If there's one antidote to today's digital imaging with its instant gratification and AI-powered editing trickery, it's analog. And if you want a double dose of the old school, a fully manual rangefinder, such as the Leica MP, will do the trick.
Part of Leica's famed M-mount, the MP isn't as old as it looks, being released as recently as 2003, and it's one of few Leica cameras still being produced today and is therefore available new.
It's arguably the best premium film camera that you can buy new today, but like most Leica's, its price is eye-watering, being available from the Leica stores and leading retailers for $5,995 / £,5080 / AU$10,190, and that's without a lens. I had the MP with the 28mm f2 Summicron-M APSH lens which is around the same price as the camera. Gulp.
Suppose it's the retro camera experience you're after, and the same 35mm film format hits the spot. In that case, you can find alternative analog cameras elsewhere, secondhand, for a mere fraction of the cost of a Leica MP.
But Leica is more than just the retro look. It's an aspiration. That famed red dot means something, whatever depth the admirer's connection is. In the case of the Leica MP, it also means a premium "Handmade in Germany" analog camera that runs as smooth as butter.
Learning the exposure triangle is necessary; how shutter speed, aperture, and the ISO of the loaded film interplay. You can download a free light meter on your phone to take a light reading and adjust shutter speed or aperture accordingly based on the film's ISO, or purchase a dedicated light meter if you want to avoid your phone altogether and be assured that you've bagged the correct brightness in your photo, even if you won't truly know until the developed film is returned. (The MP does also have an LED gauge built into the viewfinder that indicates how much you need to brighten or darken your exposure settings based on its evaluative metering.)
Beyond the exposure triangle, it's the manual focus experience of a Leica rangefinder, such as the MP, that is as challenging as it is addictive. This is a far cry from 2024's best autofocus systems – there's no rushing with a rangefinder, and together with its lens system that's limited between focal lengths of 21mm to 135mm, it's unsuitable for many genres of photography.
You won't be able to nail sharply focused, shallow depth of field portraits of people or animals on the move, unless you get really, really lucky.
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Outside of working with near-infinity focusing and a closed aperture, say f/11, where ultimately everything is just about in focus, your subjects will need as much patience as you while you manually rock the focus back and forth to line up the split image in the marked out central area of the viewfinder to nail sharp focus.
Taking a picture with a rangefinder is slow, purposeful, and frustrating but ultimately a wonderful creative process for those who persevere. It's not a camera for all the time, but it is a camera that could just renew your love for photography. Sadly, however, with the Leica MP, most people are priced out of enjoying the experience.
Leica MP: Specs
Leica MP: Price and availability
Body only: $5,995 / £,5080 / AU$10,190
Many lenses and accessories to choose from
The Leica MP was launched in 2003 and is one of the few Leica analog cameras that is still available to buy new. On the Leica store, it costs $5,995 / £,5080 / AU$10,190.
Lens choice is decent, if costly, with the lower end of the price range close to the price of the MP camera itself. There are third party lens makers such as Thypoch that have created Leica M-mount lenses that cost a mere fraction of the price. with a number available for under $1,000 / £700.
The MP is also compatible with a host of Leica accessories, ranging from leather cases to viewfinders that are dedicated to specific lens focal lengths.
Leica MP: Design
Stunning all-metal build
Can be bought new and its mechanics are reliable
Supported by a range of Leica M lenses
Leica cameras are expensive, but the build quality of these "Handmade in Germany" devices is undeniable. Every mechanical component runs as smooth as butter, from the film crank to move onto your next photo, to the film rewind mechanism once the roll is done.
You'll need to insert a tiny CR 1/3N battery to power the camera's evaluative exposure metering, which is displayed in the viewfinder as a too-bright / too-dark scale and is linked to the ISO setting on the camera's rear ISO dial (the new Leica M11-D digital rangefinder's design pays homage to this). However, as a fully manual camera, you'll need to adjust the shutter speed and aperture yourself. I always use a separate light meter with a Leica just to be doubly sure I've set the exposure correctly.
But you'll need to insert a roll of 35mm film first. Leica's design ethos here is simple and reliable; a fully metal twist lock on the underside must be unscrewed to open up the camera's underside, and you remove the entire bottom plate to gain access to the film's holder. Inserting the film thereafter is a tad fiddly but in truth, once you've done it a couple of times, it's pretty easy.
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I only tested the Leica MP with a 28mm f2 lens, which again, is a gorgeous bit of kit, offering a generous manual focus grip, handy focus distance scale, and an aperture ring. With Leica you get the whole package; a lens and camera built to high standards and with a complimentary aesthetic.
There's little to say about the camera's external controls. You've got the shutter speed dial on the top, the beautiful film crank that reveals its brass innards through the scuffs picked up over time and heavy use, a shutter button that can accept a screw-in cable release, plus the ISO dial on the camera's rear. The aperture is adjusted on the attached lens.
For me, it's the experience of manually focusing with a rangefinder that is everything about the MP: it's as frustrating as it is addictive. For all the will and the practice in the world, you won't be able to nail sharp focus on a moving subject when focusing closely and with a wide aperture and therefore shallow depth of field.
Sure, you can improve your hit ratio and speed at which you can obtain sharp focus, but ultimately, the Leica MP is a camera that slows you down, and in today's fast-paced world, it's cathartic.
If you're taking portrait pictures, too, that extra moment it takes to get your MP's settings correct can open up your subject as they relax and give you a window to their soul – you're in it together. Or, the slow process just makes them feel super awkward instead, or you miss the moment. It can go either way.
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Leica MP: Performance
Superbly sharp lenses on offer
Reliable mechanics
Shutter speed maxes out at 1/1000sec which is limiting in bright light
One benefit in choosing the MP over another Leica is that it's still available new, and with that comes certain reassurances that you may not be afforded when buying secondhand should you run into any issues. However, I wouldn't expect that of the MP – it's a super-reliable camera that should last you a lifetime.
Naturally, the quality of the photos produced by an analog camera is determined by the lens attached, your shooting technique, and, of course, your film choice.
The Leica MP enjoys a range of excellent albeit eye-wateringly expensive lenses, like the 28mm f2 Summicron-M ASPH that I had for this review. If money is no object, you can pick up a range of Leica M prime lenses that cover the focal range of 21mm to 135mm.
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The photos above were made with a roll of Ilford HP5 film, ISO 400.
Next time I use a Leica analog camera, I'd really love to try a 50mm f/1.4-type lens and some of the other lenses for portraits, but the wide angle lens I had for testing is similar if a tiny bit tighter to the field of view of your phone's main camera and an excellent documentary lens.
Here lies the 'Leica quality' that fans talk about. Sure, you'll struggle to beat Leica's sharpness in the analog game, but if you're expecting the clarity you get from one of today's best digital cameras, you might have to think again. One thing that digital can try with all its might yet never quite achieve, however, is the film look.
You aren't buying an analog Leica for its outright image quality over a digital counterpart such as the Leica M11. No, you're buying it because it's film that you want to explore, including its imperfect quality. Plus, it's a rewarding hobby, if you can stomach the ongoing costs of film and development.
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The above photos were made with a very out of date Fujifilm Superior X-Tra ISO 400 roll of film. It's best practice to use a film within date, but you can get some whacky one-of-a-kind effects. Sadly on this occasion, besides a purple-ish hue, the risk didn't pay off – many of the photos came out underexposed.
There are very real limits to the Leica MP, namely its maximum shutter speed which is just 1/1000sec. If you're shooting in bright light and with a wide aperture – like I wanted to shoot at f2 with the 28mm lens – you'll need an ISO 100 film or even slower. However, ISO 400 is a more versatile film speed if you're going to be shooting in mixed lighting. Once the film roll is inserted, you're locked in, you can't switch ISO for every photo like you can with a digital camera.
Should you buy the Leica MP?
Buy it if...
Don't buy it if...
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How I tested the Leica MP
Regular use over the course of two weeks
Paired with the 28mm f2 Summicron-M APSH lens
Both color and black and white film developed
Leica loaned me the MP together with the 28mm f2 Summicron-M ASPH lens for two weeks, during which time I photographed everything from sweeping vistas to busy London street scenes. I have shot with both color and black and white film, usually sticking with versatile ISO 400 films.
I sent the films to a lab to be developed and was provided with standard-quality digital scans to assess image quality.
DJI might be the market leader in consumer drones, but when it comes to action cameras the company remains leagues behind GoPro – at least in the public consciousness. That won’t be the case for long though if it keeps turning out products like the Osmo Action 5 Pro.
Even if nobody should get too excited about the ‘Pro’ moniker – this is currently the only model in the range, so there’s no ‘amateur’ model as yet – the Action 5 Pro is a very impressive action camera, and I had a lot of fun reviewing it. Not only is its image quality superb (in daylight, at least – and even at night it’s still better than a GoPro), but it has long-lasting battery life, effective image stabilization, a rugged lightweight build, two beautifully color-rich OLED screens, and genuinely brilliant compatibility with the DJI Mic 2.
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And while it isn’t as mod-friendly as the recent GoPro Hero 13 Black, the Action 5 Pro’s quick-release magnetic mounting system works with all manner of accessories, from helmet and bike mounts to extendable selfie sticks and mini tripods. It can even be used as a webcam.
This versatility means it’ll suit everyone from food vloggers to divers to mountain climbers, and the sheer range of improvements over the Osmo Action 4 suggests that DJI is deadly serious about surpassing the likes of GoPro and Insta360 to establish itself as the leading action camera brand. There’s still a long way to go if that’s going to happen, but if we keep getting cameras like this, it’s a clear possibility.
DJI Osmo Action 5 Pro: release date and price
Priced at $349 / £329 / AU$599 for the Combo bundle
Available from September 19 2024
The DJI Osmo Action 5 Pro is available to order now, priced at $349 / £329 / AU$599 for the Standard Combo bundle, which includes the camera, one battery, one protective frame, one quick-release adapter mount, one curved adhesive base, one locking screw, one rubber lens protecter, one glass lens cover, one anti-slip pad and one USB-C to USB-C cable). There's also an Adventure Combo bundle, which is priced at $449 / £409 / AU$769 and includes all of the above plus a mini quick-release adapter mount, one battery case and one 1.5m extension rod.
DJI has priced the Action 5 Pro aggressively: it’s $50 cheaper than the GoPro Hero 13 Black and Insta360 Ace Pro. Given the specs and performance, which I’ll get into below, that’s impressive. (You can read more about how the Action Pro 5 compares to GoPro's latest in our GoPro Hero 13 Black vs DJI Osmo Action 5 Pro article.)
Additionally, a wide range of optional accessories, each sold separately, is available alongside the Action 5 Pro, including mounts, extension rods, GPS units and microphones.
Price score: 4.5/5
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DJI Osmo Action 5 Pro: design and handling
Small, lightweight and sturdy build
Quick-release magnetic mounting system
Waterproof to 20m without a case
Front and rear OLED touchscreens
When it comes to rugged reliability, the Osmo Action 5 Pro feels reassuringly well made. The camera itself is small, lightweight (145g) and sturdy, with few protruding parts and a removable, replaceable cover to help prevent damage to the surface of the lens.
It also comes with a frame to further protect the camera body from impact and, while use of this is optional, it adds little to the weight or size of the setup, and leaves buttons and the USB-C chamber fully accessible. In other words, you might as well leave it on all the time. The frame also features mounting points for horizontal and vertical mounting options, allowing you to quickly detach and reattach the camera to magnetic mounts and change orientation for 16:9 or 9:16 shooting as required.
DJI Osmo Action 5 Pro key specs
Sensor: 1/1.3” CMOS Video: Up to 4K/120fps Photo: 40MP Screens: 2 x OLED touchscreens Video modes: Standard, Slo-Mo, SuperNight, Hyperlapse, Subject Tracking Connectivity: USB-C 3.0, Wi-Fi 6.0, Bluetooth Weight: 145g
The Action 5 Pro supports the same ‘fingers’ mounting method as GoPro (which means it should be compatible with hundreds of third-party and GoPro-made mounts) while maintaining the magnet-and grip-based quick-release system that previous DJI action cams have used. This setup meant I could unclip the Action 5 from one mount and attach it to another in seconds, rather than having to fuss around with screws and the like. During my review I used a few different mounting systems, including DJI’s own extendable selfie stick and a trio of bike-friendly mounts the company sells. Being able to quickly switch between them all is a godsend.
DJI has buffed the camera’s case-free water resistance even beyond the Osmo Action 4’s impressive 18m depth. The company says the Action 5 can go to 20m (or 65 feet) without a dive case, and 60m with one. That’s double the case-free depth of a GoPro Hero or Insta360 Ace Pro. I wasn’t able to fully test this out myself, but can confirm that it'll take a dunk in the ocean without any ill effects.
The Action 5 Pro also supports a wider range of operating temperatures than its close rivals too, working all the way from -4F / -20C to 113F / 45C. If you’re looking for an all-weather, all-environment consumer camera, this is about as hardy as they come. DJI’s Care Refresh protection plan is available for the camera too, which ensures that you can get a repair or replacement (up to two on a one-year plan, or four on a two-year plan) if the camera suffers accidental damage.
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The controls are simple, with only two physical buttons on the camera: a power/mode button on the side and a large shutter/video button on the top. Other settings are accessed either through the touchscreen menus, which are accessible on both the front and rear screens, or via the DJI Mimo mobile app and a paired smartphone. Having tried both methods, I don’t have a preference; both work well and suit different shooting situations, although those with larger fingers might prefer the app due to the small size of the Action 5’s touchscreens.
