The Instax mini 99 is the latest addition to the ever-growing and evolving Fujifilm Instax family. It's a delightful addition to the range, too, and likely to seduce photographers beyond the ‘typical’ Instax crowd, along with anyone with a keen interest in instant photography. Its design, vibe and feature set feel inherently more ‘photographic’ and less ‘toy-like’ than some other Instax cameras.
Not only does it look more serious than its brightly colored cousins, but its range of extra controls and funky effects add to the creative possibilities. You have the option to tweak exposure using the Brightness dial, along with a modest selection of shooting modes such as Sports Mode, Bulb Mode (for long exposures) and even Double Exposure, and the Instax mini 99 really comes into its own with a palette of cool color effects, adding funky hues to your prints by exposing the Fujifilm Instax mini Film to LED lights in the camera.
(Image credit: Future | Ben Brain)
However, while initially seduced, I can't see a compelling reason why I wouldn't plump for a digital hybrid instant camera, such as the slightly more expensive Fujifilm Instax mini Evo, or even the comparatively priced Fujifilm Instax LiPlay. While the Instax 99 might tick the analog box for ‘purists, it’s the tangible-ness of the print that entices me to the Instax cameras, and not necessarily how I got there. The digital hybrids allow for a little less guesswork and, as such, are a more economical option in the long run.
Fujifilm Instax mini 99: design
Classic retro look
Lens with a macro mode but no selfie mirror
Rechargeable lithium-ion battery
The overall design, aesthetics and ergonomics of the Instax mini 99 are lovely. It feels slick and stylish, and it will appeal to ‘photography’ folk more than some of the youth-oriented lollipop color palettes of other instant cameras in the Instax family. It's solid but not too heavy, and it feels well made and balanced in the hand.
Fujifilm Instax Mini 99 price and release date
The Fujifilm Instax mini 99 is available now and costs $199.95 / £174.99 / AU$279.
You switch on the Instax mini 99 by twisting the lens, and the camera’s three shooting modes – Landscape, Standard, and Macro Focus – are also accessible by twisting the lens. Landscape Mode focuses on subjects positioned at a distance of 3.0m to infinity; Macro Mode is perfect for close-ups and selfies taken at between 0.3m to 0.6m, and Standard Mode covers everything in between. Once the camera was on, I repeatedly forgot to change the lens settings; fortunately, defaulting to Standard seemed to cover most subjects well enough.
The Fujifilm Instax mini 99 is powered by a 680mAh lithium-ion battery, unlike some other Instax models, which use AA batteries. Annoyingly, though, the battery can't be charged through the camera, and you’ll need to remember to take the small charger and USB-C cable with you. This isn't necessarily a hassle, but it is yet another charging accessory to potentially forget, and you’ll be in a real pickle without it.
(Image credit: Future | Ben Brain)
While I’m no stranger to being aware of and dealing with parallax, it seemed harder to calibrate my eye/brain with the Instax mini 99. I guess with more time this would become less of an issue, but the difference of view between the lens and viewfinder seemed especially displaced. The viewfinder, too, felt strangely awkward to look through at first.
The Instax mini 99 is not aimed as directly at the ‘selfie’ audience as other members of Fujfilm Instax family, such as the brightly colored Instax Mini 12; that said, it wouldn’t have been a stretch for Fujifilm to have included a front-facing mirror to help users compose and pose for some more accurate naval-gazing.
Fujifilm Instax mini 99: Performance
Manual control over brightness
Fun shooting modes including multiple exposure and color effects
Handy Instax UP! app to digitize your prints
Unlike other cameras in the Instax range, the Fujfilm Instax mini 99 gives you considerably more control over image brightness, which is great. The Brightness Control dial, which looks and feels like a typical exposure compensation dial (it’s even in the ‘right’ place on the top plate), offers five levels of dark and lightness: the Light (L+) setting selects the brightest exposure; the L, D, and N settings offer a normal range of brightness; and the Dark (D-) setting represents the darkest available brightness level. However, you’ve got to wait 90-odd seconds to see and to assess exposure, which can be frustrating. However, this is really just part of the slow, mindful, creative experience, which is fundamentally a good, albeit a relatively expensive, thing. Generally, in ‘normal’ conditions, I found ‘underexposing’ by one value to work best.
Fujifilm Instax mini 99: specs
Film type: Fujifilm Instax mini film Print size: 62 x 46mm Lens: Retractable lens, 2 components, 2 elements, f = 60mm, 1:12.7 Shooting range: Manual 3-point switching type (0.3m to 0.6m/0.6m to 3.0m/3.0m to ∞) Shooting range: 0.3m to ∞ Battery: NP-70S, charged through USB-C Dimensions: 103.5 x 117.5 x 60.0mm Weight: 340g
The Instax mini 99 comes into its own with some fun and funky shooting modes, with a wide variety of options to enhance the shooting experience. Indoor Mode is designed for low-light situations, Sports Mode increases the shutter speed for action shots, Double Exposure Mode lets the user combine two images into one, and Bulb Mode increases the amount of light let in when shooting a night view, for example. I gravitated to Multiple Exposure as the most potential fun, but I ran out of Instax mini color film before I’d nailed the technique.
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When you want to really flex your creative muscles, the Instax mini 99 features a cool creative palette of fun and funky color effects, which are accessed via the Effects dial on the top plate. You can select from one of six snazzy looks: Faded Green, Warm Tone, Light Blue, Soft Magenta, Sepia, and Light Leak. Light Leak was my favorite.
Unlike the Instax mini 99’s hybrid digital cousins, the effects are cleverly driven by LED lights inside the camera; the Colour Effect feature exposes the chosen color onto the Instax mini instant film, creating the desired effect on the print. It's pretty clever, and very cool. The effects are marginally cooler than similar ‘emulated’ effects on some of the Instax digital hybrid cameras; it's only a small margin, but you will bag more analogue kudos points.
The Vignette switch is an interesting new function. Located on the lens housing, it can darken the corners and edges of the frame for artistic purposes. It’s a nice touch.
(Image credit: Future | Ben Brain)
Making instant prints will always be more expensive, period. That said, Instax mini prints do offer the best value for money. A twin-pack of Instax mini color film, each containing 10 exposures, costs $20.99 / £14.99 / AU$28, and in this digital day and age it’s making an actual physical print that makes Instax such a delight. However, if you want to digitize your instant photo print, you can scan and share on social media platforms using (another) new app released by Fujifilm called INSTAX UP! The smartphone app most usefully allows you to scan your work, crop to the corners, and even remove reflections. It also has a bunch of album features, enabling users to organize, store, and share their digital Instax photos. I found the scanning feature the most useful.
Should I buy the Fujifilm Instax mini 99?
(Image credit: Future)
Buy it if...
Don't buy it if...
(Image credit: Future)
How I tested the Fujifilm Instax mini 99
I used two packs of Instax Mini film
I tried all the creative color effects
I experimented with the Shooting Modes
Using the Fujifilm Instax camera for a week with two packs (20 shots) of Instax mini film, I carried the camera with me on several walks in and around my local area - South-West UK. Unlike its digital hybrid cousins, such as the Instax Evo, I had to be more considerate, mindful, and measured in my shooting, as every click of the shutter cost money. This slightly discouraged the spirit of experimentation, and every action was tinged with economic anxiety. Just like life! That said, working on location and waiting 90 seconds to see results was also a refreshing and exhilarating way to work in the field. It encouraged a slow and considerate approach to photography, which I think is good.
Cameras are getting smaller, but lenses – especially zoom lenses – appear to be getting bigger. It’s normal now to be shooting with a mirrorless camera with a compact body but a big, hefty standard zoom that makes it feel front-heavy and unbalanced.
Sony, however, has started turning its attention to more compact lens designs, refusing to compromise on performance but instead sacrificing a little focal length or zoom range in exchange for smaller, lighter and perhaps cheaper optics.
The Sony FE 16-25mm F2.8 G is an excellent example. It has the same constant f/2.8 maximum aperture as Sony’s flagship FE 16-35mm f/2.8 G Master II lens, but in a smaller, lighter design that’s also little more than half the price. It doesn’t have that premium G Master label, but Sony’s regular ‘G’ lenses are now so advanced, both optically, physically and in AF technology, that it’s getting increasingly hard to see a difference.
The one compromise in the FE 16-25mm F2.8 G is its focal range. Most lenses in this category are 16-35mm zooms, but this lens stops at a maximum focal length of 25mm. It covers the same ultra-wide angles of view, but is less versatile if you need a more general semi-wide angle of view.
Does this matter? On paper it gives the FE 16-25mm F2.8 G an almost laughably limited 1.6x zoom range, but in practice that may be all you need in an ultra-wide zoom. Whether it's landscapes, architecture or interiors, you're very often going to be shooting in this narrow focal range. If you’re also carrying a regular 24-70mm, 24-105mm or Sony’s new FE 24-50mm f/2.8 G lens, it just means you’ll swap to your standard zoom sooner. You’ll get the same overall focal range from a wide/standard lens combination, just with less overlap in focal lengths.
So is the size saving worth losing that extra focal range. Sort of. The FE 16-25mm F2.8 G is certainly smaller and lighter than a regular 16-35mm f/2.8 lens, but it’s still not exactly small. I tested it on a Sony A7C II, and it still felt pretty big on that. It would balance nicely on a regular A7 body, though.
At the time of writing, the Sony FE 16-25mm F2.8 G is on pre-order, but with supplies expected around May 10th – so by the time you’re reading this, it’s probably available amongst the major resellers. The US price is around $1,198, in the UK it’s £1,249, while in Australia it's AU$2,189. You wouldn’t call it a cheap lens, but it’s way cheaper than Sony’s other constant f/2.8 ultra-wide G Master zooms.
It looks very good value for an own-brand lens with a sophisticated optical construction, fast and silent dual linear AF motors and excellent external controls. It’s also weather-sealed with a fluorine-coated front element to repel oil, grease and water.
