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

Nikon Z50 II: two-minute review

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

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

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

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

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

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

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

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

Nikon Z50 II: price and release date

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

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

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

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

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

  • Price score: 5/5

Nikon Z50 II: specs

Nikon Z50 II: design and handling

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

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

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

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

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

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Nikon Z50 II mirrorless camera on a wooden tabletop

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

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

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

(Image credit: Future / Chris Rowlands)

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

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

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Nikon Z50 II mirrorless camera on a wooden tabletop

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

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

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

(Image credit: Future / Chris Rowlands)

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

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

  • Design score: 4.5/5

Nikon Z50 II: features and performance

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

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

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

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

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

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

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

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

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

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

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

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

  • Features and performance score: 4.5/5

Nikon Z50 II: image and video quality

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

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

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Sample images shot with the Nikon Z50 II

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

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

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

(Image credit: Chris Rowlands)

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

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

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Nikon Z50 II sample images

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

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

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

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

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

(Image credit: Chris Rowlands)

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

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

  • Image and video quality score: 4.5/5

Nikon Z50 II: testing scorecard

Should I buy the Nikon Z50 II?

Buy it if...

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

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

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

Don't buy it if...

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

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

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

Nikon Z50 II: also consider

Canon EOS R10

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

Read our in-depth Canon EOS R10 review

Olympus OM-D E-M10 Mark IV

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

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

Nikon Z fc

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

Read our in-depth Nikon Z fc review

How I tested the Nikon Z50 II

Nikon Z50 II mirrorless camera on a wooden tabletop

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

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

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

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

First reviewed January 2025

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

Sennheiser Profile Wireless: one-minute review

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

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

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

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

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

Sennheiser Profile Wireless: price and release date

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

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

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

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

Sennheiser Profile Wireless microphone transmitter in hand

(Image credit: Future | Sam Kieldsen)

Sennheiser Profile Wireless: specs

Sennheiser Profile Wireless microphone receiver attached to iPhone 13

(Image credit: Future | Sam Kieldsen)

Sennheiser Profile Wireless: Design

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

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

Sennheiser Profile Wireless microphone charging bar

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

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

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

Sennheiser Profile Wireless microphone receiver attached to an Apple iPhone

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

Sennheiser Profile Wireless: Performance

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

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

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

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

Sennheiser Profile Wireless microphone adapters inside the charging bar

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

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

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

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

Should I buy the Sennheiser Profile Wireless?

Buy it if…

You want a no-nonsense way to improve your recordings

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

You want protection against signal drops

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

You want to interview people while out and about

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

Don’t buy it if…

You need 32-bit float recordings

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

You often record in very noisy places

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

You want to buy components separately

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

Sennheiser Profile Wireless: also consider

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

Read our in-depth DJI Mic 2 review

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

Read our in-depth Rode Wireless Micro review

Sennheiser Profile Wireless microphone kit inside soft carry case

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

How I tested the Sennheiser Profile Wireless

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

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

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

Shutterfly photo book review

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

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

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

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

Reverse side of the Shutterfly Photo Book

(Image credit: Future)

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

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

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

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

(Image credit: Future)

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

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

Shutterfly Photo Book on wooden surface

(Image credit: Future)

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

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

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

Shutterfly Photo Book displaying three fish on some pebbles

(Image credit: Future)

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

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

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

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

(Image credit: Future)

Should I buy the Shutterfly photo book?

Buy it if…

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

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

Don't buy it if…

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

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

Shutterfly photo book review: also consider

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

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

How I tested the Shutterfly photo book

Shutterfly Photo Book displaying boot on top of football

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

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

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

  • First reviewed: December 2024
  • Read more about how we test
Rode Wireless Micro review: DJI-beating audio for smartphone creators?
3:42 pm | December 11, 2024
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Tags: | Comments: Off

Rode Wireless Micro: one-minute review

Rode's Wireless Micro is its smallest-ever wireless mic system, designed squarely for smartphone content creators, especially vloggers. It's the audio giant's simplest wireless mic yet: you can be up and running within seconds and recording smartphone-beating audio quality, all the while being cable-free and discreet.

It's a complete kit that includes two mics (also called transmitters) with magnetic attachments, plus one receiver, all of which are stored in a charging case – these components are available in black or white finishes. Additionally, you get two windshields plus a charging cable, though neither of those fit in the case.

Collectively, the mics, receiver and charging case are a featherweight 3.6oz / 102g, with each mic weighing just 0.42oz / 12g and measuring 40 x 20 x 17mm. It's a properly tiny kit, and even though the mic units are physically larger than the rival DJI Mic Mini's, the whole kit is much smaller, and purpose-built for smartphones.

If you're looking for a compact, dedicated wireless mic that'll deliver excellent audio for your smartphone vlogs, the Rode Wireless Micro is hard to beat.

Rode Wireless Micro kit on a wooden table

The Rode Wireless Micro kit is tiny and weighs just 102g all told. (Image credit: Future / Tim Coleman)

Rode Wireless Micro: price and release date

  • $149 / £134 / AU$259 for the compete kit with 2x mics, receiver and charging case
  • Receiver available in USB-C and Lightning versions
  • Available now, in black or white finishes

The Rode Wireless Micro's list price is $149 / £134 / AU$259, and for that you get a compact charging case with two transmitters (mics, with magnetic attachments), plus one receiver, all in black or white. Also in the box are two wind shields and the necessary charging cable. You'll need to select which version of the receiver you need, USB-C or Lightning, because the connector is built-in.

Unlike the rival DJI Mic Mini, the components are not available separately, and I think Rode is missing a trick here, because not every user needs two mics. However, probably nine out of 10 users will want the complete kit, and for those the Rode Wireless Micro is excellent value.

Rode Wireless Micro transmitter in the hand, wooden table background

The transmitters (mics) are tiny and pack Rode's patent-pending acoustic chamber, though they don't have internal storage or Bluetooth connectivity (Image credit: Future / Tim Coleman)

Rode Wireless Micro: specs

Rode Wireless Micro kit laid out on a wooden table

The Rode Wireless Micro is available as a complete kit only, with charging case, one receiver, two mics, charging cable and windshields (Image credit: Future / Tim Coleman)

Rode Wireless Micro: Design

  • The whole kit weighs just 102g and fits in a tiny charging case
  • Components are available in black or white finishes
  • Receiver has a USB-C or Lightning adapter built in

Rode has designed the Wireless Micro to be the most straightforward user experience possible for smartphone content creators, and it's done an excellent job of it – you couldn't hope for an easier-to-use and more reliable wireless mic.

The mics and receiver are automatically paired by virtue of living in the same charging hub. You simply plug the receiver into your phone and then follow the message that flashes up on your phone's screen.

If you have Rode's free app installed (available for iOS and Android) you'll be taken to the app, where you can pair the mics and receiver, and choose to how route the receiver input: split for left and right channels, or merge audio into one channel. You can also update the mic's firmware through the app and check sound levels.

For me, using a Google Pixel 6, I needed to select the wired mic option in my phone's video menu in the camera app (it otherwise automatically selects the phone's built-in mic). But once those options are all sorted, setup is complete and away you go.

You can be up and running in seconds after plugging the receiver into your smartphone's charging port, and armed with a wireless mic system that takes care of all the audio levels for you – Rode says its Intelligent GainAssist technology gets "perfect audio every time".

Rode Wireless Micro attached to phone and Rode's app on display

(Image credit: Future / Tim Coleman)

The mics can clip onto clothing, or attach magnetically with a strong hold through thin clothing, and they're available in black or white, so you can choose the finish that's likely to blend in with your clothing better.

The connection type is built in to the receiver, so you need to select the USB-C or Lightning version at the time or purchase, and there's full compatibility with both Android and iPhone models. The DJI Mic Mini, on the other hand, has a slot to fix the USB-C or Lightning connector into place, so you only need one receiver even if you use both connection types (though the Lightning adapter is a separate purchase).

The DJI Mic Mini also features Bluetooth connectivity, and you can therefore bypass the receiver altogether for 16-bit audio (although a receiver provides a stabler connection and, in the Mic Mini's case, 24-bit audio), whereas the Wireless Micro relies on its receiver.

Wind shields are built into the mics as part of Rode's patent-pending acoustic chamber design, plus there are additional furry windshields in the box that clip around the receiver for clearer outdoor recording on breezy days, although these additional windshields won't fit into the charging case.

Rode Wireless Micro transmitter attached to a bright orange jacket

It's been a couple of decades since my hair looked like this (Image credit: Future / Tim Coleman)

Rode Wireless Micro: Performance

  • Transmission range is over 100m
  • 7 hours operating time, charging case can provide another two charges
  • No noise reduction, but Intelligent Gain Assist gets you clear vocals

My experience with the Rode Wireless Micro has been as headache-free as I could hope for. Once I had the Rode app installed (though you don't have to use the app to use the mic), I was up and running and capturing high-quality 24-bit audio with my Google Pixel 6 phone in a matter of seconds.

Rode says the Wireless Micro's transmission range is over 100m, which is harder than you might think to fully test in the real world; how often – and indeed, why – would you need to record audio onto a phone camera from over 100m away?

The upshot is that for vlogging, the Wireless Micro provides a stable and reliable connection, with an operating time for each mic being around seven hours.

That operating time can be extended through the charging case, which features a 490mAh battery and can charge a transmitter an additional two times, effectively delivering an overall operating time of 21 hours. In short, with a charged case you'll have enough juice for a weekend of vlogging.

Rode Wireless Micro transmitter in the hand, wooden table background

The Rode Wireless Micro has a patent-pending acoustic chamber design (Image credit: Future / Tim Coleman)

If you want to know a few of the technicals, the Wireless Micro features 24-bit audio, a 20Hz to 20kHz frequency range, a maximum 135db SPL, a 73db signal-to-noise ratio and an A-Weighted equivalent noise of 21dBA. For reference, those specs are roughly similar to those of the Rode Wireless ME, a pricier wireless mic that also works with cameras.

