'm a Polaroid nerd, so I was excited to test the new Polaroid Flip before its official release. But given that the last camera I used was the flagship Polaroid I-2, in all its sharp lens, manual control glory, I was apprehensive about how a more affordable model could compete with the best instant camera for pros.

Polaroid's tagline for the Flip is that it's the camera for an analog life. For "instant photography over instant gratification." Presumably it means for people who appreciate physical prints over looking back through their phone camera roll. The Flip keeps things simple and easy-to-use; there are no filters or effects, and the main talking points include common instant camera features like double exposures and self-timers.

Despite lacking manual controls like the Polaroid I-2, the Flip feels like a camera that more advanced instant shooters can still appreciate and enjoy. A clever four-lens system is brilliantly effective at adapting to varying subject distances, meaning you get mostly sharp shots, even at dark parties.

And there are subtle but clever ways the camera uses 'scene analysis' to guide your images. A red viewfinder warning light alerts you to a shot being over- or underexposed, and an alert appears on the lid display when you get too close to a subject. Selfies are a tad tricky, though, and macro isn't a viable option given the camera's restricted minimum focusing distance.

Polaroid's signature tones shine with the Flip, though colors in my experience sometimes leaned unexpectedly toward green. Also, while the B&W i-Type film showed strong contrast on occasion, I found that highlights could easily blow out with Polaroid's most powerful adaptive flash yet.

It's always difficult to review Polaroid performance, because the expectations are so different from most other cameras. Part of the joy of analog lies in experimentation, and yet with Polaroid film being so expensive, you want to know that most of your shots will at least come out intended. Despite minor disappointments with the Flip, I loved the results overall. I think those willing to practice, learn and refine their shooting approach over time will too.

Polaroid Flip: price and availability

  • Costs $199.99 / £199.99 (Australia pricing TBC)
  • Early purchase for Polaroid members starts April 15
  • On sale at Polaroid.com from April 29, retailers May 13

The Polaroid Flip is available from a few different dates depending on who you are. Polaroid members can purchase the camera on the official website starting April 15, and general access follows from April 29. It's destined for general camera retailers from May 13.

The Flip's price at release is $199.99 / £199.99. A year ago I would have thought this quite steep, but recent US tariffs and spiralling tech costs have made me reassess. Still, the Flip is at the serious end of instant cameras, at more than twice the price of the entry-level Instax Mini 12. It's more expensive than the Fujifilm Instax Wide 400 model ($149.99 / £129.99 / AU$229.99) and the older, square-format Instax SQ40.

But then it sits below the Polaroid I-2 ($599 / £599 / AU$1,099) with its super-sharp lens and the hybrid Instax Wide Evo ($349.95.99 / £319.99 / AU$599) which has 20 film and lens effects and allows you to select what you print to save on film.

You're tied into using either Polaroid 600 or I-Type film with the Flip, and realistically this is more expensive per exposure than Instax. Prices vary a lot depending on what country you're in, and bundle packs can help to bring the cost down, but an 8-pack of I-Type costs roughly the same amount as 20 photos of Instax (Wide or Mini).

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Test shots using the Polaroid Flip

(Image credit: Lauren Scott)
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Test shots using the Polaroid Flip

(Image credit: Lauren Scott)
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Test shots using the Polaroid Flip

(Image credit: Lauren Scott)

Polaroid Flip: specs

Polaroid Flip: design

  • Heavier than the Polaroid I-2
  • Flippable lid for lens protection
  • Viewfinder LED and ‘lid’ display
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A white Polaroid Flip camera sits on a wooden desk

(Image credit: Lauren Scott)
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A white Polaroid Flip camera sits on a wooden desk

(Image credit: Lauren Scott)

The Polaroid Flip is a boxy, chunky camera. That much is obvious when you get it out of the box. It weighs 200g more than the Polaroid Now+ and 85g more than the Polaroid I-2, as well as being deeper and taller. But that’s because the design is so different from anything else in the current lineup.

Rather than having a lens cap to cover a protruding lens or the front face exposed, Flip has a (you guessed it) flip-up lid. This lid pulls up smoothly and clicks into position at the top when you want to take a photo. When the lid is down, the camera automatically turns off, and the most important parts of the camera are well-protected.

I really like the design, which gives the camera a clean, modern silhouette and means you can pop it in a bag without fretting about dust getting in the lens grooves. And I still felt it was distinctly Polaroid. The Flip comes in a subtle matte black colorway or white with a pop of orange for more daring users.

I found the exterior of the white model prone to marks, but the plastic casing is easily wipable. And twice when I was out shooting, two people stopped to tell me that I had “a really cool-looking camera”. Street credibility points to me.

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A female photographer holds the Polaroid Flip instant camera in a sunny field

(Image credit: Lauren Scott)
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A female photographer holds the Polaroid Flip instant camera in a sunny field

(Image credit: Lauren Scott)
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A female photographer holds the Polaroid Flip instant camera in a sunny field

(Image credit: Lauren Scott)
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A female photographer holds the Polaroid Flip instant camera in a sunny field

(Image credit: Lauren Scott)

According to the specs sheet, the Flip is made from four types of plastic, including acrylic and polycarbonate. These have all been chosen for properties that would make sense in a take-anywhere camera, and they keep the body as lightweight as possible but also strong and impact-resistant.

The build quality doesn’t feel brittle or cheap, the buttons are solid to press and flipping up the lid is super satisfying. That said, the handling is a bit awkward and I had to turn the camera around to get a good hold of the lid every time. It’s a two-hand job. You also get a strong rope strap in the box so you can wear the camera – comfortably, I might add – around your neck.