Sony FE 16-25mm F2.8 G: design
Sony certainly hasn’t stinted on build quality and controls. This lens uses ‘engineering plastics’ to keep the weight down, but there’s no harm in that and the finish is excellent. The aperture control ring is first rate too, with firm and positive clicks between each 1/3 aperture setting and an extra firm detent at f/22 to switch it to auto aperture control.
If you’re shooting video and changing aperture/iris settings while filming, you can use a Click On/Off switch on the underside to enable stepless silent aperture adjustment.
Focusing is so fast as to be practically instantaneous, and silent too. This is where you’re likely to notice most difference between Sony’s newer own-brand lenses and cheaper third-party alternatives. There’s a slightly stiff AF/MF switch on the barrel, and in manual focus mode the focus ring at the front of the lens feels a fraction light but offers progressive and accurate focus control.
This lens is compatible with Sony’s focus breathing compensation mode, depending on the camera you’re using. The focus breathing doesn’t seem particularly strong, though objects do appear to grow somewhat smaller as they go out of focus.
There’s one other external feature worth highlighting – the FE 16-25mm F2.8 G has a very compact front element that doesn’t protrude, so it’s perfectly possible to attach regular filters and it has a pretty common 67mm filter thread, so you may not have to buy any outsize filters just for this lens.
Focusing is full internal, and while there is a change in the length as you zoom from one end of the range to the other, it’s only a few millimeters, so if you’re balancing a gimbal you probably only need to do it once and not keep changing it for different zoom settings.
The limitations of this lens's focal range are obvious, but its build quality, handling, features and performance are a pleasant surprise, and it certainly feels as if you're getting your money's worth.
The advantage of an ultra-wide zoom like this is that you can get in front of obstacles and spectators that would otherwise be in the way, and still get the whole of your subject in the frame. (Image credit: Rod Lawton)
The weather was not kind during testing, so I mixed indoor and outdoor shots. The indoor shots were good for checking angles, of view, distortion and close focusing capability, while the outdoor shots were at a motorcycle meet that tested the practicality of this 16-25mm zoom range for this kind of walkaround shooting. I also did a brick wall test at both ends of the zoom range to check for optical quality across the aperture range.
I also paid attention to the autofocus performance, both for speed and silence, to see how effective Sony’s dual linear motor setup actually is, and I paid particular attention to the feel and operation of the external controls, as these are a significant selling point for this lens.
I also wanted to find out how the Sony FE 16-25mm F2.8 G handled on the smaller A7C series body (OK, as it happens), whether it was especially nose-heavy on a tripod and how easy it was to balance on a gimbal. My Ronin SC had a long enough camera plate and fore-aft adjustment to cope easily, and the very small lens extension when zooming meant no rebalancing was necessary.
As photographers and videographers, sometimes we just want to pack one lens that can do it all, but this comes with a few drawbacks. Typically, the broader the focal range and faster the maximum aperture, the bigger, heavier and ultimately more expensive the lens. The good news for Nikon shooters is that the Nikkor Z 28-400mm f/4-8 VR lens – which the manufacturer refers to as its ‘superzoom’ – is the lightest full-frame lens in its maker’s line-up while offering a maximum focal length of 400mm. As well as being useful for bringing the faraway closer, the telephoto end is also well suited to portraiture, for when we want to attractively throw the background out of focus and achieve attractive bokeh, while keeping our subject pin-sharp.
With a minimum focus distance of 0.2m at its widest setting allowing for reasonable close-ups of flora and fauna, and a still-useful 1.2m at the telephoto end, those shooting handheld in more demanding lighting conditions are aided by Nikon’s built-in Vibration Reduction image stabilization, here providing equivalent to up to five stops. This is boosted to 5.5 stops when the lens is used with a Nikon camera, such as the Z f, that has a Synchro VR feature. This allows for image-stabilized camera bodies and image-stabilized lenses to work in tandem – an automatic process if the user has already activated it, the result being less pronounced blur caused by camera shake. For the record, other Nikon camera bodies with this feature aside from the Z f include its flagship Z 8 and Z 9 mirrorless models.
Nikon Z 28-400mm f/4-8 VR specs
Type: Zoom
Sensor: Full-frame
Focal length: 28-400mm
Max aperture: f/4-8
Minimum focus: 7.88in / 0.2 m at 28 mm and 47.2in / 1.2 m at 400 mm
Filter size: 77mm
Dimensions: 3.4 x 5.6in / 84.5 x 141.5 mm
Weight: 25.5oz / 725g
At its widest 28mm setting this lens also proves perfectly suited for landscape and travel photography – it’s wide, without being so wide as to cause fisheye or barrel-like distortion – while nudge a bit further up the zoom range and it’s great for street photography and people watching. In short, yes, this is a single lens that can do it all.
It’s a contender for one of the best Nikon Z lenses, and of course you’ll need one of the best mirrorless cameras from Nikon to pair it with. I used the impressive retro-styled Nikon Z f for the duration of my test, which felt like something of a perfect marriage, in that the camera body and lens are almost identical in weight, so the combination doesn’t feel too ‘front-heavy’ in the hand.
(Image credit: Future | Gavin Stoker)
Nikon Z 28-400mm f/4-8 VR: price and availability
Costs $1,299.95 / £1,399 / AU$2,199
Available to buy now
Lens hood is supplied
The Nikkor Z 28-400mm f/4-8 VR was announced on March 26 2024, and costs $1,299.95 / £1,399 / AU$2,199
While it’s not a cheap lens, having spent some time shooting with it the price feels fair (and it’s much better value for Nikon users in the US than in the UK). That’s not just because of build quality and performance, but because it’s basically capable of replacing a whole bag full of prime lenses that would otherwise be necessary to cover anything approaching the broad focal range on offer here.
On top of that, most of us don’t want to kart a lens the size and weight of a dedicated 400mm around with us for day-to-day shooting, on the off-chance that we might actually need it – even if Nikon claims its Nikkor Z 400mm f/4.5 VR S is the lightest lens in its class at 2.75lb / 1,245g. Similarly, at the other end of the scale, a 28mm focal length might not be quite what we always have in mind for the treatment of a particular subject.
A possible alternative to the Nikkor Z 28-400mm f/4-8 VR is the Nikkor Z 24-200mm f/4-6.3 VR if you’re after a catch-all zoom for this specific mount. It starts out wider and only has half the reach of the 28-400mm, but it’s also less expensive at around $899.95 / £899 / AU$1,599.
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Nikon Z 28-400mm f/4-8 VR: design
14.2x optical zoom
Extending barrel
Rubber-sealed and weather resistant
We get the equivalent of a generous 14.2x optical zoom, with common focal distances/framing options marked in millimeters at regular intervals on the barrel itself. Just behind these sits a control ring with a rougher feel and which is assigned to manual focus by default, although it can be assigned to adjust aperture, exposure compensation, or ISO. When set to manual focus, twisting the ring will momentarily override autofocus.
The focus markings on the lens barrel start out at the maximum 28mm, progressing through 35mm, 50mm, 70mm, 105mm, 200mm and 300mm before arriving at 400mm. At this point the almost comically fully extended lens barrel resembles a child’s kaleidoscope, and not just the look but also the feel of this lens reminded me of a ‘super-zoom’ bridge camera like the Nikon Coolpix P1000. The lens’s ridged rubberized surface enables a nice firm grip when holding or rotating the barrel to cycle through its broad focal range.
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The design of the Nikkor Z 28-400mm f/4-8 VR is further practical in offering a degree of weather resistance, with Nikon helpfully providing sealing around the mount and its moving parts. I was testing the camera in the UK in April, a month that’s prone to sudden rain showers, and while I made sure that neither the lens nor the camera got too wet, a light drizzle didn’t stop me from continuing to shoot.
A lens hood is included to prevent instances of possible flare in brighter conditions, and this can be ‘worn’ in reverse/inverted on the lens for easier transportation without affecting lens use. There’s also a lens lock to prevent the barrel from being accidentally nudged and extending as you’re walking around with it, although I didn’t often feel the need to engage this.
Nikon Z 28-400mm f/4-8 VR: Performance
Only 1.6lbs / 725g
Balances well with Nikon's smaller Z-mount cameras
Speedy autofocus
This lens is as much about portability and practicality as it is about performance, and Nikon has attempted to balance these attributes without too much obvious compromise. A good start is that the lens weighs a manageable 1.6lb / 725g, which makes it fairly evenly balanced when twinned with a body such as the 1.57lb / 710g Nikon Z f I tested it on. The pairing makes for a very solid and sturdy combination that gave me confidence from the off. I carried the camera with lens affixed around for the day without experiencing neck or shoulder ache, although it’s probably at the limit of what I’d feel comfortable traveling with or taking on holiday.
The beauty of this lens’s multi-purpose nature is that if you suddenly come across practically any image opportunity when out and about, you have the tool in your hands to be able to capture that image. Autofocus is both rapid and accurate, and unless there’s busy foreground detail getting in the way you have a high likelihood of achieving the shot you want, which is worth its weight in gold, creatively.
(Image credit: Future | Gavin Stoker)
While to my eye results at maximum telephoto weren’t always quite as razor-sharp as from a dedicated 400mm prime lens married to a full frame sensor – and I occasionally got some slight image blur at maximum telephoto when shooting handheld – that’s to be expected. On the whole, I was more than satisfied, and I reckon that all but the most demanding of enthusiasts and amateurs will find detail both plentiful and sufficient for their needs.
Generally speaking, images are consistently sharp across the frame, whether shooting at maximum wide-angle, extreme telephoto, or pretty much any point in between. Where I occasionally got a softer frame, this was often down to the fact that I was shooting handheld, and simply reframing an image and trying again with my palm wide open and supporting the lens barrel yielded a sharper result. Throughout my test period I kept Vibration Reduction active.