Rode's 'Intelligent GainAssist' tech automatically controls audio levels for well-balanced sound, enhancing vocals, and freeing you to focus on creating. You miss out on noise reduction, but unless you're in particularly loud environments it's not a problem – I've been able to get clear recordings of my voice in a noisy soccer stadium, even if the animated crowd added to the video's feel.

I've recorded vlogs in a range of scenarios; indoors, outdoors, and in noisy environments, and I've been very happy with how crisp my voice sounds. Put simply, if you want better audio without the fuss, this Rode mic is sure to delight.

Should I buy the Rode Wireless Micro?

Buy it if…

You’re looking to up your the audio quality of your smartphone videos
The latest smartphones are delivering better and better audio quality, especially with features such as speech enhancement, but the Wireless Micro will give you next-level audio quality. If you vlog, you need a mic like this.

You want a simple wireless mic for smartphones

The Wireless Micro is as simple as it gets: plug in the receiver, which is auto synced to the mics from the charging case, select the wired mic option, and you're connected. It's a matter of seconds.

You want a discreet wireless mic system

The receiver sits flush against the profile of your phone, completely out of the way, while the mics themselves are small and discreet, and available in two colors to blend in with clothing.

Don’t buy it if…

You need a mic for cameras too

The Wireless Micro is for phones only. If you think you might also use cameras to create content then the DJI Mic Mini, or alternatives, are probably the better bet.

You want some degree of manual control and audio-level monitoring

With its simplicity come restrictions – there's no real way to manually adjust audio levels, while you can't easily monitor levels while recording, as you can with larger receivers that feature an LCD display.

You want to buy components separately

At the time of writing, the Wireless Micro is only available as a kit. If you lose or break one of the mics, or switch between Lightning and USB-C connections, you'll need to buy the whole package again.

Rode Wireless Micro: also consider

DJI Mic Mini
The Wireless Micro's obvious rival is the Mic Mini, which is a more versatile tool in that you can use it with cameras as well as phones, plus it features Bluetooth connectivity, and you you can dial in audio levels manually using the receiver. However, the Mic Mini's receiver is bulkier, and more awkward to keep connected to a phone. The Mic Mini could have more staying power, but the Wireless Micro is superb for those only using their phones.

Read our DJI Mic Mini review

DJI Mic 2

If you're operating at a pro level and want audio quality a cut above the Wireless Micro's, and are prepared to do a little work in the editing suite, then the pricier Mic 2 is the better bet, especially if you're shooting with cameras as much as you are phones. However, if you shoot exclusively with a phone and want a simple option that's ready in seconds, you'll appreciate the simplicity that comes with the Rode Wireless Micro.

Read our DJI Mic 2 in-depth review

Rode Wireless Micro kit on a wooden table

(Image credit: Future / Tim Coleman)

How I tested the Rode Wireless Micro

  • Used regularly for over a month in quiet and noisy environments
  • Tested alongside the rival DJI Mic Mini
  • Paired primarily with a Google Pixel 6

There aren't a lot of ways in which you can test the Rode Wireless Micro: it handles audio levels, clipping and vocal enhancement automatically, and that's it appeal for most users. The mics and transmitter are auto-synced through the charging case, you plug the receiver into your phone, and away you go.

I did however make sure to test the audio quality of the Wireless Micro in mixed environments – the quiet indoors, the still outdoors, in wind, and in noisy environments. I was also reviewing the DJI Mic Mini at the same time, and so was able to run comparison tests to see which came out on top.

Almost all tests were done by pairing the Wireless Micro to my Google Pixel 6.

DJI Mic Mini review: the tiny wireless mic to beat for smartphone-first content creators
3:41 pm |
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

DJI Mic Mini: one-minute review

You're hardly short of options if you're looking for a new wireless mic. My recent favorite is the DJI Mic 2, which is one of the best wireless mics on the market, boasting pro-quality features such as 32-bit float audio. However, for many content creators, especially those who shoot mostly with a smartphone, the Mic 2 is overkill. That's where the Bluetooth-equipped DJI Mic Mini steps in: it's a smaller, simpler and cheaper alternative, with the same DJI reliability that I've come to appreciate over years of using its devices.

The Mic Mini is positively tiny, weighing just 0.35oz / 10g (without magnet), and it pairs easily with smartphones and cameras for better quality audio on the fly. Oh, and it's half the price of the Mic 2.

Its natural rival is the recently announced Rode Wireless Micro; however Rode's new wireless mic is only for smartphones, whereas the Mic Mini can be used with cameras too, via its 3.5mm jack, which means it's more versatile. It's not a sweeping victory for the Mic Mini, though – if you're only going to shoot with a smartphone, the Rode Wireless Micro might be the better pick because its receiver is tiny and sits flush along the underside of your phone, whereas the Mic Mini's receiver sticks out awkwardly.

Audiophiles will probably prefer the Mic 2 over the Mic Mini too, not just for its pro audio quality with forgiving 32-bit float capability, but because the transmitters feature built-in storage and can be used independently, while you can monitor levels on the receiver's LCD touch display for peace of mind.

Having used all three of the above mics extensively, I would personally go for the Mic Mini. The audio quality from all three is fantastic, but for outright ease of use, value, reliability, and versatility for phones and cameras, it's the one that ticks all the boxes. DJI has created another trustworthy wireless mic; and trust me, reliability is an unsung attribute. I've ditched many other wireless mics for letting me down at crucial moments, leaving me without proper audio. I would have no such concerns with the Mic Mini, and it earns my five-star seal of approval.

DJI Mic Mini transmitter attached to clothing

The Mic Mini transmitters are tiny and discreet, much more so than the DJI Mic 2's. It's also available in white. (Image credit: Future / Tim Coleman)

DJI Mic Mini: price and release date

  • $169 / £145 / AU$245 for the compete kit with 2x mics, receiver and charging case
  • Components available individually
  • Available now

DJI sells the Mic Mini components individually but also as a complete kit, whereas the Rode Wireless Micro is a complete kit only, and you need to select the USB-C or Lightning receiver version.

The Mic Mini transmitters (mics) are available in Infinity Black or Arctic White. One transmitter costs $59 / £49 / AU$69, a transmitter with receiver costs $89 / £79 / $AU125, while the complete kit, which includes two transmitters, a receiver and a charging case, costs $169 / £145 / AU$245. The complete kit is probably your best bet if you're starting from scratch.

The receiver is attached to a phone using a USB-C connector, but if you're using an iPhone with Lightning port you'll need to purchase the adapter separately for $19 / £19 / AU$39. When connecting to a camera, you use a 3.5mm jack instead.

The list price for the kit is similar to that of the Rode Wireless Micro, despite the Mic Mini's greater versatility – it's roughly $15 / £10 / AU$20 more than Rode's offering – while it's around half the price of DJI's Mic 2. I think it's excellent value.

DJI Mic Mini kit inside charging case on a wooden table

The complete kit includes the charging case, two transmitters, one receiver and a USB-C connector for the receiver. There are also windshields and USB-C cable in the box. (Image credit: Future / Tim Coleman)

DJI Mic Mini: specs

DJI Mic Mini transmitter in the hand, wooden table background

Components can be bought separately; the transmitters by themselves, or a single transmitter with receiver (a small charging doc is included in absence of the charging case). (Image credit: Future / Tim Coleman)

DJI Mic Mini: Design

  • Tiny, discreet and available in black or white
  • Easy clip or magnetic attachment
  • Receiver with manual audio levels gain, but no monitoring

The neat thing about DJI's Mic Mini is that there are several ways you can connect to your phone or camera, and several ways to buy; individual components, a mic and receiver kit, or the complete kit which contains two mics (with magnets), one receiver, a charging case, plus wind muffs for the mics.

I had the complete kit for this review with USB-C connector, though technically you only need a single mic to get going with the Mic Mini because it can connect to your phone via Bluetooth. For manual control of audio levels, plus the added stability and richer audio quality, I prefer connecting a phone to the mic through the Mic Mini receiver, rather than relying on Bluetooth.

The mics, also called transmitters, are tiny and easily droppable, but they attach easily to clothing using the built-in clip, or the magnetic mount, one half of which fixes to the back of the clip, with the other half going inside your jacket or similar – DJI knows how to make a powerful magnet with a reliable hold. If you want a discreet mic in your shots, you'll struggle to find a smaller alternative, plus you can buy the mics in black or white to blend in with clothing.

When using a camera, you can slot the receiver into the camera's hotshoe / coldshoe and then connect it using a 3.5mm jack (the cable is provided). The receiver is a good fit for cameras, but it is a little awkward with a phone when attached via the phone's USB-C / Lightning port, because it sticks out a lot and the connection feels a little loose (see image below).

The receiver is a simpler offering compared to the one you get with the Mic 2. It features a power button, pairing button, 3.5mm jack and a ±12db audio level dial. That's it. The Mic 2 receiver features a basic LCD touch display through which you can monitor audio levels for both mics and make more advanced audio adjustments. The bulkier Mic 2 transmitters also feature built-in storage, and can be used independently of your camera of choice, or used as a backup device.

DJI Mic Mini receiver connected to a phone

The receiver is a little clunky when attached to a phone. It's a better fit slotting into the hotshoe / coldshoe of a camera (Image credit: Future / Tim Coleman)

DJI Mic Mini: Performance

  • Two-level noise reduction, and Automatic Limiting to prevent audio clipping
  • 11.5 hours battery life (transmitter), 10.5 hours battery life (receiver)
  • Omnidirectional audio and up to 400m range

Where DJI's wireless mics differ here is that the pricier Mic 2 features 32-bit float audio that can more effectively avoid clipping when your audio suddenly gets loud, and internal storage for direct recording so that you can use it independently of a camera or as a backup, while its receiver features a display to let you monitor audio levels.

