Sony has added yet another 'FE' lens primarily designed for its full-frame mirrorless cameras – the FE 24-50mm F2.8 G. It's a slight twist on the classic standard zoom, compromising the telephoto reach of 24-70mm zooms in order to wear the crown of Sony’s lightest and smallest ever full-frame zoom lens with f/2.8 aperture.
Kudos where it's due, Sony is more active in the lens department than most of its rivals. It's committed to its mirrorless camera system and users are spoilt for choice for what glass to whack on their Sony camera – but is there actually a need for this lens when there are already similar alternatives available? I think it's a sensible addition that will serve creatives well, especially those that shoot a lot of video in addition to photography.
At only 15.5oz / 440g and measuring 3.63 inches /92.3mm in length, it's virtually the same size and weight as the Sony FE 24-70mm F4 ZA OSS lens, while giving that extra stop of light with its constant f/2.8 aperture, albeit at a much higher price.
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Compared to the Sony FE 24-70mm F2.8 G OSS II, meanwhile, it's much smaller, around 50% lighter and significantly cheaper. At a little over $1,000 / £1,150 it's priced somewhere down the middle of those two 24-70mm zooms, but lacks the 70mm reach.
Let's not forget the FE 20-70mm F4 G, which is the most versatile off all Sony's standard zooms, but with an f/4 aperture. So there is some distinction between models, and for many people the new lens will be the most compelling of the four.
Sure, you sacrifice the telephoto 70mm of other standard zooms, but the 24-50mm range still covers four popular lens focal lengths; 24mm, 28mm, 35mm and 50mm. (Sony has a couple of cheap fixed lens alternatives including the FE 35mm F2.8.) I think it's a sensible focal length compromise instead of, say, making a 28-70mm f/2.8, especially because it caters for Sony's typical customer in 2024; a photo and video creator.
Most video users will appreciate being able to go wider rather than zooming in more; it might not sound like it, but 24mm is much wider than 28mm and versatile for run-and-gun and selfie videos.
You can do a little test if you already own another lens that covers this zoom range; check the metadata of your images to see which focal lengths you use the most often. We photographers often shoot the two extremes of what a lens offers, but if you rarely use 70mm then this 24-50mm is an obvious choice.
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Sony FE 24-50mm F2.8 G: price and release date
The Sony FE 24-50mm F2.8 G costs $1,100 / £1,150 / AU$1,999, which means it sits between the 24-70mm F2.8 G II ($2,299 / £1,999 / AU$2,899) and the 24-70mm F4 ($899 / £749 / AU$1,209).
It's a similar price to the FE 20-70mm F4 G ($1,099 / £1,299 / AU$1,449) depending on your region, as price cuts have been handed out. Shipping is from April 2024.
Sony FE 24-50mm F2.8 G: design
I had the new 24-50mm F2.8 G with a Sony A9 III for this review and it proved a perfect size match. It's the right fit for Sony's more compact mirrorless cameras – they feel made for each other. Even with a smaller travel camera such as the A7C II there would be good balance, and it makes for a great everyday lens.
That physical synergy is extended to the design and features of the lens. An aperture ring which can be clicked or de-clicked is in easy reach, while twin linear motors give fast and quiet internal autofocus, plus focus breathing compensation. Truly, it's made for 2024's hybrid cameras.
Other features include a dust and moisture-resistant build – again complementing the ruggedness of Sony's enthusiast and pro-level cameras – and a minimum 0.3m focus distance with maximum 0.3x magnification at 50mm; that’s decent close-focusing capabilities.
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One design quirk that I discovered quickly regards the extension of the lens barrel as you move through the zoom range. When retracted, the lens is actually in its zoomed-in 50mm setting, and as you zoom out to the wide end, the barrel extends. That's the opposite of almost every other lens that I have used – when you fire up the camera the lens is usually wide and you twist the barrel to zoom in. The reverse feels counterintuitive in the 24-50mm and it takes a little getting used to.
There's little else to say about the lens build, besides that it takes 67mm threaded lens filters, a common a low-cost size, and that it comes supplied with a petal-shaped lens hood.
Sony FE 24-50mm F2.8 G: performance
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Bokeh is pronounced when shooting at 24mm and f/2.8 (Image credit: Future)
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Bokeh is mostly gone by f/8 at any focal length (Image credit: Future)
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Shooting into the light at f/2.8 (Image credit: Future)
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Shooting into the light at f/16 makes a lovely sunstar effect (Image credit: Future)
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Detail at f/5.6 is super sharp (Image credit: Future)
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I probably would have like the option to zoom in further to explore this vista more intimately (Image credit: Future)
During the few weeks I had the 24-50mm with the Sony A9 III, I've taken portrait photos, landscapes, video clips and more. I've found the lens able to support the high performance of the A9 III camera, providing fast and quiet autofocus, plus reliable and accurate subject detection autofocus. It's still worth mentioning these things in a lens review – I've been relaxed in knowing that the camera and lens combination is able to focus sharply, so I have one less thing to worry about.
On the whole, the 24-50mm is optically excellent. It's super sharp even at f/2.8, though it's at its sharpest between f/4 and f/11. Once you've stopped aperture down to f/16, details get a fraction softer – that's typical of most camera lenses, and I expect most users won't be interested in performance at f/16 in any case. But overall detail is as sharp as I'd hope a Sony 'G' lens would be.
This GIF cycles through (pun intended) the aperture settings to illustrate vignetting at 50mm, from f/11, f/8, f/5.6, f/4 and finishing with f/2.8. (Image credit: Future)
With all in-camera lens corrections turned off, I have taken sequences of identical images cycling through the different lens apertures, at both 24mm and 50mm, and then compared those image to check for vignetting. It's sharply present in the corners at 24mm and f/2.8, plus it's present at 50mm and f/2.8 in a more graduated way. Stop down to f/4 and I would describe vignetting as minor, and it's basically gone by f/8. For video you won't really notice vignetting because the very corners of the image sensor aren't in the frame.
Chromatic aberration at any focal length is virtually absent – that's super impressive, as is the lens' control of flare. I shot towards the sun at various angles with it in the shot and just outside the frame and didn't experience much lens flare at all.
While doing those shooting-towards-the-light tests I moved to dappled tree light, framed the sun in the picture and shot at f/16 and f/22 to pronounce the sunstar effect, where a crisp and tidy 22-point sunstar appeared – lovely stuff.
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Bokeh is good at f/2.8 (Image credit: Future)
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You can count on the lens and a Sony camera from 2024 to get sharp focus on your subject. (Image credit: Future)
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Close focusing is 0.3m so you can do selfies at 50mm, where you'll also get shallow depth of field. (Image credit: Future)
The 11-blade aperture is able to make fairly circular bokeh at f/2.8, although there's pronounced cat's eye bokeh towards the corners of the frame that changes in shape a little depending on if you are shooting at 24mm or 50mm. I've noticed this bokeh characteristic before in other Sony lenses like the 70-200mm F4 G OSS II.
Whether or not cat's eye bokeh is an issue is frankly down to personal taste; I don't mind it, particularly. Fortunately, there's no obvious vignetting going on in the bokeh and it's smooth enough – but I've seen much silkier bokeh in a specialist lens such as the Nikon Z 135mm f/1.8 S Plena. Overall, bokeh is decent without being spectacular – dare I say it for a f/2.8 lens, it's plain.
Overall, from design to handling and optical quality, the Sony FE 24-50mm F2.8 G is highly competent and is a decent everyday lens for video and photography. It's hard to get massively excited about the lens and it does have that length compromise compared to a 24-70mm, but it could be the most sensible Sony lens for users looking for a high-quality standard zoom lens. It's a surefire addition to our best Sony lenses buying guide.
Should I buy the Sony FE 24-50mm F2.8 G lens?
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Buy it if...
Don't buy it if...
How I tested the Sony FE 24-50mm F2.8 G lens
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Sony sent me the 24-50mm F2.8 G lens with a Sony A9 III for several weeks, during which time I was able to shoot a lot of photo and video, including portraits and landscapes.
I turned off all in-camera lens corrections, shot photos in both raw and JPEG to then compare corrected and uncorrected files to see what, if any, lens distortions were present. Please note there is little reason to do this in the real world, but these tests are designed to see how hard the camera is pushing files to correct them.
I've made sets of identical images taken at all aperture settings, at each extreme focal length of 24mm and 50mm, for further optical quality comparisons. I've shot action sequences and utilized the A9 III's superb subject detection and tracking autofocus to gain quick and sharp focus with the 24-50mm lens' dual linear motors, plus played with manual focus in both photo and video.
The Fujfilm X100V currently ranks as our best premium compact camera, but that model has just been well and truly superseded by its successor, the Fujifilm X100VI. The sixth-gen model has better features, and offers better performance and image quality, while retaining all that we love about the X100 series: classic styling, old-school exposure dials, a super-sharp fixed 23mm f/2 lens, and that lovely hybrid viewfinder.
You could look at the X100VI as a Fujifilm X-T5 in a X100-series body. That means a higher-resolution than ever 40MP sensor, 6.2K video, and, for the first time in the series, in-body image stabilization. We also get Fujifilm's best-ever autofocus, with tracking and subject detection that includes humans, animals, birds and vehicles.
So we effectively have two fantastic cameras combined into one, and the result is the best entry in this fixed-lens compact series yet. I love it, and in many ways it's a more compelling Leica Q3 alternative.
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There's also that's plenty familiar here. The retro design has changed, but only a little; this is a slightly heavier camera because it accommodates in-body image stabilization, and if you ask me the extra 10% weight is totally worth it for the additional versatility the IBIS brings. This is still very much a compact camera.
A few features carried over from the X100V now feel like quirks: a single UHS-I SD card slot limits the video and burst-shooting capability, weather-sealing is still only achieved with a lens adaptor attached, and perhaps even the lens focal length (a full-frame equivalent 35mm) is limiting for those that like to shoot wider, especially given that we could easily crop to 35mm thanks to the extra pixels. But the Fujifilm X100VI is a superb compact camera that's unlike any other.
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It's so capable in fact that it's hard to see where Fujifilm can go next, besides trying something altogether new, like a new lens with a different focal length, or even creating a similar camera in its GFX series of medium-format cameras.
The pricier Leica Q3 feels more luxurious, and boasts a 60MP full-frame sensor, while the cheaper Ricoh GR III series are simpler and smaller. But right now the Fujifilm X100VI feels like the best premium compact for most people.