Controls are pared back, as is usual with Polaroid and most instant cameras. Two buttons at the back right let you toggle through settings such as flash, double exposure, self-timer, and exposure compensation. These show up as icons on the nifty LCD screen on top of the camera, and they’re easy to see even in bright sunshine. It took me a while to work out what button combo activated each mode, but the fold-out paper guide in the box – in itself another well-thought-out analog nod – gives you pointers.

There’s a USB-C power input on the right side of the camera for recharging, and an eject button on the left to open up the film door and pop in a pack. The big orange shutter button on the front is easy to find with your fingers and can be depressed slightly to focus and pressed fully to fire. The viewfinder itself is basic but easy to use, and I found that what you see through it matches closely with what’s printed, helping with composition.

Test shots using the Polaroid Flip

(Image credit: Lauren Scott)

Polaroid Flip: performance

  • 4-lens system for different distances
  • Sonar autofocus detects subject distance
  • Adaptive flash for up to 4.5 meters away

Test shots using the Polaroid Flip

(Image credit: Lauren Scott)

Despite there being no option to focus manually as with the Polaroid I-2, I found almost all of my shots with the Flip were critically sharp. The camera uses sonar waves to detect your subject distance, then selects the best lens from its four-lens system (0.65m, 0.85m, 1.2m, 2.5m). It’s very clever, and even in a party marquee, portraits came out crisp.

When half-pressing the shutter button to focus, you hear a noise when one of the four lenses has been selected. What’s clever is that an alert on the lid display will flash if you’re trying to shoot a subject that’s too close and out of the camera range.

Still, it’s worth noting that the Flip’s minimum focusing distance is around 0.4m, which isn’t quite far enough to get a sharp, frame-filling selfie. I could just about hold the camera far enough away at arm’s length to trial it but ended up with unwanted empty space around my head and shoulders. If you’re into your flora and fauna, there isn’t yet a macro filter or attachment for Polaroid to make true close-ups work.

Exposure was a mixed bag. Polaroids like light, and it's recommended that you keep the flash on for all shots except bright sunshine. This is meant to be the brightest flash of any Polaroid, and the strength adapts based on the subject distance for anything up to 4.5m away. I experienced this power, but not always in a good way, and often my outdoor shots were overexposed to the point of losing details, even on a cloudy day. As with the Polaroid Go 2, the flash gets activated by default when you flip up the lid, and a few times I forgot this.

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Test shots using the Polaroid Flip

(Image credit: Lauren Scott)
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Test shots using the Polaroid Flip

(Image credit: Lauren Scott)
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Test shots using the Polaroid Flip

(Image credit: Lauren Scott)

The tones you get from Polaroids have always felt distinctive, yet anecdotally the hues from my Flip shots felt a little richer and bolder than those from the I-2. On a warm spring day in the UK, the exposure of a pink blossom tree felt warm and well-saturated, while the vibe of a cooler sunset party was also captured effectively, if not tending towards more of a green hue than I’d have liked.

Of course, there’s no way to change the white balance in-camera. What you get is dictated by the film and the shooting environment. The B&W i-Type film I used showed great contrast, and I loved the amount of depth I could capture down a long, narrow street in my home city of Bath, UK. But again, it was easy to overexpose the bright Cotswold stone and lose that detail with the flash.

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Test shots using the Polaroid Flip

(Image credit: Lauren Scott)
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Three B&W exposures taken with the Polaroid Flip

(Image credit: Lauren Scott)

You can’t control the Flip’s exposure settings manually. For inexperienced users or people who just want to point and shoot, this is probably a good thing. The Flip does the hard work of choosing the aperture and shutter for you, meaning fewer wasted shots if someone decides to grab the camera at a party. But if you’re a more advanced photographer, as I am, you may find Flip’s setting choices creatively limiting.

As far as battery duration and charging times go, I couldn’t find any official specs from Polaroid. When I first got the camera I left it plugged in overnight to ensure it was full of juice for the start of testing, and it still hadn’t passed the halfway mark when I’d finished three packs. I tended to shut the lid after every shot, though, so each user’s mileage may vary.

During testing, I loaded up my second pack of color I-Type film only to find it wasn’t ejecting from the camera after each exposure. Polaroid makes loading film into the Flip so quick and simple, and it's something I've done with other Polaroids hundreds of times. I want to suggest it was a camera and not a user error, but either way, it does highlight how much film and money you can waste should things not quite go to plan. That’s the same with many instant and film cameras and not a unique flaw to the Flip, of course.

The prints aren't quite as instant as Instax, and need a while (I found at least ten minutes) to settle away from the light to develop properly. For me, this is a great metaphor for Polaroid in general. Despite being designed for ease of use in terms of operation, the Flip still requires a bit of time to learn its ways, exposure tendencies and to hone your craft. Do that, and you'll be rewarded with sharp retro results more times than the Polaroids of the past.

Should I buy the Polaroid Flip?

Buy it if...

You're after a cool-looking throwback
The Flip is reminiscent of popular vintage Polaroid cameras, including the One Step Flash. I'm not suggesting that you should pick style over substance, but I found this bright and chunky camera a great conversation starter.

You want to point and shoot, and that's it
In a busy world, it's nice not to have to think for a while. I found the Polaroid Flip enjoyable because of its ease of use. There are no gimmicks or filters, and I like that all you really have to decide is whether the flash is on or off.

Don't buy it if...

You want a small and subtle camera
Polaroid Flip's design is decidedly retro and bulky. Although it's not heavy to wear around your neck, it's equally not a camera that you can slip into a small bag or clutch. I'd look at the Polaroid Go or the Instax Mini if you're after proper portability.

You don't like square prints
You'll be limited by the roughly 8 x 8cm exposed area that Polaroid film gives you. If you want more options for composition with landscape and portrait framing, you might be better off with an option like the Instax Wide or Evo.