The Mic Mini is a much simpler device, with its receiver offering basic manual ±12db audio level control, but otherwise it's really for those who want the mic to capture excellent quality audio with minimal fuss.

I used the Mic Mini complete kit over several weeks and found it to be completely reliable and glitch-free, whatever phone or camera I paired it with. It's transmission range is rated up to 400m (with clear line of sight), which is plenty enough for any conceivable scenario – I've never been even close to that distance from my camera when recording audio wirelessly.

As for audio quality, I've recorded clips using a Bluetooth connection and the receiver in the quiet indoors, outside in the wind, and in noisy environments, and in general the Mic Mini captures clear audio in any of those scenarios. Vocals aren't quite as rich as with the Mic 2, but for 99% of people the difference won't be noticeable. You should also note that audio drops from 24-bit to 16-bit if you connect via Bluetooth, so there's not quite the same richness in vocal quality.

Having such relatively limited control over audio settings was a little disconcerting at first, especially compared to using the Mic 2, but the real plus to the Mic Mini is its sheer simplicity – you can rely on its connectivity and two-level noise reduction to do the job, including the one-touch denoise control when in particularly loud environments.

What I didn't do for this test was pair the Mic Mini kit with a DJI camera, such as the DJI Osmo Pocket 3 – a top-rated vlogging camera – or the Osmo Action 5 Pro. Doing so affords additional benefits courtesy of the DJI ecosystem – for one, the cameras have a built-in receiver, so you only need a transmitter from the Mic Mini kit. I've previously paired the Mic 2 with the Osmo Pocket 3 and found the experience completely seamless, so if you're using a DJI camera it makes sense to opt for a DJI mic over rivals.

DJI Mic Mini kit on a wooden table

The transmitters have just a power and a pair buttons, while the receiver also includes a ±12db audio level control (Image credit: Future / Tim Coleman)

Should I buy the DJI Mic Mini?

Buy it if…

You want a simple wireless mic for phones and cameras

DJI has stripped back the design and audio modes from its pro Mic 2 to create a simple wireless mic for phones and cameras that you'll trust, and can generally keep in auto.

You want a discreet mic

I find the DJI Mic 2 mics a little bulky and cumbersome; the Mic Mini mics, which are available in black or white, are much more discreet.

You want flexible buying choice

DJI offers the Mic Mini as a complete kit, a half kit, or the components individually, meaning you don't need to overspend for what you won't use, or if you need to replace just a single item in the future.

Don’t buy it if…

You only shoot with a phone

The Rode Wireless Micro is even simpler and its receiver is purpose-made for use with smartphones, whereas the Mic Mini's receiver is a little bulkier.

You want some form of manual control

The Mic Mini is for those who want an automated mic with minimal fuss, and are happy to rely on its quality without needing peace of mind from features such as audio-level monitoring.

You want the absolute best audio quality

The pricier Mic 2 offers richer sound with more depth, and fully avoids clipping in particularly challenging environments.

DJI Mic Mini: also consider

Rode Wireless Micro

If you're hoping for a fuss-free mic and only shoot with a smartphone, the Rode Wireless Micro is the sensible choice. However, if you might branch out to vlogging with a camera, or want more flexible buying choice, then the Mic Mini is the clear way to go.

Read our Rode Wireless Micro review

DJI Mic 2

If you want audio quality a cut above the Mic Mini's, and are prepared to do a little work in the editing suite, the the pricier Mic 2 is the better bet, especially if you're mainly shooting with pro mirrorless cameras. However, if you shoot more often with a phone, you'll appreciate the simplicity that comes with the Mic Mini.

Read our DJI Mic 2 in-depth review

DJI Mic Mini transmitter attached to clothing

(Image credit: Future / Tim Coleman)

How I tested the DJI Mic Mini

  • Used for several months
  • Paired with cameras and smartphones
  • Used Bluetooth and receiver connection methods

I've been using the DJI Mic Mini on and off for months, both with mirrorless cameras like the Panasonic Lumix GH5 and smartphones such as the Google Pixel 6. I've paired the Mic Mini to a phone using Bluetooth and via the receiver attached to my phone. I haven't used the Mic Mini with DJI cameras such as the Osmo Pocket 3 and Osmo Action 5 Pro (though I have used the Mic 2 with them), for which the compatibility is even easier given they both feature a built-in receiver.

I've made sure to test the mic in a range of environments: the quiet of indoors, in still outdoor conditions and in wind, and in noisy places too, with and without denoise applied. I've also been able to compare it directly to the Rode Wireless Micro which I was testing at the same time.

Birdfy Feeder 2 Duo review: birdwatching just doubled its fun!
1:00 pm | December 8, 2024
Author: admin | Category: Cameras Computers Gadgets | Comments: Off

Birdfy Feeder 2 Duo Camera: one-minute review

It seems something of an oxymoron that bird feeder cameras are another way that technology is helping us become one with nature, but that is what the Birdfy Feeder 2 Duo does. The previous generation Netvue Birdfy Feeder AI camera already features in our round-up of the best bird feeder cameras, but the latest Birdfy camera takes the technology to a whole new level.

The premise of the device is simple; it is a bird feeder with a weatherproof Wi-Fi-enabled camera in the centre. Think of the camera in much the same way as a smart security camera, like a Amazon Blink or Ring Camera, in that it sends you an alert every time it detects motion. In this case that motion comes in the form of a bird (or squirrel, or possibly even a bear depending on your location). Using AI technology, the Birdfy app will even identify the bird for you and create a list of visitors to your feeder that day.

The new version of the Birdfy Feeder brings enhanced cameras. The primary camera now houses two camera units. The first is a wide-angle camera that shows the entire perch, whilst the second offers a closer view and is motorized to pan and track any detected bird. You can even view the footage from either camera through a live feed in the app.

A screengrab showing a robin captured with the close-up and main view from the Birdfy Feeder 2 Duo camera

(Image credit: Future)

In addition to the primary dual-camera unit, the Feeder 2 Duo has a second camera unit, which mounts onto the side of the feeder and offers a wide angle side view of whatever bird has landed. This second camera is great for larger birds, or if you simply want to edit between two different camera angles.

The image quality of the secondary Feeder 2 Duo camera isn't quite as good as the main one, and if you don't need it then the main camera alone can be purchased as the Birdfy Feeder 2 Pro instead. The second camera suffers a little from chromatic aberration, which can affect the quality, but this is all relative to the fact it is really a camera meant for monitoring rather than providing photographic excellence.

Birdfy Feeder 2 Duo: price and availability

  • $419.99 / £379.99 / AU$665 - but regularly on offer
  • There are also Birdfy Feeder 2 and Feeder 2 Pro options

The Birdfy Feeder 2 Duo is the most advanced bird feeder camera system on the market, with two camera units hosting three cameras. However, it's also the priciest at $419.99 / £379.99 / AU$665 on the Birdfy site, prohibitively so for some people. Thankfully, there are different options using the same feeder but with different camera combinations.

The first is the Birdfy Feeder 2 which costs $259.99 / £204.99. Its one camera is the secondary camera mentioned throughout the Feeder 2 Duo on test. This kit doesn't include the solar panel, which can be purchased separately for $29.99 /£22.99. It also doesn't include AI recognition, which can be purchased separately, if wanted, through the Birdfy app.

Then there is the Birdfy Feeder 2 Pro. This uses the same improved main dual-camera unit as the Feeder 2 Duo on test, which includes the tracking camera. It also includes a solar panel and can be purchased without the AI subscription (which can be added in the app) for $279.99 / £249.99, or with a lifetime AI subscription for $299.99 / £279.99.

Birdfy Feeder 2 Duo: specs

Birdfy Feeder 2 Pro: design

  • Two camera units, with the main unit being an improved dual-camera setup
  • Multiple ways to mount
  • Wi-Fi connection, plus solid battery life further expanded with a solar panel

Setting up the whole unit took me less than 10 minutes. The only construction needed was mounting the cameras, including screwing on a small arm for the secondary camera. The cameras themselves can be fixed in to position using thumb screws.

My only disappointment with the design is that the new secondary side camera can only be positioned on one side because the mounting arm is set at an angle. Try mounting it on the other side, where there are mounting threads and the camera isn't angled at the perch correctly. Hopefully, Birdfy will come up with a solution, as it seems like an easy fix.

The feeder is mounted to a quick-release plate, which can be screwed to a wall or fence, or it can be fixed to a strap and fixed around a tree trunk or post. I opted to put it around a tree trunk (see below), with the whole installation taking a matter of minutes. As I write this, the feeder has securely been fixed in the tree for over two months in all sorts of weather and with birds and squirrels using it almost hourly.

A photo of the Birdfy Feeder 2 Duo camera mount on a strap mounted to a tree

(Image credit: Future)

The camera connection is simple, and via the app, the cameras can connect to your home Wi-Fi system. My feeder is around 20ft / 6m from the rear of my house and probably another 5ft / 2m from where the nearest Wi-Fi router is connected , and both cameras maintained a stable connection without any dropouts.

Both cameras feature an internal battery that can be charged via a USB-C port, and the battery life is respectable. How long the battery lasts depends on how active the cameras, for example, how many birds land on the feeder, whether you use the built-in light at nighttime and whether you try to scare off unwanted visitors using the alarm. Generally, though, I have found that a couple of weeks passes before the battery dies, at which point they need to be taken down and charged.

Additionally to solid battery life, the Birdfy Feeder 2 Duo also comes with a solar panel which has two USB-C ports on it, enabling you to power both cameras continuously, hopefully without the need to ever bring them in for charging.

The solar panel has a screw-on mount to attach to a wall or fence or a flexible mount to wrap around a tree branch or similar. Wherever you position it, you will of course want to maximize the amount of light reaching it for the best possible performance.

I have used a similar solar panel with the original Birdy feeder camera, and in over 18 months I haven't once had to charge the camera, and its battery rarely drops below 80%. Depending on where you live, you'll need to be smart where you position the feeder and panel in the garden during winter when sunlight hours can significantly drop, assuming you don't want to have to charge the batteries manually.