Fujifilm X100VI: release date and price
$1,599 / £1,599 / AU$
20% pricier than X100V at launch
Special edition available for $1,934 / £1,934
The Fujifilm X100VI will be available to buy from February 28, with a list price of $1,599 / £1,599 (that around AU$2,500 – pricing for Australia is TBC). To mark 90 years of Fujifilm there's a special-edition model of the X100VI that's limited to 1,934 units – 1934 being the year Fujifilm was founded – with each model having its unique number etched onto its top plate. This special edition comes with a strap and different etchings, but is functionally identical to the standard X100VI and costs $1,934 / £1,934. Sales of this camera begin on March 28, while in the UK sales are exclusively in-person at the London House of Photography from April 6 – expect queues.
Fujifilm X100VI: design and handling
Retains the same style, lens and superb hybrid viewfinder
First X100-series camera with in-body image stabilization
Tilt-touchscreen flush in the body when stowed
Slightly improved battery life
If you love the X100V, you'll appreciate the Fujifilm X100VI even more. And if you've never shot with an X100-series camera the X100VI embodies everything that has defined and popularized the Fujifilm brand.
Retro styling abounds, in the brushed aluminum top and bottom plates, the old-school exposure control dials (the dual-purpose shutter speed / ISO dial is stunning), the faux-leather body, and a hybrid viewfinder that gives you both an optical and electronic display, which you can switch between with the push of a button – the X100VI successfully straddles the analog era and the 21st century camera experience.
We also get a tilt-touchscreen that sits flush in the body when folded away, although you can't flip it around and out of sight altogether like you can a vari-angle screen, which I'd prefer. Still, this is a camera that suits low-level shooting – which I did a lot of to capture reflections in a wet Chinatown in London, and in Tokyo during the Fujifilm X-Summit – and even more so for those who prefer a viewfinder. Prefer optical? You've got it. Want to make sure your exposure settings are okay? You simply have to briefly activate the 3.69m-dot electronic display.
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The controls are all logically placed and within easy reach, and once you've taken the time to dig through the menus and set up the camera how you wish you can keep the viewfinder up to your eye and make adjustments without having to look for the required button or dial.
The lens is the same fixed 23mm f/2 lens as on the Fujifilm X100V, with an aperture control dial and a control ring that allows you to adjust your choice of any one of several settings, including the digital teleconverter with 50mm and 70mm lens-effect settings. This is a proper street photography camera.
Battery life has been improved from the X100V despite the new camera using the same battery – camera brands are finding ways to conserve power more effectively. That said, in-body image stabilization is power hungry, and the use of it mostly negates the battery life improvement – you get around 450 shots from a full charge.
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I found in-body image stablization effective down to a shutter speed as slow as 1/4sec. Pushed to 1/2sec and most of my photos were blurry. (Image credit: Future)
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Another example of using slow shutter speed for creative effects, blurring light trails at night even when shooting handheld. (Image credit: Future)
The new sensor-based image stabilization has been custom designed for the X100VI, and this was probably number one on my upgrade wish list for an X100V successor. These are cameras that are designed to be used handheld, and in-body stabilization allows you to get sharper shots at slower shutter speeds. Fujifilm says image stabilization is effective up to 6-stops, but in my tests, I found IBIS 100% effective up to 3EV – that's a shutter speed of 1/4sec – and a big drop in my hit ratio of sharp shots using slower shutter speeds.
You can make use of the new in-body stabilization and the existing built-in 4-stop ND filter for creative slow shutter speed effects that weren't possible before, while a built-in ND is useful for video work. You can shoot using the X100VI's f/2 aperture in reasonably bright light with the kind of shutter speeds needed for video, around 1/60 sec.
The new image stabilization feature necessitates a slight increase in size and weight, and while the size difference is negligible, the X100VI is around 10% heavier than the X100V at 521g (incl battery and card). I still class it as a compact camera though, and the extra weight is completely worth it in return for the practical gain.
Given that the lens is exactly the same one as on previous models, the same lens accessories will work with the X100VI, including the lens hood and the wide and tele conversion lenses.
Fujifilm X100VI: features and performance
Same X-Processor 5 engine and autofocus system as the X-T5
Up to 11fps continuous burst shooting in full quality
Direct Frame.io cloud uploads
The Fujifilm X100VI utilizes the same X-Processor 5 engine as the X-T5, making this the most powerful X100-series camera to date.
It's also packing Fujifilm’s most effective autofocus system yet, with tracking autofocus for both photo and video recording, as well as subject-detection autofocus with options for birds, animals, vehicles and planes.
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The X100VI is a superb street photographer's camera. (Image credit: Future)
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Those who prefer to take control of focus can switch to manual using the switch on the left-hand side of the body, and set up the camera with a generous selection of manual focus aids that include magnification, peaking (setting red to the highlight edges works well), and even a split image or ‘digital microprism’ that works very much like the old rangefinder focusing system – you align the two image within your display to achieve sharp focus.
Other modern conveniences include comprehensive wireless connectivity for image capture and uploads, and also includes direct Frame.io upload to cloud for photos and videos, although you'll need a separate subscription for that service.
Fujifilm X100VI: image and video quality
40MP APS-C sensor with usable crop modes
6.2K video
20 film simulations including the latest Reala Ace
With the Fujifilm X100VI being so new it's not yet possible to process the camera's raw files, but image quality is a known entity, because the 40MP APS-C sensor is the same as the one in the X-T5, and the lens is the same as the one on the X100V, which I'm assured is sharp enough to compliment the higher-resolution sensor. In short, images are bigger than those from the X100V, and detail is super sharp across the entire image area.
There's also a digital teleconverter that replicates a 50mm lens (a 'medium' image size of 20MP) and a 70mm lens (a 'small' image size of 10MP). With the increased 40MP full size image, those two digital crops are entirely usable.
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The Fujifilm X100VI's full image area (Image credit: Future)
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The Fujifilm X100VI's 1.4x digital teleconverter with 50mm lens effect (Image credit: Future)
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The Fujifilm X100VI's 2x digital teleconverter with 70mm lens effect (Image credit: Future)
Design-wise this is very much a stills photographer's camera, but in terms of features and image quality the X100VI is a decent video camera too, thanks to 6.2K resolution up to 10-bit and 200Mbps bit rate, in-body image stabilization with additional digital stabilization, and Fujifilm's capable autofocus with active subject tracking.
You also get Fujifilm log color profiles for video to maximize the sensor's dynamic range, plus the full suite of Fujifilm film simulation modes, which now number 20, six of which are black-and-white looks with different lens-filter effects to accentuate particular tones – red and orange make for punchy skies, while green brings out skin detail in portraits.
I liked to shoot using film simulation bracketing mode to get three looks at the same time, with some of my favorites including Provia (standard color), Reala Ace and Acros black and white. If you shoot in raw you can choose another film simulation afterwards using the in-camera raw conversion editor.
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If like me you like to shoot in aperture priority and maintain some control of shutter speed suitable for the scene, you can define the minimum shutter speed in the auto ISO menu – that's another custom setting I create before shooting.
Let's not forget the impact in-body image stablization and better subject detection autofocus has on image quality too – countering motion blur at slower shutter speeds and reliably acquiring sharp focus.
Fujifilm X100VI: early verdict
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The wait was worth it. Finally the Fujifilm X100 series, which has for so long been popular for capturing every day street and reportage photography, has a model with in-body image stabilization, paired with a versatile 40MP APS-C sensor. There's a feeling that the X100VI could be the high-water mark for the retro-styled line with its unique hybrid viewfinder – how else can Fujifilm improve on its tried and tested fixed 23mm f/2 lens besides broadening the range with different fixed-focal-length lenses? Or perhaps by rolling out this fixed-lens concept to its medium-format GFX range? No, this sixth-gen model could be as good as the series gets and around for many years – we have a new premium compact camera champion on our hands.
Fujifilm X100VI: how I tested
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Several days by my side
Plenty of street photography experience
I used the Fujifilm X100VI for an afternoon in London, prior to spending a week with it at and around the Fujifilm X-Summit in Tokyo, during which time it was by my side continuously with plenty of opportunities to test its everyday camera and street photography credentials.
I’ve taken sample photos in raw and JPEG, although I've not been able to process the raw files as they're not yet compatible with photo editors yet; I will, however, be able to do that for my upcoming full review of the camera.
Naturally I’ve pushed the new features to their limits, shooting 40MP stills and testing the 11fps continuous burst shooting, in-body image stabilization and 6.2K video modes, as well as the new autofocus system.
With some bold claims under its belt, the SJCAM SJ20 Dual Lens Action is the world’s first action camera to provide two cameras and lenses: one for daylight shooting and a second for night capture. It may or may not fall into the best cheap action cameras category, but it’s undoubtedly an interesting concept, and there's compelling video footage comparing the night video capabilities against the GoPro Hero 12 on the SJCAM website that suggest it has GoPro-beating night vision. Are the claims true, or just marketing hype?
SJCAM SJ20 specification
Sensor: N/A FOV: 154 degrees Max photo resolution: 5888 x 3312 Video: Up to 4K 30fps (16:9) Stabilization: 6-axis gyroscope Front screen: 1.3-inch Rear screen: 2.29-inch Battery: Built-in 800mAh / External 1050mAh
The SJ20 provides the usual shooting modes found on action cameras, with a handful of extras thrown in for good measure. Video capture is possible up to 4K at 30fps, with lower resolutions offering higher frame rates, while stills can be captured at 20MP, which is impressive for an action camera. So, again, pretty much standard except for photo resolution, but higher-end action cameras typically offer a greater number of video capture options at 4K, alongside higher frame rates.
Shooting modes aside, the SJ20 is unmistakably a budget action camera, somewhat in the mold of the pricier Insta360 One R, albeit with two cameras and lenses, each with its own sensor, rather than one interchangeable lens module. Like that camera, the SJ20 uses a clip-on external battery alongside an internal battery, with the main difference being the SJ20's handy 1.3-inch front screen, which complements the rear 2.29-inch touchscreen.
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SJCAM SJ20: release date and price
Two kit options are available
Kits include multiple accessories
Available January 2024
The SJ20 was announced in November 2023, and has been available to purchase from the SJCAM website since January 2024. There are two kits available – we tested the Standard option, which includes the SJ20, a 1050mAh external battery, a dive housing, multiple attachments, a small frame to use the camera without the external battery, and a larger frame for use with the external battery. The Pro Kit also includes a 5650mAh battery grip to further extend shooting times.
Despite the SJCAM website suggesting that the SJ20 can be purchased in multiple currencies, it’s only available in US dollars with the Standard kit coming in at $229 and the Pro Kit at $249. At the time of writing, this converts to around £180 / AU$350 for the Standard Kit, and £200 / AU$380 for the Pro Kit. For what you get in the kits this is competitive pricing, and opens the camera up to a wider audience, including individuals with a smaller budget.