Also consider

Polaroid I-2
When I tested the I-2 I was so impressed with the image and build quality that I saved and bought my own. It costs more than double the Flip but offers an advanced experience with manual exposure control and sharper autofocus. Taking the same square, I-Type film, it gives instant photography for connoisseurs.

Fujifilm Instax Mini Evo
If you're not fussed about the Polaroid brand or square prints but still want a retro vibe, I'd recommend the gorgeous-looking Mini Evo. It's a hybrid model, meaning it snaps digital prints and lets you choose whether to print them on instant film. That means less waste and cost, and the Mini Evo is more pocketable, too.

How I tested the Polaroid Flip

A moving image of the Polaroid Flip camera being fed a film cartridge

(Image credit: Lauren Scott)
  • Over a week, I took photos indoors and outdoors, day and night
  • I tested based on decades of Polaroid experience
  • I shot a double pack of colour I-Type and 8 exposures of B&W film

I tried my first Polaroid camera back in the nineties, and since then I've reviewed many instant cameras including the Polaroid I-2 in 2023. I had one of the first review samples of the Polaroid Flip and tested it for over a week before its official launch date. Needless to say, it was always in my bag or around my neck during that time.

I took it out on countryside dog walks in the sunny British springtime, on day trips in the Cotswolds, to an evening festival for my company's 40th anniversary and to brunch in the city. The idea was to try it in as many lighting conditions and real-life scenarios as possible.

I went through a double pack of Polaroid I-Type color film (16 exposures) and a pack of B&W Film, taking shots with and without the flash, using the self-timer and the exposure compensation option. The Polaroid app wasn't available for use with the Flip for most of my testing period (as the camera was under embargo) but I had a day to try the functionality and add notes to this review once it was.

First reviewed April 2025

I ditched my smartphone for Panasonic’s new travel zoom compact – here’s what I learned
11:00 am | April 8, 2025
Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Comments: Off

Panasonic Lumix ZS99: One Minute Review

The Lumix ZS99 (called the Lumix TZ99 in some markets) is a relatively rarity in modern times – a brand new compact camera.

Only stop right there, most of it isn’t new at all. It uses the same sensor and lens combination as its predecessor, the ZS80D / TZ95D, only really adding the mandatory USB-C charging functionality that affects all new devices sold in the EU.

An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)

Worse still, Panasonic has seen fit to remove the small (but useful) viewfinder found in the previous incarnation. The screen remains the same as before, only now you’ll be completely reliant on it for every shot – shame.

This is not a bad camera by any stretch, but its highly versatile zoom is pretty much its only winning technical ability over your smartphone in 2025. You can get some good shots if you need to zoom, but pictures taken at the wide angle end are pretty much the same as any half-decent smartphone is capable of these days.

If you really want a separate device, and want to be able to zoom in close on distant subjects, then it’s a good choice – but don’t be surprised if you go back to using your phone in conditions such as low light.

Is the Lumix ZS99 one of the best compact cameras? Technically no, but it's one of the only travel zooms available, for a competitive price.

Panasonic Lumix ZS99 / TZ99: release date and price

  • $499 / £469 / AU$999.95
  • Available to buy now
  • All black or black and silver colourways available

These days, paying $499 / £469 for something that your smartphone can (sort of) already do might seem like a lot of cash to part with.

However, cameras such as this have had a resurgence in recent times, largely thanks to the influence of, er, influencers. Last year, such was the popularity of the ZS80D / TZ95D that you could expect to pay double the list price of the ZS99 / TZ99, with even second-hand prices being off the charts.

So the ZS99 / TZ99 is far from cheap, but there’s really not much to compete with it in today’s market – if it’s something you want, it’s reasonably well priced. That said, if you’re happy to live with a smaller zoom (10x), you can get hold of the Panasonic TZ200 for about the same price as a TZ99. You’ll lose the zoom reach, but you’ll get a one-inch sensor which produces better quality images, so that’s worth thinking about.

  • Price score: 4/5

An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)

Panasonic Lumix ZS99 / TZ99: specs

Panasonic Lumix ZS99 / TZ99: design and handling

  • Small, smartphone-sized sensor with 30x zoom
  • Front-facing touchscreen
  • No viewfinder
  • Lots of physical buttons

At the heart of the Lumix ZS99 sits a 20MP 1/2.3-inch sensor. It’s about the same size as those you’ll find in modern smartphones – in fact some smartphones are packing even larger sensors these days.

Disappointed? Well, don’t be too much – it’s what gives the ability to zoom to 30x, something which your smartphone definitely can’t do, optically at least. The biggest downside of a small sensor tends to be a loss of detail in low light conditions – which for travel might not be too much of a bugbear.

That 30x lens gives you 24-720mm in full-frame terms (the common reference for lens focal length), and just as with the sensor, it’s the same as found on the ZS80 / TZ95D, so there isn’t any improvement in image quality (see the next section).

If you want a camera that fits neatly into your pocket and that isn’t your smartphone, then this should fit the bill. It’s fatter than the average camera phone, but it’s not quite as lengthy. There’s grips on the front and rear of the camera which makes it feel a bit more secure than a slippery phone, too.

Settings changes can all be made via actual, physical controls. A tactile rarity in today’s modern screen obsessed world.

There’s a mode dial giving you access to full manual control, for example, while the zoom is controlled via a rocker switch around the shutter release. Several of the buttons can be customized to suit the functions you use most, which is helpful – and there are some additional touchscreen settings you can use too.

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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)
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An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)

One function which is particularly useful is the Zoom Compose Assist button. Handy for when you lose track of your subject while shooting at a long focal length – such as a bird in flight – it'll quickly zoom out so you can relocate the subject, and then the lens zooms right back in to your last setting when you let go of the button. Nifty.