Damage done by a squirrel to the Birdfy Feeder 2 Duo camera bird feeder

(Image credit: Future)

As I have found with every bird feeder camera I have tested, none of them are particularly squirrel-proof, and where there is birdseed, a squirrel will try and get to the last of it, even if that means breaking the feeder.

After a couple of weeks of use, squirrels broke some of the plastic in the feeder to get to the last few remaining seeds (see above). The damage doesn't affect its use at all, and to be honest, it is just something you have to accept will happen if you have larger mammals trying to get to a food source.

Sadly, the lights and alarm did little to deter the squirrels. However, screaming into my phone, which then played the audio through the Birdfy camera's built-in microphone, was successful, albeit not a permanent solution. I also got some funny looks when doing this out in public!

Overall, I have enjoyed having the Birdfy Feeder 2 Duo in my garden and seeing various birds visiting. The new camera system is a great way to see the birds up close, and the primary camera's image quality seems to be an improvement over the predecessor, particularly the addition of the close-up camera. The secondary camera is a nice add-on, but I wish it could be mounted on the opposite side; for me, it would produce a nicer image where it isn't directly in the sun's light.

Birdfy Feeder 2 Duo: performance

The Birdfy Feeder 2 Duo is a two-camera unit setup with three individual cameras. I couldn't find the exact specifications for the camera sensor. However, based on the still images and video resolution, it is fairly safe to say that the sensor is a generic smartphone sensor, most likely the same as used in security cameras made by Birdfy's parent brand, Netvue.

Although the resolution may not be huge, the cameras are designed for observation and sharing images on social media, not for creating large prints, so the size and quality of the images are perfectly acceptable.

The large-capacity batteries in each unit last for a week or two, but the solar panel included should always keep them charged.

The cameras are also IP65-rated for weatherproofing, and I can attest to this, having had the cameras outside in the pouring rain. I've also had the previous generation of the camera outside in hot and freezing conditions for over a year, and it is still fully working, and the battery is still holding its charge.

Video and photo samples

Image 1 of 3

Birdfy Feeder 2 Duo Sample images

(Image credit: Future)
Image 2 of 3

Birdfy Feeder 2 Duo Sample images

(Image credit: Future)
Image 3 of 3

Birdfy Feeder 2 Duo Sample images

(Image credit: Future)

Should you buy the Birdfy Feeder 2 Duo?

A robin on the Birdfy Feeder 2 Duo

(Image credit: Future)

Buy it if...

You want a great bit of garden tech

Garden tech can be underwhelming, but the Birdfy cameras can be connected to Amazon Alexa to do some neat things for security as well as watching wildlife on other devices such as TVs with Amazon Alexa built-in.

You love Birds and wildlife

This one is obvious, but if you love the wildlife in your garden, the Birdfy Feeder 2 Duo is great. You can collect the birds that have visited like they are Pokemon, and it is always great when you see something rare that you haven't seen before.

You want the best

The Birdfy Feeder 2 Duo is the most functional and advanced bird feeder camera system on the market.

Don't buy it if...

Megapixels matter most to you

Both cameras only output Full HD resolution footage. This isn't a problem, but if you're set on 4K, I'd hold back. It wouldn't surprise me if the next-generation cameras had this resolution.

You are on a budget

The Feeder 2 Duo is expensive, but if you want similar functionality, consider the standard Feeder 2 and Feeder 2 Pro options.

You want something squirrel-proof.

Having tested six bird feeder cameras I can attest that none are squirrel-proof... at least not yet.

How I tested the Birdfy Feeder 2 Duo

  • Mounted the feeder in a tree for 3 months
  • Connected to my home Wi-Fi
  • Monitored the birds visiting daily via the Birdfy app

I tested the Birdfy Feeder 2 Duo by mounting it in a tree that garden birds (and squirrels) regularly visit. The feeder was strapped to the tree, and the camera was set up using an iPhone and the Birdfy app.

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

I have also looked at AI recognition and have seen and corrected a few mistakes. Hopefully, this will help improve bird recognition accuracy in the future.

  • First reviewed December 2024
Mixbook photo book review: an easy-to-create photo book with competitive prices, but a disappointing finish
12:59 pm | November 26, 2024
Author: admin | Category: Cameras Computers Gadgets Photography | Comments: Off

Mixbook photo book review

There's a huge variety of options for online printed photo books available on the market with different price points, finishes, and formats, so it can be tricky to choose which one will garner the best results. Mixbook is a well-known brand specializing in customizable printed gifts. They offer a range of different photo books in themes such as weddings, holidays, school yearbooks, and more; plus the option to create one from scratch, which is what I attempted for this review.

The list price of a 12 x 12 inch blank canvas photo book is $88 / £66.99 for a 20-page spread hardcover book, and additional pages can be added for $3 / £1.99 per page. There are often offers on the Mixbook site, so it’s worth holding out if the price isn’t discounted. When we purchased this sample book, there was a promotional offer that brought the 20-page 12 x 12 inch hardcover book down to $57.25 / £48.55.

The Mixbook photo book sits on a light wooden surface with the back cover facing upwards.

(Image credit: Future)

I evaluated the Mixbook Studio editor thoroughly to see how well it performed when creating various different layouts and when using different elements. Creating photo books using the existing layouts was effortless, but Mixbook Studio lacked some simple features when it came to creating my own.

The interface of the Mixbook site was attractive and user-friendly, if a little clunky when navigating between tabs or customizing elements. There were editing tools available in the toolbar on the left, viewing, sharing, and purchasing buttons on the top bar, and easy-to-navigate page spreads on the right-hand side of the page.

The Mixbook photo book sits open, turned to pages featuring an Aurora Borealis photo with a large caption and a pink rectangle spanning the height of the image.

(Image credit: Future)

On occasion, I needed to use some workarounds when positioning elements on the page, and the lack of a center line between the pages made life a little more difficult, but overall it was a nice system to use. I found a variety of preset layouts available in the toolbar, where I found a vast array of design options, from full-page spreads to overlapping collage-style arrangements.

Adding a background color was simple and there were plenty of ways for me to select a color. I had the option of using colors from an existing palette, a color slider, a color picker, or by entering a hex code. Plus, there was also a range of textured backgrounds available. The option was available to flip the background image or alter the opacity using a slider.

A close-up of the spine of the Mixbook photo book.

(Image credit: Future)

I wanted to see how easy it was to add blocks of color to the pages and found it to be a little more complicated than expected. The best way to achieve this was to add one of the square stickers to the page and drag it to the required size. It was unfortunate that the Mixbook Studio doesn’t give any specific dimensions for photo or sticker sizes, but this is unlikely to prove an issue for most.

My main niggle with this process was that the stickers defaulted to having a white border and a shadow, which took a fair few clicks through different tabs to remove. This was easy to get around though, fortunately, by simply copying and pasting one that I’d already edited. Another thing that I found curious was the lack of alignment between a sticker with a photo, and vice versa. This meant I had to arrange the elements by eye, which got a bit tiresome after a while.

The Mixbook photo book sits open, turned to pages featuring close-ups of fish and a pale blue square.

(Image credit: Future)

The page spread navigation bar made it easy to, duplicate, delete, or drag and rearrange pages. The duplication function made it effortlessly easy to reuse page layouts and simply switch photos out. I simply needed to drag from the photos tab in the toolbar, and the replacement image populated the existing space before I moved it into the correct position within the frame.

Under the text icon, I found all the settings I expected, like alignment and changing text into bold or italic, plus there were some caption ideas, too. There was a dropdown list for the fonts, but unfortunately, it didn’t allow me to begin typing the font name in to save me from scrolling through them all. It was also frustrating that the font sizes weren’t standardized, so if I wanted 64pt text, for example, it would appear to be one size in one font, but totally different in another.

The Mixbook photo book sits open, turned to pages featuring three profile shots, the middle image distorts into the binding.

(Image credit: Future)

I have to admit I was really not a fan of the zoom function on Mixbook Studio. Zoom was controlled by basic plus and minus buttons at the top of the page, and instead of being able to pan around once I zoomed in, I needed to drag the page within the preview box that appeared below the zoom tool, which proved a faff when I was trying to check a lot of details on a page. The pop-up toolbars for images, stickers, and text boxes proved obstructive on occasion. They are static at the bottom of the element selected, which made alignment tricky at times.

The preview button at the top of the page allowed me to check the finished item before proceeding to the ordering stage. When I did, a brightly colored pop-up banner at the top of the order page highlighted that there was an error in the book. This was simply a blank page that I’d colored pink at the beginning of the book, so was not an issue; however, it’s good to know this feature is here to flag errors before proceeding.

A close-up of damage from the manufacturing process.

(Image credit: Future)

I had mixed feelings about the finished article. The print and matt finish on the hardback covers were vivid and looked nice. There was some very minor fuzziness around the lettering, and the cover image overlapped onto the spine slightly, but these were within the margins I’d expect from a printed item.

One unfortunate and avoidable mistake was the clamp marks on some of the pages from the assembly process. These were only visible in the light on paler pages, but clearly visible on the dark full-coverage photo pages, which ruined the finish. There were also clear dents from handling on many of the pages indicating that they weren’t handled with care during the creation process; these indentations distracted from the images and were disappointing to see when I was expecting the pages to be in pristine condition as the book was brand new.

A close-up of damage from the manufacturing process.

(Image credit: Future)

Aside from the regrettable markings that resulted from the manufacturing process, the finished book looked nice for the cost. These types of services perhaps aren’t suitable for those who want high-quality prints, but for those of us who just want to gather memories in one place, this Mixbook photo book is perfectly adequate. When taking advantage of a discount, the price is rather good for a large, vividly printed hardback book. Just be prepared to check for marks before gifting one, and order in advance if you can in case a replacement is needed. If you’d like to explore alternative photo book suppliers we’ve collated a selection of our favorites in our best photo books guide.