The screens are in general excellent, though. Now upgraded to OLED, they’re sharp, clear and colorful, and having one on each side of the camera means that properly framing and composing images and videos never feels like a chore; no matter whether you’re self-shooting or filming something in front of you, there’s a screen right there.
Design score: 4.5/5
DJI Osmo Action 5 Pro: features and performance
1950mAh battery
47GB of on-board storage plus microSD slot
RockSteady, RockSteady+ and HorizonSteady image stabilization
48kHz Bluetooth recording via DJI Mic 2
DJI makes some bold claims about the Osmo Action 5 Pro’s battery life, saying that a single fully charged 1950mAh battery allows the camera to record up to four hours of video. That’s a 50% improvement over the Osmo Action 4, and DJI says it’s managed this due to the more power-efficient 4nm processor, improvements to battery capacity, and a ‘new algorithm’ that optimizes energy use.
Keen to put these boasts to the test, I set the camera up to record continuously in two video modes: first, 4K at 60fps with RockSteady image stabilization on; then 1080p at 30fps with all stabilization turned off. With the former, a full battery lasted just under two hours – not bad given the relatively high-performance settings. With the latter, it lasted a shade under four hours, just as billed, which is really strong. I should also say that, while the camera was a bit warm to the touch after its two-hour 4K/60fps recording session, it never overheated to the point where it stopped recording.
The Action 5 Pro features a USB-C 3.0 port for in-camera battery charging and file transfer (it also allows the camera to be connected to a computer and used as a plug-and-play webcam). There’s Wi-Fi 6.0 for fast wireless file transfer of up to 80MB/s, which is a big improvement on the Wi-Fi 5.0 of the Action 4; it can also be used for livestreaming, in conjunction with the Mimo mobile app.
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On the subject of the Mimo app, while I won’t get too much into it in this review for reasons of space, it’s the same app you may have used with older DJI cameras. It’s basically a great remote control for the Osmo Action 5 Pro, giving you not only access to all the settings and controls but the ability to compose and review your photos and videos on a much larger screen than the camera’s own display. It also lets you share your content quickly via social media and messaging apps.
The camera comes with 47GB of built-in storage (enough for about 80 minutes of 4K/60fps or three hours of 1080p/30fps video), as well as a microSD card slot for expansion. That’s a nice setup in my opinion, as users on the more casual side of things can rely on the internal storage, while the more demanding, heavier users can supplement that with extra cards to ensure they never run out of space.
There are three types of electronic image stabilization on board, as well as the option to turn it off (which, as I’ll get into, you may have good reason to do at times). RockSteady is the basic level; RockSteady+ ups the ante at the cost of a larger crop to the frame; and HorizonSteady keeps the video aligned horizontally (to a point) while applying an even larger crop. They’re all very effective at smoothing and/or levelling video, and I have no complaints about them – even with the crops applied, the field of view remains quite wide.
The camera also embeds non-stabilized videos with gyroscope data, allowing you to stabilize clips yourself in post-production (if you’re wondering why you might do this, it conserves battery life while giving you more control over how stabilization is applied). I tried this using the free GyroFlow plugin for DaVinci Resolve 18 and it works brilliantly (you can see the results in my sample videos). For some reason, you need to select the ‘Wide’ field of view when recording though – the stabilization won’t work if you’ve shot using other settings.
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A new feature that social media creators will love (but the rest of us probably won’t touch) is the ability to track and frame a subject (with a TikTok-friendly 9:16 frame) as it moves around in the camera’s field of view. This seems to work with humans only (my cat didn’t register a response), but it does a good job of recognizing someone and keeping them framed. The output 9:16 video then crops out the rest of the frame.
The final feature worth mentioning is the camera’s superb compatibility with the DJI Mic 2. You can wirelessly link up to two DJI Mic 2 transmitters with it via Bluetooth and have them record pristine 48kHz audio, which I found a great way to record clean, clear voiceover or vlog audio, even in windy conditions. It’s the only action camera that currently allows this – other cameras that support the Mic 2 will only support a 16kHz sampling rate, which won’t sound as clear.
Features and performance score: 5/5
DJI Osmo Action 5 Pro: image and video quality
Video up to 4K/120fps
4K SuperNight mode for low-light shooting
10-bit, D-Log M and HLG color profile options
The Action 5 Pro uses the same size 1/1.3-inch sensor as the Action 4, but I found its image quality is a clear step above, with strong dynamic range (DJI claims up to 13.5 stops), and beautifully clean colors and excellent detail in good daylight conditions. Rather than wax lyrical about the image quality, I’ll let you watch the embedded videos (below) and see for yourself. I shot most of the footage here in 4K/60fps using the ‘flat’ D-Log M color profile, color-correcting in post-production with Davinci Resolve 18.
The one exception is the 4K SuperNight sequence, which doesn’t allow D-Log M shooting and limits 4K clips to 30fps; I’ve left this footage untouched to demonstrate how it looks direct from the camera. I wasn’t blown away by SuperNight, and when shooting at night in future I’d be tempted to dial the resolution back to 1080p as the 4K footage doesn’t look particularly sharp. But it does a serviceable job of providing clearer images in low light – a situation where action cameras traditionally struggle.
The fact that the Action 5 Pro doesn’t shoot 5.3K or 8K footage doesn’t bother me much, as in my experience 4K is plenty of resolution for an action camera. That being said, those who like cropping their footage might find the extra detail offered by rival cameras like the GoPro Hero 13 Black or Insta360 Ace Pro handy.
Aside from low-light shooting, the one area where DJI could make improvements in the future is by implementing GoPro-style lens mods. The ability to shoot macro images or insert ND filters could add some extra flexibility to what’s already a very impressive action camera.
Image quality score: 4/5
DJI Osmo Action 5 Pro: testing scorecard
Should I buy the DJI Osmo Action 5 Pro?
Buy it if...
You want great reliability Waterproof to 20m, freeze-proof to -25ºC and offering up to four hours of battery life, the Osmo Action 5 Pro is unlikely to let you down.
You own a DJI Mic 2 The pristine 48kHz recording compatibility between this tiny wireless mic and the Action 5 Pro is a game-changer for live voiceover recording. You can even link two mics.
Don't buy it if...
You want crystal-clear night-time footage DJI’s SuperNight mode may produce better low-light video than most action cameras, but it’s still grainy and lacking in detail compared to video from a mirrorless camera.
You want super high-res footage 4K is fine for 90% of users, but those who need more should look at Insta360 and GoPro’s higher-resolution alternatives.
DJI Osmo Action 5 Pro: also consider
GoPro Hero 13 Black
GoPro’s flagship is a polished performer, recording excellent 5.3K video and supporting a wide range of accessories – including the auto-detected Lens Mods that dramatically widen its creative options. It also features built-in GPS, and finally supports the faster magnetic mounting system already used by rival action cam makers.
The Ace Pro is something of a resolution master, offering 8K video (at 24fps) and 4K slow-mo at 120fps from a 1/1.3-inch sensor. Video enthusiasts won’t like the lack of log recording options, however. Design-wise, it sports a large 2.4-inch flip-up touchscreen, eschewing the dual-screen setup favored by GoPro and DJI.
I spent a week using a pre-release version of the DJI Osmo Action 5 Pro, capturing vlog-style videos using the including extendable selfie stick and, at times, a paired DJI Mic 2 lavalier microphone. I used DJI’s road cycling mount kit to attach the camera to various points on my bike. I also tested battery life by allowing the camera to continuously record until the battery died.
I recorded video at different resolutions and frame rates, using different color profiles and video modes, and with the various forms of stabilization on or off. Footage was later edited on my PC using DaVinci Resolve Studio 18.6 software, which I used to color-grade and stabilize some clips.
It might be the unmistakable Leica style of the D-Lux 8 that initially grabs the attention, but the pocketable camera with the famous red-dot logo offers more than just good looks. The Four-Thirds sensor is a big upgrade on the 1-inch sensors found in some of the best compact cameras, and the image quality is a massive leap from what you would expect from a mobile phone. Combine that with a physical aperture control ring, a shutter-speed dial, and other tactile controls, and you have a camera that will appeal to fans of a more retro shooting experience. The menu is also straightforward to navigate, partly due to the 3-inch 1.8m-dot touchscreen being useable for changing settings.
However, the Leica D-Lux 8 isn't a major upgrade over its predecessor, which was essentially a rebranded version of the Panasonic Lumix LX100 II, released in 2018. Besides a few new design cues that simplify the design and make it look like the Leica Q3, the main new feature is a 2.36 million-dot viewfinder. This new EVF may seem like a downgrade on the 2.76-million-dot EVF of its predecessor, but the important thing here is that the screen tech is new – the D-Lux 8 uses an OLED panel, which offers a better experience thanks to not having color tearing.
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Leica D-Lux 8: design
The core of the Leica D-Lux 8 is based around a 21-million-pixel Four-Thirds size sensor. Focusing the image on to this sensor is a Leica DC Vario-Summilux 10.9–34 f/1.7–2.8 ASPH lens, the equivalent to a 24-75mm lens on a 35mm or full-frame camera. This lens doesn't create an image circle large enough to cover the entire surface of the Four Thirds sensor; instead, it produces images that are up to 17 million pixels.
Rather than seeing the lack of complete sensor coverage as a negative, Leica has actually used this to its advantage, allowing photographers to change the image aspect ratio in-camera. You can choose between 1:1, 3:2, 4:3, and 16:9, and you can select these via a ring around the base of the lens.
Leica D-Lux 8 price and release date
The Leica D-Lux 8 has a list price of $1,595 / £1,450 / AU$2,790 and is available now, although at the time of writing it's out of stock globally, so you may have to wait for your order to be fulfilled.
The camera comes with an on-camera flash unit.
As mentioned, the D-Lux 8 is very similar to its predecessor, the D-Lux 7, which itself was virtually identical to the Panasonic Lumix LX100 II, which was released in 2018 – that's a long time ago, and we've seen considerable advances in camera technology since then.
Thankfully, its features hold up well, particularly given the lack of competition in the high-end compact camera market, and the Four-Thirds sensor size is significantly larger than the 1-inch sensors typically used in this size compact camera.
Leica users have certain expectations for their cameras: manual controls, simplicity, and a minimalist style that echoes the industrial German design of all of the Leicas that have come before them. Thankfully, the Leica D-Lux 8 offers all of these things, and it both looks and feels like using a Leica camera, notably the Leica Q series.
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Weighing 397g, including the battery, and measuring 130 x 69 x 62mm, the D-Lux 8 is a (jacket) pocketable camera with a manual aperture ring, shutter speed dial, hotshoe, and there's even a cable release screw thread in the shutter button. On the camera's top plate there's a zoom control around the shutter button, a custom dial, and a small on/off button.
The most significant change compared to the D-Lux 7 is the improved electronic viewfinder. The new 2.36 million-dot EVF is a lower resolution than the 2.76 million-dot EVF of the D LUX-7. However, the new viewfinder is an OLED display, whereas previously, it was a sequential display, where the RGB LEDs changed very quickly, given the perception of the correct color. This works well in static subjects but can cause jarring RGB edge effects, particularly when you're panning quickly. The OLED EVF solves this.
For those not using the EVF, there's the 1.8m-dot fixed touchscreen. I have to say that with the camera's manual controls and retro design I found myself gravitating to the viewfinder instead of the touchscreen, or perhaps it was because the screen is fixed rather than the versatile tilting or flip-out type.
The viewfinder has a 0.75x magnification, which, although it isn't huge compared to a mirrorless camera, is large enough that your eye can still roam around the scene and you can see details. And there is, of course, a dioptre adjustment if your eyesight requires it.
Where the screen comes in really useful is its touch functionality. Pressing the Menu button on the rear of the camera pulls up all the current shooting settings, which can be quickly changed using the touchscreen. The touchscreen can also be used to select the AF tracking area.
Overall, the design of the D-Lux 8 could be described as streamlined; all of the key features are easily accessible, without the camera being littered with buttons, dials, and labels. Everything else can be quickly changed using the directional pad on the camera's rear, or easier still, by using the touchscreen.
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Leica D-Lux 8: performance
Leica cameras are known for their popularity amongst documentary photographers, who demand that their cameras can be operated quickly, which is often where compact cameras fall down. After you press the power there's a wait of about a second before you can take a photo with the D-Lux 8, which is an acceptable amount of time. The aperture ring and shutter speed dial make changing the exposure extremely quick, and also easy to do when you're looking through the viewfinder. That said, I'm a left-eye shooter, which made the dial a little more awkward to use with the camera held to my eye, although I largely had the camera set to aperture priority mode, so the camera was adjusting the shutter speed automatically.
Zooming the lens from 24mm to 75mm is steady without ever being fast. If you wish to manually focus the lens, there's a small switch on the barrel of the lens, close to the camera's body. A fly-by-wire electronic focusing ring allows for manual focusing, and it feels naturally responsive, something that's helped by the magnified view presented on the screen or through the viewfinder.
The autofocus system is as comprehensive as you would expect from any mirrorless camera. There are options for eye/face detection and tracking, as well as the more automated Zone Field and Multi-spot autofocus. I generally left the camera set to eye/face tracking, and used touchscreen focus when I wanted to select a particular subject within the scene. I had no issues with the focusing, and the camera felt snappy and responsive.