Price score: 3/5
SJCAM SJ20: design
External battery increases shooting time
Heavily inspired by the Insta360 One RS
Frames and dive housing provide water resistance
In terms of design, the SJ20 looks extremely similar to the Insta360 One R and One RS action cameras, to the point that it’s almost a clone. The main difference, aside from build quality, is that the SJ20 features a 1.3-inch front screen for use when filming yourself, as well as a 2.29-inch touchscreen on the rear via which you can access settings. There are just two buttons on the top: one to change between the day and night cameras, and a record/shutter button that doubles up as the power button.
There’s a built-in speaker plus a door panel that covers the microSD card slot and the USB-C charging port. Annoyingly, the external battery has to be removed to open this door and then reattached for charging, and the process followed in reverse once charging has completed. It’s not the end of the world by any stretch, but it’s one of those design elements that could have been better thought through.
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The SJ20 features a built-in 800mAh battery, and also an external 1050mAh battery that clips onto the bottom, just like the Insta360 One R. Battery life is reasonable, but never gets close to the maximum of three hours that’s suggested when capturing 4K video. Whether you're using the camera with its internal battery or with the external clip-on battery, the kit includes two frame configurations that wrap around the camera to provide water resistance to 5m / 16ft while the dive housing extends this to 40m / 130ft.
Build quality is average, and certainly not outstanding – the camera does feel a little cheap, and doesn’t offer the premium feel and smooth operation of the Insta360 cameras it’s so clearly inspired by. But this is unsurprising considering the much lower cost of the SJ20, and the fact that Insta360 is a premium action camera manufacturer alongside DJI and GoPro, with all three brands occupying the upper end of the market.
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Design score: 2.5/5
SJCAM SJ20: features and performance
Multiple shooting modes
6-axis gyroscope stabilization
Easy to use
Most action cameras these days are incredibly easy to use, and the SJ20 is no exception. But where the higher-quality action cameras typically rely on swipes from the edges of the LCD screen to access settings, the SJ20 uses on-screen buttons to access settings and menus, with just one edge swipe from the top of the screen to access a handful of settings. This gives the user interface a slightly dated look and feel, but it doesn’t impact negatively on the user experience.
The 2.29-inch rear touchscreen provides a clear image for navigating menus and composing photos and videos. It’s nice and responsive, but it can sometimes take a press or two to access settings or menus if you use the edge of your fingertip – something you often find yourself doing when holding the camera with both hands. The 1.3-inch front screen is great when you're capturing yourself, but this has no touch functionality, so you have to set everything up on the rear screen before switching between the two, because only one screen works at a time.
There’s no shortage of shooting modes alongside standard photo and video capture. You get everything you’d expect from an action camera, such as slow motion, pre-recording, timelapse and motion detection, among others. There are also livestream and webcam modes, alongside interval and continuous shooting for photos.
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Day camera mode (Image credit: James Abbott)
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Night camera mode (Image credit: James Abbott)
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Night camera mode (Image credit: James Abbott)
The camera can be controlled manually by hand or using the SJCAM Zone smartphone app.The main advantage of the app, as with any action camera, is simply that it gives you a remote Live View alongside wireless control of the camera. Connection using the camera’s QR code, which is scanned with the app, failed during testing, but manual connection did succeed, and worked perfectly well once the connection was established.
The 6-axis gyroscope stabilization works reasonably well for minor movements and facilitates smooth video capture. However, is doesn't compensate for larger movements as effectively as higher-end action cameras. When I shot some footage while riding a skateboard, the more vigorous movements of the camera as I pushed along with my foot were visible in footage, but when I was cruising the stabilization was effective.
WhenI wasrunning, however, or even walking, a lot of shake can be seen,which is possibly jello, due to a slow shutter speed or a combination of the two. This is amplified during night capture with the night camera and produces video footage that is at best usable, but hardly smooth. The night video example on the SJCAM website looks much better, but it also looks like it was captured with the camera attached to a slow-moving bicycle, which would naturally result in smoother video footage.
Before shooting with the SJ20, I made a point of switching off the timestamp feature, which is switched on by default and adds the time and date to photos. It may have been that I didn’t commit to the change or that the camera reverted to its default, but the first batches of photos taken with the camera show the time and date. It would be much better if this was switched off by default, with the ability to switch it on if and when required, because most people don’t want their photos branded with a bright red time and date in the corner.
Features and performance score: 2.5/5
SJCAM SJ20: image and video quality
Video quality is mediocre
Photos offer the best image quality
Manual control not available
Alongside image adjustment controls such as contrast, saturation and sharpness, the only manual controls available for shooting are White Balance, ISO and EV (for exposure compensation), so camera control is essentially automatic rather than manual.
This is a shame, as manual control is preferable for video capture for many people, since it maintains consistency and allows you to select the exposure settings that work for you. The ISO and EV controls do allow this to a degree, but with no control over shutter speed or even the ability to see what it is, you never know if it’s too fast or too slow for the frame rate you’re shooting at, or to control motion blur, depending on the activity you’re capturing.
Photos offer the best image quality – images come in at 20MP and are captured in JPEG format. Noise reduction applied to JPEGs is obvious at higher ISO settings. The main camera, like most action cameras, produces the best results in bright light.
The night camera produces a brighter image in low light than the daylight camera, but the colors captured look much less natural, and certainly not as the naked eye sees them. Chromatic aberration can also be seen along high-contrast subject edges. Image quality from the daylight camera is fine, though and the 20MP resolution is decent for an action camera.
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4K video
Video quality is below par from both the f/2.0 day camera and the f/1.3 night camera. Even in daylight, artifacts are visible in footage, and at night the captured image is far from clear, and certainly doesn’t live up to the claim that the SJ20 outperforms the GoPro Hero 12 for night shooting.
What the night camera does is create a bright image, but overall quality is poor. Plus, the lack of camera control and the shakiness of the image stabilization don’t help here. It’s a little odd really, because where an action camera should excel at moving video capture, this is exactly where the SJ20’s performance is at its weakest.
Timelapse video
The available specifications for the SJ20 are a little vague. We can see that the field of view of the two cameras is 154 degrees, but it's guesswork what the 35mm equivalent focal length of the lens is. SJCAM is also holding the sensor specs for the two cameras close to its chest, so we can only assume that alongside providing different apertures, the two cameras use different sensors.
They could be the same sensor with different processing algorithms, but with no access to this information it’s impossible to say for sure. But since the results from each camera are different in terms of color and exposure, it suggests that there are sensor and/or processing differences between the two.
Slow-motion video
Image and video quality: 2/5
Should I buy the SJCAM SJ20?
Buy it if...
Don'y buy it if...
Also consider
GoPro Hero 12 Black
Whether you’re considering buying your first action camera or upgrading from an older model, the GoPro Hero 12 Black is an option you should consider if your budget stretches that far. With great image quality, excellent stabilization and a streamlined user interface it’s one of the best action cams available. Low-light video performance isn’t fantastic, but neither is the SJ20's, despite its night camera. Read our in-depthGoPro Hero Black review
Testing scorecard
How I tested the SJCAM SJ20
I carried the SJCAM SJ20 in my jacket pocket for over a week, so the camera was to hand whenever I needed it or wanted to try one of the many shooting modes on offer. I tested the photo and video quality of the day and night cameras at those respective times while walking, running, and skateboarding, to test both image quality and stabilization in a range of typical action camera scenarios.
The camera was used both independently and connected to my smartphone via the SJCAM Zone app to assess ease of use and the overall user experience. Action cameras are generally easy to use with intuitive interfaces, and I was able to find my way around the camera without the need to delve into the clear and easy-to-follow instruction manual.
The Hasselblad 907X CFV 100C is the Swedish manufacturer's latest mirrorless medium-format camera, offering an ultra-high-resolution sensor and phase detection autofocus (PDAF) in a surprisingly lightweight design. It's got to be one of the best professional cameras for landscape and portrait photographers who work slowly and deliberately, and it harks back to a more 'traditional' approach.
Joining Hasselblad's modular system lineup, the camera is comprised of two halves: the super-thin 907X camera body and the CFV 100C digital back. It's an upgrade on the 907X 50C which launched back in 2020, and as the name suggests, it brings double the megapixel count with a huge 100MP back-illuminated CMOS sensor.
The 907X CFV 100C shares the same sensor, 16-bit color depth, PDAF, and XCD lenses as the Hasselblad X2D 100C, but it enjoys a completely different design that allows photographers to use the CFV 100C digital back – the bit that handles the image capture – in three ways.
If you're lucky enough to own an old Hasselblad V-system film camera, this can replace the film back and allow you to recreate the look and feel of analog lenses with digital files. It can also be mounted onto technical cameras from the likes of Alpha and Arca Swiss, opening up possibilities for architectural tilt and shift applications.
The camera combo itself is portable, although XCD lenses add significant weight (Image credit: Lauren Scott)
For sheer resolution, the CFV 907X 100C competes with the 102MP Fujifilm GFX100 II, but unlike that medium-format rival it doesn't offer any video capture at all. There's also no built-in image stabilization (IBIS), making a sturdy tripod essential for any low-light work.
If you want a viewfinder, that's sold separately, although the new hot shoe adapter adds third-party flash triggering. There's also a huge 1TB internal SSD for storing images, as well as a CFexpress card slot for fast read and write speeds.
With a plodding continuous burst rate of 3.3fps and relatively slow autofocus, the 907X CFV 100C isn't a camera for action, sports, or on-the-go shooting. But the sheer clarity from the sensor, the tonal range from 15 stops of dynamic range, and the lifelike colors from Hasselblad's Natural Colour Solution (HNCS) more than make up for those minor limitations.
The modern camera arms race often sees faster marketed as better, and it takes a very special camera to say "Slow down, be deliberate with your approach." But the Hasselblad CFV 907X 100C is special, and the most enjoyable camera I've shot with for a very long time. Make no mistake, the CFV 907X 100C is premium in price and build, and at times slow to use; but I loved that approach, and I think many photography purists will too.
Hasselblad 907X CFV 100C: price and availability
Costs $8,199 / ££6,729 – Australia pricing TBC
Available now across Europe and in the US
The Hasselblad 907X CFV 100C is available to buy now for $8,199 / £6,729 – we'll add pricing for Australia when that's confirmed. That price is almost 30% more than the Hasselblad 907X 50C. However, it’s still competitive for a professional camera when you consider that the Sony A1 is around $6,500 / £6,499 / AU$10,499 (body-only), and the 102MP Fujifilm GFX100 II is about $7,499 / £6,999 / AU$12,599.
By regular mirrorless camera standards, the 907X CFV 100C is expensive. But this premium tag is typical of modular systems like the Phase One XF; and to my mind, if you're a commercial photographer who's prepared to invest in the very best tools, it's to be expected.
If you want the 907X Optical Viewfinder (OVF) or 907X Control Grip they're both sold separately. If you're going to be handholding the camera frequently, I'd say the grip is almost essential, especially with longer, heavier lenses – I came to rely on it during testing. If you'll be investing in new lenses too, another point to consider is that Hasselblad's (stunning) XCD lens lineup cost around double the Fujifilm GFX equivalent.