The screen is also the same as found on the predecessor. It flips forward for selfies and video and has 1.84m dots. It’s detailed and bright enough for most uses, and it’s touch-sensitive too. In the bright sun it’s harder to see, which is why it’s disappointing that Panasonic has removed the viewfinder, found in the previous model. That said, it’s probably true to say that anybody coming from a smartphone won’t be used to a viewfinder and is unlikely to miss the option.

  • Design score: 4/5

Panasonic Lumix ZS99 / TZ99: performance

  • Good for zoom shots
  • At wide-angle, image quality similar to a smartphone
  • Low light quality is less impressive

We already knew what to expect from the camera, considering it uses the same sensor and lens as its predecessor.

In short – it’s good, but not great. At least, not by modern standards anyway. There’s only so much that a small sensor can realistically deliver, and while there are some things that this camera can do that your phone can’t, sometimes even a budget smartphone will outperform it.

If you find yourself shooting in good overall light, which isn’t too harsh, and you’re shooting a still or fairly placid subject then you’ll get some nice images. There’s a good amount of detail, colors are realistic (if a little dull), and exposures are well balanced. At the wide-angle end of the lens, your smartphone probably achieves the same results.

An image of the Panasonic Lumix ZS99 / TZ99

(Image credit: Future)

However, it’s when you engage that zoom that the magic happens. So long as you can keep the camera fairly steady, even shooting at that far 30x zoom can leave you with nice close-ups of distant subjects.

There’s in-built 5-axis Hybrid optical image stabilization (OIS), which works fairly well, but once you’re shooting at 20-30x, any additional steadiness you can provide will go a long way too.

As for tracking of subjects – there’s no way you’re going to follow a leopard or a motorcar, but for more predictable and slower wildlife you stand a fighting chance of capturing the subject, sharply focused.

Now for some bad news – low light. Smartphones do pretty well at this subject by taking lots of pictures and merging them together. Here, you don’t get that, so even when it’s only as low light as indoors, you will notice a fair amount of smudginess. Avoid using this camera inside buildings or after dark, and you’ll be golden.

  • Performance score: 3/5
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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

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A sample image taken with the Panasonic Lumix ZS99

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A sample image taken with the Panasonic Lumix ZS99

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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)
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A sample image taken with the Panasonic Lumix ZS99

(Image credit: Future)

Panasonic Lumix ZS99 / TZ99: testing scorecard

Should I buy the Panasonic Lumix ZS99 / TZ99?

Buy it if...

You want a long zoom in a camera that fits into your pocket
In terms of zooming capability, there's not much else that can zoom this far, this well and will still fit in your pocket. 30x zoom with your phone will leave you with a blurry mess, whereas you'll get some reasonable detail here. It's a good idea for travel and everyday snaps for that reason, even if overall image quality isn't amazing.

You like the idea of USB-C charging for all your devices
Pretty much the only improvement from the ZS99's predecessor is the addition of USB-C charging. When you're traveling, only having one cable to charge everything is definitely a bonus.

You want a camera with a front-facing screen for selfies and vlogging
The screen can face all the way forwards, putting yourself in the frame in front of those travel highlights. Amateur vloggers may also like it for the same reason.

Don't buy it if...

You already have a ZS80 / TZ95D
It makes virtually no sense to buy this if you already have a ZS80 / TZ95D. That is unless you really, really want USB-C charging and never use the viewfinder anyway. The sensor, lens and screen are all exactly the same as before - don't assume a new camera means new tech.

You want a viewfinder
OK we've mentioned this a few times now, but the viewfinder has been removed! Why? Perhaps you don't need one. But if you do, don't get this camera.

You shoot in low light with any frequency
Low light performance is a weak area of this camera, so if it's something you do often, don't expect to take good shots with this camera. If you only shoot the odd thing after dark, it's less of a deal breaker.

How I tested the Panasonic Lumix ZS99 / TZ99

  • I used it in a variety of different shooting conditions
  • I took pictures at different focal lengths
  • I tried the different shooting modes

I tested the Panasonic Lumix ZS99 / TZ99 over two weeks, in a range of different locations and across different shooting conditions.

I used it to photograph landscapes and typical travel subjects, taking pictures at a variety of different focal lengths. I also took photos of animals to test the focus tracking.

I took the ZS99 indoors to evaluate what happens when light is low, as well as shooting in very bright sunlight and more overcast conditions.

First reviewed April 2025

Snapfish’s photo book gave me satisfying results for a low price, but I’d recommend a better-value option with superior print quality
9:00 pm | April 7, 2025
Author: admin | Category: Cameras Computers Gadgets Photography | Comments: Off

Snapfish photo book review

Snapfish offers a vast range of customizable keepsakes and gifting items in over 30 countries including the US, the UK, and Australia. Customizing Snapfish photo books can be pretty simple thanks to a selection of ready-made templates, but my focus was on how easy it would be to add a TechRadar twist to see whether the design interface and resulting print quality are suitable for something a little more creative.

When reviewing different services, we always order a 12 x 12-inch matte hardcover standard-bound photo book. This configuration from Snapfish included twenty 200gsm satin finish pages as standard for a list price of $74.99 / £38.99 / AU$89.95, with the option to add two-page spreads for $2.49 / £1.99 / AU$2.90 each. Our finished book required four additional spreads, bringing the overall total to $84.95 / £46.95 / AU$101.55. Snapfish appears to offer regular deals and it’s always worth keeping an eye out for any banners or pop-ups, as in my experience they don’t apply the offers automatically at checkout if missed.

One thing Snapfish had in abundance was tutorial videos, which I’m sure would prove helpful for some. However, as someone who has used many of the best photo book services, as well as professional design software, I’d rather it had just been an intuitive process, rather than something I’d need to revise for.

A spread of two woodland photos.