There are a few continuous shooting modes for moving subjects, each with a varying degree of quality. At 2fps, images can be saved at 12-bit, with autofocus. Shift to 7fps, and the bit rate drops to 10-bit with no autofocus. There's also a higher option of shooting 11fps in 10-bit without autofocus. Everything is kept simple, with these shooting rates working for JPEG, raw DNG, and when in JPEG+DNG mode.
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Leica D-Lux 8: Standard (Image credit: Future)
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Leica D-Lux 8: Vivid (Image credit: Future)
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Leica D-Lux 8: B&W High Contrast (Image credit: Future)
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Leica D-Lux 8: B&W Natural (Image credit: Future)
One of the more enjoyable aspects of using the Leica D-Lux 8 is Leica's film styles. There aren't an overwhelming number, with Standard, Vivid, Natural, Black and White Natural, and Black and White High Contrast options. The contrast, saturation, and sharpness of each of these can be adjusted, and there's also the option elsewhere to change the I[ntelligent]-DR and Highlight/Shadow settings. I found that images taking using the default settings looked great, although after using the D-Lux 8 for a while I changed the settings to make the shadow areas slightly brighter. It all comes down to personal preference, but having limited options that aren't overwhelming combined with excellent 'default' image quality is refreshing.
The larger Four-Thirds sensor makes a difference in image quality. Images look closer to what you'd expect from an APS-C sensor than the 20-million-pixel 1-inch sensors typically found in compact cameras. The dynamic range is good, with there usually being plenty of detail in highlights and shadows. I was also impressed with the low noise and good detail at higher sensitivities, with the camera performing as you'd expect it to with a Four-Thirds sensor. Images shot at up to ISO 1600 are perfectly useable, and even images taken at ISO 6400 look acceptable when you need to shoot in low light. Beyond this level, the image quality does start to break down, but we need to keep in mind what and who this camera is for; this isn't a camera for shooting landscapes or high-end commercial work. It will most likely be used for travel and street photography; it's a camera that's easy to take with you and can take better images in situations where you may tend to use your phone.
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It is a pretty versatile little camera. The maximum f/1.7 aperture creates a shallow enough depth of field when the subject is quite close to the camera, and I tended to shoot a lot with the lens in this setting, particularly when photographing people. It's roughly the same as shooting at f/3.5 on a camera with a full-frame sensor, so it's enough to throw the background out of focus to isolate your subject.
I didn't shoot much video, reserving this for a few family clips and social situations, as this is how I expect the camera to mostly be used, video-wise. This is not a video-first camera. It only offers 4K capture at 30fps at 100Mbps and Full HD at 60fps at 28Mbps, and there's no articulated screen or external mic socket. The Leica D-Lux 8 simply isn't designed to shoot a video longer than a few seconds; even content creators would be better off using their smartphones and being able to upload footage directly.
Should I buy the Leica D-Lux 8 Camera?
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Buy it if...
Don't buy it if...
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How I tested the Leica D-Lux 8
I used the camera for a couple of weeks in a variety of situations
I shot documentary images at a local event
I paid close attention to the depth of field the camera captured
I tested the Leica D-Lux 8 over a couple of weeks in the summer in the UK, which included a family holiday. During this time, I used the camera at a local festival, a day out at a farm, and took lots of photos of friends and family.
Overall I aimed to use the D-Lux 8 as an everyday camera, which I believe is how it will mainly be used. Using the camera in this way allowed me to experience it as the target user would, and to try all of the various shooting options in various situations. I also took it with me on a morning walk around London, shooting a few street photos, which I'll admit I am not very good at.
I viewed my images in Adobe Bridge on a computer, examining details in images taken at different ISO settings, and I also edited some images in Adobe Camera Raw to see how much latitude they offered for manipulation.
When I originally wrote my Canon EOS R5 review, I called it the brand’s “best ever stills camera”. Four years later and I'm going to have to repeat myself – this time, however, I have to take it a step further and say that the EOS R5 Mark II is also Canon's most versatile camera yet.
There are quite a few significant differences between the two R5 generations that makes the Mark II feel more like an entirely new series rather than an upgrade. In fact, it has more in common with the Canon EOS R1 than the EOS R5, with the two new flagships sharing the headline features. So, essentially, what the Nikon Z8 is to the Nikon Z9, the R5 II is to the R1 – a smaller, albeit higher-resolution, version.
While the sensor resolution remains at 45MP, the R5 II now uses a stacked design that enables speedier readouts to minimize rolling shutter distortions, just like on the Nikon Z8. This, however, has resulted in a slight loss of dynamic range compared to the R5, but not so much that it will bother most photographers in real-world use.
The R5 II gains a second imaging processor – working in conjunction with the Digic X chip, the Digic Accelerator enables burst speeds of up to 30fps when shooting RAW, with an additional 15 frames available with pre-recording enabled. The Nikon Z8 tops out at 20fps in RAW.
Speed aside, the autofocus accuracy here is also better than what I experienced with the original R5 and, during my testing, the Mark II was more than ready to take on a challenge straight out of the box. In fact, I think the AF performance here is better than the Nikon Z8, which is my daily shooter. Not only has Canon improved its AF algorithm, it’s also added a couple of new features that make it really hard to miss a shot – you can select specific people to prioritize as your main subject in People Priority mode, while the new Action Priority feature uses deep-learning algorithms to tell the camera when a specific action is about to take place and automatically shift the focus point accordingly. The latter, however, is still a work in progress with only three team sports supported at launch.
Canon has been using Eye Control AF in its pro sports cameras – namely the EOS 1D X Mark III DSLR and the EOS R3 – but it’s now available on the R5 II. While it’s been improved in some ways, it’s still hard to calibrate it for all users.
Also new are a couple of AI-driven features that allow you to edit shots in-camera. The Image Upscaling feature can enhance resolution by 4x, after which you crop it in-camera to zoom in closer to a distant subject. It’s a handy feature to have, but only works for images shot as JPEG/HEIF and can be impractical for some photographers in the field. Photographers who find the need to push the limits of a camera’s ISO performance will be glad to know there’s a Neural Network Noise Reduction feature built in that can be employed, but you will need to shoot in RAW for this feature to work and the processed file is then saved as a JPEG.
Video specs have also been improved, with the R5 II capable of shooting 8K/60p clips (versus 30fps on the R5) for up to 120 minutes with a new Cooling Fan Grip. Importantly, Canon’s C-Log2 – the video encoding option previously only available in the brand’s cinema cameras – is now supported on the R5 II, offering better dynamic range and easier color grading compared to C-Log3.
Where it falls short compared to its predecessor is battery life. Despite a new high-powered LP-E6P pack, it’s only rated for 630 shots compared to the 950 that the LP-E6NH was rated for in the R5. To be fair, though, it is powering the new features and the higher speed.
Of course, new features come at a cost, but if they all do what they say on the tin, then it could be argued that the R5 II would be a worthy investment despite a higher price. What makes it even more so is that this camera truly does make pro photography easy and, given it can handle any scenario, it's a remarkably versatile shooter as well. Thankfully, though, Canon has priced its flagship well, with only a 10% increase over the launch price of the EOS R5.
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Canon EOS R5 Mark II review: Release date and price
Body-only price is $4,299 / £4,499 / AU$6,499
Available since August 2024
Three optional grips: Standard BG-R20, battery BG-R20EP and cooling fan CF-R20EP
With a body-only suggested retail cost of $4,299 / £4,499 / AU$6,499, the EOS R5 II is quite competitively priced. It’s slightly more than the R5’s body-only launch price in some markets (which was $3,899 / £4,199 / AU$6,899 in July 2020), and that’s to be expected given the slew of updates it’s got over its predecessor.
Aussie photographers, though, should be overjoyed if they’ve been holding out for a worthy upgrade from an older camera, especially since it’s cheaper than the Nikon Z8’s launch price too ($3,999 / £3,999 / AU$6,999). That said, it’s now possible to find the Z8 at discounts of about $700 / £450 / AU$1,000 – making it a compelling alternative to its Canon competition.
The R5 II was slated for an August 2024 release and is now available to purchase from authorized retailers in the US and Australia, but is still listed as a pre-order in the UK at the time of publication.
It’s possible to also pick up a single-lens kit for $5,399 / £5,749 / $AU$7,999, which bundles the RF 24-105mm f/4 L IS lens with the R5 II.
For the first time for any camera maker, Canon has also released three optional grips that can be purchased separately, which includes a Cooling Fan Grip ($399 / £549 / AU$829) that improves video recording times but lacks the vertical control layout. For that, you’ll need to opt for the Battery Grip that will set you back $349 / £489.99 / AU$699.
• Price score: 4.5 / 5
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Canon EOS R5 Mark II review: Design and handling
Small changes to top plate control layout
Improved blackout-free 5.76m-dot OLED EVF with Eye Control AF
Under-camera cooling vents keep the body slim
At first glance it’s easy to think the EOS R5 Mark II body is identical to its predecessor, but there’s one change Canon has made that makes me rather happy – the power controls that were on the left of the top plate on the R5 are now a ring around the Mode button on the top right of the Mark II. This means it’s a lot easier to switch the camera on and off in one hand. The old power wheel is now the toggle to switch between stills and video capture.
Canon EOS R5 II key specs
Sensor: 45MP full-frame BSI stacked CMOS sensor AF system: Hybrid with phase-detect Dual Pixel AF EVF: 5.76m-dot OLED ISO range: 100 to 51,200 (ISO 50-102,400 extended range) Video: 8K/60fps raw, 4K/120fps, 1080p/240fps LCD: 3.2-inch vari-angle touchscreen, 2.1m-dots Max burst: 30fps (electronic shutter, continuous autofocus) Connectivity: USB-C 3.2, Wi-Fi 6E, Bluetooth 5.3 Weight: 656g (body-only), 746g including battery and card
The one other minor change on the top plate is the new hot shoe cover. The R5 test unit that was sent to me for review in 2020 didn’t have such a cover, so this is new to me and I love the clean design – it makes the top of the R5 II look… well, ‘unblemished’ is the only word I can think of to describe it. As much as I like it, the cover is nigh impossible to release. I spent a lot of time trying to get it open and failed, meaning I wasn’t able to get a peek at the hot shoe during my few weeks with the camera.
The rest of the control layout remains exactly the same as on the R5, which is a wise move as Canon’s designs have always been intuitive. It is, however, oh-so-slightly heavier than the older camera, tipping the scales at 26.3oz / 746g. That’s lighter than the Nikon Z8 (32oz / 910g) and more in line with the Sony A7R V. It feels comfortable in the hand during long periods of use, even with the beefy RF 24-70mm f/2.8L standard zoom and RF 100-500mm f/4.5-7.1L IS USM telephoto lenses that I used for this review.
Another small but significant refinement is the 5.7 million dot OLED viewfinder – Canon says it’s twice as bright and blackout free. While I can’t vouch for the ‘twice’ part, it’s definitely a significant difference compared to the R5 and I prefer it over the 3.69m-dot EVF on the Nikon Z8. The new EVF also inherits Canon’s Eye Control AF that debuted on the EOS 1D X Mark III. This feature tracks your eye movements as you scan the scene through the viewfinder and shifts the focus point accordingly.
As with all Canon cameras, build quality is excellent. The R5 II features a magnesium-alloy chassis with a fully weather-sealed exterior, and the controls are robust. That said, I found the rear wheel movement on the R5 II a little clunky compared to what it feels like on the R1, where movement is nicely dampened and rotation is smooth.
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Everything else from a design standpoint is standard fare for a pro camera – an illuminated top LCD display, a textured AF joystick on the rear and dual card slots. One of these supports a CFexpress Type B device while the other supports a SD card with UHS-II speed, but you’ll need to invest in the former if you want to take full advantage of the R5 II’s speed.
Filmmakers will appreciate the fact that the EOS R5 II has a full-size HMDI port (the EOS R5 doesn't) and a tally lamp to indicate when you're recording. Moreover, key shooting information can be displayed on-screen.
There are also cooling vents on the camera's underside and they do an admirable job of keeping temperatures down when shooting high-resolution clips. In fact, temperature regulation is a lot better here than when I first tested the R5 (which was prior to the firmware updates that improved recording times). That said, I found that the R5 II can begin to get warm even when shooting constant bursts with Servo AF engaged, something sports photographers will likely need to do, but the temperature warning that appears on the display (or the EVF) never went beyond the first bar during my testing.
Naturally, there are both mic and headphone ports, plus USB-C for charging. The battery is an improved LP-E6P unit, which delivers up to 640 shots on a full charge, although that number will be a lot higher if you're capturing lots of high-speed bursts. Case in point, I ended up shooting over 8,000 frames during one testing session before the battery life dropped by three-quarters, but I couldn’t do much more as my 128GB CFexpress card was full.
• Design score: 5 / 5
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Canon EOS R5 Mark II review: Features and performance
New People and Action Priority modes
In-camera editing features
15 frames of pre-recording
I’ve already listed the R5 II’s feature set at the start of this review, including the new stacked design for the sensor and the second processing unit that aids in maintaining the camera’s speed. Between the two, the R5 II is capable of rattling off at 30fps using the electronic shutter with autofocus engaged, and at a decent 1/160 second. While this helps with keeping rolling shutter distortions down to a minimum, a stacked sensor can reduce dynamic range, which is the case here, but it’s so insignificant that it would hardly be an issue in real-world use.