Price score: 4/5
Hasselblad 907X CFV 100C: Specs
Hasselblad 907X CFV 100C: design
Modular design of camera body and digital back
Bright and responsive 3.2-inch LCD touchscreen
Viewfinder isn't built in but sold separately
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The CFV100C digital back (left) and the 907C camera body combine as a modular system (Image credit: Lauren Scott)
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The 907X CFV 100C can be charged and tethered via USB-C (Image credit: Lauren Scott)
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On the right, a sturdy door slides open to reveal the battery and CFexpress card slot (Image credit: Lauren Scott)
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Unboxing the Hasselblad 907X & CFV 100C is a premium experience (Image credit: Lauren Scott)
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The stylish and thoughtful design extends to the packaging of the 907X CFV 100C (Image credit: Lauren Scott)
Hasselblad is known for its beautifully crafted cameras, and the 907X CFV 100C's machine-milled aluminum exterior oozes quality – even unboxing the camera felt like a premium experience. Although it hasn't been given an official weatherproof rating, the camera is operable in temperatures of 14-113F / -10-45C, and up to 85% humidity.
Accessories inside the box include the Li-on rechargeable battery, hot shoe adapter for flashguns, focusing screen mask, 30W USB-C charger, USB-C to USB-C cable (supports charging and tethering), a shoulder strap, and a flash sync input cable.
As you'd expect, the digital back and camera body are packed separately, and the back has a plastic clip-on cover to protect it during storage. Once removed, the 907X mounts securely and snugly via two metal pins at the top, and I had no worries about the two coming apart.
There's a hidden USB-C input on the left side of the CFV 100C digital back, which is covered by a flap when not in use. On the back's right side, sliding back a reassuringly solid door reveals the flush battery and CFexpress card slot. The mount for the new hot shoe adapter is unsurprisingly found on the top of the camera.
The 3.2-inch LCD touchscreen can be hard to view in bright overhead light (Image credit: Lauren Scott)
The 907X CFV 100CV has an iconic look, although you don't get a waist-level viewfinder unless you buy one separately. I prefer using Live View over an EVF with my usual workhorse camera, and I came to rely on the CFV 100CV's gorgeous 3.2-inch tilted rear screen, which pulls out and up to either a 40-degree or 90-degree angle.
Coming from a vari-angle touchscreen, I thought I'd find the tilting mechanism limiting. However, 90 degrees is the perfect angle to look down on for low-level landscape compositions, and I can't imagine a scenario where you'd want the screen to face you. The only complaint I have is that at times I found the screen difficult to see from above in bright light.
Thanks to its 2.36 million-dot resolution, the display itself is crisp and colorful, and the touchscreen is very responsive to your input. This is a good thing, as the camera menus are designed to be navigated purely by touch, tap, and pinch gestures; there are no joysticks or control wheels here. The weather was very cold for a large part of my testing period, but I was still able to change settings easily on the touchscreen with thick gloves on – something that will please many landscape photographers.
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The camera's touchscreen is one of the slickest and simplest I've seen (Image credit: Lauren Scott)
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Face-detection can be set to auto, manual or off completely (Image credit: Lauren Scott)
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White balance can be set manually, automatically or from presets (Image credit: Lauren Scott)
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There are three metering methods to choose between (Image credit: Lauren Scott)
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The drive modes include exposure and focus bracketing (Image credit: Lauren Scott)
I adore the simplicity of Hasselblad's menu systems, and the CFV 100CV is no exception. In the main menu you get every setting in one view, so there's no toggling between tabs or delving into submenus to find the setting you need to change.
Physical buttons on the camera itself are minimal unless you buy the control grip, which adds four customizable buttons. There are five small buttons under the screen, dedicated to the menu, delete, display toggle, playback, and power. These are slightly less easy to operate with gloves on, as they're almost flush with the body.
The shutter button is on the front-right of the camera, which seems odd at first until you realize it's where your fingers naturally sit when you cradle the camera. Pressing the shutter button down lightly will set the autofocus, while a full press fires the shutter.
The camera is so solidly built that firing the shutter doesn't cause any detectable shake or wobble. The shutter button is surrounded by a tactile rotating control wheel, which can be set to change the aperture or shutter speed as you prefer. There are only two other buttons: one on the top of the camera to release the back, and one on the front to release the lens.
The 907X CFV 100C's shutter is at the front under the lens (Image credit: Lauren Scott)
Design score: 4.5/5
Hasselblad 907X CFV 100C: features and performance
1TB built-in SSD storage
No in-body image stabilization
294-point phase-detection autofocus
Hasselblad's modular cameras aren't built for speed, but rather to facilitate a methodical and planned approach to image-making. Even so, the 907X CFV 100C moves on from the 907X 50C in several ways.
It takes around four seconds to power up and down, which is about twice as fast as the previous generation – although there aren't definite specs to confirm this. With less lag, you're less likely to miss a golden moment, but there's still a small wait before you can start shooting, and I was more likely to leave the camera on in between frames because of this.
The camera's improved 100MP sensor is paired with 294 phase-detect focusing points covering 97% of the frame. The addition of phase-detect autofocus is undoubtedly an improvement over the slower contrast-detection system, but you still won't find this camera responsive enough to capture fast movement.
On paper, the focus speed should be the same as the Hasselblad X2D 100C, which in our review we noted was a dramatic upturn for Hasselblad, although it still lags behind what an old DSLR (I compared it to the Nikon D800) is capable of.
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The first thing I did was test the camera's new face-detection autofocus mode – available with a firmware update – to see how it compared to my Canon EOS R6. With a static subject, a large box appeared around the face within a few seconds; but as she or I moved around, the tracking was slower to follow, compared to my Canon, or to the best autofocus systems generally.
The CFV 100C isn't advanced enough to offer eye detection, and isn't bolstered by the same autofocus algorithms you see in flagships like the Sony A1. Yet I'd say that 90% of my static portraits in even light were sharp in just the right places. When backlighting my subject in high-contrast winter light, the autofocus system hunted, and struggled to lock onto her face at all, but using touch gestures to select the AF point on the screen sped things up. As for exposure, spot metering was better than center-weighted in this situation.
I use my dog as a test subject for every camera that comes into my hand. She's convenient, but also fast-moving, and so a good test of an autofocus system. Although I found it helpful to be able to move the AF point around, it's too big to focus precisely at shallow apertures; at f/2.5 on the XCD 2,5/90V lens, my sliver of focus was often misplaced.
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Of course, magnifying the on-screen focus helps with this; it just takes some practice. Manual focusing using the XCD lenses became incredibly intuitive in situations where the focus was critical, but I found it best reserved for landscape work on a tripod.
Hasselblad quotes the battery endurance at 420 images, and I'd estimate that I got around three hours or 350 images of solid shooting from one charge – and that was in very cold conditions. While many pros will use the camera in a tethered workflow, making the duration less important, landscape professionals heading out for a dawn-to-dusk day of shooting would be wise to take a couple of spare batteries with them.
Without any image stabilization at all, you need to be mindful of your shutter speed and tripod usage to avoid camera shake. I can usually push my Canon EOS R6 and RF 24-70MM F2.8L IS USM lens to around 1/30 sec handheld, but I was hesitant to dip below 1/125 sec handheld with the 907X CFV 100C, especially with a longer lens. I definitely noticed camera shake under 1/60 sec.
It's baffling that more camera manufacturers don't offer built-in storage. The 907X CFV 100C's 1TB internal drive is a real plus, although it's bound to fill up quickly with 100MP 3FR raw files which average 200MB in size. With write speeds up to 2370MB/s and read speeds up to 2850MB/s, I never found it lagging when processing images, and exporting images to Hasselblad's Phocus desktop app via USB-C was also painless.
Overall, the 907X CFV 100C's performance is slow and measured, and it forces you to think about what you're doing, and what settings you're using – and if anything, I think this improved my images. Rather than sticking everything on auto and rattling through a burst of frames, I set up my images, interacted with my subjects in a meaningful way, and got only a few frames that I was happy with – which is exactly how the camera is designed to be used.
Features and performance score: 4/5
Hasselblad 907X CFV 100C: image quality
16-bit color depth in 3FR raw format
Film-like image quality with natural tones
15 stops of dynamic range
If my analysis of the 907X CFV 100C's features sounded lackluster, then let me go overboard with admiration for its image quality. Put simply, I was blown away by the level of detail you get from the camera's raw files. The 100MP sensor offers double the resolution of the 50C, enabling you to crop in much more closely to images.
The CMOS sensor is also now back-illuminated, which improves low-light imaging and readout speeds. The lowest ISO setting is 64 and it maxes out at 25,600, and I didn't start to notice noise in the shadows of my images until I reached at least 3,200. Beyond resolution, with another stop of dynamic range (for 15 stops in total) you can recover plenty of detail from the highlights and shadows of images, something I found particularly impressive when photographing a bright sky at sunrise.
Are the images better than those from my full-frame Canon EOS R6 or Canon EOS R5? Absolutely, and even to the untrained eye, with the hallmark clarity you only get from medium-format sensors, even if that clarity is hard to define.
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There's less to cover in this section than with a hybrid camera, as the CFV 100C doesn't shoot video, nor does it offer any filters or film simulations to change your images in-camera. The only real ability to change the look of photos comes from the white balance setting and standard presets like cloudy, shade, and tungsten, among others.
I relied on the camera's automatic white balance – the usual approach for me, as I like to change color temperature at the editing stage. Most of all, I noticed how naturally and accurately the 907X CFV 100C renders skin tones. Whether in warm daylight or during an incredibly cold sunrise, the colors had just the right levels of saturation, blush, and tone.
All of the sample images below are unedited, save for me converting them from the 3FR raw format to JPEG to add them to this review; although I should note that when I did start editing some of my test shots I hardly needed to do anything to them. The 907X CFV 100C has a 16-bit color depth for 3FR raw files, which is around 281 trillion colors, and close to what the human eye can record. For HEIF, a much smaller file format, the bit depth drops to 10.
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Every camera brand talks about its unique color profiles, but I think Hasselblad has cracked the science more than any other. It's Natural Colour Solution is an involved and highly technical process, built from a look-up table (LUT), Hasselblad Film Curve, and pixel processing that adapts to different lighting conditions.
As Hasselblad explains it, the captured color data gets transformed and remapped to give rich saturation and contrast, even for skin tones. I've never experienced such true-to-life results as I have with the 907X CFV 100C. Portraits in particular pop off the screen, and can be enhanced further with Hasselblad's Phocus software, which is sympathetic to the file type.