While a lot of zoom lenses have photographers wishing for just that bit more poke at the telephoto end to get them that bit closer, I found the Nikkor’s 400mm maximum setting useful and versatile. For those who prefer shooting with autofocus, I’m pleased to report that the lens’s stepping motor is as quiet as Nikon claims – imperceptibly quiet in fact. I was able to take several shots of a nearby robin perching on a tree branch at eye-level without startling it.
Nikon Z 28-400mm f/4-8 VR: sample images
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Should I buy the Nikon Z 28-400mm f/4-8 VR?
Buy it if...
Don't buy it if...
How I tested the Nikon Z 28-400mm f/4-8 VR
A mixture of landscape, wildlife and portrait photography
Used in changeable weather
Nikon pitching the Nikkor Z 28-400mm f/4-8 VR as a jack-of-all trades option, I tested it in a variety of shooting scenarios, and the lens generally proved to be a capable performer. Landscapes, wildlife, portraits – we shot them all, with consistently pleasing results. I was ‘blessed’ with changeable weather conditions during my testing period, allowing me to put it through its paces in less than ideal light, and it coped ably with a variety of conditions.
With simple-to-use controls and easy-to-load film, the Lomography Lomomatic 110 camera is a fun introduction to the world of shooting film. The retro bright-orange design, or the more stylish silver option, will appeal to those who shoot on film as much for the retro-trend factor as for the aesthetics of the images.
The camera comes with limitations, though, and these come down not to the camera itself, but from the use of 110 film. The small format is half the size of a 35mm film frame, which means even a 6 x 4-inch print severely magnifies the limitations of the format.
So while the camera itself is hard to fault, the film format to which it's intrinsically linked means it's hard to recommend unless the extremely low-fidelity aesthetic is what you're looking for.
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Lomography Lomomatic 110 Camera: design
Taking the Lomomatic 110 out of my pocket and raising it to my eye caught people's attention wherever I was. The vivid orange and taupe color combination was as equally eye-catching to my children as it was to complete strangers, with a few staring and wondering what the strange-looking contraption was.
Lomography Lomomatic 110 price and release date
The Lomography Lomomatic 110 has a list price of $99 / £89 without the flash unit, and is available now on the Lomography website. The version with the flash module is available to pre-order and costs $119 / £109. The metal-bodied version is only available with the flash module, and is also available to pre-order, priced at $150 / £149.
For Australia and other regions, prices are as quoted in US dollars. Delivery charges will vary depending on location.
That said, to anyone who remembers 1980s 110 cameras, the design, if not the color scheme, will be familiar. Back then the design was heralded as a pocketable everyday camera for the masses that was simple to use, and the Lomomatic 110 still easily fits in the pocket of a pair of jeans, even if that's not such an impressive feat these days, when the move to digital has made many cameras, as well as other tech smaller. Measuring approximately 1.6 x 1.4 x 5.5 inches / 40 x 35 x 140mm, the camera is about the same size as a Kit Kat Chunky (sorry non-UK readers, but think big chocolate bar). It can be made shorter by unscrewing the flash unit, which takes it down to about 4.3 inches / 110mm.
Loading the 110 film cartridge is simple: the back of the camera swings open, you slot the film in place, and you can then start taking photos. There's no manual or automatic film wind-on – instead, you extend the camera and close it again, which advances the film to the next frame.
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Extending the camera effectively turns it on (it's powered by a CR123A battery), uncovers the 23mm lens (more on this later) and reveals the simple controls. On top of the camera there's a shutter button, a button to activate Bulb mode, and another to cycle through the film ISO options: 100, 200 and 400, which are about the only speeds you'll find available at the time of this review.
Focusing is done via manual scale control, and there are four options: 0.8m, 1.5m, 3m and infinity. Underneath these is the option to switch between Night and Day mode, which switches the aperture of the lens between f/2.8 and f/5.6. The shutter speed is then calculated automatically by the camera's built-in light meter, which has an exposure time range of 30 sec to 1/250 sec.
The flash module is similarly simple to use, with a thumbwheel allowing it to be easily screwed and attached to the main camera. There are three power options: daytime, night and off. The daytime option adds a touch of fill-in flash for portraits on sunny days, while for night shots the flash will be the main light source. If you want to get retro with your camera there's a selection of tiny color filters that you can slide into a slot in front of the flash to tint your images.
Once you've put your film in and are set up, the only real consideration before you take each image is to remember to set the focus distance. This was a lot easier to remember than I thought it would be; with each roll of film only having 24 images on it, you naturally slow down and think before you take a shot.
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Lomography Lomomatic 110 Camera: performance
As this is a film camera, there's not much to say about image quality, as this is to a large degree dependent on the film you're using, as well as the limitations of the lens. However, we can talk about the 110 film format. It is a very simple-to-use format, with the cartridge slotting in very easily, and winding on achieved by taking a shot, then compacting and then expanding the camera. There are still a handful of companies producing 110 films, including Lomography. Expect to pay a heavy premium for those 24 exposures, though, with a 110 cartridge cost between £8-12/US$8-12. Then there is the size of image 13 mm × 17 mm (0.51 in × 0.67 in), which is roughly half the size of a 35mm film frame.
As the film frame is half the size of a 35mm, or full-frame, camera, the 20mm focal length lens has the same field of view as a 40mm lens if you were using a full-frame camera. This is quite a standard focal length for a 110 film camera, as it offers a fairly natural field of view in comparison to human vision, but you can struggle a little if you want to take in broader vistas.
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Developing the film was straightforward. There are still numerous postal processing services in the UK, and I was even able to drop my film into my local photo lab for next-day development and printing – it's been a while since I experienced the excitement of picking up a roll of film and seeing my images for the first time.
Sadly, while the camera is very good, the 110 film format isn’t, and it never has been. The size of the negative is too small to produce a good print. Producing a standard 6 x 4-inch print from 35mm film is not problem, but for 110 it's pushing the small film to its limit. I could see that the Lomomatic lens is sharp enough in the centre, but the film can’t keep up.
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The other downside is that the magnification factor also magnifies any dust that's on the negative, so tiny specs are rendered as huge marks on your images. Some labs may be able to account for this, and many will offer an additional dust and scratch removal service, but if you want to scan your prints for use on social media, expect to spend a lot of time retouching them.
Of course, if you want a very retro-looking image then 110 film delivers, but it delivers too well. Yes you have the character of shooting on film that's so popular in 2024, but you also need to be prepared for how huge the drop-off in quality is, and all the time spent dealing with dust and scratches.
Should I buy the Lomography Lomomatic 110 Camera?
(Image credit: Future)
Buy it if...
Don't buy it if...
(Image credit: Lomography)
How I tested the Lomography Lomomatic 110
I travelled with the camera through an airport x-ray machine
I had a roll of film developed and prints made
I tried shooting at different focus distances
I tested the Lomography Lomotatic 110 film camera by shooting in a variety of different situations. I used it on a long weekend away in the sunshine, snapping a variety of typical tourist-type images. This involved taking a roll of undeveloped film twice through an airport X-ray hand-luggage scanner and the film, encased in a plastic cassette, survived with no evidence of scan lines once developed.
I also used it at home, taking a few photos around my local area in rather more overcast conditions. This helped me to test how the automatic shutter speed coped with the different lighting situations. I tested the flash by using it as a fill-in light when taking some photos of my son playing around the house and garden.
With there being few manual controls, even given the limitations of shooting just 24 exposures on a roll of film, I was able to test the camera from the point of view of someone using it for casual family and travel images.
My film was developed at a local mini-lab. While the lab you choose to develop your film will play a part in the quality of the prints, the overall sharpness and detail that 110 film produces will not differ from lab to lab.
Nikon's Nikkor Z 40mm f/2 is one of two lightweight, inexpensive prime lenses for the Z-mount - the other being the wider 28mm f/2.8.
At 40mm, it’s currently the closest match to the ‘nifty fifty’ lenses of old, aiming to provide a lightweight lens with a compact footprint, flexible focal length, and a relatively fast aperture. Above all, it’s cheap - really cheap for a proprietary lens sitting at just £259 / $289 /AU$310 new. Compared to the Nikon S 50mm f/1.8 or the S 35mm f/1.8, the 40mm comes in at under half the price while still offering some form of weather sealing and excellent performance.
Optically, this lens has a few idiosyncrasies - namely corner sharpness and coma - but the 40mm is innately usable in a wide range of situations. It’s wide enough for some landscapes and close enough for most portraits. Personally, I find the 40mm focal length more usable than 50mm for a walkabout lens - and f/2 is plenty outside of extreme situations.
Nikon Z 40mm f/2 specs
Type: Prime
Sensor: Full-frame
Focal length: 40mm (60mm APS-C)
Max aperture: f/2
Minimum focus: 11.8in / 30cm
Filter size: 52mm
Dimensions: 2.8 x 1.8in / 70 x 45.5mm
Weight: 6oz / 170g
I tested on a full-frame Nikon Z6 but the lens is also compatible with the 'DX' APS-C Nikon Z-mount cameras. In this case, the focal length becomes 60mm. It’s getting into portrait lens territory for APS-C here although it would also be a good choice for a shy street photographer who wants some distance from their subject.
Nikon Z 40mm f/2: design
The Nikon Z 40mm f/2 features an entirely plastic build that feels well engineered and deceptively robust in the hand. Overall, it’s a solid and well put together lens but the plastic thread and mount do cheapen the overall feel somewhat. You’re never tricked into thinking this is a premium lens, even though its output is excellent.
The Nikon Z 40mm f/2 is, however, extremely light - weighing just 6oz / 170g. Pairing this lens up with my Nikon Z6 results in a package that weighs just over 21oz / 600g, which rivals crop sensor setups for sheer portability. While I’d never call this pairing ‘pocketable’, it’s a featherweight combination for a full-frame system and perfect for every day shooting.