Buffer memory is better compared to the older R5, with the Mark II capable of saving up to 93 frames (or 3.1 seconds of capture) when shooting RAW to a memory card at 30fps (compared to 83 for the R5) or 230 RAW frames (or 8 seconds) when at 12fps (versus 180 with the R5). Buffer memory is over 1,000 frames when shooting JPG/HEIF, although I found that shooting constant bursts at 30fps in any format can bring up the temperature warning and slow the camera down a smidge.
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Despite that, the speed the R5 II offers is great for sports and wildlife photographers alike, and the additional 15 frames of pre-capture means it can be quite hard to miss a shot – that’s an extra half second of captures. Paired with what I think is arguably the best and easiest-to-use autofocus system in the camera world, the R5 II makes pro photography incredibly simple.
And I do mean ‘simple’. Straight out of the box, the camera is ready to shoot, but engage either the new People Priority or Action Priority modes and sports photography becomes incredibly easy – all you need to do as a photographer is get your framing right and the camera will do the rest.
People Priority takes face detection to the next level and is ideal for team sports or wedding photography. Within the camera’s menu system is the option to ‘register’ a face… or 10. You'll need to take a head shot – and it doesn’t even have to be perfect – or capture an image of the person(s) from the internet to Register People Priority. Depending on the order you capture the faces, the camera prioritizes them from 1 (most important) to 10 (least important) and will focus on the people within the frame with the highest priority.
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The People Priority feature is intelligent enough to know when to shift subject tracking... (Image credit: Sharmishta Sarkar / TechRadar)
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..and when to stick with it. (Image credit: Sharmishta Sarkar / Future)
I didn’t get to try it with the maximum of 10 people during my testing, but it worked with pinpoint accuracy with three people in the frame. I also found that if a person with the highest priority within a scene only has a tiny fraction of their face turned to the camera (aka in partial profile), the R5 II will automatically shift the focus to the next highest priority face if it’s more visible. On the other hand, if a non-registered person appears in the frame, the camera can stick with the main subject even if only the back of the head is visible. That is intelligent autofocus indeed!
Action Priority is perfect for team sports that have a spherical ball in constant play but, at launch, Canon only has this feature set up for three sports – basketball, football (soccer) and volleyball. Using deep-learning algorithms, Canon has figured out how to ‘teach’ the camera to recognize body movements so the focus can shift to a player who either has the ball in possession or is about to get it. That means the R5 II can, in theory, predict where the ball is going next and focus on the right ‘moment’ rather than on a specific player.
I say ‘in theory’ because I didn’t get the opportunity to test this mode out on the three preset sports, but my colleague based in the UK got a chance to test Action Priority using a pre-production camera unit at a basketball game and it seemed to work then. That said, three sports is very limited and it would be great if Canon can start adding more (not just those with spherical balls) as quickly as possible. In fact, it’s the same case with the EOS R1 too, and it's as yet unclear whether the balls need to be a specific size to trigger the camera's response (aka, will it handle sports like tennis or cricket – that use smaller balls – just as well?).
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There’s no easy way to switch between the two modes without delving back into the menu system, but nearly all the buttons on the camera can be customized. For example, I swapped the AE Lock button to trigger Action Priority and set the AF-On control on the rear panel for People Priority mode. I also set the M-Fn function to trigger Eye Control AF.
Speaking of which, this is the only autofocus feature on the R5 II that I had trouble with. While my colleague was suitably impressed, I just couldn’t get the calibration right – I even reset the camera to try again and failed. And this is despite Canon claiming they’ve made improvements to the Eye Control AF that makes it easier for people who wear glasses (like me) to use it. Seems like this isn’t an isolated problem as others have reported a similar issue.
Even without Eye Control AF, the R5 II’s autofocus and tracking is excellent and Canon has improved low-light AF sensitivity to -7.5EV (compared to -6EV in the older model, although the Nikon Z8 is effective at -9EV). The native ISO range remains steady at 100 to 51,200, or 50 to 102,400 expanded. While noise is very well controlled up to ISO 6400, even images shot at ISO 12,800 are usable if you don't need to crop in to zoom. And if noise at this high ISO is an issue for you, Canon’s new Neural Network Noise Reduction feature can help – it can denoise selected images in-camera by up to 2 stops as long as they're RAW files.
Within the Playback menu settings is the option to Process RAW Files, where the noise reduction editing feature is nestled. There are three options to choose from – Low, Standard and High – and they can be utilized in a pinch to cut down on some grain. The processed file is then saved as either a JPEG or HEIF.
I'm uncertain why Canon choose to enable this processing for RAW files only, and I'm hoping a future firmware update will allow for JPEGs/HEIFs to also be edited in-camera in the same way.
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Captured at ISO 1250 (Image credit: Sharmishta Sarkar / Future)
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In-camera noise reduction applied to a RAW file at ISO 12,800 (Image credit: Sharmishta Sarkar / Future)
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The original ISO 12,800 file cropped to show noise (Image credit: Sharmishta Sarkar / Future)
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In-camera processed file to show noise reduction with NR Standard applied (Image credit: Sharmishta Sarkar / Future)
In a similar vein, if you want a higher resolution version of a particular image, you can upscale it in-camera to add up to 4x the pixel count using AI to extrapolate the image’s EXIF data, creating stills of up to 180MP from the original 45MP shot. While this is an excellent option for landscape photographers, it turned out to be rather impractical when shooting bursts. Pro sports and wildlife photographers will end up with so many shots that it could be hard to find the specific one you want to select to be upscaled.
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The original 45MP resolution (Image credit: Future | Tim Coleman)
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A close-up crop of the original 45MP file (Image credit: Future | Tim Coleman)
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The same crop on the upscaled 180MP, demonstrating how much bigger the file is (Image credit: Future | Tim Coleman)
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And the upscaled 180MP version at the same size which should appear sharper (Image credit: Future | Tim Coleman)
Thankfully Canon has thought of that and you can select a range of images to upscale, but that will eat into your memory card’s free storage. Moreover, I found that Lightroom (my go-to image editing software) struggled with the larger files, crashing four times before I was able to view them – and this is on a MacBook Pro equipped with Apple’s decently powerful M3 Pro processor.
The main caveat for this feature is that it only works for JPEG/HEIF files and not RAW. Perhaps this will change down the line via future firmware updates, but it's still handy to have.
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In terms of video, the R5 II is a powerhouse, with better heat management than its predecessor. Without the Cooling Fan Grip, Canon says the R5 II can shoot up to 18 minutes in 8K/60p RAW internally when ambient temperature is about 23ºC / 73ºF, although during my testing I managed about 4 minutes before I got the temperature warning, then another 2.5 minutes before the temperature gauge went into the red. Another minute later, the camera stopped recording with the warning that no more footage could be captured until the camera cooled down. That’s just 7.5 minutes but, to be fair, the ambient temperature was 26ºC (78.8ºF) and I was standing in direct sunlight.
Recording times increase as the resolution is lowered, with the possibility of up to 45 minutes when shooting 45K/60p without the fan. If you invest in the Cooling Fan Grip, there is theoretically no recording time limits with the fan set to high.
While not all the exciting features on the R5 II work as well as Canon would like us to think (I’m referring to Eye Control AF here), and there are dedicated hybrid cameras that handle pro filmmaking better, it’s really hard to fault the R5 II when everything else makes taking great shots really easy.
• Features & performance score: 5 / 5
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Canon EOS R5 Mark II review: Image and video quality
Gorgeous colors but slightly lower dynamic range
Great details and sharpness, even in shadows
Top notch video results
Not everyone needs a high-resolution camera but many prefer it. With 45MP on tap, there's more than enough sensor resolution here to suit most photographers, and having fewer pixels compared to the 61MP Sony A7R V and the 45.7MP Nikon Z8 means the Canon can handle speed better than some of its competition.
Even on a pre-production model of the R5 II, I was able to get excellent results, with colors that I personally find pleasing, plus focus and subject tracking practically pinpoint perfect. And that performance was just as impressive when I tested the final production model.
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It’s been really hard to find fault with the results of the R5 II, despite the limitations of its stacked sensor design. As I’ve mentioned previously, this gives the camera its speed but comes at the cost of a little bit of dynamic range. I didn’t have the older R5 with me to do a direct comparison but, in my real-world testing, I found this compromise to be so small, even when shooting with the electronic shutter, that it’s hardly worth commenting on. Unless you plan on significantly cropping an image, the resulting noise in darker areas will not be a problem because of the lower dynamic range.
Otherwise, images shot using the R5 II are sharp, with very reliable autofocus and subject tracking performance – meaning all a photographer needs to think about is composition.
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I also pushed the R5 II’s ISO sensitivity to see how well it holds up at the higher end of the spectrum and was suitably impressed. While there is some noise at ISO 6400, it’s hard to discern unless you crop significantly. Even at ISO 8000 or 12,800, the noise is decently controlled and, if in a pinch you think there’s too much visible graining, the option to use the Neural Network Noise Reduction feature is there… as long as you’re shooting RAW. And there are always photo editors like Topaz Photo AI that will help reduce the grain.
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While video quality is also very good, I doubt pro creators will opt for the R5 II – there are other hybrid cameras, like the Panasonic Lumix S5 II or the Sony A7S III that would be better suited for professional videography. Still, if it’s 8K video that you’re after, I think it’s as good as the Nikon Z8 / Z9, if not better. And with better recording times out of the box than its predecessor, the R5 II can be a worthy investment for hybrid work.
It uses the full sensor to shoot 8K/60p and 12-bit RAW footage internally, but there are a few different resolutions and frame rates to shoot from if 8K is overkill for your needs. You can shoot in either DCI (17:9) or UHD (16:9), with a bunch of codecs to choose from. Perhaps the best news for videographers is the addition of Canon’s C-Log 2 custom picture profile. This has, so far, only been available on Canon’s EOS cinema cameras, but it offers better dynamic range and more natural colors compared to C-Log 3, which makes it easier for video creators to color grade and produce more appealing visuals.
There is now no 4GB video recording limit and, during my testing, I had no issues with heat buildup with video clips of 50 seconds to 1-minute in duration when shooting in 4K. the temperature gauge, however, will appear on the display (or EVF), which I found handy, as it's a visual indication of how warm (or hot) the camera is getting with use.
Image stabilization for video and stills is also quite impressive. While I’m not a good videographer at the best of times, I struggled to hold the R5 II steady with the RF 100-500mm f/4.5-7.1L IS USM telephoto lenses at 500mm for durations of over 10 seconds, but found it a little easier to handle at 300mm.
• Image & video quality score: 5 / 5
Should I buy the Canon EOS R5 Mark II?
Buy it if...
You’ve been holding out for a great full-frame high-res camera
Whether you want to upgrade from your Canon EOS 5D Mark IV DSLR or any of the older EOS R-series cameras – or even just keen to change systems – it’s really easy to recommend the R5 II.
You want an easy-to-use pro camera
Its fast and accurate performance aside, the R5 II has very intuitive physical controls and the menu system is simplified, making this pro camera really easy to wrap your head around.
You want a versatile camera for any kind photography
While its in-camera editing features have some caveats, the R5 II will be as comfortable shooting landscapes and nature as it would be in a sports arena or a war zone. It has the chops – and then some – to handle it all, plus even some decent video skills.
Don't buy it if...
You’re a pro video content creator
It might have good video prowess but, if filmmaking is your priority, you might be better off with a camera that was designed specifically for video.
You don’t want to drain your savings
While the R5 II is well priced compared to its predecessor and the competition, I wouldn’t call it ‘affordable’ or ‘cheap’. If money is a constraint, you could consider dropping a sensor size and yet retain high resolution if that was important to you.
You exclusively shoot landscapes or architecture, or do mostly studio work
If you aren’t going to put the R5 II’s speed and accuracy to good use, it might be overkill for your needs. Moreover, some photographers who do more studio work – like portraits or product shots – might be better served with a medium format sensor, and it’s now possible to get one for about the same price or lower.
Also consider
Nikon Z8
In direct competition with the R5 II, the Nikon Z8 is arguably the easiest alternative to recommend. While the physical setup is different to Canon's, and it might lack the new autofocus and in-camera editing features, the Z8 is a superb shooter that offers just as much speed (even more, in fact, if you're willing to forgo some resolution). It even allows you to shoot with a crop (DX) if you want more reach. Read our full Nikon Z8 review
Sony A7R V
If resolution is important to you, then the 61MP sensor in the A7R V might be just what you're after. While you won't be able to get the speed, you will gain Sony's rather good autofocus system with its own nifty AI features, like knowing exactly what to focus on and where. It doesn't have the video chops as the R5 II or the Z8 listed above, but landscape photographers might prefer this high-res shooter. Read our in-depth Sony A7R V review
Fujifilm GFX100 II
Again, if resolution is more important and money isn't an issue, the GFX100 II is arguably the most powerful medium format camera on the market. It can handle both stills (102MP shots at up to 8fps) and video (8K/30p) well, although the lens options will be limited if AF speed is important. Read our full Fujifilm GFX100 II review
How I tested the Canon EOS R5 Mark II
Tested over a period of three weeks; paired with RF 24-70mm f/2.8Land RF 100-500mm f/4.5-7.1L IS USM lenses
Used to shoot mostly wildlife with high-speed bursts and Servo AF engaged
Captured several video clips to test frame rates and resolutions
Having already tested the original R5, and as a current Nikon Z8 user, I am in a unique position to judge the R5 II as it gives me a couple of different points of comparison.