Having tested the 907X CFV 100C with Hasselblad's latest XCD 2,5/90V and XCD 4/28P lenses, I detected negligible levels of fringing, distortion and vignetting. As I've mentioned elsewhere in this review, Hasselblad’s XCD lenses are expensive in regular camera terms, and more expensive than Fujifilm's GFX lineup. But they're first-rate, both optically and in the way that they're constructed.
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Image quality score: 5/5
Should you buy the Hasselblad 907X CFV 100C?
The 3.2-inch LCD touchscreen can be tilted at 40 or 90 degrees (Image credit: Lauren Scott)
Buy it if...
Don't buy it if...
Hasselblad 907X CFV 100C Scorecard
Hasselblad 907X CFV 100C: Also consider
If you're not sure that the Hasselblad 907X CFV 100C is for you, here are two similar alternatives.
(Image credit: Lauren Scott)
How I tested the Hasselblad 907X CFV 100C
I had the Hasselblad 907X CFV 100C for just under two weeks, and I tested it with the recent XCD 2,5/90V and XCD 4/28P lenses, plus the Hasselblad 907X handle control grip, which adds extra controls and makes handheld shooting more comfortable. The camera isn't really designed to be a carry-anywhere affair (although it is very portable), and I used it for planned portrait sessions in the city, landscape shoots for frosty sunrises, and out in the woods for low-light work. I mounted the 907X CFV 100C on a sturdy Manfrotto tripod for around half of the images I took.
I shot in raw format. Then, as part of the testing process, I used Hasselblad's free Phocus software to import my sample images before exporting them as smaller JPEG files. I tethered the 907X CFV 100C to my iMac and used Phocus software to control the camera. Finally, I connected the camera to my iPhone 15 via Wi-Fi and Bluetooth, and used the Phocus Mobile 2 app to import images directly across for sharing.
The DJI Mic 2 is a portable wireless mic system that delivers high-quality sound – especially clear vocals – without the fuss that often comes with complicated pro-level audio gear.
Succeeding the DJI Mic, which is a TechRadar favorite for those creating video content on the go, this second-gen model is a big upgrade in a familiar package and boasts smart pro-level features, namely 32-bit float audio and AI-powered ‘intelligent noise reduction’.
With reliable magnetic mounts for quick mic setup with your subjects, and instant sync between mic and receiver, plus optional lav mics available, you can start recording audio in the DJI Mic 2's auto mode, even in complex environments, without worrying about clipping, or unpredictable distracting noise around you.
I'd definitely opt for the complete kit, which includes two transmitters (mics, with windshields) for dual-channel audio, and one receiver that attaches to your camera of choice. Two transmitters can cover two subjects, or a single subject with stereo sound, whatever your camera. These components come in a charging case that auto syncs what's inside, plus the necessary connectors, and it all squeezes into a tiny carry case.
You can buy a single transmitter with receiver, or any of the individual components, but at $349 / £309 for the complete kit (about AU$530 – pricing for Australia is TBC), the DJI Mic 2 is a dream bit of gear for solo content creators and small video productions lacking a dedicated audio specialist on set.
Competition-wise, the DJI Mic 2 most directly goes up against the Rode Wireless Pro; and thanks to its smart noise reduction feature and lower price, DJI's offering might just have the edge.
DJI Mic 2: Price and release date
Available as a complete kit with charging case for $349 / £309
Can be bought as one transmitter and receiver for $219 / £189
The DJI Mic 2 is available now, with the complete kit comprising two transmitters (in Black or Pearl White), one receiver, a charging case, Lightning and USB-C receiver connectors, two windshields, a lav mic, plus carry case, and costs $349 / £309 (about AU$530). If you only need a single receiver and no charging case, then it's $219 / £189 (about AU$330), while you can buy some of the items separately, like the transmitters for $99 / £89 (about AU$150).
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DJI Mic 2: features
Let's unpack the headline feature: 32-bit float. This is all the rage in the video production world, and rightly so, as it affords great flexibility for small crews that need a mic that simply captures sound clearly, even when the volume gets super-loud all of a sudden, or if your main subject is painfully quiet.
In technical speak, 32-bit has a dynamic range of 192db, but it's not a fixed frequency point, and can encode wider values with a potential range that covers up to 1,528dB. That's the flexibility I was just talking about.
If your interviewee shouts into the mic, the audio won't clip; if they speak very quietly, you can raise the volume without introducing audio noise. Put simply, vocals should remain clear in any situation. Speaking from experience working on high-stress shoots with low resources, 32-bit float has been a lifesaver.
By contrast, the highly capable first-gen DJI Mic 2 records 24-bit audio with a range up to 144.5dB, while mics that record in 16-bit only cover 96.3dB. If you set audio gain correctly from the start, 24-bit should sufficiently capture the required range of audio frequencies. However, the reality for many video productions is that audio simply cannot be monitored easily on set, where anything can happen, including sudden high-frequency incidents (loud noises).
You can see the difference between using the DJI Mic 2 and a phone's built-in mic below…
Digital photography is a loose analogy, but it's a bit like the difference between shooting raw instead of JPEG. If you nail the exposure and color correctly at the point of capture, then JPEG is sufficient; if you don't – say your photo is too bright and detail in the sky is washed out – then that detail is lost.
If you shoot in raw instead, you can recover way more high-quality detail that would otherwise be lost with JPEGs when the exposure is too bright or dark, and more easily correct color temperature when it’s off. So, even if you get it wrong at capture, you can still produce a decent final image.
While shooting raw isn't quite the same as using 32-bit float, you get the picture. When things go wrong – which they often do on set and on location, no matter your skill level – then 32-bit float gives you the flexibility you need to handle the unexpected.
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While 32-bit float gives a wider dynamic range for complete sound and the flexibility to avoid clipping, it still needs a decent-quality mic, and to that degree DJI's omnidirectional mics have been lavished with AI noise reduction that effectively reduces environmental noise.
Now you might want environmental noise in your audio for a richer viewer experience; however, if it overpowers vocals then you need to keep a lid on it. With the DJI Mic 2, you get to choose – the new AI noise reduction can be turned on and off in an instant with a simple tap of the icon on the 1.1-inch touchscreen.
DJI Mic 2: performance
I've used the mic on a windy countryside walk, and in a noisy conference hall – though I haven't travel-vlogged from a bustling city street yet – and the new feature works really well. There's certainly a marked difference in quality between the DJI Mic 2 and the built-in mic of your smartphone or camera.
I can tell that the smart noise reduction feature will be able to deal with the hum of road traffic or an air conditioner fan near an interviewee, ensuring maximum possible vocal clarity, and making this is a great kit for small teams that do lots of interview content.
You can now also bypass the Mic 2's receiver altogether, using a direct Bluetooth connection between camera and transmitter – after all, there are times when you'd rather not plug the receiver into the underside of your phone (or your DJI Omso Pocket 3 / Osmo Action 4). You lose the ability to record in 32-bit float with this connection method, but it could be worth the compromise.
You can also opt for Safety Track, which simultaneously records a backup second track at -6dB into the transmitter, which has 8BG of built-in storage that's sufficient for thousands of hours of audio content. It's a handy feature should there be severe audio spikes.
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Despite its pro-level features, you don’t need to be an audio expert to get started with the DJI Mic 2 – quite the opposite in fact. As I said before, the complete kit has everything you need: it includes a charging case, in which you can store and charge the two transmitters (mics) and one receiver, and in which all three devices are automatically paired, so they’re ready to go in an instant.
It’s super-quick to set up the transmitters, using the strong magnets that securely fix them in place on clothing, or a clip if you'd rather not use the magnets. If the transmitters are a little bulky for your taste, an optional lav mic can be attached instead.
You can use the Mic 2 transmitter as a standalone omnidirectional mic with noise reduction and record onto its 8GB built-in memory, but most people will use the mics with the receiver connected to a camera that has USB-C, Lightning, or a 3.5mm jack connectivity, with audio added directly to the video files. That camera could be your phone, one of the best vlogging cameras, like the DJI Pocket 3, or many mirrorless and DSLR cameras.
Battery life has been upped from the first-gen model, too, from 15 hours to 18 hours, making this is an excellent bit of kit for extended time out in the field.
If you want to produce engaging video content, great quality sound is vital, but achieving that is easier said than done. For vloggers and small video production outfits often working on high-pressure shoots with limited resources, the powerful, smart and no-fuss DJI Mic 2 is a superb option.
DJI Mic 2: Should I buy?
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Buy it if...
You're a solo or small video production team If you don't have someone constantly monitoring sound, you need a versatile mic that you can rely on whatever happens during the take, and the DJI Mic 2 is just that.
You need clear vocals Whether you're a small crew filming interviews or a solo vlogger out and about, the DJI Mic 2 delviers crips vocals.
You want easy-to-use pro audio features I can't reiterate enough just how easy it is to get started, connected, and recording high-quality audio, whatever your skill level.
Don't buy it if...
You don't record vocals regularly The DJI Mic 2 is all about clear vocals, wherever you are. So if you shoot video that doesn't feature a lot of talking, then you probably don't need it.
You don't want to fiddle with 32-bit float in post production The industry-standard video output is 24-bit, so you'll need to convert those 32-bit files in post. That said, you can just record in 24-bit instead.
DJI Mic 2: How I tested
I had the DJI Mic 2 for several weeks
Used with a smartphone, the DJI Osmo Pocket 3, and a mirrorless camera
I used it with and without 32-bit float and AI noise reduction
I used the DJI Mic 2 complete kit for several weeks, testing how easy it was to set up and connect to devices, as well as testing the quality of its audio recordings.
I've used its 32-bit float audio capture and other settings, and I've used it with the AI noise reduction turned on and off to make comparisons. I've used the mic outside on windy countryside walks, and in echoey interiors, and I also used it to record videos for TechRadar's TikTok channels.
The Pivo Max is a motorized head that can intelligently track subject movement, when paired to Pivo's free iOS / Android app. Put simply, it's like having your own camera operator, and could be the handiest smartphone accessory you ever purchase, particularly if you're a solo content creator.
It's incredibly easy to get started with the Pivo Max app, and establish a connection between an Apple or Android device and the motorized head. Once a connection is active, the app recognizes a variety of subjects – both human and animal – and follow a subject's movement, keeping them in the selected portion of the frame.
Most people use a smartphone to shoot content now, and many such people work alone, and the Pivo Max is going to be hugely useful if you want to bring life and extra production value to content, rather than relying on a static, locked-off shot.
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Set-up is simple – after optionally attaching the head to a tripod or other support to achieve the required height (the head can also simply be placed on a table or other surface), you slot your smartphone or tablet into the removable holder on the top, screw it firmly in place, open the app and away you go. Your phone will reliably track your movement, with options for human face or body tracking, plus dog or horse tracking – a peculiar mix of subjects for sure.