(Image credit: Future)

The Snapfish photo book builder is fairly basic, but it's not straightforward to use. Tools and settings are limited: there is a top toolbar for saving, zooming, and adding or viewing pages, and a toolbar on the right of the design area, with photo, background, and embellish tabs. There was no tab or dedicated sidebar to offer a quick view of the spreads; instead, I had to click on the All Pages icon or click the zoom out button three times.

Speaking of zoom, the Snapfish builder had frustratingly poor zoom and navigation control. There were simple zoom-in and out buttons with a range of just three clicks, meaning the page was either smaller than I wanted or so large I had to use the browser's scroll bars to move around. I found the “large view” icon at the bottom of the page more convenient, as it increased the page size so that the page height filled the available space, but a manual zoom bar would have been more convenient.

Adding photos was a fairly simple process, but after uploading my first batch of photos I spotted a little “upload preferences” button on the bottom right of the screen. Hidden within this menu, I found the option to upload my photos in standard or full resolution, for no extra cost. Snapfish had this set to standard by default, which is pretty cheeky.

The football boot is nearly lost to the page join.

(Image credit: Future)

When dragging photos or elements onto the page, it wasn’t possible to know the exact dimensions, so any sizing had to be done by eye. Moving the photos within their frames was simple enough, but increasing or decreasing the size was controlled by a zoom bar, which proved fiddly at times.

I was really pleased to find that guidelines would pop up on the pages as I worked. However, I practically had to move the image pixel by pixel until I hit the right spot, as images and elements wouldn’t snap onto any of the guidelines. On a more positive note, some features I found really useful were the object alignment and size matching options, which popped up whenever I selected more than one element.

It proved particularly tricky to replicate our TechRadar photo book template in the Snapfish builder. While there are around 135 background colors to choose between, other low-cost printing services such as Mixbook offer custom color options from color sliders and hex codes, making it a better choice if you want your photo book to match your branding.

The lack of color options was even more apparent when it came to replicating the colored blocks that accompanied some of our photos. There was no option to apply a chosen color to simple shapes, so I needed to find the best match by searching through the elements. This still didn't prove the quick fix I’d hoped for though, as the shapes were all fixed ratio, forcing me to hide the excess behind the neighboring images or a white shape.

From left to right, the Blurb front cover is noticeably more vibrant and detailed, whereas the detail has been lost on the much darker result of the Snapfish front cover.

From left to right: the covers of the Blurb and Snapfish photo books. (Image credit: Future)

I found text boxes to be another source of frustration throughout this process. There wasn’t a huge range of fonts to choose from, but this did become somewhat of a blessing when I found I couldn’t find a font by typing it in, having to scroll through the list instead. Fortunately, however, recently used fonts were saved at the top of the list, making it easy to switch between a select few.

Initially, I thought the font size was limited to 30, however, I discovered that larger sizes aren’t shown if the text box is too small. This way of restricting the text to the bounding box also proved frustrating when trying to resize text boxes to help with alignment, as the font size subtly reduced on occasion if I made the box a little too small.

You may notice I stated 30, rather than 30pt: this is because the font sizes aren’t standardized, meaning a size 30 in one font could be half the size of another. This may not be the end of the world if you’re creating a photo book to reminisce over fond memories, but if you’re trying to make something cohesive, this makes life much harder.

Two dark background portraits in the Shutterfly photo book.

(Image credit: Future)

Once I’d arranged each spread as close to the TechRadar photobook template as possible, I clicked the Review and Buy button. I was warned of a low-resolution photo, something I’d already been made aware of thanks to a warning that appeared on the image itself after I’d placed it on the page. However, it neglected to warn me about images going over the edges of the page, or if an image wasn’t within the bleed margin, which would have saved some errors on the printed article.

After confirming I was comfortable to proceed, I had the opportunity to preview my finished photo book. I was really quite impressed with the way Snapfish presented it; unlike other photo book services I’ve used that show a flat spread, Snapfish shows the pages as if they are in a standard bound photo book, so I could see the effect the spine would have on the photos that spanned over two pages.

Delivery times will vary depending on location, time of year, and demand, but in my case, I ordered my Snapfish photo book on a Wednesday, opting to pay £6.99 for priority, and received it the following Monday. If I’d paid for second-class postage the latest advised delivery date would have only been another two days wait. The photo book arrived in a plastic wrapper inside a simple cardboard outer; despite the plastic protection, there was still a fair bit of debris on the front and back cover, although this was likely worse than usual due to the soft matte finish and dark coloring.

The photo on this page is lower than it should be, leaving a white gap at the top.

Photo books from left to right: Shutterfly, Snapfish, and Mixbook. (Image credit: Future)

Speaking of the finish on the Snapfish photo book’s cover, it was lovely and soft to the touch, but I would recommend against it if you want a dark cover or if the book will be handled regularly. My Snapfish photo book ended up with lots of marks and fingerprints from just a few hours of viewing and photography, despite being handled carefully, and they proved difficult to remove without leaving evidence of the cleanup attempt.

As the outer lines of the pages on the Snapfish builder were thick blue, and there were no warnings when images went into or over the bleed area, I found one of my images fell short of the edge of the page. This was tricky for me to see on the Snapfish builder, even when looking for it specifically, so this highlights the need for a better zoom function, clear outer bleed margins, and a better warning system that flags when an image is not placed optimally.

The misaligned print can be clearly seen on the edge of this page.

(Image credit: Future)

It was noticeable that the larger prints were slightly wonky on some pages, as the space between the images and the edge of the page wasn’t consistent in width. I couldn’t help but question the print tolerance too, as it became apparent that the inner border must have been the “outer” bleed line, despite being shown within the page on the Snapfish builder and there being no warnings when my images crossed these boundaries. The image was well within the edge of the page, but the finished result looked like an error.