I had the Canon EOS R5 Mark II for about three weeks for this review and did my best to try it out in different scenarios. While there weren't any local sports to capture during my testing period, I pushed the camera's speed limits by capturing birds at a waterbird refuge. I also took the camera on a whale-watching cruise (sadly the humpbacks weren't very active on that day).
This was done with the camera set to capture at 30fps using the electronic shutter and Servo AF engaged. I used some of these images to test the upscaling feature.
The waterbird refuge is also where I did most of the video testing, using the birds as my subjects.
I also captured some urban landscapes as single shots. My testing of the stills including some indoor captures to test the ISO performance, and I used this to see how well the camera's built-in noise reduction feature works.
One could spend hours pondering why people might want to make small instant prints out of their smartphone snaps – photos they could easily share with each other via WhatsApp or post on Instagram. Personally, I think it’s all about the fun, tactility and immediacy that can be derived from occasionally ‘going analogue’ in this increasingly digital world in which we live. Vive la difference, and all that.
Fujifilm’s Instax mini Link 3 is the latest in the company’s line of portable battery-powered printers which, after linking up with a smartphone or tablet via Bluetooth, can spit out fast-developing instant photos. These photos, which are roughly the size of a credit card, can be given to friends and family, pinned on your corkboard or stuck on your fridge door or slipped in your wallet to look at whenever you like. It’s a simple device that does what it’s supposed to and does it well.
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Fujifilm Instax mini Link 3 key specs
Film type: Instax mini film
Print size: 62mm x 46mm
Print time: 15 sec. approx..
Developing time: 90 sec. approx.
Connectivity: USB-C, Bluetooth
Dimensions: 90 x 37.3 x 125mm
Weight: 210g
I’ll talk about the prints themselves first. This won’t be news to anyone who’s used Instax mini film before, but these Polaroid-style photos look really impressive, with beautifully rich and vivid colours and an attractive glossy finish. That’s once they develop, of course: you’re looking at about three minutes in total from the time you starting printing until the finished photo is fully developed. Detail is pretty sharp, but the small print size puts a limit on that. The prints are hardy too: don’t expect them to fade quickly or fall to bits in your wallet.
They are also fairly expensive by portable printer standards however, with a standard 20-pack costing around $20/£15, which means about $1 or 75p a per print. Some rival printers using Zink or dye-sublimation methods offer a smaller per-print cost. I would say the Instax mini photos are better looking and more durable than Zink prints at least.
Part of the selling point with the mini Link 3 is the added functionality that comes from the mini Link companion app, and to be clear the printer is essentially useless without a smartphone to pair it with. The app offers light editing tools and a range of frames, effects and other adornments with which to customise and personalise your photos. These are all a bit cheesy and basic (I suspect few graphic design aficionados will be impressed) but if the point is to have fun, they hit the spot.
You can import photos from your camera roll or take new shots from within the app. In fact, the app’s Instax camera mode turns the printer itself into a Bluetooth remote control, allowing you to set your phone up and take a shot from afar by pressing the printer’s function button.
The app also features an augmented reality (AR) mode that lets you take photos on your phone complete with added-in objects, but to be honest I quickly gave up trying to use it due to the confusing setup and underwhelming effects. With the rest of the app functions being straightforward and easy to immediately grasp, this one feels out of place; I doubt it’ll prove popular with users.
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The mini Link 3 printer itself is an attractive object with its curvy lines, ridged surfaces and three-LED lighting system, which pulses and glows different colours depending on what you’re doing; it usually functions as a battery life indicator. There are three colour finishes available, too: Sage Green, Rose Pink and the Clay White model I was sent to review.
The mini Link 3 is lightweight and compact enough to slip into a large jacket pocket. I wouldn’t have any qualms about tossing it into a backpack either. The plastic body is sturdy and there are few buttons or moving parts that could get damaged: just one button for power, one function button that fulfils a number of functions (such as initiating Bluetooth pairing), a small sliding button to open the rear door when you need to load in a new film cartridge and a tiny flap that opens up to reveal the USB-C port used for recharging the internal lithium ion battery.
Fujifilm Instax mini Link 3 price and availability
The Instax mini Link 3 is available now, priced at £114.99 in the UK (where it’s available at a range of online stores including Amazon, Jessops and My Fujifilm). In the US it’s cheaper at $99.95 and available from the Instax site.
Battery life is excellent. Fujifilm claims you can print around 100 shots from a full charge and while I haven’t personally tested that, being sent only three 10-shot cartridges of Instax mini film with my review sample, I didn’t need reach for the included USB-A to USB-C recharging cable once during my week with the printer (note that there’s no AC adapter in the box). If you do deplete the battery, you can fully recharge it in about two hours.
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Fujifilm Instax mini Link 3: also consider
Fujifilm Instax mini Link 2 The predecessor to the mini Link 3, this model’s advancing age and recent replacement means you may be able to pick it up at a significant discount. It uses the same Instax mini film and works with the same mobile app, so functionality and image quality is very similar.
Canon Selphy Square QX10 This dye-sub portable printer produces 2.7in square photos, with each print taking about 40 seconds to emerge and, according to Canon, are durable enough to last for 100 years. The prints have a peel-and-stick backing means you can mount them quickly too.
Should I buy the Fujifilm Instax mini Link 3?
(Image credit: Sam Kieldsen | Future)
Buy it if...
You want fast, vibrant prints Instax mini prints develop in a matter of seconds and boast vivid, bold colours. They’re robust too, and won’t fade or rub off easily.
Don't buy it if...
How I tested the Fujifilm Instax mini Link 3
One week of use
Tested with iPhone 13
I spent a week using the mini Link 3 in conjunction with my iPhone 13, testing each mode of the mini Link companion app with both freshly taken photos and older images from the smartphone’s camera roll. I also took the printer out ‘in the field’ with me, taking advantage of its battery and compact size to use it on a night out with friends.
If you’ve heard of the HoverAir X1, you’ll already have some idea of what the DJI’s latest drone, DJI Neo is capable of. But in true DJI fashion, the Neo isn’t simply capable of incredibly easy-to-operate autonomous flight to capture photos and videos, it can also be flown like a camera drone and even used as an FPV drone when paired with DJI’s FPV controllers and goggles.
It’s often said that one size rarely fits all, but the Neo does an impressive job of catering to a wide range of drone pilots from absolute beginners looking for pure simplicity to advanced FPV pilots and everyone in between. It’s an interesting and exciting concept that moves the Neo away from simply being a clone of the HoverAir X1.
(Image credit: James Abbott)
It’s still an extremely simple drone, electronics and algorithms aside, with only downward visual positioning and a single-axis gimbal. Stabilization is provided in-camera unless switched off with Rocksteady or HorizonBalancing modes available. Stabilization is achieved thanks to the 1/2-inch sensor providing plenty of pixels to cover up to 45 degrees of horizontal tilt when capturing video.
Photo and video capture is pretty basic with 4K 30fps being the only UHD option, while FHD can be shot at 30, 50 and 60fps. 12MP photos can only be captured in JPEG format and can be set to 4:3 or 16:9 aspect ratios. This comes as little surprise given the competitive price of the Neo, but with multiple controller and flight options available, a little more functionality in the photo and video department is always welcome.
DJI Neo: release date and price
Released September 5 2024
The base kit costs just $199 / £169 / AU$299
Fly More Bundle costs £299 / AU$539 but not available in the US
The DJI Neo was announced and is available for sale in the DJI Store and other retailers on September 5 2024. Despite the multiple ways the Neo can be controlled, there are two main kits available with the base kit including the drone, battery and accessories costing $199 / £169 / AU$299.
This kit allows for controller-free and app-controlled flight, while the Fly More Bundle includes the drone, a DJI RC-N3 Controller, three Smart Batteries and a Battery Charging Hub. This kit costs $289 (DJI Neo Combo in US which doesn't include the controller) / £299 / AU$539.
The Fly More Bundle allows for controller-free, app control and to fly the Neo like a camera drone using the RC-N3 Controller. The Neo can also be paired with the DJI FPV Remote Controller 3 and DJI Goggles 3 for manual FPV flight, or the goggles and the DJI RC Motion 3 for intuitive FPV control.
If you don’t already own these devices, they will drive up the cost of the Neo substantially to the point where the DJI Avata 2 could be the better option if FPV is your thing.
(Image credit: James Abbott)
DJI Neo: design and handling
Micro whoop design
Enclosed propellers
Single axis gimbal
To cut a corner or two, the easiest way to describe the Neo is to say it’s a little like a mini DJI Avata 2; it has propeller guards, but with top and bottom guards to protect people during autonomous flight, and the camera sits at the front and moves and stabilizes mechanically on a single axis. Horizontal stabilization is applied electronically in-camera.
DJI Neo key specs
Camera: 12MP 1/2-inch sensor Video resolution: Up to 4K Frame rates: 4K 30fps / FHD up to 60fps Video transmission range: 6.2 miles (FCC), 3.7 miles (CE/SRRC/MIC) Flight modes: Sport, Normal, Cine (Manual with the FPV Controller 3) Battery: 1435mAh / up to 18 minutes flight time Charger type: USB-C / Battery Charging Hub Weight: 4.76oz / 135g Dimensions: 5.12x6.18x1.90in / 130×157×48.5mm
In DJI’s signature light grey that’s used for the Mini series of drones, the Neo is incredibly small and lightweight. It’s essentially slightly larger than the palm of your hand, which is ideal for palm take-off and landing, and weighs in at a mere 4.76oz / 135g. This makes it regulator-friendly in most regions since it’s below the all-important 250g threshold, but remember to check local rules if it’s your first drone.
Despite the low weight, the Neo is built to a high quality and feels robust in the hand. The top-mounted propeller guards are removable to allow the propellers to be changed when necessary, but the main propeller guards are part of the airframe. This suggests that home repairs won’t be possible if damage occurs in a crash so if you plan on using the Neo for FPV, taking out DJI Care Refresh would be a good choice.
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I’ve already listed all of the controller options so I won’t go into detail again, but will instead focus on the DJI Fly app and the RC-N3 Controller, which are part of the standard kits and are likely to be the most commonly used control methods.
The Neo can be flown without an app, using just the mode button on the top to initiate autonomous flight, using the DJI Fly app as a ground station for autonomous flight or using the on-screen controls.
The Fly More bundle include the DJI RC-N3 Controller, which extends the transmission distance from 50m when using the app with the Neo’s WiFi to standard camera drone distances.
These are, of course, governed by the aviation authority where you live. The RC-N3 Controller also makes the Neo behave like a camera drone, with standard controls and features such as Return to Home.
DJI Neo: features and performance
Unremarkable flight speeds
Intelligent flight modes
AI subject tracking
The Neo is pretty pedestrian in terms of flight speed at just 1.11mph in Cine mode, 13.42mph in Normal mode and 17.89mph in Sport mode when flying autonomously or using the RC-N3 Controller. It feels slow but is certainly fast enough to track most subjects, including cyclists, with that top speed.
Flight speed is doubled to 35.79mph when using the DJI FPV Remote Controller 3 in Manual mode, so it does have some grunt tucked up its sleeve if you have the right controller and DJI Goggles 3. Not to mention, the skills and ability to fly in this mode alongside the cash available to purchase the controller and goggles if you don’t already own a set.
For beginners though, these speeds won’t cause any issues and the ability to fly the Neo with or without any other device, through voice control or manually like a camera drone using the DJI Fly app controls or the RC-N3 Controller is ideal. For drone-only use of the Neo, it can take off and land in the palm of your hand once the selected intelligent flight mode has completed, except for Follow mode.
(Image credit: James Abbott)
Intelligent flight modes include Follow, Dronie, Circle, Rocket, Spotlight and Custom (Omni, Helix, and Boomerang). AI subject tracking also aims to keep the subject in the centre of the frame during photo and video capture, so if you’re taking a group photo with the Neo, for example, you’d have to make sure you’re standing centre front.
The overall design of the Neo has safety in mind, and when used with the RC-N3 Controller you can enjoy GPS, an on-screen map and Return to Home. There’s no collision avoidance, but there are downward vision positioning sensors with a precision range of 0.5-10m. Plus, the Neo offers up to level 4 wind resistance, which is 18mph.
When used with the DJI RC Motion 3 Controller, as well as enjoying intuitive motion controls for FPV flight, you can also take advantage of Easy ACRO where you can Flip, Roll and 180° Drift the Neo. It’s an easy way to enjoy acro flight without advanced manual flight skills and is inherited from the Avata 2 when paired with the Motion 3. This is by far the easiest way to fly FPV flight.
DJI Neo: image and video quality
1/2-inch sensor
Up to 4K 30fps video
12MP JPEG photos
The Neo features a 12MP 1/2-inch sensor which allows for 45 degrees of horizontal tilt when using Image Stabilization with either Rocksteady or HorizonBalancing modes. The camera provides a 117.6-degree field of view, with a full-frame equivalent focal length of 13mm, so nice and wide for close-to-subject tracking.
Keeping things simple, the aperture is fixed at f/2.8 with fixed focus providing focus from 60cm to infinity. The ISO range extends from ISO 100 to 6400 in both Manual and Auto shooting modes, with the shutter speed ranging from 1/8000 to 1/10 sec for photos and 1/8000 to 1/30 sec for video.