What's more, there's an 'Auto Zoom' option – if you move further away from the camera, it can zoom in to maintain a similar composition, and zoom out again should you move closer to the camera once more.
You can also select one of three vertical zones – left, middle or right (see below) – in which the app can place the tracked subject. I suspect most people will select the middle portion of the frame, but I can also see a use for leaving space either side of yourself, for example when showcasing products by your side, or for leaving space in your shot to walk into when out and about, especially in scenic surroundings.
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Tracking speed can be adjusted for slow and steady movements, through to keeping up with quick movement, and the motor can indeed be smooth or snappy – whichever you need. A timer gives you a three-second countdown to get ready for a take, and there are photo, video, meet and webcam modes to choose between.
The Pivo Max comes with a remote, too, so it's easy to adjust app settings from distance – you don't have to initiate recording on the device's screen itself. However, if you're using a separate camera like a DSLR or mirrorless, you'll need to start recording directly on the camera itself.
Yes, you can mount a small camera such as an entry-level DSLR or mirrorless model, and use that instead of your phone, although you'll still need the app active to obtain the Pivo Max's functions, so you'll need to source a coldshoe mount to mount your phone on top of the camera (included in Pivo's pricier kits).
I only used the Pivo Max with a smartphone – and I expect the overwhelming majority of users will do the same – but it's nice to know that I could use it with one of my 'proper' cameras; it has a max payload of 2kg.
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The device itself is compact, and lightweight at around 350g. It's well built, though I wouldn't want to expose it to inclement weather. Pivo says battery life is a generous 10-12 hours.
Naturally, I've wanted to test the Pivo Max app's effectiveness, trying a range of scenarios and subjects. Starting with a solo talking-head shot, I made subtle movements left and right, towards and away from the camera, and tracking is silky smooth, though the zoom is a little jerky. Crank up the tracking speed to 'turbo' and the motorized head will swiftly respond to quick sideways movements, doing an admirable job of keeping up.
If you make quick movements when the tracking speed is set to slow / normal, the Pivo Max will lag behind. Conversely, set it to quick when making slow movements and it's more likely to be jerky. You're not always going to know your speed of movement, and for such scenarios an intelligent adaptive auto tracking speed would be great, as opposed to having to manually input the tracking speed (I generally kept the speed on the quicker side).
As such, an element of planning is required before you hit record, to select the appropriate tracking speed for the anticipated speed of movement. However, the Pivo Max has an extra trick or two up its sleeve.
It's possible to create a path with a start and finish point, much like Waypoints for drones, and then to initiate that tracking movement. There's also predictive follow, although it wasn't immediately clear to me what additional benefit this function offered.
I've also tried to confuse the app by including multiple faces in the frame, and by covering my own face as the primary tracked subject – the app will then lock onto another face in the frame and make them the tracked subject instead. So long as a subject maintains line of sight with the camera, tracking is very reliable.
If the tracked subject changes, the first tracked subject can move back into the middle of the shot and it'll lock onto them again. Tracking is in theory more reliable than an actual human camera operator, who may or may not be able to predict or keep up with your movement (or maintain concentration).
Yes, the Pivo Max can be more effective that a human camera operator. A caveat is that the motorized head can only do panning movements (a full 360 degrees – you can literally run circles around it) but not tilt, which is a little limiting if the subject is positioned close to the camera. A pricier and heavier gimbal would offer this extra range of motion, but these devices are way more complicated to set up than the Pivo Max. While it lacks a full range of movement, I have full confidence in the abilities of the Pivo Max for panning shots.
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You're using the Pivo Max app to control the camera when shooting with a phone, and the options are more limited than most smartphone's camera functions. You can select exposure for your subject, or uncheck that option for the app to select brightness based on the entire frame. Basic self-timer modes are included, but otherwise, this is a point-and-shoot kind of experience.
Naturally, it's easier to compose your shot using your phone's selfie camera, but if I wanted to use the better-quality front-facing camera I would happily rely on the Pivo Max's tracking capabilities, without needing to see the shot in real time on my phone's screen.
Two areas for improvement would, as mentioned, be a tilt motion in addition to panning, and an auto tracking speed option. Otherwise, this is a super-useful accessory, and practically speaking, the zoom function somewhat makes up for the lack of tilt motion.
Overall, I can easily see an audience for the Pivo Max. It's a tad on the pricey side for what you're getting, but the value it can add to video production for solo content creators, together with its tiny form factor and quick setup, will allow many to justify the outlay.
Pivo Max: price and release date
The Pivo Max is available now and costs $269.99 / £259.99 / AU$434.99. You'll need to buy a support separately, and Pivo sells an Essential kit for $369.99 / £354.99 / AU$594.99 that includes a tripod, although the Pivo Max can be mounted on any tripod or stand with standard 1/4-inch thread. I used a basic light stand for my testing. If you'd like to mount a camera, as well as a smartphone or tablet, you'll also need to pick up a phone-to-camera coldshoe adapter (included in the the Essential kit as well as the Starter kit that costs $299.99 / £284.99 / AU$484.99 that also contains a travel case and smart mount).
Should I buy the Pivo Max?
(Image credit: Future)
Buy it if...
Don't buy it if...
How I tested the Pivo Max
I had the Pivo Max on test for a lengthy period, and I used the motorized head mainly for solo talking-to-camera videos indoors, recording onto an Android smartphone. I've tried the various in-app settings, making adjustments to the tracking speed and subject detection options, and tested the various shooting modes.
Leica’s first foray into the instant camera market was in 2016 with the original Leica Sofort, Sofort meaning “immediately” in German. The camera borrowed its functionality from the Fujifilm Instax Mini 90 (a camera I still enjoy using) but had Leica’s premium price tag and that iconic red dot. The Sofort 2 arrives seven years later - a long time in the photo industry - and plenty has changed between the first and second generations.
You see, the Sofort 2 is now a hybrid; a digital camera and printer all-in-one that still pushes out Instax Mini-sized film. This time, another license from Fujifilm sees the camera taking its design cues from the Instax Mini Evo, with filters and lens effects (more on these later), a new button layout, and a satisfying lever that you pull back to activate printing. I like that you get a shutter on the front and top of the body to make it easy to fire while taking a selfie. There’s a mirror to check out your framing, too.
There's no viewfinder, so the only way to compose shots is with the screen on the back, a 3-inch TFT LCD that isn't touch-responsive and can be hard to see in bright light. Navigating the menu is straightforward though, and holding the Sofort 2 is comfortable - even if the black colorway is a fingerprint magnet. In the camera menu, you can switch between natural and rich printing, and I prefer rich for its strong, vibrant tones. Pressing the up button in playback mode brings up more settings like the flash and self-timer.
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Pull the print lever and the Sofort 2 will take a few seconds to prepare (Image credit: Lauren Scott)
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A print takes about 15 seconds to pop out of the top/side of the camera (Image credit: Lauren Scott)
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You can shoot with 10 film styles, including Leica Monochrom and retro (Image credit: Lauren Scott)
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10 lens effects can be applied by clicking the dial on the lens round (Image credit: Lauren Scott)
The Sofort 2 has the Leica name, but that doesn’t mean you can expect the same image quality as its rangefinders. I was disappointed by the specs here, as you get a 4.9MP camera with a 1/5-inch CMOS sensor, and images are in JPG format only. The aperture range is f/2-f/16 and the ISO is 100-1600, but you can’t change either of these settings yourself. Exposure is fully automatic, unlike the Polaroid I-2, although you can tweak the white balance and exposure compensation, which is handy when the camera overexposes in high-contrast lighting.
The flat pancake lens is equivalent to a 28mm full-frame, which is wide enough for you to get good group shots and expansive landscapes. The camera’s autofocus is limited, but the face recognition mode isn’t terrible. It took me about a week to discover the macro mode for getting subjects as close as 10cm in focus, and this was a game-changer for nature images.
For point-and-shoot users wanting to shake things up, the Sofort 2 has ten lens effects and ten film styles, effectively giving you over one hundred combinations in the camera. Instax film being the price it is, I didn’t try them all, but I did play around with the iconic Leica Monochrom, vintage, and a bizarre canvas style, plus the vignette and mirror lens effects. Some are more gimmicky than others, but I can see them being fun for amateurs used to Instagram filters.
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The camera takes packs of standard Instax Mini film, but there are Leica-branded options (Image credit: Lauren Scott)
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The Sofort 2 is slimmer and sleeker than the Instax Mini 40 (Image credit: Lauren Scott)
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It's easy to transfer images from camera to phone with the Leica FOTOS app (Image credit: Lauren Scott)
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Once linked via Bluetooth, the Leica FOTOS app can be used to print and transfer photos, and remotely control the Sofort 2 (Image credit: Lauren Scott)
Being a hybrid, you can print from the camera’s internal memory (around 45 images), a microSD card (a 1GB card will let you take a whopping 850 images), or over Bluetooth from the Leica FOTOS app. None of these were options in the original Sofort, and another welcome new feature is a USB-C connection for transferring images and charging the battery.
Unintentionally, I used the Sofort 2 more as a printer than a camera (it takes about 15 seconds to print an image whatever the source). Maybe that approach is cheating, but there’s no escaping the fact that the image quality - sharpness, color richness, and dynamic range - from the Sofort 2 is behind most modern smartphones. When I had the iPhone 15 Pro in my pocket, there was always a real temptation to use that instead and avoid wasting expensive film. The Sofort 2 is a brilliant portable printer, and the prints it makes are vibrant and authentic-looking, with all the vibes that make Instax so popular.
For me, the Leica FOTOS app was also a pleasure to use, and surely one of the smoothest in the business. While you’re not spending over $300/£300 on an instant camera for its app, it’s fair to say that Leica has streamlined the experience, even if you don’t get any editing or effects like stickers.
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Prints from a smartphone are much better than the Sofort 2's in-built camera (Image credit: Lauren Scott)
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There are a huge range of Instax Mini film options, in packs of 10 (Image credit: Lauren Scott)
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Taken on the Leica M11-P and printed on the Sofort 2 with the app (Image credit: Lauren Scott)
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Print from a smartphone shot. The Leica Color film is vibrant (Image credit: Lauren Scott)
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Print from a smartphone shot. The film struggles with deep shadows (Image credit: Lauren Scott)
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Print from a smartphone shot. Leica's Color film is perfect for holiday snaps (Image credit: Lauren Scott)
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A photo taken with the Leica Sofort 2. The 4.9MP lags miles behind my iPhone 15 Pro (Image credit: Lauren Scott)
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A digital photo taken with the Leica Sofort 2's camera in rich mode (Image credit: Lauren Scott)
For me, the best instant cameras are the hybrid ones, simply because they unlock more possibilities and mean you’re not limited to (let’s face it) basic optics and (in this hybrid) small sensors. And they save you dosh on a separate printer.