Should I buy the Mixbook photo book?

Buy it if…

You want family and friends to purchase their own
Within the Mixbook Studio, there’s a handy share button that enables you to share a preview of your book, invite others to make edits, and enable them to purchase one for themselves.

You want a simple-to-use interface
With the included layout templates, it’s incredibly easy to get a photo book set up by simply adding your photos into the Mixbook Studio and dragging and dropping them into place.

You don’t want to fork out lots of money
Photo books are rarely cheap due to their customized nature, but with regular discounts and sales, you get a pretty good deal from a Mixbook photo book.

Don't buy it if…

You want a premium finish
As mentioned, my sample featured some marks from the manufacturing process, which spoiled the magic a little. This may not be something that occurs in all orders, but it's something to bear in mind when choosing between services.

You want high-quality prints
This is not the photo book to use for your photography portfolio. For wedding photos or holiday snaps, it’ll be perfectly fine, but you can’t expect top-notch picture quality.

You want to get into the specifics
The Mixbook Studio is a great interface to use when utilizing the existing layout templates, but if you want create elements at an exact size, design an unusual layout, or use standardized text sizes, this is not the service for you.

Mixbook photo book review: also consider

Artifact Uprising
If you’re looking for a more premium finish, then Artifact Uprising is worth your consideration. These photo books are naturally more expensive, but you get fantastic quality and a special finish for the price. This service would make the perfect choice if you want to create a keepsake gift, and, what's more, they offer lovely add-ons such as walnut storage boxes too.

Cewe
Offering great design software, plus a Creator Assistant to help you get your photo book up to scratch, Cewe makes the creation process straightforward and delivers quality finished articles, too. We’re a fan of Cewe because they’re committed to taking a sustainable approach, claiming to be 100% climate-neutral with a net-zero carbon footprint.

How I tested the Mixbook photo book

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

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

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

I ordered my completed photo book and evaluated the finished product, paying close attention to quality, print finish, alignment, and made notes of any imperfections.

  • First reviewed: November 2024
  • Read more about how we test
Alice Camera review: reinventing the camera for the smartphone age
6:01 pm | November 23, 2024
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: | Comments: Off

Alice Camera: one-minute review

As someone who proudly runs a YouTube channel named “All The Gear, No Idea”, I'm always on the lookout for tech that promises to simplify the art of photography. Enter the Alice Camera: a camera body with Micro Four Thirds sensor and lens mount, powered by a Snapdragon chip, and that uses your smartphone as its viewfinder, all controlled through an app. Not a camera as we know it – something smarter.

A UK-based start-up brought this bold idea to life, and as one of the first 100 backers, I've spent three (very long) years waiting to see if it could live up to the hype. Spoiler alert: it's been quite the ride.

The experience has been a mix of awe, impatience and ultimately, satisfaction. The Alice Camera is a deceptively simple concept: it pairs the processing power of a smartphone (a Qualcomm Snapdragon with 8-core CPU to be exact) with the optical performance of a proper camera like the Lumix G9 II. This setup provides access to a wide range of affordable and lightweight lenses, while making the notoriously cumbersome menus of traditional cameras a thing of the past.

For anyone who’s wrestled with the cryptic menus and camera settings on a Panasonic Lumix or Sony, this camera is a breath of fresh air. The interface is as intuitive as using your phone’s camera app, with the added benefit of real-time sharing of your shots. Refreshingly, Alice Camera's software is open source, meaning if you're smart enough, you can build extra features and settings, unlike the leading brands like Canon and Sony that maintain all the control.

Admittedly, the Alice Camera is facing some production delays - something I’ve experienced firsthand, having waited three years for mine. But as frustrating as the wait might be, I can assure you it’s worth it. For those still waiting for their camera, stay patient. The Alice Camera offers a unique blend of convenience, innovation, and quality that makes it stand out in a crowded market.

If you put the Alice Camera in the right hands, it can deliver professional-grade results that you simply wouldn’t achieve with one of the best camera phones alone. Personally, I believe it’s worth every penny. I took some sample shots with the Leica SL3, which is one of the best professional cameras available, with a 180mm lens and then used the Alice Camera with an equivalent Leica 90mm on it to achieve the same focal length. I couldn’t really tell the difference unless I went pixel-peeping, and who really does that on social media anyway?

As someone who usually fumbles with new tech, I’m completely sold on this one. Delays receiving the product aside, I'd have no hesitation recommending the Alice Camera to any photographer.

Alice Camera in a studio

(Image credit: Rashid Ahmad)

Alice Camera: price and availability

  • $845 / £1,026 at time of writing
  • Pre-orders for batch 4 at time of writing
  • Prices could be different depending on which batch of backers you're in

The Alice Camera isn’t cheap, but I think any criticisms that I've read about its price are a bit unfair. You have to bear in mind that this is a small company that doesn’t have the economies of scale of a larger traditional camera manufacturer. They are not Sony. They cant sell TV’s to make up the losses they could incur on a camera division. It’s $850 / £1,000 approx for the camera itself, and some argue that when paired with a high-end smartphone, you’re looking at a total of over $1,800 / £2,000. But here’s the thing: most of us already own a smartphone, so it's really only the cost of the camera and lens you're looking at. And for that outlay, you get the ability to instantly share and livestream high-quality smartphone-beating photos and videos. You really cannot factor in the cost of your smartphone. And if you really must do that, then buy an old iPhone 12 and it’s still compatible – at best that will cost you another $400 / £500.

Alice Camera: specs

Alice Camera: Design

  • Premium metal body that is lightweight and with an ergonomic handle
  • Secure phone grip that fits smartphones as small as the iPhone mini all the way to an iPhone 16 Pro max
  • Simplified user interface and user experience making setup easy

Alice Camera in a studio

(Image credit: Rashid Ahmad)

Unboxing the Alice Camera felt like discovering a hidden gem. The sleek, lightweight design is deceptive - it feels premium, despite its featherlight build. The metal finish adds a level of robustness that’s reassuring. Inside the box, you’ll find a unique identifier that links the Wi-Fi on your phone to the camera, essential for pairing them up. The camera strap and build quality only add to the premium feel. However, what stands out most is the sensor: a micro four thirds unit that’s significantly bigger than anything you’d find on a standard smartphone. This offers more professional and realistic looking background separation, not the digitally created artificial bokeh that phones create.

Setting up the Alice Camera is as easy as it gets. You attach your phone via the extremely secure clamps (in my case, an iPhone 15 Pro Max) and pair the camera through the Alice Camera app, which is available for both iOS or Android. Once connected, you’re ready to shoot in seconds. The app has an intuitive user interface and experience. As a user you’re able to toggle between basic or advanced settings where you’re able to control everything from shutter speed to white balance, tint, colour enhancements and dynamic range.

Image 1 of 1

Alice Camera in a studio

(Image credit: Rashid Ahmad)

Alice Camera uses a Micro Four Thirds lens mount – the same used by OM System cameras such as the OM-5 and Panasonic Cameras including the Lumix G9 II – and you can use a whole variety of lenses for this system. When you put the Alice Camera into manual focus mode a digital rangefinder graphic appears and offers a more tactile experience than I expected. That said, using manual focus can be tricky, particularly outdoors where the phone’s screen contrast struggles to differentiate between the subject and background. I found this especially frustrating when trying to focus on finer details. The shots looked great at first glance, but once zoomed in, the lack of precision became apparent - though that may have more to do with the budget Olympus (OM System) lens I was using. Autofocus is rolling out in the next few weeks and I cant wait!

Alice Camera in a studio

(Image credit: Rashid Ahmad)

Alice Camera: Performance

  • Qualcomm Snapdragon and Google AI chip for running computational photography on device
  • 11MP photos, while not the highest, are perfectly suitable for everyday photography and social media
  • 4K 30fps and 2k 60fps video captures high-quality video footage, ideal for content creators and vloggers

Female model with dark hair, red lipstick and in red dress, outdoors at night, taken with the Alice Camera

(Image credit: Rashid Ahmad)

Despite the occasional hiccup with manual focusing, I’ve managed to capture some stunning images by my standards. A particular highlight was photographing my friend Hannah using a Leica 90mm lens. The smooth resistance in the focus wheel made manual focusing far more satisfying than the cheaper alternatives, and the final images were sharp and full of character. I own a couple of Leicas and I’ve gotta say, in my incapable hands, I could seldom tell the difference in shots! In the right hands, gear really can make all the difference, but Greg Williams could take better shots with this than I could with a Hasselblad!

As for video, one complaint I’ve seen online is that the Alice Camera isn’t suitable for vlogging. Honestly, I’m not sure where that criticism comes from - vlogging with the Alice Camera is perfectly feasible. Using a wider lens like the Panasonic Lumix 9mm or a 12-60mm would cover most use cases. Yes, my 25mm lens was too tight, but no one would vlog with an equivalent of 50mm.

Image 1 of 3

Closeup of a female model's eyes, taken with the Alice Camera

(Image credit: Rashid Ahmad)
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Female model with dark hair, outdoors, taken with the Alice Camera

(Image credit: Rashid Ahmad)
Image 3 of 3

Female model with dark hair in red dress, outdoors at night, taken with the Alice Camera

(Image credit: Rashid Ahmad)

When you take a photos, the JPEGs are immediately sent to your smartphone’s camera roll, which means they’re ready to share instantly. Also because of Alice Camera’s AI-driven computational photography software pipeline my photos look great straight out of camera with very little editing. These JPEGs are 3MB in size so they don’t eat up too much storage on your phone.

The team behind the Alice Camera say that the software is open source, which in theory gives it unmatched potential for customization, with their own plans to add autofocus in the near future, in addition to the ways others can enhance the user experience. I find that extremely exciting.

Image 1 of 3

Rear of a yellow Bentley car in a showroom, taken with the Alice Camera

(Image credit: Rashid Ahmad)
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Modern gearbox panel of a supercar, taken with the Alice Camera

(Image credit: Rashid Ahmad)
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Modern gearbox panel of a supercar, taken with the Alice Camera

(Image credit: Rashid Ahmad)

Should you buy the Alice Camera?