(Image credit: James Abbott)
Photo and video functionality is pretty basic, but you get everything you need at a consumer level with 4K video locked at 30fps with a bitrate of 75Mbps, so it’s reasonably compressed but not too much.
The color profile is Standard for straight-out-of-camera footage, with no flat profile available for color grading within a professional workflow. Looking at the design of the Neo and the camera, it doesn’t look like it would support ND filters to control shutter speed, but I could be wrong.
Photos can only be captured in JPEG format, which is a shame but no big deal since DJI’s JPEG processing is respectable. Photos can be captured in 4:3 and 16:9 aspect ratios, with Single and Timed Shot available, so once again basic but adequate for a beginner drone.
There’s no microSD card slot on the Neo, but you do get 22GB of on-board storage which DJI says equates to 40 minutes of 4K 30fps video or 55 minutes of 1080p 60fps video. This can be transferred to the the DJI Fly App when connected to the Neo’s WiFi using Quick Transfer, or downloaded to your computer when the Neo is connected via the included USB-C PD cable.
How I tested the DJI Neo
Limited access to features due to pre-release issues
Flown with the DJI RC-N3 Controller
DJI Fly app options checked
I was flying a pre-release version of the DJI Neo and faced several issues between my phone and the pre-release version of the DJI Fly app, which meant that the camera feed wasn’t showing in the app.
This made simple autonomous flight impossible because the drone needs to see a face before it will take off. It was, however, possible to fly the Neo with my phone connected to the DJI RC-N3 Controller.
There was still no camera feed and capturing photos and video was impossible, but with GPS available and standard flight controls, I was able to test the flight performance. Plus, with the propeller guards.
I was able to confidently fly close to and through tight gaps; it wasn’t FPV, but it was still a clear advantage of the Neo’s design that provided enjoyable flights.
GoPro fans who were hoping for 8K video or a new and bigger sensor in the Hero 13 Black are going to be disappointed right now. That's because GoPro's latest flagship, which comes 12 months after the Hero 12 Black, is largely the same as its predecessor.
There's still the 8:7 aspect ratio sensor with 5.3K video and 27MP photos, industry-leading HyperSmooth stabilization, and waterproofing up to 33ft / 10m – you'll even get all of that in the older-again Hero 11 Black.
And since those previous-generation models launched, the action camera competition has raised its game: DJI's Osmo Action 4 has better low-light performance than GoPro's (and rumors say it'll be replaced by the Osmo Action 5 Pro really soon), while Insta360 dropped the Ace Pro, an 8K video beast.
The picture doesn't look good for an iterative update then, but I'm here to say don't write the GoPro Hero 13 Black off. GoPro has been a long-time player in the action camera space, its Hero 12 Black still sits at the top of our best action cameras buying guide, and there are some tweaks in the Hero 13 Black that actually go a long way to making it an even more compelling choice, especially for serious filmmakers.
The Anamorphic Lens Mod, available in 2025, attached to the Hero 13 Black (Image credit: Future | Tim Coleman)
No other brand can offer such a wide range of accessories, and GoPro has introduced a whole lot more of them alongside the Hero 13 Black, namely the HB-series of lenses and ND filters.
GoPro has announced the Ultra-Wide, Macro and Anamorphic Lens Mods, as well as a 4-pack of ND filters. These mods rotate into place over the Hero 13 Black's built-in lens, which has a newly designed mount that can auto-detect which mod is attached and adjust the camera settings accordingly.
With one simple new feature, the camera becomes an infinitely more creative tool, and compelling for a wider range of users.
GoPro has also taken a leaf out of the competition's book by finally utilizing quick and reliable magnetic mounting, which is added to its existing 'fingers' and 1/4-20-inch mounting options.
Better battery life and heat dissipation are two other areas that have been addressed: the redesigned 10% higher-capacity 1,900mAh battery is capable of shooting 5.3K video for up to 1.5 hours and Full HD 1080p videos for around 2.5 hours.
The Hero 13 Black's newly designed battery. (Image credit: Future | Tim Coleman)
Although the maximum video resolution remains at 5.3K, there's now Hybrid Log Gamma (HLG) HDR video to minimize lost detail in highlights and shadows, plus better slow-mo recording, now up to 13x in a 720p 400fps Burst Slo-Mo mode. Content can be uploaded 40% quicker thanks to the introduction of Wi-Fi 6 tech.
GPS is also back, following its disappointing omission from the Hero 12 Black. Through the Quik app, Performance Stickers can be added to embed info such as speed, altitude and G-force into video clips, as well as the location info.
Those are the highlight improvements. Like I said, there's not a whole lot that's new, but progress isn't always about big moves in headline specs like video resolution; it's as much about real-world performance, and here the Hero 13 Black feels like the most compelling action camera package out there for serious creators.
GoPro Hero 13 Black: release date and price
List price is $399 / £399.99 / AU$649.95 or $599 / £599.99 / AU$979.95 for the Creator Edition
Available from September 10 2024
New HB-series of lenses and filters, starting from $69.99 / £69.99 / AU$119.95
The GoPro Hero 13 Black starts at $399 / £399.99 / AU$649.95, while the Creator Edition, which includes the Media Mod, Light Mod and Volta grip costs $599 / £599.99 / AU$979.95. The camera will be available to buy from September 10.
Alongside the camera, GoPro unveiled a the new HB-Series of lenses and filters, including the Macro Lens Mod ($129.99 / £129.99 / AU$249.95), Ultra Wide Lens Mod ($99.99 / £99.99 / AU$169.95) and a new ND Filter 4-pack ($69.99 / £69.99 / AU$119.95), all of which will also be available from September 10.
Another noteworthy accessory is the Contacto, which replaces the battery door to enable charging on the go via a magnetic mount, without compromising waterproofing, and costs $79.99 / £79.99 / AU$139.95. GoPro also announced the Anamorphic Lens Mod ($129.99 / £129.99 / AU$219.95), although this lens won't be available until 2025.
There are too many accessories available for the Hero 13 Black to easily list here, so do check out GoPro's website for more info.
(Image credit: Future | Tim Coleman)
GoPro Hero 13 Black: design and handling
Same size as the Hero 12 Black
10% larger capacity battery
New Lens Mod mount detects the attachments
Quick magnetic mounting finally introduced
Used a GoPro Hero Black camera before? The Hero 13 Black will be familiar, being as it is identical in size to previous models, with external dimensions of 71.8 x 50.8 x 33.6mm, albeit with a larger-capacity battery squeezed in and a negligible weight gain, tipping the scales at 5.6oz / 159g.
GoPro Hero 13 Black key specs
Sensor: 27MP multi-aspect 8:7 Video: 5.3K 60fps, 4K 120fps, slow-mo 720p 400fps LCD: 2.27-inch rear touchscreen, 1.4-inch front Video modes: TimeWarp, Time Lapse, Slo-Mo, Night Connectivity: USB-C 3.2, Wi-Fi 6GHz, Bluetooth 5.0 Weight: 159g
Battery capacity is upped by 10% to 1,900mAh – with run times up to 1.5 hours of 5.3K video or up to 2.5 hours of 1080p video. GoPro lists the real world improvement over the Hero 12 Black as averaging 13.5% with airflow and 26.7% without airflow – that's a decent bump in performance.
The battery isn’t backwards compatible with the Hero 12 Black and earlier models, it’s a different size and design. Nor are older batteries forwards compatible, so if you’re upgrading you’ll need to factor in the cost of any additional batteries.
I rigged the Hero 13 Black for go-karting in 30-degree heat, recording 5.3K video for a total of around 1 hour, with both front and rear screen and GPS active, and the battery went from around 80% power to being almost fully out of juice. Not bad going. I’ll run more tests during an in-depth full review.
The Hero 13 Black’s Lens Mod mount is new. Not in the way that you attach a Lens Mod, but because it has a point of contact with the new HB-series of lenses and filters which means it can detect the attached lens – something that mirrorless and DSLR camera users are familiar with.
Handily with the communication between camera and lens, your settings are automatically updated to accommodate the lens in play. It’s a little detail, but it makes life easy switching between lenses and propels the Hero 13 Black into other realms of creativity.
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The Macro Lens Mod is a revelation, improving close focusing distance down to 4.3in / 11cm – that’s 4x close than the built-in camera. Traditionally, action cameras can’t focus particularly closely which all but counts them out for vlogging. When I’ve tried in the past, I feel like I have to hold the camera further away than I would like, nor could I capture little details. That’s picture totally changes with the Macro Lens Mod. If GoPro wanted to improve the shooting experience for a huge slice of potential users, this lens should be the ticket.
The Anamorphic Lens Mod was not available for use during my hands-on testing (though I did get my hands on it), nor was GoPro's new ‘Contacto’ accessory. The latter replaces the battery / memory card door and has a magnetic charging mount for on-the-go charging. The USB-C supplied cable works with any compatible powerbank and wall mount charger. You don’t sacrifice waterproofing either – which remains up to 33ft / 10m. In theory you could film underwater while charging the camera via Contacto, obviously provided the power source such as power bank is waterproof or not submerged the water itself – for which you might need a long cable!
If you regularly change what your Hero 13 Black is mounted to, then its new magnetic mounting is a godsend. The likes of DJI and Insta360 already utilize magnetic mounting and GoPro has thankfully has followed suit – it really needed to – and introduced some ball-head mounts for easy repositioning of the camera.
GoPro continues to embrace its legacy 'fingers' mounting method – the lowest profile option – plus 1/4-20in mounting, easing the transition for those already familiar with GoPro design.
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GoPro Hero 13 Black: features and performance
Limited capture time for new Burst Slo-mo video modes
New HLG HDR video color profile
Like the Hero 12 Black, regular 5.3K video recording remains at up to 60fps, but you can up that rate to 120fps – that’s 4x slow motion – using the new Burst Slo-Mo video option.
In the same Burst Slo-Mo menu, there’s also a 400fps option at a resolution of 720p, plus 360fps at 900p. All these burst modes are limited in capture time: the 5.3K 120fps option can run for 5 seconds, while the other two last for 15 seconds.
It takes the Hero 13 Black approximately the same amount of time to process the files before you can start shooting again. As such, I wouldn’t rely on these new burst modes in all situations because of the processing time, during which you could be missing the moment in demanding shoots. Burst Slo-Mo is an example of an impressive feature on paper, but with limited real world application
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(Image credit: Future | Tim Coleman)
In the video preset menu, you can choose between standard, HDR and Log color profiles. Depending on which option you select and if you’ve got a Lens Mod in play, the maximum video resolution and frame rates available might change.
For example, with the Ultra-Wide Lens Mod, you can’t shoot 5.3K video, you’re limited to 4K. For HDR video, you can’t shoot at 60fps because 30fps is the limit. It takes a while to figure out what you can and can’t do with the Hero 13 Black – those headline features aren’t available in all settings.
I’m not knocking GoPro about that – I can’t think of another action camera that shoots unlimited 5.3K 120fps video, nor one that has Lens Mods for different looks. I’m just setting your expectations right.
Battery life and overheating are hot topics with GoPro cameras (no pun intended). As previously mentioned, there's improvements in both of those areas. You'll notice a much better battery performance for video runtime when there isn't airflow, like recording in a room or simply walking about.
I was using the Hero 13 Black in Spain in 30°C heat and, although it was getting warm, it never gave me any problems. I'll do more in-depth testing on this in the coming weeks.
GoPro Hero 13 Black: image and video quality
Same 8:7 aspect ratio sensor as the Hero 12 Black
Improved slow-mo video record modes
To get a feel for the Hero 13 Black's image quality, you can take a look at our Hero 12 Black review – after all they share the same image sensor, plus maximum video and photo resolution.
Through GoPro's Lens Mods it's possible to shoot different kinds of shots, and I look forward to using the Macro Lens Mod more, plus the anamorphic lens next year.
I've included a few video samples that I'm able to share, below, and will unpack video and image quality in the full review.
How I tested the GoPro Hero 13 Black
A few days with limited scenarios
Paired with the Macro and Ultra-Wide Lens Mods
Used with various mounts for sports
During a two day hands-on with the Hero 13 Black ahead of its release, I was able to shoot behind the scenes at the MotoGP (from which video clips can’t be shared), making timewarp sequences, plus it had a proper run out around a go karting track. I attached it to a crash helmet and to an arm for different perspectives, used the Ultra-Wide Lens Mod and tried out the various color profiles, including HDR. The slow motion burst modes were utilized, too, to slow down movement of water and bottles of bubbly on the post race podium. I also tested the close focusing capabilities with and without the Macro Lens Mod. Since that trip, I've been using the camera on bike rides and will be running more tests in the coming weeks to complete the full review.
Fixed 35mm lenses, especially those with a fast aperture, are incredibly popular with visual storytellers. They're able to shoot clean images in high contrast and low light, provide decent close-focusing skills, and offer a moderately wide perspective that allows you to include your subject's surroundings as part of the story. These are true documentary lenses.
In fact, when I lived in East Africa working for a non-profit as a photographer and writer, there was an 18-month period during which about 90% of the photos I took were with the excellent Sigma 35mm f/1.4 Art lens for DSLR cameras, a lens I still use today with my Nikon Z6 II mirrorless camera through the F-mount to Z-mount adapter.
So I was really excited when Nikon finally announced a Z-mount 35mm lens, a lens that I expect to be one of the best-selling lenses for Nikon mirrorless cameras. Sadly, however, that doesn't mean the Z 35mm f/1.4 is one of Nikon's best lenses.