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And, I have to say - the 40mm pairs nicely with the Z6’s relatively minimalist, being workmanlike in its design since there are no external AF switches, custom control rings, or any other kind of outward flare to speak of. I'd say it looks decent enough on one of Nikon’s more modern bodies. Is it boring? Maybe, but it doesn't look out of place.
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It’s worth noting here that the Nikon Z 40mm f/2 comes in two variations - the standard version that I tested and a more retro-themed ‘SE’ variant. If you're looking for a prime to pair up with the much more old-school-looking Nikon Zf or Nikon Zfc then you'll want to make sure you're checking out the SE for maximum retro effect.
Neither variant ships with a first-party lens hood but both are dust and drip-resistant, which is a major selling point for a lens this inexpensive. In recent years, third-party manufacturers (most notably Viltrox) have started to offer compelling budget alternatives to entry-level first-party lenses but weather sealing is one area where most are severely lacking. And, I can personally attest that the splash resistance of this lens is fantastic - having been soaked from head to toe on Dartmoor during field testing.
Nikon Z 40mm f/2: performance
Thanks to built-in lens corrections on Z-mount bodies, you'll get extremely good results out of camera with the 40mm. For the price, the lens is impressively sharp even at f/2 and exhibits minimal chromatic aberration or vignetting. Flare is also controlled - despite this lens likely not featuring Nikon’s higher-end coatings.
I’ve shot thousands of images with the 40mm and I’ve come to appreciate how it renders a scene. I've read some describe this lens as 'classic' in character and while its sharpness is certainly more akin to a modern lens, colors certainly do pop under the right circumstances. Bokeh-wise, the 40mm is also relatively circular/puffy in the center but becomes less bloomier and more defined around the edges.
As with most lenses, the sharpness sweet spot for the 40mm is around f/5 to f/8 but even at these optimal apertures the 40mm is notably sharpest in the centre. Depending on what you're shooting the 40mm will exhibit some softness at the extreme corners - as with this sample image of a dock leaf taken at f/5.6.
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Full image taken at f/5.6 (Image credit: Future / Alex Whitelock)
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Despite having a minimum focus distance of 11.8in / 30cm the lens is also quite soft when close focusing. You can narrow down the aperture for more sharpness but you’ll miss out on that creamy DoF (depth of field) up close, which means the 40mm can suffer for specialized applications like floral photography. Just below you can see a specific example of a flower taken at around a foot distance, where the focus point was set directly on the central bud.
The Nikon 40mm f/2 exhibits some softness up close, even central in the frame. (Image credit: Future / Alex Whitelock)
The 40mm also exhibits some coma, which can result in noticeably smeared lights during night photography towards the extreme edges of the frame. In real-life testing, I found this to be an incredibly minor issue that only cropped up on a few niche cases such as the attached scene just below. Astrophotographers will likely skip this lens over in favor of the wider (and similarly priced) 28mm but note that this lens does feature some astigmatism if you're deadset on edge-to-edge clarity.
The Nikon 40mm f/2 renders some coma on the extreme edges of the frame. (Image credit: Future / Alex Whitelock)
That’s where my criticisms end, however. In practical use the 40mm performs admirably. Autofocus is extremely quick and minimal focus breathing means this is a versatile lens that can also handle video. Note, however, that my lens has a slight whirring sound when focusing - an absolute non-issue for me as a photographer but videographers may notice. I wouldn't rule out copy variation here since it's not a widely reported issue, though.
Nikon Z 40mm f/2: sample images
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Should I buy the Nikon Z 40mm f/2?
Buy it if...
Don't buy it if...
How I tested the Nikon Z 40mm f/2
Regular use for over a year and counting
Used in fair and inclement weather
Day and nighttime use
I've had the Nikon Z 40mm f/2 in my kit for over a year now; in which time I've used it extensively for general purpose photography both home and abroad. Subsequently, I've been able to thoroughly test the lens in a variety of situations to determine its strengths and weaknesses.
Since Nikon openly advertises this lens as weather-sealed, I've made sure to test this lens in adverse conditions, particularly in rainy environments. I've also extensively tested this lens at night, making use of its wide aperture of f/2.
The best handheld 360-degree camera just got better with the latest iteration, the Insta360 X4. It builds on the X3, most notably bumping up the video resolution from 5.7K to 8K – and when we're talking about such a wide field of view from twin ultra-wide lenses, resolution matters.
Insta360 X4 specs:
Sensor: Dual 72MP 1/2-inch sensors
Video: 8K 360-degree, 5.7K up to 60fps, 4K up to 100fps, single lens up to 4K 60fps
LCD: 2.29-inch touchscreen
Video modes: Active HDR, Timelapse, Timeshift, Bullet time
Connectivity: Wi-Fi, Bluetooth 5.0, USB-C
Memory card: MicroSD UHS-I
Size: 46 x 123.6 x 37.6mm
Weight: 203g
Battery: 2,290mAh
8K video up to 30fps trickles down improved capabilities at lower resolutions, too, with 5.7K video up to 60fps and 4K video up to 100fps. The single-lens mode also gets a bump in frame rate, with 4K up to 60fps.
Video can be shot in a standard mode with choice of standard, vivid and flat color profiles, plus there's a HDR video option for increasing perceivable detail in bright highlights and dark shadows – something the X4's small 1/2-inch and high-resolution sensor otherwise struggles with.
With its improved capabilities, the X4 feels like a more versatile pocket camera. Like the X3 it offers neat video modes you don't get on the best camera phones, like a 360-degree field of view that enables a shoot-first reframe later way of shooting, and creative effects such as ‘bullet time’ and hyperlapse, but it now also feels like a highly capable action camera, vlogging tool, and – particularly for motorcyclists – dash cam.
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Video modes are supported by superb image stabilization that smooths out the shakes in your action footage, plus 360-degree horizon lock, which levels your edited footage when the camera rolls with the action.
Insta360's clever ‘invisible’ selfie stick allows you to film everything around you from a third-person view, whether it's mounted to bike handlebars or in the hand, while the extra-long selfie stick can give you a drone-like perspective. This is also a fully waterproof camera up to 33ft / 10m, so most experiences are covered.
We still get the lovely 2.29-inch touchscreen and simple interface, while a beefier battery has been squeezed into a body that’s roughly the same size as before, albeit around 10% heavier, and gives a huge bump in battery life.
The most capable rivals, such as the GoPro Max, Kandao Qoocam 8K, and Ricoh Theta X, are either dated or pricier – or both – and until they’re replaced, the X4 is 2024's unrivaled 360-degree camera, and could be the one extra pocket camera in addition to your smartphone that you choose for getaways, gatherings, and events. It handles superbly, and captures the kind of video footage you simply can't yet shoot with a phone.
Insta360 X4: price and availability
Launched worldwide in April 2024
Costs $499/ £499 / AU$879
The Insta360 X4 is available worldwide now following its April 16 announcement, and costs $499.99 / £499.99 / AU$879.99 – that's roughly a 10% markup from 2022's X3. Given inflation and the new camera’s improved capabilities, that price increase seems fair, although the X3 has fallen in price since its release, and will likely drop in price further following the X4’s launch, and is a compelling cost-effective alternative.
There are a host of optional accessories in the Insta360 ecosystem, including various selfie sticks (one of which is designed to enable you to capture ‘bullet time’ effects), mounts, and an underwater housing. In the box you get the X4's new detachable lens protectors (replacement protectors are available separately), while you'll need a microSD memory card to store photos and videos. At the time of writing it's unclear if the X4 will be available in different kits – visit theInsta360 store to see all the accessories on offer.
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Insta360 X4: design
Slightly bigger and heavier than the X3
Similar X3 design includes large touchscreen and 1/4-inch threaded port for a selfie stick
Waterproof up to 10M
New screw-on lens guards
The stick-like design of the Insta360 X4 is very similar to the X3, and that's a good thing, because the X3 is one of the most user-friendly 360-degree cameras available. Its grippy exterior is easy to hold, or you can attach one of Insta360's invisible selfie sticks using the threaded mount point on the bottom.
Twin bulbous ultra-wide lenses cover the entire 360-degree field of view – these are the part of the X4 that really needs protecting, and to that end the camera comes with ultra-light clear lens protectors that can be screwed on and off, whereas the X3 uses non-reusable sticky lens guards.
Build quality is superb: the camera is fully waterproof up to 33ft / 10m, with all ports rubber sealed (though I haven’t had the opportunity to test the waterproofing out properly, yet). You’ll know if the seals aren't fully locked, thereby compromising waterproofing, as the orange coloring inside the catch will be visible – a neat bit of design.
You get a USB-C port for connecting and charging the camera, plus a hefty 2,290mAh battery that can record for up to 135 minutes – that's a huge increase from the 81 minutes provided by the X3's 1,800mAh battery.
The X4 records onto microSD memory cards, and naturally, because of the waterproof design, the card slot is inside the camera's battery compartment rather than directly accessible outside, as is the case on the less-robust and action-averse DJI Osmo Pocket 3.
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There's a slight increase in size from the X3, though it’s barely noticeable, plus a 10% increase in weight – the X4 weighs in at 7.16oz / 203g, and feels reassuringly solid for its diminutive size.
There are four direct physical controls around the camera: robust power and quick menu buttons on the side, plus shooting mode and record buttons under the generous 2.29-inch touchscreen. Most of the action happens through the responsive touchscreen.
By default the customizable options displayed on screen for quick access include the shooting mode and resolution settings, the lens, plus the lens perspective. At a push you can switch between viewing 360-degree footage from the front or rear lens (in the single-lens mode, this option selects the lens you're recording with).
The user interface is simple and quick to navigate, though a little keen to go idle – I've needed to reopen the menu many times to confirm video mode selections.
Physical controls are hard to access when the camera is out of reach on a selfie stick, and that's where voice and gesture controls come in. You can command the X4 to start and stop video recording – which proved super-handy when I had it mounted three meters above my head on the extra-large selfie stick, while a peace sign gesture will trigger the timer for taking photos. The mixture of audible and visual commands covers you in most scenarios, including underwater.