Alice Camera in a studio

(Image credit: Rashid Ahmad)

Buy it if...

You’re fed up of complicated camera menus and workflows

Alice Camera is a breeze to use. If you’re someone graduating from a smartphone to a mirrorless camera for the first time then this would be very intuitive compared to the complex camera menus of traditional cameras.

You want an affordable fun camera

Alice Camera attaches to your smartphone and is frankly very fun to use. You have immediate access to your files. If you’re happy to let the camera take control you can, but you can also get fine-grained control.

You want to be part of the next wave of innovation

In my view Alice Camera is pushing the boundaries of mirrorless-and-smartphone integration. If you want to take part in that journey then join the ride!

Don't buy it if...

Megapixels matters most to you

Alice Camera doesn’t offer the highest megapixels available so if this is important to you then consider this before purchasing.

You prefer traditional buttons and dials

Alice Camera has a minimalistic design. There are only two buttons - a shutter button and an on/off button, not a single dial to speak of.

You work in wet or rainy environments

One thing to highlight is that the camera is not technically weather sealed. Although I have used it outside with some mild drizzle and it did not affect its performance, this is not the camera for the Amazon.

How I tested the Alice Camera

  • Used as primary camera for over a month
  • Paired with a variety of lenses
  • Photos shot in RAW & JPEG

I bought two Alice Cameras and used them as my primary cameras for over one month. I've taken it on early morning photo walks, portrait photo environments, and used it mostly for stills but sometimes in video scenarios. It's able to handle moving subjects, although I did struggle a bit with manual focusing. I avoided using the camera in heavy rain or difficult conditions but I did feel comfortable using it in cold and drizzly rain.

I paired the camera with the Lumix 25mm f/1.7 and the Leica 90mm f/2 APO-Summicron (via an adapter, the M-mount and MFT). The resolution for all the images was 11MP. I took all photos in RAW format. Shooting mostly with wide apertures I was able to get a nice blurry background but for some landscape photos I stopped down the aperture.

  • First reviewed November 2024
Lomo’Instant Wide Glass review: is it really the sharpest instant camera ever?
1:22 pm | November 22, 2024
Author: admin | Category: Cameras Computers Gadgets Instant Cameras | Comments: Off

Lomo’Instant Wide Glass: One-minute review

Lomography has released an updated version of its popular Lomo’Instant Wide camera, with a new glass lens replacing the previous plastic one. The Lomo’Instant Wide remains one of the few and best instant cameras on the market that makes use of Instax Wide format film, but many Lomo fans will be glad that Lomography has listened to customer demand in launching the Lomo’Instant Wide Glass model. It's a direct rival to Fujifilm's Instax Wide 400 camera, which has also been given a modern upgrade and fresh design, (but which doesn't offer as much creative control).

The Lomo’Instant Wide Glass is being marketed as the sharpest instant camera on earth, and as a long-time fan of instant cameras, I was very eager to test this claim. Lomography sent me an early prototype of the Lomo’Instant Wide Glass for this review, and I've been hugely impressed.

Lomo’Instant Wide Glass review

(Image credit: Beth Nicholls)

Lomography has made only very minor design tweaks with the new model, and it's easy to see why – if it ain't broke, don't fix it. I love the retro suitcase-style design of the camera, though it's a shame that it still has the offset viewfinder, which has been a bugbear since the original Lomo’Instant Wide was first released in 2015. This can cause issues with framing your subject, though the viewfinder parallax markers do help.

In short, this camera takes beautiful and sharp photos with the 90mm glass lens (35mm equivalent) when focused correctly. It allows for creative shooting with a multiple-exposure mode, flash control, exposure tweaking, and bulb settings, while accessories like the splitzer and colored gels add to the instant fun. The remote-shutter lens cap is genius (just be careful not to accidentally trigger it), and the camera can be used in a studio setting too with external flash thanks to the PC sync port and tripod mount.

Lomo’Instant Wide Glass: Price and availability

The Lomo’Instant Wide Glass is available for $279 / £249 / AU$299, which I think is a very reasonable price given the image quality it produces and its gorgeous design – I'd buy this camera purely for it to sit on my camera shelf.

It's more expensive than Fujifilm's recent Instax Wide 400 model ($149.99 / £129.99 / AU$229.99), but isn't quite as premium-priced as other wide-format glass competitors like the Polaroid I-2 ($599 / £599 / AU$1,099), which uses i-Type film, or even the Mint InstantKon RF70 (approx $900 / £999 / AU$1,200), which has been considered for some time as the GOAT of instant cameras (sorry).

Anyone who's looking to buy an instant camera should know that film costs are still quite high, and you aren't guaranteed the same quality that you get with one of the best cameras for photography, or even from using a camera phone in most cases. Instant photography should be more about experimentation and having fun, rather than outright image quality. That said, Instax Wide film is one of the more affordable formats, and it's also very accessible and easy to source for most people.

Lomo’Instant Wide Glass: specs

Lomo’Instant Wide Glass: design

  • Lots of manual controls
  • The built-in flash can be on/off
  • Viewfinder is a bit of a mess

The design of the Lomo’Instant Wide Glass is one of my favorite things about it. I've seen some pretty ugly instant cameras come to market in the last few years, *cough, Instax Wide 400*, but I love the retro-style design of this Lomo, and the glass lens makes it look much more premium than its predecessor.

It's easy to see why Lomography hasn't changed much in the way of design from the Lomo’Instant Wide to the new Wide Glass model. Although, I did question why the selfie mirror has disappeared from the front of the camera with this latest model. I asked Lomography for some clarification, and a spokesperson told me: "We developed this camera more for professional, studio use in mind and less so for selfie shooting, which is why we didn't feel the need for this feature in this instance."

It's a fair point, and the camera does admittedly look much smarter without it. I managed to still take a selfie with this camera despite the lack of a selfie mirror, which you can see in the sample images section, and I'll talk more about how I captured it in the performance section below too.

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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In terms of build quality, the Lomo’Instant Wide Glass does have a fair bit of weight to it, and it feels incredibly sturdy and premium thanks to the metal lens barrel and glass element. There are two buttons on the back of the camera, one for toggling the flash and the other for multiple-exposure mode, plus a switch for selecting the level of exposure compensation and a dial at the bottom for selecting modes.

I think it's great that the flash can be turned on and off, although be aware that it's always-on by default when you turn on the camera, so if you don't need it remember to turn it off once you're ready to shoot. There are two LED lights above the flash button, one to let you know when the flash is charged (it will light green or blue) and another to tell you it's on.

The shutter button is the striped rectangular button on the front of the camera, and I love that it not only looks cool but has a nice clicky feel to it. The viewfinder is a bit of a mess, though. I often had to triple-check that what I could see through the viewfinder actually lined up with the direction in which the lens was pointing. Inside the viewfinder there are close-up frames to help you compensate for parallax and get a more accurately composed shot, but you still need to keep an eye on this.

Lomo’Instant Wide Glass review

(Image credit: Beth Nicholls)

The only real gripe I had with the design in terms of handling was the lack of grip, and the width of the camera, which made it hard to carry around at times (Lomography doesn't include a camera strap accessory with this camera, and I didn't have a spare). I understand that instant cameras, and especially wide-format ones, tend to be on the large side, and this is something that can't really be helped.

I found it slightly annoying that the print counter on the back of the Lomo’Instant Wide Glass counts up from 1 to 10 once a new film had been loaded, and that when it shows 10 that means you have one print left to shoot. I'm used to instant cameras counting down from 10, so this took some getting used to.

However, I really like that Lomography included another little window on the back of the camera for you to see the yellow stripe on the film cartridge, as a quick way to tell if film is loaded. Not many film cameras I've used have this, and it's a nice touch.

Lomo’Instant Wide Glass: Performance

  • Can capture super-sharp shots
  • Selfies and portrait shots are tricky (use a tape measure)
  • Remote shutter-control lens cap

Testing the Lomo’Instant Wide Glass was my first experience of using a Lomography camera, and it took me some serious trial and error to get used to the zone-focusing modes for close-up shots. There are four zones – 0.3 m, 0.6m, 1-2m, and infinity – and you can switch between these by twisting the lens. The original Wide’s closest focus zone is 0.6m. I've used manual instant cameras before, like the Instax Mini 99, and had no issues. So I'm not sure why this particular Lomo camera was so tricky to shoot with – maybe it's just me.

I ended up wasting a ton of film during the testing process with the Lomo’Instant Wide Glass, but I learnt plenty. Pro tip: take a tape measure with you on shoots if you want to gauge the exact distance from the lens to your subject, and measure from the film eject slot, and not from the front of the lens.

Lomography says it plans to release an official camera strap with distance markers soon, to help with assessing the distance for zone-focusing, and this will be available from the Lomography online shop (it's not available at the time of writing).

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Lomo’Instant Wide Glass review

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Speaking of accessories, the Lomo’Instant Wide Glass comes with possibly the coolest camera accessory I've ever used: a remote shutter-control lens cap. You just need to put in 1 x CR2025 (3V) battery, and you can click one side of the lens cap to act as a remote shutter, while the other side offers an additional button with a timer feature. It works really well, although you do need to be relatively close to the camera for it to pick up the signal, as I found when using it to take a selfie in 0.6m mode.

The Lomo also comes with colored gel filters to place over the flash, as well as a splitzer lens attachment for more control over multiple exposures. I wasn't sent these extra accessories with the prototype camera, only the lens cap, so I didn't get to test them unfortunately. I would have loved to use the splitzer for creating multiple exposures, which came out beautifully in most cases using the Lomo’Instant Wide Glass, and this kind of creativity paired with the unknown element of instant analogue photography gets very addictive.