Nikon Z 35mm f/1.4 specs
Type: Prime
Sensor: Full-frame
Focal length: 35mm
Max aperture: f/1.4
Minimum focus: 0.89ft/ 0.27m
Filter size: 62mm
Dimensions: 3 x 3.5in / 74.5 x 88.5mm
Weight: 14.7oz / 415g
Sure, image quality is sharp across the entire image area, while autofocus is fast, quiet and reliable. However, I'm not seeing the sort of optical progress I'm used to when a manufacturer produces an mirrorless version of a DSLR lens.
We're getting the same sort of lens distortions as before, and I even prefer the bokeh in my stalwart Sigma 35mm f/1.4 Art lens, which is smoother compared to the Z 35mm f/1.4's fussy bokeh.
Still, Nikon's moderately wide fast-aperture prime does a lot of things well. It focuses much faster than my DSLR lens adapted to the Z6 II, and it's an entirely different offering to Canon's recent RF 35mm F1.4 which is bigger and much pricier.
Canon has opted for the pro route with its 35mm fast aperture lens, while Nikon has opted for the more attainable and affordable enthusiast route: this is not one of Nikon's pro 'S' lenses, meaning official weather sealing is off the table.
Balance-wise, the Z 35mm f/1.4 is a perfect match with the new Nikon Z6 III, Nikon Z8, or even Nikon's entry-level full-frame camera, the Z5, and it's an all-round lens that I could see getting a heck of a lot of use if it lived in my gear bag; I just wish its build quality and bokeh characteristics were a little better.
There's not too much to run through with regards to the Nikon Z 35mm f/1.4's design because it's such a simple lens. The only exterior controls are a focus ring and a neat customizable control ring. What I like the most about the latter is that you can set it to be a click-less aperture ring, which is particularly handy for filmmaking.
Otherwise, we don't even get a manual / autofocus switch. That's a shame for people like me who regularly switch between the two focusing methods, who must instead dig through an in-camera menus to make the change – an unnecessary time sink.
What I do like is the form factor of the lens. It's impressively compact and lightweight at just 14.7oz / 415g, and an ideal pairing for extended periods out in the field with Nikon's mid-range mirrorless models like the Z6 II.
The size, if not the weight, is very similar to the heavier Sigma 35mm f/1.4 lens, although for DSLR lenses you also need Nikon's DSLR to mirrorless adaptor – you can see how the lenses compare in the product photos below.
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From left to right: the Nikon F-mount to Z-mount adaptor, the Sigma 35mm f/1.4 Art, the Nikon Z 35mm f/1.4. (Image credit: Future | Tim Coleman)
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The Sigma lens for DSLRs need the adaptor to work with a mirrorless camera. (Image credit: Future | Tim Coleman)
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(Image credit: Future | Tim Coleman)
Sadly, the Z 35mm f/1.4 isn't officially weather sealed, which is probably a deal-breaker for pros working in demanding conditions. I felt the build quality was fine during testing, and had no qualms exposing the lens to light rain, but I'd think twice about packing it in the bag for a couple of weeks in the desert. At one point I found myself taking my super soaker-touting child to task when she got me, and the lens, wet in the garden – I'm otherwise a good sport.
These moderate-wide-angle lenses historically focus impressively closely, meaning you can capture the finer details as well as your subject and their surroundings; after all, there are stories to be found in the micro and macro. We get a minimum focus distance of 0.89ft / 0.27m, which delivers a maximum magnification ratio of 0.18x. For reference, a 'true-macro' lens has a magnification ratio of 1x or more.
What impressed me most about the design of the Z 35mm f/1.4, when compared to my 10-year-old Sigma equivalent, is the speed and accuracy of its autofocus performance.
Where the Sigma lens through an adaptor was hunting, the new Nikon lens quickly and quietly latched onto my subject. Where the Sigma had front-focusing issues, even with the Z6 II's eye-detection autofocus in play, the Nikon Z 35mm was getting focus bang on the eye every time.
It's the direct compatibility with a Nikon mirrorless camera and the autofocus performance that would most tempt me to trade in my old Sigma DSLR lens, and one of the key reasons I'm so glad that I upgraded from DSLR to mirrorless years ago.
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With the aperture wide open at f/1.4, you don't see the aperture blades. (Image credit: Future | Tim Coleman)
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Here's the aperture stopped down to around f/8. The lens has nine aperture blades. (Image credit: Future | Tim Coleman)
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And finally fully closed to its minimum f/16 aperture. Note the lens has a 62mm thread for filters. (Image credit: Future | Tim Coleman)
Nikon Z 35mm f/1.4: Performance
Optically sharp edge-to-edge
Wide aperture is handy for shooting in low light and for shallow depth of field
Bokeh could be better
I'll start this performance section by re-emphasizing that autofocus speed and reliability are excellent, delivering accurate focusing on the eyes in portraits. The same couldn't be said in my tests when using an adapted Sigma lens for DSLRs; and I'll take accurate focusing over outright optical quality.
That said, the optical quality from the Z 35mm f/1.4 is very good. Looking closely at an image of pebbles at f/5.6, I can see that detail is very sharp across the entire frame – there's virtually no drop-off in the corners, which is impressive.
There's the usual vignetting that I would expect from a wide-aperture lens like this. Light fall-off in the corners is very evident at f/1.4, those corners brighten up a lot at f/2, and somewhere between f/4 and f/5.6 vignetting is all but gone. Check out the series of sample images below, taken at full aperture stops.
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f/1.4 (Image credit: Future)
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f/1.8 (Image credit: Future)
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f/2 (Image credit: Future)
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f/2.8 (Image credit: Future)
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f/4 (Image credit: Future)
Bokeh, however, is a mixed bag. If you're particularly close to your subject and shooting wide open at f/1.4, you can get circular bokeh 'balls' in out-of-focus light sources, such as dappled light through tree leaves. There are only moderate signs of cat's-eye bokeh in the corners – I've found the effect much more severe in pricier lenses. (I don't mind the cat's-eye shape, but some people get very picky about it.)
The big strike for me regarding bokeh is the fringing you get around those bokeh balls. Instead of the buttery-smooth edges like I was getting with my 10-year-old Sigma, edges are harsher, with green and magenta fringing. It's only obvious when you're looking really closely, but it is there (see the close-ups of a portrait, below).
That being said, I did turn off all in-camera lens corrections for this test (something I always do), and there are aforementioned distortions that would be somewhat improved by activating those corrections.
Also, I don't use a 35mm f/1.4 lens primarily for its bokeh quality. I use it for telling stories in scenarios with both good light and bad, for which the maximum f/1.4 aperture is a godsend. I regularly make use of the maximum aperture, and would absolutely pay the premium over cheaper f/1.8, f/2, f/2.8 alternatives to get a f/1.4 lens.
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Portrait at f/1.4. Focus is on the money, whereas the same photo with the Sigma was front-focused on the mouth. (Image credit: Future | Tim Coleman)
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In this closeup the bokeh balls have harsh edges and show moderate fringing (Image credit: Future | Tim Coleman)
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Here's the same photo but with the 10-year-old Sigma lens. Bokeh has a buttery finish and no real fringing (Image credit: Future | Tim Coleman)
Nikon Z 35mm f/1.4: sample images
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I don't think a 35mm lens is great for landscape photography. In this situation, I'd rather a wider lens and to be closer to the point of interest. (Image credit: Future | Tim Coleman)
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While it's not a great landscape photography lens, it's great at picking out details. (Image credit: Future | Tim Coleman)
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You can get shallow depth of field if your subject is close. (Image credit: Future | Tim Coleman)
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(Image credit: Future | Tim Coleman)
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The pebbles in this photo at f/5. are sharp, even in the corners. (Image credit: Future | Tim Coleman)
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I switched the aperture to f/1.4 to get your attention the pebbles. (Image credit: Future | Tim Coleman)
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The 35mm is a perfect storytelling lens. (Image credit: Future | Tim Coleman)
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Again, not my personal choice for landcapes. I'd actually prefer a telephoto lens for this scene, and have the same photo with an 85mm lens that's better. (Image credit: Future | Tim Coleman)
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Portraits of people among their surrounding as part of the story – that's where a 35mm lens shines. (Image credit: Future | Tim Coleman)
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And then here's the details of the same story of the fisherman in the previous photo. (Image credit: Future | Tim Coleman)
Should you buy the Nikon Z 35mm f/1.4?
Buy it if...
Don't buy it if...
How I tested the Nikon Z 35mm f/1.4
Regular use over the course of several weeks
Paired with the Nikon Z6 II
Like-for-like tests with the Sigma 35mm F1.4 DG Art
Nikon loaned me the Z 35mm f/1.4 for a few weeks, during which time I documented everyday life and took it on an extended summer vacation. I used it in both fair and inclement weather (though I felt I needed to protect it somewhat during downpours given it's not officially weather sealed), and both in bright light and during the 'blue hour'.
The Z 35mm f/1.4 was been attached to my Nikon Z6 II, which is a 24MP full-frame mirrorless camera. I've not used the lens with a higher-resolution camera like the 45MP Nikon Z8, and I therefore can't comment on whether it's able to resolve detail from such cameras.
I've made several series of the same images, working down the aperture range at full stops to compare how image quality stacks up at the various settings. I also took the chance to compare the lens with my 10-year-old Sigma 35mm F1.4 Art, taking like-for-like shots.
All in-camera lens corrections were turned off throughout my testing.
Sony’s G Master lenses are its flagship products, and it looks like the company is steadily working through its G Master range, replacing original lenses with G Master II versions.
The 85mm F1.4 is the first of four f/1.4 prime lenses to get this treatment, and the Sony FE 85mm F1.4 GM II is far more than a simple update. With a new and more sophisticated optical formula promising improved resolution and aberration control, a new dual linear motor autofocus system for a big step up in speed and responsiveness, and a 20% weight saving, Sony has really pulled out all the stops for its new premium ‘portrait’ lens.
For all the improvements, though, there must be a few Sony owners who are a little disappointed that Sony hasn’t stretched to an f/1.2 lens rather than another f/1.4. Still, a best-ever f/1.4 is pretty good compensation, and the Sony FE 85mm F1.4 GM II is a truly spectacular performer.
The edge-to-edge resolution is extraordinary – you have to look closely to see any difference in edge detail at f/1.4 compared to f/8. This is a lens you could happily use wide-open all the time without giving a second thought to any impact on image quality.
It’s also completely free of bokeh fringing, or at least it was in all of our sample images, and this is an aberration that wide-aperture primes can be particularly prone to. It’s also extremely difficult to remove in software.
The new lens is not quite perfect for bokeh rendering and focus breathing. It’s still extremely good, with no visible onion-skin effect in bokeh balls (one of the many improvements Sony is touting) though there is a noticeable cats-eye bokeh effect near the frame edges at wide apertures (but then maybe next year cats-eye bokeh will be in fashion and everyone will love it…).
Focus breathing is still visible too, even though Sony says it’s ‘optically’ suppressed. Most modern Sony bodies support in-camera focus breathing compensation, though, so this may not prove an issue.
The Sony FE 85mm F1.4 GM II is equally impressive physically. It’s a little slimmer and 20% lighter than its predecessor, despite having more complex optics and more powerful linear AF actuators. You get a de-clickable aperture ring for both stills photography and video, with an iris lock (surprisingly useful) and two programmable function buttons. It handles superbly.
There will be a price difference compared to the original version, however. That’s probably to be expected, but it does make Sony’s premium portrait lens even more expensive to buy. You have to figure out how many more bucks you want to spend for all this excellence.
The Sony FE 85mm F1.4 will be available in September 2024 at a UK price of £1,850 (pricing for the US and Australia is TBC), which is almost the same price as the outgoing first generation 85mm F1.4. We don’t yet know if the older lens will stay on sale, but if it does we would expect it to get heavily discounted, given the significant optical and technical advances in the new lens. The new lens does seem pretty good value then, though the third-party Sigma 85mm f/1.4 DG HSM Art is little more than half the price.
Quick specs
Sony FE 85mm F1.4 GM II: Design
• Physical aperture ring with de-click switch
• Two customizable function buttons
• 20% lighter than the original 85mm F1.4
The original Sony FE 85mm F1.4 G Master was a big old boy. The new lens is the same length but a few millimetres slimmer and a whole 20% lighter. That’s a significant difference – though this still feels a pretty big lens on an A7-series body, especially if you clip on the lens hood.
There’s little to distinguish the new lens from the old one, except that the aperture ring is now on a slightly slimmer section of barrel. This might make it easier to find with your fingertips without looking, but the location hasn’t changed.
The aperture ring has firm and satisfying click-stops at 1/3-stop intervals, and if you slide the Click switch to Off on the lower part of the lens barrel, it turns into a silky smooth iris control for video.
Are you the sort of person who likes function buttons on lenses? If you are, you’ll love this lens, because there are two of them. There’s also an Iris Lock switch, which does seem like a pretty smart addition – it’s all too easy to accidentally shift the aperture ring on a lens in stills photography, and easier still to change the iris setting while filming.
There’s really nothing to fault in the Sony FE 85mm F1.4 GM II’s design. You might wish for a slightly smaller, lighter optic, but if you want an 85mm f/1.4 then the size goes with the territory. It’s also worth spelling out what’s inside this lens, as it includes 14 elements in 11 groups, with two ultra-high-precision Sony XA elements, two ED elements, internal focusing, and Sony’s Nano AR II coating.