The Sofort 2 is for style-conscious photographers who want something more serious than the average instant camera. That’s me on a good day. Because it still functions similarly to an Instax camera, anyone can pick it up and use it without a rigorous learning process. But the branding is sleek and grown up, and to be honest, I loved whipping out the Leica dot whenever I got the chance.
Reviewers don't talk enough about how cameras make us feel when we’re using them. During the test period for the Sofort 2, we became practically inseparable partners, and not just because it was small enough to fit in my coat pocket. It made me feel creative, inspired, and cool - and that’s more than I can say of my flagship mirrorless camera, or indeed, my dust-gathering Instax cameras since it came along.
Leica Sofort 2: Price and release date
Available in the US for $389
Available in the UK and Australia for £350 / AU$649
The Leica Sofort 2 was released on November 9, 2023, although some retailers are still asking you to join a pre-order waiting list. The official Leica store has had the best availability since the camera's launch. There's a choice of three colorways; white, red, and black – to reflect the iconic Leica branding.
In the box, you get a carrying strap, lens cap, USB cable for charging or transferring photos, and a quick start guide. Leica also sells a wide range of Sofort-friendly accessories like bags and a metal tin to keep your prints stored safely.
The Sofort 2 takes Instax Mini Film, and the cost of this varies depending on what design you choose. Standard twin-packs with 20 exposures of Instax Mini film start at $14.99 / £14.99 / AU$34.95, while 20 slides of Leica-branded film will set you back around £19 / $30.
The Sofort 2 is sleeky and shiny, although the black colorway attracts fingerprints (Image credit: Lauren Scott)
Leica Sofort 2: Should I buy?
Buy it if...
Don't buy it if...
Leica Sofort 2: also consider
If you're interested in instant cameras but not sure about the Leica Sofort 2, here are some alternatives to consider...
Leica Sofort 2: How I tested
Friends tried out the camera at an event
Printing in-camera and via the Leica Fotos app
I had the Leica Sofort 2 for a two-week testing period and during that time I carried it pretty much everywhere in my bag; on family walks, a trip to a Christmas market, plus out for coffee and brunch (because where else is better to take hipster images).
Over this time, I shot plenty of photos using the built-in camera and printed them straight away. I played with the built-in image effects and face recognition setting. At home, I also linked the Sofort 2 up to the Leica Fotos app on my iPhone and printed a selection of existing photos to see how the camera handled different lighting types and extra detail. I even printed out some photos taken with the Leica M11-P that I'd been reviewing for another outlet.
The Sofort 2 became my compact instant camera, street shooter, and party companion, as well as an Instax printer. I used a range of Instax Mini film packs, including the Leica-branded Instant Color Film and Instax Mini Contact Sheet.
Prime lenses are, for the most part, optically superior to zoom lenses despite the often excellent optical performance of the latter. The trade-off with a zoom is the convenience of being able to change focal length without changing the lens, but beyond that prime lenses win hands down.
The Nikkor Z 600mm f/6.3 VR S is the lightest 600mm lens in the f/6.3 class at just 3lbs 3.9oz / 1,470g with the tripod collar attached. Just to put that into perspective, that’s only a whisker heavier than the Nikkor Z 70-200mm f/2.8 VR S, which is impressive, and alongside excellent image quality it makes the 600mm f/6.3 one of the best Nikon Z lenses available.
You’d certainly hope so, too, because this is a lens that comes with a hefty professional price tag. At $4,800 / £4,999 / AU$8,299, this is one of those lenses that costs more than many of the camera bodies it will find itself attached to, which means it will unfortunately be out of reach for many enthusiast photographers. But it’s not all bad news if you’re on a slightly tighter budget, because the Nikkor Z 180-600mm f/5.6-6.3 VR comes in at a more affordable $1,697 / £1,799 / AU$2,999, and it’s a great lens for the price.
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Despite its low weight considering the focal length, the Nikkor Z 600mm f/6.3 VR S is still a largish lens compared to a medium zoom at 4.2 x 11 inches / 106.5 x 278mm. The front element and filter thread is 95mm, so a protective UV filter won’t be cheap, but it’s certainly not a necessity, because the included lens hood provides ample protection alongside helping to reduce or eliminate flare. But once again, in the grand scheme of things, this lens is still pretty compact for what it is; it’s comfortable to use handheld for long periods, and the tripod collar provides a balanced method of attaching the camera and lens to a tripod when required.
This is a premium lens, and the build quality is excellent, with the look and feel alone exuding quality. But it’s certainly not perfect, and the area in which it doesn’t quite live up to expectations may surprise you, given the situations the lens is likely to be used in. The 600mm features rubber gaskets to keep dust, dirt and moisture out of the lens, but Nikon doesn’t say anywhere that the lens is weatherproof.
It can likely handle some use in wet weather, but Nikon also stresses in the small print that the lens isn’t guaranteed to be dust and drip-resistant in all situations and under all conditions. Sure, no camera or lens could be claimed to be 100% weatherproof, but this does leave a question or two hanging in the air, and more clarity here would be useful so that users aren't left to guess how weatherproof the lens might be.
A lens like this is primarily aimed at sports and wildlife photography, and the Vibration Reduction / image stabilization is excellent. During testing, and with an extremely steady hand, I was able to shoot sharp images at shutter speeds as slow as 1/30 sec. This is amazing, and useful for panning slower-moving subjects. The 600mm provides up to six stops of stabilization, but there’s a slight caveat here; this requires Z-series camera bodies that support Synchro VR, which is only available in the latest full-frame models like the Z9. For camera bodies that don’t support this, the 600mm still provides 5.5 stops of image stabilization, so no great loss here.
On the lens itself, there’s a customizable L-Fn button, four customizable L-Fn2 buttons, a focus limiter switch, a manual/AF switch and a memory set button. There’s unfortunately no VR switch or VR mode switch, which would be useful, but this option can be easily accessed via the camera. Alongside the manual focus rings, there’s also a customizable control ring that can be set to adjust focus, aperture, ISO or exposure compensation; this is set to aperture by default, and it's extremely useful.
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The optical design of the Nikkor Z 600mm f/6.3 VR S comprises 21 elements in 14 groups, which include two ED elements, one SR element, one PF element, elements with a Nano Crystal coat, and a fluorine-coated front lens element to repel moisture and dirt. That's a lot of glass, but the construction, including the Phase Frensel (PF) lens, helps to keep the lens small and lightweight as well as enabling the excellent image quality. A maximum aperture of f/4 would undoubtedly be more impressive, but this would mean the lens would have to be larger and heavier; f/6.3 still produces pleasing bokeh thanks to the nine-blade aperture, and it's a good aperture to shoot at to ensure enough subject depth-of-field in sports and wildlife photography.
Image quality is excellent, and autofocus is fast and silent. This is the type of lens where you’re unlikely to stop down to more than f/11, and will probably shoot wide open at f/6.3 most of the time. It's where the Nikon Z-mount excels especially in this lens – you won't notice a drop in overall sharpness at f/6.3. Stop the lens down to f/32 and diffraction naturally shows.
As you'd expect, the centre of the frame is the sharpest, but edge sharpness is still more than respectable and you can confidentally compose subjects off-center knowing they will be sharp. During testing in bright conditions, no chromatic aberration was visible along high-contrast edges, and lens corrections applied using the lens profile in Lightroom made only a small adjustment.
Nikkor Z 600mm f/6.3 VR S photo samples
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The Nikkor Z 600mm f/6.3 VR S is an excellent lens overall, and one that any Nikon shooter will be happy with if they can justify the cost. It’s primarily targeted towards full-frame Z-series cameras, but works just as well with APS-C Z-series cameras to provide an effective focal length of 900mm. You can increase the focal length on full-frame Z-series cameras by shooting in DX mode, and during testing we employed DX mode on the the Z 7 II, which still provides a useful and usable 20MP image. You can also use the lens with teleconverters to increase the effective focal length, but this does reduce the maximum aperture to varying degrees depending on the strength of the teleconverter.
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Should I buy the Nikkor Z 600mm f/6.3 VR S?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
Nikon Z 600mm f/6.3 VR S: Also consider
How I tested the Nikon Z 600mm f/6.3 VR S
The Nikkor Z 600mm f/6.3 VR S was tested over several shoots, including handheld use to assess the size and weight of the lens. Photos were taken at different aperture settings in both FX and DX modes to test handling, sharpness and distortion, while Vibration Reduction was put through its paces by shooting at slower shutter speeds than normal. I shot both static and moving subjects to test autofocus performance.
Most images were shot simply to see how the lens performed in different situations, while others were shot specifically to compare the results. This provides the ability to test all aspects of the lens in a real-world environment that’s closer to how photographers will use the lens, rather than relying on statistics and lens charts.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve covered almost every conceivable subject and used many of the cameras and lenses that have been released in that time. As a working photographer, I’m also aware of the factors that are most important to photographers, and aim to test cameras and lenses in a way that reflects this.
Action cameras are a great option for capturing sport, travel and a whole host of subjects; they're small, lightweight, and in most cases designed to withstand the rough and tumble these cameras typically endure. The Kandao QooCam 3 is a 360-degree action camera that provides an alternative to the likes of Insta360 One R and X3, as well as the GoPro Max, which are all among the best 360 degree cameras currently available.
360-degree cameras are becoming increasingly common, providing users with the ability to capture 360-degree photos and videos that can be scrolled around, as well as to reframe 360-degree video into a traditional 2D perspective where you can pan, zoom and change camera direction to create the illusion of being filmed by someone else. 360-degree camera manufacturers often describe this as like having a personal camera person filming you, and in many ways it is.
The QooCam 3 fits this profile well, and while it’s not the kind of action camera you’d want to drop due to the two fisheye lenses, one on each side, it is dust and waterproof to IP68. This opens up more possibilities for a camera that can capture 360-degree photos at 62MP in JPEG and DNG formats, alongside the ability to capture up to 5.7K 30 fps 360-degree video. Low-light performance is also a key feature thanks to the 1/1.55-inch sensors and large f/1.6 apertures for each of the two fisheye lenses.
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QooCam 3: Release date and price
Launched in September 2023
Several kit options
Additional accessories available
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The QooCam 3 was launched in September 2023, and is the second consumer 360-degree camera produced by Kandao. The QooCam 3 standalone kit includes the camera, a battery, a USB-C cable, and a soft case, and costs $349 / £278 / AU$531. The Travel Kit is the best option for most people – this includes all of the above plus an additional battery, a 64GB microSD card and a 120cm invisible selfie stick for just a bit more at $370 / £295 / AU$563. The Motorcycle Kit includes all of the above, plus a plethora of mounting accessories for $400 / £319 / AU$609.