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There's more to dig into by swiping the touchscreen. Flicking from right to left reveals exposure settings including color profile, while swiping left to right opens up your photo and video gallery for playback, and during playback you can swipe the screen to move around the 360-degree perspective.
Swiping down from the top of the screen opens up the main menu, through which you can activate and deactivate a number of controls such as gesture and voice commands, and connect to compatible Bluetooth-equipped devices such as headphones and remotes. You can also adjust the screen brightness here.
Explanatory on-screen text appears for most of the operational controls and shooting modes, which is super-handy when you’re getting started, especially for getting the most out of the shooting modes.
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The X4 is designed to be used in vertical orientation, and as such your handling and viewing experience is largely in the 9:16 ratio. You can record in horizontal format using the single-lens mode, and there’s also a multi-aspect FreeMe mode where you can choose the aspect ratio, but overall the user experience is geared to content creators and mobile users familiar with the vertical format.
During recording, the X4 can get warm quickly, especially in the power-hungry high-resolution video modes. If you're using the X4 for shooting action, your movement will go some way to cooling the camera down, but if you're recording while largely stationary or in particularly warm environments, things can get moderately warm.
Overall, the X4 handles superbly for users of all experience levels and abilities.
If our Insta360 X4 review has inspired you to think about other options, here are two more cameras to consider…
How we tested the Insta360 X4
Sporadic use over a few weeks
Bike rides and vlogging in various lighting conditions
Bullet time, hyperlapse, and regular video recording using a variety of color profiles and resolutions
We had our hands on the Insta360 X4 for several weeks before its official launch. Sadly we've not used it for the kind of adrenaline-filled extreme sports that you see in the launch videos, although it's still had extensive real-world testing.
We've run it in 8K capture for long periods to test its power and stamina, used it for vlogging on the move, and for moderate sports such as road biking. We've tried out the various video resolutions, color profiles and HDR video capture to see how the small 8K sensor copes in bright and low light.
The various video modes have been played with too, including bullet time and hyperlapse, plus we've taken still photos in the various options.
As TechRadar’s Cameras Editor I see all kinds of weird and wonderful devices for capturing stills and video, but just when I thought I’d seen it all, the Nons SL660 popped up in my YouTube feed and piqued my curiosity. It’s an instant camera, but not as we know it, being an angular hunk of metal – an SLR with passive Canon EF lens mount, that captures to readily available Fujifilm Instax Square film.
Nons makes two lenses that are directly compatible with the SL660’s Canon EF lens mount – a 35mm f/2.8 and a 50mm f/1.8 – plus a range lens adaptors for other popular SLR lens mounts, including Nikon F and Pentax K. When I requested a loan sample from Nons for this feature, I asked for the Canon EF to Nikon F adaptor because I own a few excellent Nikon lenses, including the full-frame Nikon 20mm f/2.8D AF.
There’s also a Nons SL645, camera, and the key difference between that model and the SL660 is that it records onto Instax Mini film instead. Personally, I much prefer the size of Instax Square prints (and the larger-still Polaroid film even more), so the SL660 was the obvious choice for review.
The 'correct' orientation to shoot with the Nons SL660. (Image credit: Future | Tim Coleman)
Unlike most simple point-and-shoot instant cameras that only offer auto exposure, the Nons SL660 is SLR by design, and entirely manual in operation. You’ll need to select the shutter speed and lens aperture, with an exposure meter above the lens telling you what aperture to use with the selected shutter speed. Your frame is viewed through a pentaprism viewfinder, focus is manual, and you even have to manually eject the print when you’ve taken the shot – a feature that enables multi-exposure shooting.
This is truly a photographer’s instant camera, and to that end you can swap lenses to mix up the type of shots you can make. It’s also one of, if not the most, expensive instant cameras available. It’s pricier because it’s made of tough metal and in smaller batches versus the standard plastic used in most other mass-produced instant cameras like the Fujifilm Instax SQ40; the Nons SL660 is an altogether different camera to those, and the high-end build quality goes some way towards justifying the significant outlay.
The SL660 is a bulky and heavy instant camera, and the image quality it's capable of producing is ultimately limited by the Instax Square film it uses – you will, for example, need an ND filter in bright light. Despite its constraints, I'm charmed by it, and I suspect that of all the best instant cameras you can buy, the Nons SL660 is the one that photographer me will come back to again and again.
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Nons SL660: price and release date
The Nons SL660 camera alone costs $599 / £603 from the Nons website or from Amazon, and with its passive Canon EF lens mount it's best suited to manual-control Canon EF lenses. If you use modern Canon EF lenses you might sacrifice aperture control (if your lens doesn't have an aperture ring) and even manual focus control ('STM' lenses). You can also purchase the SL660 as a bundle with the 35mm f/2.8 lens for $709 / £717, with the 50mm f/1.8 lens for $649 / £660, or with any one of a number of lens adaptors for $609 / £615. This high-end pricing pits the SL660 firmly against the Polaroid I-2 – the two cameras are in a different league to point-and-shoot instant cameras. Pricing for the Nons SL645 starts at $539 / £541. We'll update this review if and when pricing and availability for Australia are confirmed.
Nons SL660: design
Images of the Nons SL660 online didn’t prepare me for what I set my eyes on when unboxing the gear – this looks like no other instant camera. It’s a love it or hate it brutalist block of aluminum with defined features: a genuine wooden grip, a crank to engage the viewfinder, a pronounced shutter button, and striking shutter speed dial.
There’s an optical viewfinder with through-the-lens display, so the perspective is correct to the attached lens. The display is dim, but I like its grainy filmic quality. There’s a portion of your instant print that you don’t see through the viewfinder display – when shooting with the thick border at the bottom of your Instax Square print, the unseen section is to the left. It takes a couple of shots to get used to this, and thereafter you can factor this in to make the best possible composition.
To shoot the ‘correct’ way, with the thicker border positioned at the bottom of your print, you need to flip the camera 90 degrees with the grip at the top – vertical if you will – otherwise the thick border will be on the left-hand side of your print, which looks weird unless that’s your intention.
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The Nons SL660 is powered by an internal battery topped up via USB-C (using the supplied USB-C to USB-A cable, not just any USB-C cable) and is rated for around 100 shots on a full charge. A tiny top LCD displays battery life along with the number of prints remaining in the inserted film pack (the shot counter failed in my review sample after a couple of packs of film), plus the aperture setting needed on your lens to get the correct exposure for the selected shutter speed, based on the camera's exposure metering.
If you're shooting in bright light you'll need an ND filter for your lens, or else your shots will be overexposed – a 3EV to 7EV variable ND is perfect. The Nons 35mm f/2.8 lens I had has a 52mm thread. Because the exposure meter is separate to the lens (ie., not TTL), you'll need to calculate the exposure settings based on the strength of the filter, or place it in front of the meter to get the reading first, and then attach it to the lens. The 'reflective' exposure meter calculates an evaluative reading for the whole frame.
By today’s standards the Nons SL660 is awkward to hold, and by heck is it chunky, primarily because it needs that extra depth for the Canon EF-mount flange focal distance. This is no pocket camera. It’s also a paradox – a custom-made one-of-a-kind feel, yet it captures onto the most popular and accessible instant film. I had several packs of regular Instax Square film for this review, and there are a few readily available alternatives, like a monochrome film, too.
Stylistically I like the pronounced shutter button. However, it’s all too easy to press it unintentionally, which results in a wasted print. I almost lost that screw-on button, too, as it unthreaded itself more than once. The reason that the button is detachable in the first place is to allow you to swap it out for a cable release for hands-free operation, which is neat, but a tighter thread is needed for a secure fix.
Nons SL660: performance
Long before I'd received the Nons SL660 or taken any shots with it, I had formed a certain expectation regarding the quality of instant prints it could make. After all, it comes with a proper Nons lens, plus, in my case, I can use it with some excellent Nikon lenses. Rival instant cameras like the Instax SQ40 are restricted to a built-in, low-cost lens.
Surely, then, the instant photos made with the Nons SL660 would be superior to anything else before it? Well, yes and no. Despite the superior optics, we’re still shooting onto the same film type – an ISO800 stock with limited dynamic range. Also, the print area of Instax Square film only measures 62mm x 62mm, and so it’s hardly big enough to really show off lens quality.
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Rather than outright image quality, the real appeal of the SL660 over cheaper and simpler rivals, besides its unique design, is that you can swap out lenses and therefore mix up the focal length and perspective of your shots. Unfortunately, my telephoto macro lens for Nikon F-mount lacks an aperture ring, and I was unable to get a good shot with it. Get the right manual lens, however, and great fun can be had.
Almost all the instant photos I took with the SL660 for this review were taken with the Nons 35mm f/2.8 lens. For full exposure control when adapting an alternative lens, like I did through the Nikon F-mount adaptor, you need a lens with aperture control. That counts out most modern DSLR lenses from Canon, Nikon and Pentax. When using a Nikon lens without an aperture ring, the aperture is automatically set to its smallest setting, while some Canon lenses are set to their widest aperture setting. (I also had a great struggle removing the adaptor ring from my Nikon lens after use.) Besides Nons' own lenses, an old Canon EF lens with aperture ring makes the most practical sense.
To get prints with the correct brightness, I needed to experiment a little to understand the behaviour of the SL660’s auto-exposure metering. If you follow the suggested aperture settings to a tee, then prints tend to come out a little dark for my liking, but when I increased the exposure by around 1EV, by opening the aperture up or halving the shutter speed, the results were better.
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Apply this knowledge about the camera's exposure metering and most your shots will come out fine. However, alternatives like the Fujifilm Instax Square SQ40 shoot in auto-exposure only, with a built-in auto flash, and with those cameras you'll get fewer wasted prints.