The cover image of my Snapfish photo book was noticeably darker than the original photo, and to all four of the photo books I was comparing it against. The print lacked the intense vibrancy and detail present on the other photo book covers, which I assume is due to the image being printed onto the black background without any underprinting to preserve the colors.

The color of the printed images inside the book looked fine in isolation, and the print quality seemed acceptable for the price, but they were undoubtedly lower in quality when I compared them to the same photos in the similarly priced Blurb photo book we reviewed. This was especially noticeable when it came to color blending, as the colors of the sky in the Snapfish example showed posterization, leading to obvious steps between colors rather than the colors smoothly blending together, as they did in the same print in the Blurb photo book.

The print in the Blurb book is noticeably warmer and smoother, whereas posterization can be seen in the sky of the Snapfish print, as the colors have noticeable steps rather than smoothly blending.

The print quality in the Snapfish book (right) was outshone by the smooth and richly colored Blurb equivalent. (Image credit: Future)

Overall, it’s hard to recommend the Snapfish photo book over one from a competitor like Blurb. The only exception to this would be if it’s on sale, as I could have bought my book for less than £30 if I’d taken advantage of the 40% offer, or if a quick turnaround is key. In my case, a few weeks before Mother’s Day in England, the Snapfish photo book was manufactured in the UK and was in my hands in less than a week. If you’d like to explore offerings from other photo book services, I’d recommend taking a look at our pick of the best photo books.

Should I buy the Snapfish photo book?

Buy it if…

You don’t want your photos altered
Snapfish didn’t appear to make any alterations to our images, unlike some of the other photo book services we’ve reviewed, which had been over-edited pre-production. While the colors on the printed article weren’t as vibrant as I’d have liked, this may be preferable in some cases.

You want a cheap photo book
When the Snapfish photo book is on offer, it’s a low enough price to purchase a couple as gifts without your bank account taking too much of a hit.

You want a quick turnaround
Granted, quick production and delivery can’t be guaranteed, but I was impressed to receive my photo book in just a few days with only a few weeks to go before Mother’s Day here in the UK.

Don't buy it if…

You want full creative control
While some will be perfectly satisfied using the pre-prepared layouts, for those of us who want the alignment to be spot-on without having to move a pixel at a time or want images and text to be a specific size, this is not the photo book service for you.

You want to use your own color palette
Sadly I found myself limited to Snapfish’s choice of background colors, and a hard-to-navigate and limited range of colored shapes, which is a stark contrast to the likes of Mixbook that allow free rein when it comes to color choice.

You want clear boundaries
Unfortunately, the print margins were not clear or well-placed, and I wasn’t given any warnings when my images weren’t in the right place, so this is another reason to stick to the Snapfish templates.

Snapfish photo book review: also consider

Blurb
I was highly impressed with the color accuracy and print quality of our photo book from Blurb. The colors of the cover image were beautifully vibrant without any OTT pre-production editing. Aside from a little damage during shipping, the entire book was nicely presented and looked worth the cost, which was perfectly reasonable to begin with.

Cewe
With dedicated software featuring a full suite of editing features and plenty of template options, Cewe is a good choice for people who want a little more creative freedom when designing their photo book. There’s a wide variety of paper and cover materials, and they even offer foil detail on the cover too.

How I tested the Snapfish photo book

  • I created a photo book from scratch to recreate our TechRadar photo book
  • I explored the Snapfish Builder, testing the different features and tools
  • I ordered a photo book and assessed the quality of the finished product

I spent time testing out the different features in the Snapfish builder, seeing how easy their pre-made elements were to use, and the different elements they included for free. I also investigated other services providing photo books to compare prices and features.

I started with a blank canvas and used the tools available to recreate our TechRadar photo book. Recreating an existing design is important so that we can assess how capable the different services are when faced with different requirements.

I ordered my completed photo book and evaluated the finished product, paying close attention to quality, print finish, and alignment, and kept a close eye for any imperfections.

I loved how easy it was to create a VistaPrint photo book, and the end results are great – with a few exceptions
9:15 pm | April 3, 2025
Author: admin | Category: Cameras Computers Gadgets Photography | Comments: Off

VistaPrint photo book review

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.

VistaPrint photo book open on pages with photos of football and footballer, on a table with pink wall and plant in background

(Image credit: Future)

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.

Close-up of top of open pages in VistaPrint photo book, on wooden table

(Image credit: Future)

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.

VistaPrint photo book open on pages with photos of grass, on table with pink wall and plant in background

(Image credit: Future)

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.

VistaPrint photo book open on page with photo of boat and block of solid green

(Image credit: Future)

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.

VistaPrint photo book open on page with photo of man

(Image credit: Future)

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.

Close-up of center fold of VistaPrint photo book, on wooden table

(Image credit: Future)

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.

Side-by-side comparison of VistaPrint photo book and another, both showing photos of the sea, on desk with pink wall and plant in background

(Image credit: Future)

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’ve shot hundreds of photos with the stunning Sigma BF – despite its flaws, it makes other cameras feel ordinary
11:00 am |
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , | Comments: Off

Sigma BF: two-minute review

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.