Sony FE 85mm F1.4 GM II: Performance
• Exceptional edge-to-edge sharpness even wide open
• No visible bokeh fringing in any of our test shots
• Some cats-eye bokeh and focus breathing
• Silent, super-fast autofocus
This lens’s edge-to-edge sharpness and aberration control is simply exceptional. Sony says the center sharpness has been improved over the original lens, but it’s the edge sharpness that left me most impressed. Even at f/1.4 the edges are clean and crisp, and show a level of detail that’s really rather impressive. There’s little to be gained from stopping down, so this is a lens on which you can use the aperture setting solely for its creative effect without worrying at all about its effect on image quality.
It was also great to see no sign of longitudinal color fringing, or ‘bokeh fringing’ in any of the test shots. Bokeh is obviously going to be one of the key selling points of this lens, and it does indeed render beautifully soft background blur and very subtle fall-off. The only chinks in the armor are noticeable cats-eye bokeh wide open and some focus breathing, even though Sony says this is suppressed.
The other aspect of performance to talk about is this lens’s AF. The dual linear motors in this new lens are a substantial upgrade over the Ring SSM system in the original lens, and this really comes to the fore with portrait subjects and face/eye tracking – especially if your subjects are a pair of flighty canines, as used in our tests.
It’s a real challenge keeping the eyes sharp when dogs make sudden and unpredictable movements, and even with a lens like this you’re going to get failures, but when the Sony FE 85mm F1.4 GM II gets even an instant of stillness to achieve focus, it can nail the shot and deliver images with stunning clarity.
It’s one thing having one of the latest Alpha bodies with advanced AI AF and subject tracking, but you still need a lens like this one that can keep up. Indeed, Sony says the Sony FE 85mm F1.4 GM II can keep up with the mighty Sony A9 III flat out at 120fps.
Sony FE 85mm F1.4 GM II: Sample images
Here's a further selection of shots taken with the Sony FE 85mm F1.4 GM II showing its rendering style, focus breathing and bokeh rendering from f/1.4-f/16.
This pair of shots shows the effects of focus breathing. In this first image the lens is focused on the front camera. (Image credit: Rod Lawton)
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When focus is switched to the back camera, you can see the out-of-focus background changes scale slightly. (Image credit: Rod Lawton)
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This sequence of images shows the bokeh effect at different apertures. This is at f/1.4. (Image credit: Rod Lawton)
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F/2 (Image credit: Rod Lawton)
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F/2.8 (Image credit: Rod Lawton)
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F/4 (Image credit: Rod Lawton)
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F/5.6 (Image credit: Rod Lawton)
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F/8 (Image credit: Rod Lawton)
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F/11 (Image credit: Rod Lawton)
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F/16 (Image credit: Rod Lawton)
Should I buy the Sony FE 85mm F1.4 GM II?
Buy it if...
You want the best Sony 85mm lens there is
The original FE 85mm F1.4 G Master was good, but the version II lens raises the bar to another level. With superb resolution, both in the center and right to the edges, nice bokeh and responsive AF, if you miss the perfect shot it’s down to you, not this lens.
You’re trying to keep the weight down too
Usually, when you opt for a lighter lens you can expect some small compromise in optical quality. Not here. The Sony FE 85mm F1.4 GM II is 20% smaller than the original lens, but even better optically. It weighs in at a manageable 642g, which is impressive given all that exotic glassware.
You’re slowly upgrading to GM II lenses
Sony has already updated its ‘trinity’ f/2.8 professional zooms to the latest G Master II standards, and it looks as if it’s now turning its attention to its f/1.4 primes. These are pretty expensive lenses, especially if you already have the first-generation versions, but for many pro shooters it will be worth it.
Don't buy it if...
You already have the original FE 85mm F1.4 GM
At least not without taking a long, hard look. This new lens is pretty exceptional, but the ‘old’ one is extremely good too. Unless you can identify one or more areas where the original lens is deficient in ways that definitely impact your work, we’d suggest you might want to save your money.
Your budget is feeling the squeeze
The Sigma 85mm f/1.4 DG HSM Art may not equal the Sony FE 85mm F1.4 GM II in every area, but it’s an extremely good lens in its own right and just half the price. If your main concern is getting the best at all costs, the Sony is fine, but the Sigma arguably delivers almost as much for a lot less money.
You need to travel light
The Sony FE 85mm F1.4 GM II is 20% lighter than the first generation version, but at 642g and 107.3mm in length, it’s still a big lens. Sony has yet to extend its range of compact primes to the 90mm focal length, but there is always the 297g Sigma 90mm f/2.8 DG DN Contemporary – which is not just smaller and lighter but vastly cheaper too.
• I checked for edge-to-edge resolution across the aperture range
• I tested bokeh quality wide-open and stopped down
• I tested for bokeh fringing
• I tested the focus breathing suppression
Sony makes some pretty bold claims for the performance of the Sony FE 85mm F1.4 GM II, so I was keen to try these out. In particular, Sony highlights the new lens’s resolution, so I checked its center and edge performance across the aperture range from f/1.4 to f/16, using a highly detailed subject at infinity.
Sony also says the new lens creates excellent bokeh, which I tested with a controlled lighting setup with bright lights in the background across the aperture range. The Sony FE 85mm F1.4 GM II is also claimed to have no bokeh fringing – also known as longitudinal chromatic aberration – where out-of-focus outlines can show clear color fringing. This is a problem for lenses designed for blurred backgrounds, so I found a subject which would test this tendency properly.
One of the biggest steps forward in the new lens is its autofocus performance, which Sony claims is three times faster for photography and seven times better at tracking AF for movies, thanks to twin linear actuators. The first version of this lens used a Ring SSM system. I tried this out using a pair of extremely tricky canine subjects – humans can be told to stay still, but dogs generally do what they like!
Lastly, I wanted to try out this lens’s focus breathing. Changes in apparent scale during focus pulls can be extremely annoying for videographers, and while Sony says the new lens optically suppresses focus breathing, it’s also compatible with cameras that can apply focus breathing compensation – so if Sony is still hedging its bets here it sounded like something that needed testing.
The Aflie Cameras TYCH is a new and exciting half-frame analogue camera from Alfie Cameras. It’s amazingly compact, beautifully designed, and packs an incredible range of optics and creative options onto a rotating lens board, from an f/156 pinhole to a 33.3mm (50mm equivalent) f/8 rapid rectilinear lens. This presents many cool, creative options in a camera so cleverly conceived, designed, and engineered, that it’s small enough to more or less fit into a pocket.
Being “half-frame” means you’ll get twice as many shots of a roll of film: a 36-exposure 35mm film will effectively double the number of images you can take, giving you 70 plus shots. With the ever-increasing cost of film, this is an attractive consideration for anyone who wants to dip their toes into the analogue sea.
Like all things analogue, there are other factors to consider, too, and you’ll need to work a bit harder to see the results. In fact, you’ll have to develop the film or have a lab do it for you. Either way, this will add time; you won’t get the instant gratification of an LCD screen or even an instant print. However, that’s kind of the point – slowing down is one of the delights of analogue photography, and something Alfie Cameras intended to achieve. So kudos to the company for doing it so well.
(Image credit: Future | Ben Brain)
Alfie Cameras Tych+: price and availability
There are two versions of Tych: the Tych+ 'premium' and the Tych. Our review is of the premium version which costs £499 (roughly $600 / AU$1,000) on the Alfie Cameras website, while the regular Tych costs £299 (around $390 / AU$590). At the time of writing, Alfie Cameras products, which are made in the UK, are only available in the UK but is ships globally, with a few exceptions.
Like all half-frame cameras, both of Alfie Cameras' Tych cameras accept readily available 35mm film and you get twice the number of (half-size) photos per film roll compared to a 35mm film camera.
(Image credit: Future | Ben Brain)
Alfie Cameras Tych+: design
Unique and compact design
Four lenses for four different looks
Double the number of shots per film roll compared to 35mm cameras
Alfie Cameras has a mission to reinvent film photography for both old and new photographers. The Alfie TYCH does just that; its cool, contemporary design is unique, and its ultra-compact size is impressive. This camera will likely appeal to old-time film photographers wanting to reconnect with their analogue past; new photographs seduced by the magical allure of film photography; plus anyone seeking some creative reprieve from a digital overload of screens, screens, and more screens.
The Alfie TYCH is a half-frame film camera, designed to hold a roll of 35mm film. Most cameras that take 35mm film are full-frame, allowing you to take 36 photographs. Being half-frame means that, while half the size, the Alfie TYCH will allow you to shoot around twice as many pictures. Today, with the massively rising costs of film and processing, this is a major win for anyone wanting to dip their toes in analogue waters.
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
It isn’t just the Alfie TYCH’s half-frame design that makes it an attractive option; it also manages to pack in four lenses on a rotary lens board, comprising a 33.3mm (50mm equivalent) f/8 rapid rectilinear lens; a 30mm f/8 single-element meniscus lens; a 25mm f/56 zone plate; and a 25mm f/125 pinhole lens. These offer various focal lengths and, more crucially, four very different aesthetic vibes. All are fixed focus, with the pinhole and 25mm being from 0m to infinity, and the 33.3mm and 30mm from 2m to infinity and 1.5m to infinity, respectively, so not too much to consider with focusing.
Most surprising is that all of this is squeezed effortlessly into an ultra-compact, well-made camera body that weighs just 120g and is 90mm x 79mm x 45mm, in a unit that fits comfortably into a single hand.
Alfie Cameras Tych+: performance
The correct mode for each lens is selected independently
Reliable exposure metering
Manual film wind
33.3mm f/8 lens performs best of the four lenses on offer
Loading a roll of 35mm film into the Alfie TYCH was easy; but if you haven’t done this before, you may want to watch a video; there are some useful videos available on the Alfie Camera YouTube channel.
Once loaded with film, it’s simply a case of turning the TYCH on, selecting the lens and taking a shot. Well, almost; each of the four lenses has its own pre-programmed auto (aperture priority) mode that uses information from the little light meter that sits above the lens board. You must select the right mode for the lens you're using. This was a bit of a faff to begin; sometimes, getting the right mode, setting the ISO and so on felt a little glitchy. Forgetting to change the mode after rotating to another lens option cost me a few duff exposures, too, but I soon got into the swing of it.
The little meter above the lens reads the light and kicks out an appropriate shutter speed for the configured lens and aperture. In my tests, this proved pretty accurate. But note that this is also what the USB-C charger is for – it isn’t for transferring images to a computer!
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
The Alfie TYCH, in one of the auto modes, will give exposures ranging from 30 seconds to 1/500 sec, although you can switch to manual mode and use the Bulb setting for exposures longer than 30 seconds. For additional exposure control, there’s exposure compensation with +/-2 stops in ½ stop increments and ISO settings from 12 to 6400, an electronic shutter count, and even a shutter delay. If you’re using the pinhole, which has an aperture of f/156, you’ll likely need to use a tripod, since exposures are likely to be slower. I used a pocket Manfrotto tripod to keep the Alfie steady – it will easily fit into a small bag, for example.
The premium optics viewfinder made framing marginally easier. Naturally, it isn’t as accurate as an electronic viewfinder (EVF), but it roughly translated well into my final images.
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
The film advance is a small wheel positioned on the top right of the back of the Tych. Initially, my instinct was to go to the Select button at the top, where film advance cranks have more traditionally been found on film cameras.
In fact, it took me a while to remember to advance the film at all; unlike standard 35mm cameras, there’s no shutter to recock, so it’s easy to take one picture on top of another inadvertently. This created one or two happy accidents; but on the whole, it just produced bad exposures. That said, multiple exposure is a fun creative technique, one the Alfie lends itself well to. A little Frame Indicator window at the rear of the camera tells you when the film has been advanced enough to take the next shot. I enjoyed experimenting with this and creating images where one slightly overlapped. Given more time and film, I’d be inclined to experiment with this more.
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
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(Image credit: Future | Ben Brain)
Not surprisingly, the premium 33.3mm (50mm equivalent) f/8 rapid rectilinear lens with four elements in two groups produced the best images. While the others had some delightful characteristics, I sense that sticking with the Alfie TYCH in the long term, I probably wouldn’t deviate from this lens frequently.
I was thrilled with the images taken with my first roll of the film through an Alfie TYCH. Of course, there were plenty of mistakes; but the small selection of images you can see here both excited and inspired me to want to return to my analogue roots, to ditch the screens for a bit, and delight in the magic of photography.
Should I buy the Alfie Cameras Tych+?
(Image credit: Future | Ben Brain)
Buy it if...
Don't buy it if...
How I tested the Alfie Cameras Tych+
(Image credit: Future | Ben Brain)
I used one roll of 35mm film (approx 70 to 80 images)
I tried all four lenses in a bunch of different lighting situations and locations
I experimented with techniques such as multiple exposure
Packing the ultra-compact Alfie TYCH on my travels was easy, since it’s so small and lightweight. I loaded one roll of Ilford FP4 35mm film, which would allow me to shoot approximately 70 frames (half-frames). Once home, I processed the film in the kitchen sink using Fotospeed FD10 developer, standard stop bath, and fixer. A selection of frames were photographed using a copy stand and lightbox, a Sigma FPL mirrorless camera with a 70mm macro lens. The files were edited in Adobe Camera Raw to invert tonality (make a positive image) and tweak the tones.