You also need to understand the limitations of Fujifilm Instax film. It has an ISO 800 sensitivity rating, which is bang on with the fastest possible 1/250 sec shutter speed and f/4 aperture (approx) when shooting in cloudy weather, but when the sun comes out you need to stop the aperture right down, to nearer f/22 or even beyond the limit of the lens.
I prefer the look when shooting with a wider aperture, not least to make subjects stand out better, but also in this case for a brighter and clearer view through the viewfinder (it gets dimmer as you reduce the aperture size), and so a ND filter is a must-have accessory – otherwise the SL660 is practically unusable in bright light.
There’s also a hard limit on the dynamic range of the film – if you shoot scenes with high contrast, like a backlit portrait or a white overcast sky, you’ll need to choose between a brightness for highlights or shadows; you can’t have both. An ideal scenario is even lighting: soft sunlight on your subject and background, or at least a darker background so the subjects pops.
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There's a standard hotshoe to attach an optional flash. Nons doesn't sell its own flash, nor did I use the SL660 with a flash for this review – that's a whole other creative technique I look forward to exploring with this camera. I’ve complained about certain Fujifilm Instax cameras with built-in flash in the past because some models auto-fire the flash for every photo you take, whether you need it or not. However, that’s a better option than the SL660, which has no built-in flash at all – at least you can cover an Instax camera's flash with your finger when it’s not needed.
Once your shot is ready, you hard-press the eject button and out pops the print. This manual-eject control also enables a multi-exposure function. You’ll need to recalculate the correct exposure for each shot depending what’s in each frame, and the results can be excellent if you know what you’re doing, or at least be prepared to waste a print or two experimenting. For example, I shot a self-portrait silhouette against a bright sky in one exposure, and then another one of closeup details of flowers that visibly populates the silhouette – a classic double-exposure effect.
Overall, if you’re using the Nons SL660 with the 35mm f/2.8 lens without ND filter or flash, it’s fairly limited as to what scenes it's suitable for. But if you're equipped with accessories and willing to experiment, great results can be achieved.
Should I buy the Nons SL660?
(Image credit: Future | Tim Coleman)
Buy it if...
Don't buy it if...
How I tested the Nons SL660
(Image credit: Future | Tim Coleman)
I had the Nons SL660 SLR instant camera for a couple of months, and I went through a fair few packs of regular Instax Square film. For the majority of the review I used the Nons 35mm f/2.8 lens, although I did adapt a couple of my Nikon F-mount lenses with mixed success.
Testing the camera in a variety of lighting conditions that ranged from sunny weather to indoors, I experimented with various shutter speeds and lens apertures, and took both single-shot and multi-exposure photos. I've not used the Nons SL660 with a hotshoe mounted flash, nor used the bulb mode or attached a cable release.
FPV (first person view) drone flight has taken the world by storm. Something that started more than 15 years ago as very much an underground hobby requiring ingenious and determined pilots to source parts, and build and repair their own drones, has now well and truly established itself as a mainstream pursuit that’s available to more people than ever before – and that’s thanks in no small part to market leader DJI.
What DJI offers is a straight-out-of-the-box solution for those who want to fly drones using immersive FPV goggles (and therefore see what the drone ‘sees’) without the difficulty and steep learning curve of flying traditional self-built FPV drones.
Once you buy the Avata 2 you can then decide how easy or difficult you would like it to be. At the novice end of the scale, you can fly easily and stress-free in Normal mode, using the intuitive DJI Motion Controller 3 and all the built-in assistance DJI provides including automatic takeoff, obstacle avoidance sensors, and automatic return to home. This means anyone, regardless of prior experience, can enjoy the thrill of immersive flight while capturing photos or video – although really, FPV is more about the flight experience and videography.
If you feel more confident you can switch to Sport mode, which allows for more speed and control. Finally, you can opt to disable all flight-assistance features, and fly in full manual using the DJI Remote Controller 3 – but beware, this is not for the faint-hearted and, and unless you put in sufficient practice hours first in a simulator you’re without doubt going to crash and damage your new Avata 2, which is not built to withstand multiple heavy collisions.
(Image credit: Future | Nico Goodden)
DJI Avata 2: Release date and price
Available from April 11 2024
DJI Avata 2 Fly More Combo start at $999 / £879 / AU$1,499
DJI FPV Controller 3 sold separately at $199 / £139
The DJI Avata 2 is DJI’s third FPV-focused drone. It was announced on April 11 2024, with immediate availability from the DJI website. It’s the successor to the Avata, which was released back in August 2022, and the DJI FPV launched in March 2021. It’s available as the Fly More Combo with one battery for $999 / £879 / $1,499, or with three batteries for $1,199 / £1,049 / AU$1,839. The Fly More Combo includes the drone, the new DJI Goggles 3, and the new DJI Motion Controller 3, with everything fitting neatly into the well designed included black bag.
If you prefer to fly using a gaming-stye controller, the DJI Remote Controller 3 is available for $199 / £139 / AU$229. It appears to be the same design as the DJI Remote Controller 2, except that the previously foldable antenna is now encased within the controller.
The DJI Avata 2 Fly More Combo is reasonably priced considering what’s included in the package – notably the Goggles 3, which, paired with the O4 camera and transmission, result in excellent image quality with a far better dynamic range than the Avata, the DJI FPV, or the O3 Air Unit that’s commonly used on self-built quadcopters. Shadows contain more detail, and are better balanced with the highlights. Fly More combos come with one or three additional batteries, a carry bag, a charging hub and other useful accessories, and offer value if you see yourself requiring extra batteries anyway.
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DJI Avata 2: Design and controller
Complete redesign of the Avata with extended wheelbase and lower center of gravity
DJI Motion Controller 3 included and DJI Remote Controller 3 sold separately
Weighs 1.06oz / 30g less than the previous Avata
The DJI Avata 2 is a complete redesign from its predecessor, with a longer wheelbase, dimensions of 7.26 x 8.35 x 2.52 inches / 184.5 x 212 x 64mm, and a flatter frame for improved aerodynamics. DJI claims the Avata 2 offers better durability and power that its predecessor, while weighing 1.06oz / 30g less. Without a battery it’s surprisingly lightweight, and how well it can withstand repeated crashes remains to be seen, although such mishaps can be largely avoided by opting for to use the built-in obstacle detection and avoidance. It’s perhaps worth saying that this was never designed as a freestyle FPV drone – it remains a cinewhoop with ducts.
In the UK the Avata 2 can be flown by the operator using HD goggles as long as they have a spotter with them who can keep visual line of sight of the drone at all times. Our article about where and how you can fly FPV drones explains more, or you can refer to the CAA website for more information on UK drone laws, the FAA website in the US and the CASA website in Australia.
The Avata 2 is powered by a 2150mAh battery that allows for up to 26 minutes of flight when slowly cruising on a windless day; should you fly manual and perform loops and rolls on a more windy day, your flight time will be reduced considerably, although endurance is still good. This is particularly useful for those using this drone commercially, as it allows them to concentrate on the task at hand without having to constantly worry about battery exhaustion and fear of missing that key moment.
Two controllers are available: the new DJI Motion Controller 3 is included with the Fly More Combo, while if you prefer a gaming-style controller the DJI Remote Controller 3 is available separately.
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The DJI Motion Controller 3 is an intuitive way to control your drone, and allows users with no experience to immediately fly in a reasonably precise and controlled way. For more experienced pilots, though, this can feel like a less attractive option than a gaming-style controller, which offers full control in manual mode to let you execute aerobatics. Which you choose will depend on your level of skill and experience, and how adventurous you feel, as well as the applications you plan to use your FPV drone for. For example the DJI Motion Controller 3 could prove very useful for flying in confined environments, such as for indoors real-estate tours.
DJI has added ‘Easy Acro’ to this controller, a simple solution for anyone who’s less comfortable with aerobatics that enables them to perform flips and rolls at the push of a button. It’s a feature that should particularly appeal to novice pilots.
Unfortunately, the design will frustrate left-handed users – it’s built for right-handed users, and it’s impossible for a left-handed person to press the record buttons while flying.
The DJI Remote Controller 3 replaces its predecessor, but unfortunately its ergonomics are not the best for anyone flying in manual mode – if you’re a pilot who ‘pinches’ the gimbals on the remote to control your drone, the handling is quite awkward and distracts you from the task of flying.
DJI Avata 2: Features and flight
Downward and backward visual positioning
Lighter and less noisy than the previous Avata
O4 ultra-low latency video transmission system
Like its predecessor, DJI Avata 2 brings FPV flight to the masses, allowing everyone to enjoy this normally very challenging and technical hobby. You can now start flying straight out of the box after a quick setup process, and be immersed in your flight thanks to DJI Goggles 3.
So what else makes this new iteration worth buying?
First of all, the full redesign compared to the first Avata means this drone is quieter – while not quiet, it will still attract a lot less attention than the ‘screaming’ Avata did. It also features a longer wheelbase (frame size) and a more aerodynamic / flatter design, which results in better flight performance.
One of the main reasons to buy the Avata 2 over its predecessor is the huge jump in video quality. Until now, whether you flew the Avata or the DJI FPV, the video lacked dynamic range, with very dark shadow areas lacking detail. The O4 ultra-low latency video transmission system proves to be a huge leap not only for the footage captured, but for the footage displayed in the new DJI Goggles 3. It’s very crisp, and not only does it look good, it helps greatly when it comes to avoiding hard-to-spot obstacles such as thin branches and power cables.
The DJI Avata 2 features three flight modes which can be selected through the DJI Motion Controller 3 or the DJI Remote Controller 3: Normal, Sport, and fully Manual (which is only available when using the DJI Remote Controller 3).
Normal mode selected on the DJI Motion Controller 3 offers the most safety, and most relaxed flying experience. You can fly with extreme precision, and even reverse, which is not common in the FPV world. It’s perfect for beginners – in fact, someone who’s never flown a drone before should be able to start flying in this mode immediately with minimal help. This is the mode you’ll likely want to use for flying indoors or in very tight spaces.