Silver Sigma BF camera with 35mm f/2 DG contemporary lens attached, in the hand

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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Sigma BF with its body cap, on a white surface in strong light, with defined shadows

The BF employs a back illuminated 24.6MP full-frame sensor (Image credit: Tim Coleman)
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Sigma BF with its body cap, on a white surface in strong light, with defined shadows

Its textured front half provides a little grip, but is more for the looks (Image credit: Tim Coleman)
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Sigma BF with its body cap, on a white surface in strong light, with defined shadows

Half textured, half matt finish – the striking BF from the front (Image credit: Tim Coleman)
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Sigma BF with its body cap, on a white surface in strong light, with defined shadows

Notches on the body cap complement the camera's front (Image credit: Tim Coleman)
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Sigma BF with its body cap, on a white surface in strong light, with defined shadows

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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Front of the Sigma BF camera

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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Close up of the Sigma BF camera's USB port

Clean lines, just a single USB-C slot (Image credit: Tim Coleman)
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Rear of the Silver Sigma BF camera

A large 3.2-inch touchscreen dominates the camera's rear (Image credit: Tim Coleman)
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Close up of the Sigma BF camera's wrist strap loops

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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Top view, Silver Sigma BF camera with 35mm f/2 DG contemporary lens attached, on a large log

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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Close up of the Sigma BF camera's rear LCD

The premium matt finish feels lovely (Image credit: Tim Coleman)
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Close up of the Sigma BF camera's shutter button

There's that shutter button, and below it a thumb grip (Image credit: Tim Coleman)
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Silver Sigma BF camera with 35mm f/2 DG contemporary lens attached, in the hand

Watch out when in the sun - the silver version reflects sunlight, with particularly strong glare (Image credit: Tim Coleman)
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Close up of the Sigma BF camera's rear buttons

There's a recess in the BF's corner where the camera rests in your palm. (Image credit: Tim Coleman)
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Close up of the Sigma BF camera's small LCD display

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's in 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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Silver Sigma BF camera without lens attached, on a large log

The 24.6MP full-frame back illuminated sensor; there's no stabilization (Image credit: Tim Coleman)
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Silver Sigma BF camera with 35mm f/2 DG contemporary lens attached, on a large log

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 Sigma BF camera's underside

The BF's underside, including a lock for the pop-out battery (Image credit: Tim Coleman)
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The Sigma BF camera's rear touchscreen display looking dark in bright light

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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Silver Sigma BF camera with 35mm f/2 DG contemporary lens attached, in the hand

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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Photo of an old church in the sun, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Packed commuter train in the dark of a tunnel taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Selfie of a man wearing sunglasses ans baseball cap, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Looking down at a bike wheel, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Photo of a public footpath signpost, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Daffodil close up, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Closeup photo of tiny white flowers, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Photo of a country road, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Photo of an old church in the sun, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Photo of horses in a field on a sunny day, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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An old train container, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)

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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London street photo of people walking down old street in bright sunlight with strong shadows cast on the wall, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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London street scene on bright sunny day, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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London street photo of people walking down old street in bright sunlight with strong shadows cast on the wall, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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London street photo of people walking down old street in bright sunlight with strong shadows cast on the wall, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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London street photo of people walking down old street in bright sunlight with strong shadows cast on the wall, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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London street photo of vintage car, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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London street photo of people walking down old street in bright sunlight with strong shadows cast on the wall, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Monochrome photo of a London train station from high vantage point, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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A wall in bright sunlight with strong shadows cast on the wall, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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London street photo of people walking in bright sunlight with strong shadows cast on the ground, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Commuter on early morning train, texting, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)

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.

Image 1 of 8

Photo of man with setting sun behind him, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Portrait of a man, illuminated by the setting sun, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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People in a British pub at night taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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People in a British pub at night taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Daffodil close up, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Flowers, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Closeup photo of tiny white flowers, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)
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Silhouette of person standing in front of a glass door, taken with the Sigma BF camera and Sigma 35mm F2 DG lens

(Image credit: Tim Coleman)

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.

Read our in-depth Sigma FP review

Nikon Zf

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.

Read our in-depth Nikon Zf

How I tested the Sigma BF

Silver Sigma BF camera with 35mm f/2 DG contemporary lens attached, in the hand

(Image credit: Tim Coleman)
  • 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.

First reviewed April 2025

I’ve spent hundreds of hours testing drones, and the Potensic Atom 2 is easily the best DJI alternative I’ve flown
11:00 am | April 2, 2025
Author: admin | Category: Cameras Computers Drones Gadgets | Tags: , | Comments: Off

Potensic Atom 2: one-minute review

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.

Potensic Atom 2 unfolded for flight

(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

Potensic Atom 2 unfolded on stone

(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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Potensic Atom 2 folded from above

(Image credit: James Abbott)
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Potensic Atom 2 folded bottom view

(Image credit: James Abbott)
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Potensic Atom 2 folded with the propeller strap attached

(Image credit: James Abbott)
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Potensic Atom 2 side by side with the controller

(Image credit: James Abbott)
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Potensic Atom 2 controller with no phone attached

(Image credit: James Abbott)
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Potensic Atom 2 controller top view to show controls

(Image credit: James Abbott)
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Potensic Atom 2 with phone attached

(Image credit: James Abbott)
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Potensic Atom 2 carry bag

(Image credit: James Abbott)
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Potensic Atom 2 fast-charging battery hub

(Image credit: James Abbott)

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.

Potensic Atom 2 battery and rear LED light flashing red

(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

Potensic Atom 2 camera and gimbal close-up

(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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Photo of a river with moored boats taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of solar panels taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of an industrial building taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of a river at the edge of a town taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of a football pitch taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of solar panels taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of football goal taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of river taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of a road bridge taken with the Potensic Atom 2 drone

(Image credit: James Abbott)
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Photo of fields and lakes taken with the Potensic Atom 2 drone

(Image credit: James Abbott)

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.

Read our in-depth DJI Mini 4K review

How I tested the Potensic Atom 2

  • I tested all flight features
  • I flew the drone in a range of conditions
  • I tested all the camera functions

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.