Lomo’Instant Wide Glass review

(Image credit: Beth Nicholls)

The mode dial on the back of the camera has options for A (automatic), B (bulb), f/22 (for manually setting exposure – the prototype I was sent has an f/6 marking but just ignore this), and 1/30 (shutter speed) which is primarily useful for shooting in the studio or when using a tripod. I stuck with using 'A' a lot of the time, and switched to 1/6 (f/22) whenever I wanted a super-sharp shot.

I thoroughly enjoyed my time testing the Lomo’Instant Wide Glass, although I didn't manage to get a single clear macro image, despite many many attempts. With that said, for every blurry and out-of-focus macro shot I got a perfectly crisp landscape shot, so maybe this balances out.

I also found that the prints produced exhibited a lot of vignetting, even when the exposure compensation was set to zero. A bit of research has told me that this tends to be a common theme with Lomography cameras, and it's considered one of those love-it or hate-it aspects of instant photography. Not every print came out like this, and in a lot of cases it occurred when I didn't use flash, so perhaps this contributed to it.

Lomo’Instant Wide Glass: Sample images

You'll be able to see from the sample images below just how many tries it took for me to get a clear image of my dog surrounded by autumn leaves. What I thought would be within the 0.6m zone was actually sharper using the 1-2m mode – it was all very confusing. This is not an easy-focusing point-and-shoot instant camera like some others I've used, and you'll really need to work at it to get the focus right.

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Should I buy the Lomo’Instant Wide Glass?

Buy it if...

You love wider prints
The Lomo’Instant Wide Glass uses Instax Wide film, which is double the size of credit card-sized Instax Mini prints. If you're serious about showing off your photos there’s nothing like shooting on wider-format film for the maximum amount of detail in your images.

You care about quality
Instant cameras aren't typically known for being sharpshooters, but the Lomo’Instant Wide Glass changes things with a glass lens, and the option for pairing with an external off-camera flash for studio-quality prints.

You're looking for a speedy turnaround time and love the retro vibes
Instant cameras aren't for everyone, but those who appreciate the artistry and nostalgia behind analogue photography will love the gimmick of having an image appear before your eyes, as opposed to shooting with a film camera where developing can take weeks (and is more expensive than ever).

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Lomo’Instant Wide Glass sample images

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Don't buy it if...

You're big into macro photography
I had a difficult time using this camera for close-up shots, and while this doesn't necessarily mean that you will too, instant cameras in general aren't typically used for macro shooting, and can be extremely fiddly to master, with zone-focusing and extra lens attachments to work with.

You hate spending money on film
Instant cameras are an investment. If you want to keep shooting with your camera, then expect to spend a fair amount on film costs (and accidentally waste a few shots), and ensure that you're stocked up. Instax film, and camera film in general, can be very expensive, but it's worth it if you ask me.

You want an easy point-and-shoot
Unlike some instant cameras on the market, the Lomo’Instant Wide Glass is aimed at more advanced users and is much more complicated to use than your standard point-and-shoot cameras. This is great if you're willing to learn and master the controls, but not if you want something quick and easy.

How I tested the Lomo’Instant Wide Glass:

Lomo’Instant Wide Glass review

(Image credit: Beth Nicholls)
  • I used five packs of Instax Wide film (50 shots), including one pack of the black-edition Instax Wide film (10 shots)
  • I shot with the camera in a variety of indoor and outdoor locations, and in cloudy, overcast, and sunny weather conditions
  • I experimented with self-portraits, landscape shots, multiple exposures, and closer subjects (which I didn't have much luck with).

I used the new Lomo’Instant Wide Glass instant camera for a few weeks, and I fell in love with it pretty quickly (it was hard to give it back) after putting in so much time and effort to get to grips with it. This involved learning how to master the focusing zones by shooting the same subject using different focus points, using a tape measure to accurately measure distances, and physically moving both myself and the subject to determine what worked at which distances.

I put the Lomo’Instant Wide Glass through its paces in most areas and settings, excluding studio use (I sadly didn't have access to one). I tested the performance of this camera by venturing around my home city of Bath in the UK to capture landscape images, and shot portraits and still lifes, using my dog and house plants as my primary test subjects. I got an all-around feel for the camera's handling and user-friendliness too, with the biggest pain point being the viewfinder.

First reviewed November 2024

Sony A1 II review – a refined flagship
5:31 pm | November 19, 2024
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , | Comments: Off

Sony A1 II: two-minute review

Combine a dash of the Sony Alpha A1, a splash of the Sony A9 III, a sprinkling of all-new refinements, give it a stir, and voilà… you have the Sony A1 II, Sony's best-ever Alpha camera, and one of the best hybrid professional cameras available.

It's not quite as quick as the A9 III with its global shutter, unlimited flash sync speed and 120fps burst shooting, nor does it quite produce the same highly-detailed pictures as the 61MP A7R V; but the A1 II is the best Sony has to offer for detail and speed in a single camera.

That dash of the A1 is the same full-frame back-illuminated 50MP stacked sensor, powered by Sony's Bionz XR processor for 30fps burst shooting and 8K video up to 30fps with 10-bit 4:2:2 color depth, plus 4K 120fps slow-motion video.

The sprinkling of the A9 III (that upgrades this camera over the A1) is a like-for-like design, meaning a larger handgrip with a nicely-angled shutter button, a larger 3.2-inch multi-angle touchscreen with better color depth, more effective image stabilization now rated up to 8.5EV, Sony's AI processing chip, plus an additional custom button for the likes of an instant boost in speed for burst shooting.

Sony A1 II mirrorless camera's vari-angle screen pulled out to the side, outdoors on a tripod with autumn leaves background

The A1 II's design is inherited from the A9 III, which means a chunkier handgrip and larger multi-angle touchscreen (Image credit: Future / Tim Coleman)

Finally, the sprinkling of the all-new includes a new 'Auto' subject-detection autofocus mode, meaning you don't have to manually select the subject type ahead of time, though you still can if you'd rather. Users can also import custom LUT color profiles, in addition to Sony's popular S-Log3 and S-Cinetone color profiles that are built-in.

The message here is that there's practically nothing new in the A1 II, which is highly unusual for a Sony flagship camera, especially after such a quiet 2024 for the camera giant, with this being the first new full-frame Alpha this year.

The A1 II combines excellent A1 and A9 III attributes in a single camera, but there's little here to get excited about. Sony has slightly reduced the launch price compared to the A1 when it was announced almost fours ago, so that's something at least. However, Sony's hand has been somewhat forced by cheaper rivals coming onto the scene since the A1 – the Nikon Z8 and Canon EOS R5 Mark II, and compared to them it feels over priced. For instance, at the time of writing you can get two Z8's on sale for the same price as one A1 II.

Ultimately, Sony has created a polished upgrade over the first-gen model that's likely to please pros who rely on their gear daily in challenging situations. It may not be an exciting upgrade, but the Sony A1 II is up there with the very best cameras we've tested.

Sony A1 II: price and release date

  • Body-only price is $6,500 / £6,300 / AU$10,989
  • Available since late November
  • New BC-ZD1 charger and VG-C5 grip (sold separately)

The Sony A1 II went on sale from late November 2024 with a list price of $6,500 / £6,300 / AU$10,989. That's a fraction lower than the launch price of the A1 from all the way back in 2021. In one sense that's commendable on Sony's part, but on the other hand the market has changed, and the A1 series has now has accomplished rivals that offer perhaps 90% of the all-round package but cost much less. Sony needed to be aggressive with its pricing, and it has been to an extent, but the Nikon Z9 in particular looks very reasonable by comparison and the Nikon Z8 and Canon EOS R5 Mark II are cheaper still.

  • Price score: 3/5

Sony A1 II: specs

Sony A1 II: design and handling

  • Same design as the A9 III
  • Smart control layout with handy shortcuts to frequently used features
  • New dedicated mic for voice memos

In terms of change from the A1, you get a larger 3.2-inch multi-angle touchscreen, with the dual hinge enabling users to tilt and angle the screen for easy viewing at high or low angles whether they're shooting vertical or horizontal. That dual-hinge design also enables you to pull the screen further away from the body and its chunky viewfinder eye-piece, which can otherwise partially obstruct the screen (the A1 II comes with two eye-pieces, one of which has a larger cup).

While we're on the viewfinder, it is again a 9.44m-dot OLED display which is yet to be bettered, however this time the refresh rate is doubled from 60fps to 120fps for a smoother experience, or an even smoother maxi um 240fps refresh rate, albeit the resolution of the display drops.

The A1 II's handgrip is more rounded and all-round chunkier, and I feel like it slots into the hand better than the grip on the A1, though they are similar in depth. There are little refinements too, such as the shutter button being angled slightly differently and easier to press.

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Top plate of Sony A1 II mirrorless camera with autumn leaves background

(Image credit: Future / Tim Coleman)
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Closeup of the Sony A1 II mirrorless camera's ports, outdoors on a tripod with autumn leaves background

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Sony A1 II mirrorless camera's memory card door open with card inside and autumn leaves background

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Sony A1 II mirrorless camera's vari-angle screen pulled out to the side, outdoors on a tripod with autumn leaves background

(Image credit: Future / Tim Coleman)

As on the A9 III, there's an additional custom button on the front of the A1 II, which is factory-set to act as a speed boost for continuous burst shooting. The idea is that you don't always want to be shooting at the maximum frame rate, which in this case is 30fps, but you might suddenly need that speed, and the button allows you to tick over at a lower frame rate and get an instant injection of extra frames when you need it.

One feature that caught my eye in the original A1, and has again here, is the max flash sync speed of 1/400 sec. That beats the Nikon Z9 for example, making the A1 II a more versatile camera for flash photography, especially if you like using a wide aperture. However, Sony's own A9 III is more versatile still, with what is effectively has an unlimited flash sync speed.