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Sport mode is for those who want to feel more of the thrill of FPV flight, with higher ascent, descent and forward speeds, and no obstacle avoidance.
Then there’s full manual mode, which is only available with the DJI Remote Controller 3 (sold separately), and is only intended for trained FPV pilots, as it removes all flight assistance and stabilization. You’re fully in control, and are free to fly, dive and perform aerobatics like a bird. If you’re not flown in this way before you’ll need to spend some time using an FPV flight simulator, otherwise you will most certainly crash at the first attempt.
The video in this article was filmed in full manual mode, in a single flight without cuts, so that you can get an idea of the Avata 2’s potential when unleashed. Acceleration, deceleration, flying high but also at very low level, flying through tight gaps, performing loops and flips… you can do it all. This is not a freestyle drone, but it’s fun to see how far it can be pushed.
What I’ve learned from flying FPV drones is that it’s about compromises, and establishing what you want from a drone, and choosing the one that’s right for you. It’s similar to choosing a car in some respects – one person might prefer a model that’s safe, solid and dependable, while another may feel the need for speed.
The first DJI FPV was released in 2021, and it was the drone that got me into FPV flight. I’m thankful that DJI introduced it, giving total newbies the opportunity to try FPV and see if it was for them. However, after learning to fly in full manual I quickly decided that I needed a more robust carbon fiber frame and ‘traditional’ DIY FPV, because I like to perform some level of freestyle aerobatics which inevitably lead to crashes – and some very hard crashes. I must have crashed 200 times in the past year with minimal damage to my quadcopter, and I also think such drones fly better.
Having been flying self-built quadcopters, I have to say that I don’t have as much fun when returning to FPV DJI products – they don’t fly as well, and they won’t survive multiple crashes. In fact, when I flew the Avata 2 in full manual mode it felt like I was constantly fighting the drone – it was not tuned as well as I’d like, and compared to my daily carbon fiber FPV quadcopter I found the flight more stressful.
(Image credit: Future | Nico Goodden)
But as I’ve said, FPV is all about compromises. Does my FPV quadcopter have GPS? No it doesn’t. Does it have obstacle avoidance? No it doesn’t. Does it offer generous flight time? Nope. Does it return to home at the press of a button? It doesn’t.
The FPV world is diverse, and this allows people of all aspirations and skill levels to find what’s right for them. I’m constantly tinkering and repairing, soldering components onto my FPV quadcopter; it can be a real headache, but it’s also part of the fun. However, that’s not something everyone wants or has time to do, and that’s the problem DJI solves.
So while the Avata 2 may not be for the most advanced FPV pilots, it’s fabulous for those who want the safety of the GPS and return-to-home functions, object avoidance sensors, and the safety of the ‘panic button’ which immediately slows the drone to a hover if things get too hairy or overwhelming. It has long flight times, allowing you to explore more and immerse yourself deeper, thanks also to the stunning O4 video transmission paired with the Goggles 3.
Did I also mention that it’s cheap? The price is incredible considering that you get everything you need to fly, and the drone, goggles, and remote are the latest technological advances in the drone world.
DJI Avata 2: Image and video quality
O4 Video transmission system with improved dynamic range
1/1.3-inch CMOS sensor
Up to 4K 60fps video
I tested the video quality, and I can say that it’s as good as it gets, and the best you can currently get within the FPV world without having to rely on GoPros or external cameras.
Unfortunately I wasn’t provided a set of ND filters for my review testing, so keep that in mind when viewing my footage, as ND filters are key to obtaining smooth footage with the right amount of motion blur, especially on bright sunny days. I still think the quality of footage is fantastic, though, especially the dynamic range and the balance between dark shadow areas and brightly lit skies.
The ability for the camera to be tilted during flight is another advantage of choosing DJI’s drones for FPV flight. The Avata 2 can be tilted from -95 to 90 degrees, allowing the user to look up or down, and anywhere in between.
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The Avata 2’s 1/1.3-inch image sensor offers 12MP of effective pixels at a fixed aperture of f/2.8, and with a field of view of up to 155 degrees it supports standard, wide-angle and super-wide-angle modes. While you can take perfectly good photos with the Avata 2, it remains a drone focused on video, and those who only intend to shoot photos may want to consider one of DJI’s camera drones instead.
The DJI Avata 2 shoots up to 4K at 60fps, all the way down to 1080p at 120fps, at up to 130Mbps. You can shoot footage in standard mode if you want to use it immediately, or D-Log M if you want to capture more detail and have the ability to color-grade your footage in editing software for more control over the final look of your footage.
DJI Avata 2 Video sample
The Goggles 3 provided in the Fly More Kit are mostly excellent – they fit very well, with minimal light leaks, and they’re comfortable, light and compact. Equipped with dual 1080p Micro-OLED displays boasting a refresh rate of up to 100Hz and certified for low blue light by TÜV Rheinland, they offer vivid colors and detail.
Yet I feel DJI has missed a trick here. It has incorporated two tiny lenses at the front of the goggles, enabling users to switch from what the drone camera sees to what those two lenses see in front of you with a simple double tap, without the need to remove the goggles. I doubt this would legally remove the need for a spotter as you still can't both fly your Avata 2 and look at your drone from afar as a spotter would. Unfortunately the angle of view is not the same as human vision, and it makes it awkward to do anything without removing the goggles anyway.
DJI has incorporated a new forehead support linked to the goggles via a small hinge. Initially I thought: “This is genius, I can now flip the goggles up using the hinge without the need to remove the goggles altogether”. Sadly, though, this hinge only allows for small fit adjustments, and not a full lift of the Goggles, which would have been such a useful feature.
Should I buy the DJI Avata 2?
(Image credit: Future | Nico Goodden)
Buy it if...
Don't buy it if...
How I tested the DJI Avata 2
(Image credit: Future | Nico Goodden)
I tested the DJI Avata 2 over the course of a couple of weeks, starting by flying in Normal mode with the DJI Motion Controller 3, then moving onto the Sport mode, and finally – and my personal preference – flying in fully manual mode using the DJI Remote Controller 3. While this is not a freestyle drone, it is considered a cinewhoop, and I wanted to test its ability to perform light freestyle maneuvers, from very low to the ground to high up, and from flying fast to slowing right down, and testing the ability to fly through various gaps, all in an environment I’m familiar with and in which I’ve flown many other FPV drones.
Testing was done on private property with multiple spotters, away from people and buildings, and in compliance with local aviation laws and restrictions to ensure that all flights were safe and legal.
I’ve been flying camera drones since 2014, and since 2022 I’ve been flying FPV quadcopters, which has been incredibly fun and very challenging. I fly a multitude of different drones, from sub-100g tinywhoops to carbon fiber freestyle drones, but also camera drones for the variety of creative opportunities they offer. I fly four leading brands of drones, and have no affiliation to any of them, so I’m able to produce impartial reviews to help others make informed buying decisions.
The Akaso Brave 8 Lite is a stripped-back version of the Brave 8. No surprises there. For a saving of $90 / £50, you'll have to trade in the 1/2-inch sensor for a 1/2.3-inch alternative, and accept a drop in resolution from 48MP to 20MP.
As a result, this camera's video and image quality are inferior to not only the Brave 8's but that of other flagships such as the GoPro Hero 12 Black and the Insta360 Ace Pro. This is particularly noticeable in low-light conditions, a scenario that introduces so much noise that the footage oftentimes becomes unusable.
Before you rule out the Brave 8 Lite, though, you'll actually get a range of features that are not available on the more expensive Brave 8, including HDR video, a longer runtime, and Hindsight. The last of these enables additional recording time prior to pressing the record button, just in case you were too late to start shooting.
I love the rubber casing on the body, something that not only makes the camera easy to grip but is also pleasant to handle. This finish is let down, though, by the cheap plastic port hatches, which feel like they're going to break every time you open them. You'll also have to be especially dexterous to figure out a way to open the microSD card hatch with only one hand.
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The Brave 8 Lite is one of the smallest action cameras available, and will fit neatly into any bag or pocket. The abundance of additional cases means you can mount the camera on any surface, including a tripod, bike, or helmet. The metal case is particularly handy when you know you're going to struggle to keep the camera free from knocks, although you can't replace the battery when using this case.
There's no shortage of creative shooting modes, such as timelapse, hyperlapse, slow motion, and HDR video. Not all of these are available at 4K, though, and the resolution must be dropped to get extreme editing capabilities with regards to slowing down and speeding up the footage.
All in all, the Brave 8 Lite is a very capable action camera that performs as well as most flagships did two or three years ago, and at a more affordable price than the Brave 8 it's a great entry level choice.
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Akaso Brave 8 Lite: price and release date
The Akaso Brave 8 Lite is available for $199.99 in the US or £189.99 in the UK. This makes it $90 / £50 cheaper than the fully fledged Brave 8.
The Lite version has a smaller resolution, a slightly smaller sensor, and inferior slow-motion capabilities. On the flip side, over and above the full version you'll get longer runtime, and HDR video functionality. If you're happy with 20MP photo resolution and inferior low-light performance, the Brave 8 Lite is well worth the savings.
Akaso Brave 8 Lite: design
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The Akaso Brave 8 Lite looks much like most other action cams, and the fact that it's almost identical to the Brave 8 is to be expected.
The body measures 2.5 x 1.75 x 1.4 inches / 64 x 45 x 35mm. This makes it smaller than the likes of GoPro Hero 12 and Insta 360 Ace Pro, both of which are around 6mm larger in both width and height. The small body results in a very light overall weight of 4oz / 114g (including battery).
This lightweight body is wrapped in grippy gray rubber, which ensure that it stays securely in the hand, and also affords a reasonable degree of protection from knocks and scrapes.
Unfortunately, the hatches are of plastic construction, and they're very flimsy. Even in the short amount of time that I was testing the camera I noticed that I was visibly damaging these parts, even with careful handling. The microSD card hatch is also incredibly difficult to open, and despite trying numerous times I couldn't find a way to open this hatch with one hand.