First reviewed March 2025

I tested the Canon PowerShot V1, and the beginner vlogging camera feels like the complete package but for this one thing
8:01 pm | March 26, 2025
Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Tags: | Comments: Off

Canon PowerShot V1: two-minute review

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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Canon PowerShot V1 compact vlogging camera on a wooden desk alongside the PowerShot G7X Mark III

Here's the Canon PowerShot V1 compact (left), alongside the PowerShot G7X Mark III (right) (Image credit: Tim Coleman)
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Canon PowerShot V1 compact vlogging camera on a wooden desk alongside the PowerShot G7X Mark III and PowerShot V10

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

Canon PowerShot V1 compact vlogging camera on a white desk

(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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Canon PowerShot V1 compact vlogging camera on a wooden desk alongside the PowerShot G7X Mark III

From left to right: Canon PowerShot V1, Canon PowerShot G7X Mark III (Image credit: Tim Coleman)
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Canon PowerShot V1 compact vlogging camera on a wooden desk alongside the PowerShot G7X Mark III

From left to right: Canon PowerShot V1, Canon PowerShot G7X Mark III (Image credit: Tim Coleman)
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Canon PowerShot V1 compact vlogging camera on a wooden desk alongside the PowerShot G7X Mark III and PowerShot V10

From left to right: Canon PowerShot V10, Canon PowerShot G7X Mark III, Canon PowerShot V1 (Image credit: Tim Coleman)
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Canon PowerShot V1 compact vlogging camera on a wooden desk alongside the PowerShot G7X Mark III, PowerShot V10 and EOS R50 V

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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Canon PowerShot V1 compact vlogging camera on a white desk, lens folded away

(Image credit: Tim Coleman)
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Canon PowerShot V1 compact vlogging camera on a white desk, lens extended

(Image credit: Tim Coleman)
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Top plate of the Canon PowerShot V1 compact vlogging camera on a white desk, lens retracted

(Image credit: Tim Coleman)
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Top plate of the Canon PowerShot V1 compact vlogging camera on a white desk, lens extended

(Image credit: Tim Coleman)
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Rear of the Canon PowerShot V1 compact vlogging camera on a white desk

(Image credit: Tim Coleman)
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Rear of the Canon PowerShot V1 compact vlogging camera on a white desk

(Image credit: Tim Coleman)
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Screen of Canon PowerShot V1 compact vlogging camera open out, on a white desk

(Image credit: Tim Coleman)

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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Closeup of Canon PowerShot V1 compact vlogging camera's cooling vents, on a white desk

(Image credit: Tim Coleman)
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Closeup of Canon PowerShot V1 compact vlogging camera's mic and headphone ports, on a white desk

(Image credit: Tim Coleman)
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Underside of the Canon PowerShot V1 compact vlogging camera on a white desk

(Image credit: Tim Coleman)
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Top plate of the Canon PowerShot V1 compact vlogging camera on a white desk, lens extended, windmuff attached

(Image credit: Tim Coleman)

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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A selfie of a man in a black hoodie with foliage background

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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Red flowers, close up

Close focusing capabilities are impressive (Image credit: Tim Coleman)
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Red flowers, close up

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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Dafodills on a cloudy day, from a low angle

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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Dafodills on a cloudy day, from a low angle

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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Dafodills on a cloudy day, from a low angle

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.

  • First reviewed March 2025
I tested the pricey full-frame Leica SL3-S, and I’ve never seen 24MP images look so good
2:48 pm | March 23, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Comments: Off

Leica SL3-S: two-minute review

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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Leica SL3-S

(Image credit: Rod Lawton)
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Leica SL3-S

(Image credit: Rod Lawton)
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Leica SL3-S

(Image credit: Rod Lawton)
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Leica SL3-S

(Image credit: Rod Lawton)

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

Leica SL3-S

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)

Leica SL3-S

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.

Leica SL3-S

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)

Leica SL3-S

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)

Leica SL3-S

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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Leica SL3-S

(Image credit: Rod Lawton)
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Leica SL3-S

(Image credit: Rod Lawton)
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Leica SL3-S

(Image credit: Rod Lawton)
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Leica SL3-S

(Image credit: Rod Lawton)
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Leica SL3-S

(Image credit: Rod Lawton)
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Leica SL3-S

(Image credit: Rod Lawton)

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?

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

Leica SL3-S

(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.

I tried the stunning Viltrox 135mm f/1.8 LAB lens for Nikon and it’s my new favorite portrait lens, except for one drawback
4:04 pm | March 19, 2025
Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Tags: | Comments: Off

Viltrox 135mm F1.8 LAB: two-minute review

Ever since I saw the Viltrox AF 135mm F1.8 LAB lens for Sony full-frame cameras I've been counting down the days until Viltrox made it made available for Nikon Z-mount cameras. That day has now come.

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.

It's the affordable alternative to my dream Z-mount lens, the pricey Nikon 135mm f/1.8 S Plena, as well as to Sony's own 135mm F1.8 GM.

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 F1.8 Lab lens for Nikon Z-mount, in the hand, attached to a Nikon Z6 II

(Image credit: Tim Coleman)
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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand, attached to a Nikon Z6 II

(Image credit: Tim Coleman)
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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand, attached to a Nikon Z6 II

(Image credit: Tim Coleman)

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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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens' barrel

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens' LED display, with focus distance scale

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens controls

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens' electronic contacts

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens' barrel

(Image credit: Tim Coleman)
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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand, attached to a Nikon Z6 II

(Image credit: Tim Coleman)

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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Portraits of a man in a beanie hat and shacket at golden hour with dappled light in background

A portrait taken with the aperture set to f/1.8 (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

The same portrait, but at f/2.8 (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

With aperture set to f/1.8, bokeh is smooth, big and round (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

Even at f/2.8, bokeh quality is lovely. (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

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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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

Another lens flare attempt (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

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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Daffodils at golden hour with dappled light in background

f/1.8 (Image credit: Tim Coleman)
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Daffodils at golden hour with dappled light in background

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.

  • First reviewed March 2025
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