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Sony A1 II mirrorless camera outdoors on a tripod with autumn leaves background

(Image credit: Future / Tim Coleman)
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Sony A1 II mirrorless camera outdoors on a tripod with autumn leaves background

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Sony A1 II mirrorless camera outdoors on a tripod with autumn leaves background

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Sony A1 II mirrorless camera with FE 28-70mm F2 lens, outdoors on a tripod with autumn leaves background

(Image credit: Future / Tim Coleman)

The A1 II is also an extremely rugged weatherproof camera, with nicely designed rigid doors on the connection ports that stay out of the way when the ports are in use, while the dual memory card door features a push lock and is a better design than Nikon's, which can easily be knocked open.

Check out our A9 III review to learn more about the A1 II's design – the two cameras share practically the same design.

  • Design score: 5/5

Sony A1 II : features and performance

  • Improved image stabilization, up to 8.5EV
  • Same 759-point AF array, now with AI processing unit for subject detection
  • 30fps burst shooting for up to 153 raw images, now with pre-capture

Sony has delivered one notable hardware improvement over the A1, adding an AI processing unit that was debuted in the A7R V. This should deliver better subject-detection autofocus for photo and video compared to the A1, though we haven't tested the A1 II against the A1, both of which share the same 759 AF point array, to see just how much of a difference it makes.

Having used Sony's previous professional Alphas, I was most keen to test out the new Auto subject-detection autofocus mode. Frustrated by what feel to me like unnecessarily complex subject detection choices that you need to manually select ahead of time – humans, birds, animals, car, insects, planes, trains and so on, I've called on brands to add an auto mode that simplifies the experience. Cue the A1 II and its new mode.

Compared to the dedicated subject detections modes that are still available, there's very little to choose between the performance of the new Auto mode. The Auto option performed equally well for me when shooting portraits of people, locking reliably onto my subject's eyes, and during a soccer game capturing the fast moving pro players in action. That said, I haven't conjured up a scenario specifically for the sake of testing potential weaknesses the Auto mode might have.

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Sony A1 II mirrorless camera's LCD screen displaying the autofocus modes, outdoors on a tripod with autumn leaves background

(Image credit: Future / Tim Coleman)
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Sony A1 II mirrorless camera's LCD screen displaying the autofocus modes, outdoors on a tripod with autumn leaves background

(Image credit: Future / Tim Coleman)

Sony also says the next-gen autofocus is able to recognize the head and body of humans / animals, and that its performance is 30% more effective than the A1's for detecting human and animal eyes, while the camera's autofocus can operate effectively in low light down to -4EV. Until recently if you'd asked me the best autofocus system available I'd say Sony without hesitation, but Canon's latest efforts in the EOS R1 and EOS R5 Mark II are mightily impressive too, especially the new sports priority modes. I couldn't tell you which is better now without running a direct comparison.

Closeup of the Sony A1 II mirrorless camera's drive mode dial, outdoors on a tripod with autumn leaves background

(Image credit: Future / Tim Coleman)

Another similarity between this camera and its predecessor is that both can shoot at a burst rate of up to 30fps for a similar length of time before slowing down – a little over 150 raw frames or close to 180 JPEGs. For such occasions, that speed-boost button is infinitely helpful for improving efficiency and workflow by enabling you to adapt your shooting rate.

The A1 II also gets a handy pre-capture feature. Pre-capture is nothing new, although Sony was late to the party, only introducing it to an Alpha camera with the A9 III. Put simply, pre-capture can buffer up to one second's worth of photos – in this case 30 photos – before you fully press the shutter button to start capturing a high-speed sequence. That one second of grace when you're slow to react could be the difference between capturing the moment and missing it completely.

  • Features and performance score: 4.5/5

Sony A1 II: image and video quality

  • 50MP stills and 8K/30p video
  • 4:2:2 10-bit color depth and Sony's S-Log3, S-Cinetone, plus LUT imports
  • Pixel Shift and Noise Reduction shooting modes

Sony's 50MP full-frame stacked sensor is a proven performer, delivering sharp stills with up to 15EV of dynamic range. The A7R V's 61MP sensor gets you marginally better detail, but the A1 II is a much faster performer. Furthermore, in-body image stabilization is improved over the A1, and you'll often get slightly sharper end results when shooting handheld, depending on the camera's shutter speed and how steady your hand is.

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Portrait of a man within a veil

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Portrait of a man within a veil

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Portrait of a man within a veil

(Image credit: Future / Tim Coleman)

Versus the 24MP Sony A9 III for sports, I really appreciated the higher resolution 50MP sensor which gives you extra scope for cropping into images, and which enables a 21MP APS-C mode – with which you effectively extend the focal length of your lens by 1.5x. The soccer photos below were taken from considerable distance with a 400mm lens, but I could crop in and frame exactly how a 600mm lens might look.

Once again Sony's Pixel Shift Multi Shooting mode features, combining up to 16 shots for one larger 199MP composite image. It's not as effective as Canon's new in-camera AI upscaling feature in the EOS R1 / EOS R5 Mark II, especially if there's any movement in your shot. However, in situations such as still lifes in the studio it increases detail by up to 400%. Sony has also added a new Noise Reduction shooting mode that, like Pixel Shift, combines multiple images but in this case for a cleaner image, especially in low light.

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Ballet dancer in a white studio

(Image credit: Future / Tim Coleman)
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Dancer mid air in a white studio

(Image credit: Future / Tim Coleman)

Outright image quality is, in effect, the same as from the A1, which is a good thing, with clean images up to ISO 12,800 from the A1 II's ISO 100-32,000 range. The almost four-year-old sensor has stood the test of time. Where we really see improvements in image quality is in the positive effect of improved image stabilization for handheld shots and even more reliable subject-detection autofocus for shooting animals, vehicles, people, and so on.

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Head and shoulder portrait of a man with autumn leaves in the background, taken with the Sony A1 II

The Auto subject-detection mode worked fine in this portrait, with the focus pin-sharp on the eyes (scroll to next image to see a close-up). (Image credit: Future / Tim Coleman)
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Closeup of the eye in portrait of a man with autumn leaves in the background, taken with the Sony A1 II

(Image credit: Future / Tim Coleman)

As for video quality, again it's mostly as you were from 2021's A1: 8K up to 30fps, 4K 60fps in 4:2:2 10-bit from the full-width of the sensor, or 4K up to 120fps with a slight crop. Thankfully, the A1 was ahead of its time and the A1 II still holds up today, plus it throws in some new features such as 1/48sec and 1/96sec frame rates for true 180-degree shutter angle at popular cinematic frame rates. It also brings LUT imports (with support for monitor LUT display), plus AI-based Auto Framing à la ZV-E1.

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Manchester City player Jeremy Doke dribbling the ball, defended by Ola Aina

(Image credit: Future / Tim Coleman)

Having 50MP to play with gives more cropping potential, which can especially be handy for sports photography. There's even a 21MP APS-C / Super 35 mode which effectively extends your lens focal length by 1.5x.

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Manchester City player Jeremy Doke dribbling the ball, defended by Ola Aina

(Image credit: Future / Tim Coleman)
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Manchester City player Jeremy Doke dribbling the ball, defended by Ola Aina

(Image credit: Future / Tim Coleman)
  • Image and video quality score: 4.5/5

Sony A1 II: testing scorecard

Should I buy the Sony A1 II?

Buy it if...

You want Sony's best-ever mirrorless camera, no matter the cost
It's a modest update of the flagship A1, but there's enough in here for certain photographers to merit the upgrade.

You need speed and quality
The A9 III is quicker, the A7R V has a higher resolution 61MP sensor, but the A1 II offers a compelling mix of speed and quality in one camera.

Don't buy it if...

You want the best bang for buck
New Nikon and Canon rivals offer almost everything the A1 II does, but for much less money.

You don't need a do-it-all camera
Portrait and landscape photography specialists can save by opting for the 61MP A7R V, while sports only shooters can look to the A9 II.

Sony A1 II: also consider

Nikon Z8

The Nikon Z9 should be the A1 II's rival, but the smaller and cheaper-still Z8 has a similar form factor to the A1 II and plenty of similar features, at least on paper. The two full-frame mirrorless cameras shoot high-resolution stills at 45MP (Z8) to 50MP (A1 II), 8K video, and both handle really well. Each camera has minor advantages over the other, but the most striking difference of all is price – you can pick up two Nikon Z8s for the price of one Sony A1 II.

Read our in-depth Nikon Z8 review

Canon EOS R5 Mark II

For speed and quality, Canon offers the EOS R5 Mark II, TechRadar's Camera of the year 2024 winner. It was a significant upgrade of the EOS R5, adding serious power under the hood to the 45MP stills and 8K video skills. A newly-designed stacked sensor and second processor improved speed, while new autofocus skills – including sports priority modes – are a match if not better than Sony. Canon's all-in-one full-framer is much cheaper than the A1 II too, although Nikon's Z8 is cheaper still. Overall, the new Canon model could be the most compelling of the three. Pros are spoilt for choice!

Read our in-depth Canon EOS R5 Mark II review

How I tested the Sony A1 II

Sony A1 II mirrorless camera in the hand

(Image credit: Future / Tim Coleman)
  • I tested a full-production model with final firmware, over two single week periods
  • Used with multiple lenses, including the FE 28-70mm F2 GM lens and 400mm F2.8 GM OSS
  • I used it with Sony's Creator Cloud app

I tested a final firmware version of the Sony A1 II ahead of launch, together with the new Sony FE 28-70mm F2 GM lens, for a week. I consequently used it after launch for sports photography. The A1 II's raw files were not readable in editing software at the time of testing.

I've been shooting with a CFexpress Type A card to get the best possible performance from the camera, and recorded burst sequences at TechRadar's standard camera testing settings: 1/250 sec, ISO 200, and continuous AF.

Sony's Creator Cloud app works with the A1 II, and I used the app to remotely shoot images with the camera and upload images too. I shot portraits of humans and animals with the various subject-detection autofocus modes.

I've also tested the A1 II for pro sports, and in a range of weather conditions and various times of day / night.

First reviewed November 2024

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