The front of the unit is taken up by the lens and front-facing screen. The lens is prominent and aesthetically pleasing, with a removable guard that provides access to the lens itself for cleaning purposes. The 1.22-inch front screen is perfect for vlogging, but it isn't large enough to provide much feedback on images beyond basic composition. It also lacks touchscreen functionality.
The rear 2-inch touch screen is adequate enough for cycling through settings and getting a rough idea of what the sensor is picking up. There's room for a larger screen, though, which would really help, especially for reviewing footage and photos. For comparison, the GoPro Hero 12 has a 2.27-inch screen, which provides a much more pleasing experience.
Every action camera needs to be waterproof, and the Brave 8 Lite is rated to a depth of 33ft / 10m. That's fairly typical, with the main outlier here being the Osmo Action 4, which is rated down to 60ft.
The camera's interface is very easy to use, with the responsive touchscreen making it a joy to move through the menus. You're not able to zoom into photos in review mode, however, which is a shame given the small screen size.
Akaso Brave 8 Lite: performance
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The Akaso Brave 8 Lite performs as you'd expect for a sub-$200 action camera with a 1/2.3-inch sensor, and despite the inclusion of the aforementioned additional features over and above the Brave 8, in terms of video and image quality, the Brave 8 Lite doesn't match up to more expensive models.
Its 4K video footage looks pretty good when captured in ideal lighting conditions. Colors are vividly and accurately reproduced, although images are unnecessarily high in contrast. The lens and sensor begin to struggle when filming scenes that have extreme light and darkness, and the camera fails to capture the full dynamic range of such challenging scenarios.
This is not a camera that's made for filming in low-light conditions. An abundance of noise is introduced to dark areas, and while much of this can be removed in post without affecting image quality, the added step is a little annoying.
The wide-angle lens keeps distortions to a minimum, although as soon as you begin using the digital zoom you'll notice a reduction in the image quality, especially in terms of noise levels. The maximum zoom setting, named 'narrow angle' in the camera introduces so much noise that, in my opinion, the footage becomes unusable.
The Brave 8 Lite offers a range of other shooting modes, including timelapse, hyperlapse, slow motion, and HDR video. The slow motion functionality is only available at 2.7K resolution and below, and the fact that it's not available at 4K is disappointing. At 2.7K it's possible to slow footage down by 4x, while reducing the resolution to 1080p makes it 8x slower.
Like several other action cameras, the Akaso Brave 8 Lite features a hyperlapse mode that enables you to create high-speed timelapse sequences. Footage can be sped up by up to 30 times, which allows for a flexible level of creativity.
Photo resolutions of 20MP and 12MP give users the ability to manage their storage space, but the larger size option falls some way short of the 27MP of the GoPro Hero 12 Black.
Stabilization of footage is where the Brave 8 Lite really struggles, as can be seen in the clip below. The clip was shot a bumpy road, and the camera seems unable to provide anywhere near enough stabilization to make the footage usable. This is less of a problem with slow-motion or hyperlapse footage, but if you want a more reliable setup then you'll need to opt for something like the DJI Osmo Action 4.
Almost every action camera struggles to maintain a meaningful runtime, especially at 4K, and the Brave 8 Lite is no different, with the advertised runtime of 150 minutes only being available at 1080p. The battery is the same as the one in the Brave 8, so if you have both cameras, you'll be able to swap batteries between them.
The Akaso app is far easier to use than the on-board interface. The menus are more streamlined, and the higher resolution video display makes it possible to get a clearer idea of what you're filming. I prefer not to rely on an app when capturing footage, but for this camera, it became something of a necessity.
Should I buy the Akaso Brave 8 Lite?
Buy it if...
Don't buy it if...
How I tested the Akaso Brave 8 Lite
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I tested the Akaso Brave 8 Lite during a range of activities, including walking, running, and biking, capturing both stills and video in a variety of locations.
The Brave 8 Lite comes with a wide range of different shooting features, and I made sure to test every single one of them. This took a fair amount of time, but it was interesting to see where this camera excels and where it struggles.
One of the things that sets action cameras apart is their ability to handle low light, so I was also keen to put it through its paces when faced with both ideal and less-that-ideal lighting conditions.
The RS 4 is the latest in line of handheld gimbals to demonstrate why DJI is the biggest name in this market. Gimbals can be a nuisance to use, taking too long to set up and being given to outbursts of freakish behavior in polite company, which is why many videographers try to avoid using them whenever possible.
DJI, however, has recognised and acknowledged this common perception, and has continuously worked to iron out the many niggles the plague gimbal users, and the RS 4 is its next step is the process of making the operator-gimbal encounter stress-free. DJI had gone quite a long way on that journey with the Ronin RS 3, but this new model brings a host of changes that make life a quite a bit better.
(Image credit: Future | Damien Demolder)
One thing that all videographers will appreciate immediately is the Teflon coating on the arms of the gimbal. Along with the micro-adjustment knob on the camera mounting that was introduced in the RS 3, this makes balancing and rebalancing the gimbal much easier. The Teflon surfaces enable users to make tiny shifts of the axis mounting points with less effort, instead of having to put lots of pressure on the arms to overcome inertia, only to find the shift has gone too far. Thanks to the large locking clasps on the arms, what might seem a minor change actually makes a big difference, and I had the gimbal balanced with my camera very quickly. I also was quite happy to add extras to the camera after balancing, as I knew it wouldn’t be a huge drama to rebalance the system.
On the subject of balancing, the RS 4 has a longer tilt-axis arm than its predecessor, which makes it possible to add more accessories to the camera without running out of arm to balance it all. The arm is 8.5mm longer than the arm on the RS 3, which is enough to allow the user to add microphones on top of the camera and/or a pile of filters on the front of the lens. In total the Ronin RS 4 can carry up to 6.6lbs / 3kg, which is the same as the capacity of the RS 3, but the new arm means that weight doesn’t necessarily have to be placed right around the center of gravity of the camera.
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The other big difference in this model compared to the previous one is the way you can shoot vertical video. With the RS 3, you needed to set Portrait mode in the PTF settings, but with the RS 4 you just unclip the camera mounting plate and stick it on the other way. The camera mount has two connection points – a regular one on the end and one underneath – and a quick-release button. You simply unlock the plate, release it, and reattach it using the connection point underneath so that the camera is held in the vertical position. It’s very quick to do, the camera doesn’t need rebalancing, and you have the full range of follow modes available, as well as the movements you can create via the joystick. It feels like a much more satisfactory solution.
Another important upgrade is the introduction of a 4th-generation stabilization algorithm that not only improves stabilization in horizontal orientation when things are bumpy, such as when you’re running, but which is also better optimized for vertical shooting.
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If you go for the RS 4 combo kit you’ll get the lens control motor in the box. The Focus Pro Motor can be used to turn zoom rings as well as focus rings on your lens, and can be controlled either via the joystick for zooming or the front dial for focusing. This new version of the motor is 30% faster than the previous model, but still offers users the chance to adjust its speed, torque and direction via the menu.
As before, the gimbal’s control buttons and dials can be used to control certain elements of compatible cameras, so you can stop/start recording, take a photo, and adjust some exposure settings. Depending on the model of camera, these things can be achieved wirelessly via Bluetooth or via a USB connection to the body of the gimbal.
The DJI Ronin RS 4 is not entirely without its complexities, but so long as you dedicate the time and effort to familiarize yourself with its workings it will reward you will good faithful service. In the past I’ve often felt I was working harder than the gimbal I was using, but in the case of the Ronin RS 4 that balance is switched – the gimbal is definitely putting in a good shift and working hard to make the life of the operator a lot easier.
Of course footage is smooth when walking with the head in the standard position, but anyone can do that. What counts here is that you can throw the camera around, take it high and drop it low, and the motors can cope – even when you’ve added a load of extras to the lens or the hotshoe.
Fast walking and running scenes are also very well compensated for, but it is the Ronin’s ability to make all the same right moves in vertical mode, with a 10-second adjustment, that marks it out for me.
DJI RS 4 price and availability
The DJI RS 4 is available now standalone for a pricy $549 / £469 and includes the gimbal, battery grip, USB-C cable, lens-fastening support, extended grip (plastic), quick-release plate, multi-camera control cable and screw kit. The Combo kit costs $719 / £619 and adds Focus Pro Motor, Focus Pro Motor Rod Mount kit, Focus Gear Strip, additional Multi-camera control cable, briefcase handle and carrying case.
If you have a weightier camera and lens combo then you'll need the RS 4 Pro instead, which is available for $869 / £749 (standalone, with a metal extended grip rather than plastic) or $1,099 / £949 in the Combo kit.
In addition, the DJI Focus Pro system can add superb manual focus assist tools including a LiDAR powered autofocus system for manual focus lenses. The All-In-One Combo costs $1,849 / £1,449 although items such as the Focus Pro LiDAR / Focus Pro Motor can be purchased separately. More details on the DJI website.
Should I buy the DJI RS 4?
(Image credit: Future | Damien Demolder)
Buy it if...
Don't buy it if...
How I tested the DJI RS 4
I used this gimbal with the Panasonic Lumix S5 ll and the Lumix GH6, and fitted both cameras with a variety of big and small lenses, including some heavier manual-focus anamorphic lenses, to see how it performed in a range of situations. And I found that it performed very well – it’s easy to adjust when you’re changing lenses and cameras, and when adding extras on top.
I’ve used a lot of gimbals, and find that I often want to revert to my shoulder-mount rig because it’s less hassle to operate, but this model has me convinced that the right gimbal can offer similar stability and ease of use.
I’ve been working as a photography journalist for 28 years. I experienced the advent of handheld stabilization devices as they were conceived, and I’ve followed them closely as they’ve evolved, and become smaller, stronger and very much better.