Alongside the kits, you can also purchase additional batteries, the invisible 120cm selfie stick, and a Marsace x Kandao co-branded mini tripod. When the camera was sent to me for review it arrived with a car suction mount, which is a great accessory that works exceptionally well, but which unfortunately is not available on the Kandao website at the time of writing – hopefully it will be soon.
Price score: 4/5
QooCam 3: Design
Near square design
1.9-inch LCD screen
Weighty at 7.76oz / 220g
The QooCam 3 is almost square at 2.8 x 3.3 x 1.0 inches / 71.5 x 82.7 x 26.6mm and weighs 7.76oz / 220g including a battery and microSD card. To say it looks familiar to the GoPro Max is an understatement, although the QooCam 3 is slightly larger and heavier. Controls are minimal, with just a power and record button on the top and a 1.9-inch rectangular touchscreen on which settings can be accessed easily by swiping from the sides and using the customizable Q menu.
The LCD screen isn’t the highest-resolution when compared to other action cameras, but it’s clear and bright enough, and provides a single camera view, which can be switched from front to back when capturing photos and videos. This is better than the phone app view, which shows a stretched-out 360-degree view and feels strange to use for composing, but the app does provide wireless control of the camera, which is useful.
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Build quality is impressive, especially considering this is one of the less expensive 360-degree cameras available, and the dark grey and black body has an undoubtedly high-quality look. The two fisheye lenses are positioned on opposite sides of the camera, and as on any camera of this type feel vulnerable, but they're protected when not in use by a soft case, which can be attached to the camera even when the selfie stick is inserted into the tripod mount on the bottom of the camera. There are four microphones, one on each side of the camera, that work well to record 360-degree sound in videos.
Design score: 4/5
QooCam 3: Features and performance
1/1.55 in sensors and f/1.6 apertures
6-axis gyro for image stabilization
360-degree ambisonic audio
With the ability to shoot photos and videos in several capture modes, the QooCam 3 follows a fairly standard approach to 360-degree cameras and what they’re capable of. Operation of the camera using the camera itself and the touchscreen, where you swipe from the sides of the screen to access various settings and features, is incredibly easy and intuitive, as on most modern action cameras. The phone app is just as simple and intuitive in this regard, while also providing wireless control and Live View.
The headline features of the QooCam 3 have to be the 1/1.55-inch sensors with a 2μm pixel size and 4-in-1 pixel merging, alongside the fast f/1.6 apertures. These make the camera a solid performer in low-light conditions, although with such fast apertures, shutter speeds need to be fast in brighter light, so it’s impossible to use the correct shutter speed for capturing more cinematic motion in videos. That said, even if the aperture was f/2.8 you would still have this problem, so the low-light performance is a huge bonus.
The camera uses a 6-axis gyro, which works well overall, and when I tested this while running the bobbing of the camera was minimized, although not completely eliminated. The same goes for walking, although with most action cameras you do have to walk with slightly bent knees while keeping the camera steady for the smoothest results. This is easiest when using the invisible selfie stick, which also allows you to maneuver the camera into interesting positions and apply sweeping movements for more dynamic videos.
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One point to note is that image stabilization isn’t applied to the image viewed on the camera screen or in the app when connected, so this will appear unsteady during filming. Stabilization is applied during editing using the gyro data, where you can use Horizon Steady to lock the camera angle while maintaining the ability to add keyframes, or View Lock Steady to simply apply stabilization.
Sound can often be a secondary consideration for action cameras, but the QooCam 3’s four microphones capture 360-degree ambisonic audio (full-sphere surround sound) and do a reasonable job of recording sound. However, wind noise can be an issue when it’s windy or if the QooCam 3 is attached to a car using a suction mount – it has to be said that attaching the camera to a car to create faster and more dynamic timelapse videos, 360-degree videos, and reframed videos is a lot of fun.
The smartphone app and desktop app are both reasonably easy to use, but both lack the range of features and finesse of Insta360’s comparable apps for Insta360 cameras. The QooCam 3 phone app offers more functionality than the desktop version, including the ability to use templates to make faster edits, add one of five music tracks, and remove the original sound, although these options take some getting used to before you can confidently create the video effects you’re aiming for. It’s not rocket science by any means, but expect a small learning curve here – and the functionality is limited to just about what you need, rather than something slightly more impressive.
Features and performance score: 3/5
QooCam 3: Image and video quality
Up to 5.7K 30fps video
62MP 360-degree photos
Decent low-light performance
The image quality produced by 360-degree cameras is never as good as that from standard action cameras, and the QooCam 3 is no exception here in general. It does, however, perform well in low-light conditions such as night scenes, thanks to the fast aperture. For example, when walking through Chinatown in London at night I only needed to increase the ISO to 640 while maintaining the correct 1/60 sec shutter speed for 5.7K 30fps video, and image quality was impressive.
The dual cameras on the QooCam 3 use fisheye lenses that provide a full-frame equivalent focal length of 9.36mm, with the images combined to create panoramic and 360-degree photos and videos. Camera control can be set to Auto, with control over exposure compensation and the ability to manually adjust exposure compensation and white balance, or Manual, which gives you full control over all settings except for aperture, which is fixed. Auto is best for situations where you’re moving from light to dark areas and vice versa, while Manual is generally best for everything else.
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Photo modes include Standard panoramic photo (360-degree), Interval Photo, DNG8 and AEB. DNG8 is where eight DNG files are captured and merged in the RawPlus software for increased detail and lower noise with HDR results. However, when editing photos in QooCamStudio (desktop) and with the RawPlus desktop app, I didn't always feel that I knew exactly what I was doing.
For this to work, you have to merge the eight DNGs with RawPlus and export a single DNG. This can then be processed in Lightroom or Adobe Camera Raw, with no cropping, exported as a JPEG, and then further adjusted in terms of viewpoint in QooCamStudio, before a new JPEG can be exported at up to 4K dimensions. It’s a convoluted process, and I found a tutorial by a third party covering this after I was unable to find a guide on the Kandao website. This is a process that needs to be simplified.
QooCam 3 video
Photo editing is much easier with the QooCam 3 smartphone app, but often still leaves you wondering. That said, the 360-degree photos can be captured up to 62MP, but you have to attach the camera to the selfie stick on a mini tripod and be out of shot to avoid being photographed, or you can reframe photos into a 4K 2D photo. Video can be captured in Standard panoramic video (360-degree) and timelapse, with interval and resolution options for the latter. For video, you can capture 5.7K 30fps, 4K 60fps and 4K 30fps.
Image quality overall is good, and sits within the norm for this type of camera, but photos and videos have an over-sharpened appearance, and there’s no control over the sharpening level in the camera settings; this would be a useful addition via a firmware update. Over three weeks of using and testing the camera, three firmware updates were delivered, so Kandao is working hard to improve what is already a solid yet imperfect 360-degree camera. With a handful of upgrades in terms of the apps and the camera firmware, the QooCam 3 could be greatly improved to make it a highly competitive option, because the hardware is solid.
QooCam 3 360-degree video
Image and video quality: 3.5/5
QooCam 3: Test scorecard
Should I buy the QooCam 3?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
QooCam 3: Also consider
(Image credit: James Abbott)
If our QooCam 3 review has inspired you to think about other options, here are two more 360-degree cameras to consider…
How I tested the Kandao QooCam 3
The QooCam 3 was tested over several weeks in a variety of environments and light conditions, including being attached to a car. This provided enough time to fully explore what the camera is capable of in terms of capture options, editing options, output quality using both the smartphone and desktop apps, and, importantly, overall ease of use while considering the learning curve of the apps.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve covered almost every conceivable subject and used many of the cameras and lenses that have been released in that time. As a working photographer, I’m also aware of the factors that are most important to photographers, and aim to test cameras and lenses in a way that reflects this.
The Insta360 Ace Pro is Insta360’s first out and out wide-angle action camera – and the brand has absolutely nailed it, creating one of the best action cameras to market. Insta360 isn't new to this field though, with a range of 360-degree cameras that includes the low-light champion the Insta360 One R 1-inch, plus mobile gimbals.
The Ace Pro rivals the likes of the GoPro Hero 12 Black and the DJI Action 4, but it is the first of its kind to offer 8K video. Take that, GoPro and DJI. You also get 48MP stills – both of which are probably larger than most people will need. However, the quality of the output is generally great, with the HDR Photo mode particularly good at capturing detail in highlights.
The highest resolution 8K video is available at 24fps only, so there's definitely room for higher frame rates to be added in future versions of this camera. However, slow motion 4K video is possible up to 120fps.
Insta360 is a long-time partner of Leica, which has engineered the Ace Pro's 1/1.3-inch sensor, and this partnership seems to be paying off. The sensor, backed by the camera's AI-boosted chip, does a great job of capturing excellent video and photo quality, even under more demanding lighting scenarios such as low light and highlights.
The magnetic mounting system and wide range of mounts makes this camera a highly versatile option for all types of creatives. The multi mount is particularly useful, enabling the camera to be mounted on a tripod or carried around on a selfie-stick, and Insta360 provides mounts that would work with all types of action sports, including cycling, diving, and surfing.
I really enjoyed the camera, from the excellent build quality to the impressive output of the video and photo. Insta360 has made a great camera, and it’s hard to see what it can improve on in future releases – perhaps slow motion 8K recording?
Insta360 Ace Pro specifications
Sensor: 1/1.3-inch FOV/focal length: 16mm (35mm equivalent) Max photo resolution: 48MP (8064 x 6048) Video: 8K 24fps / 4K 120fps / 1080 240fps Stabilisation: FlowState and Horizon Lock Screen: 2.4-inch flip screen Mount: Magnetic standard, Quick release, Multi Mount Battery: 1,650mAh Connectivity: Bluetooth, USB-C and Wi-Fi
It's a pricier alternative to the Hero 12 Black and the Action 4, but there are a number of specs that make the Ace Pro stand out and justify the higher price. The first is the 8K recording functionality. To achieve this inside such a small camera body is to push the boundaries of what was previously possible.
The 1/1.3-inch sensor is another spec that's worth noting. This is bigger than the Hero 12 Black's sensor and the same size as the Action 4's, although not as big as the Osmo Pocket 3.
There's also a 2.4-inch flip screen that is the largest available on the market, compared to 2.25-inch for the Action 4 and 2.27-inch for the Hero 12 Black. The screens of those cameras are fixed, too, while the Ace Pro's can flip up for selfies.
Overall, Insta360 has done a breathtaking job of pushing the boundaries of what it's possible to pack into a small-form action camera.
(Image credit: Paul Hatton)
Insta360 Ace Pro: release date and price
Available to buy now for $449.99 / £429 / AU$729
Mounts available from $14.99 / £15.99 / AU$29
Cheaper 'Ace' version of the camera costs $379 / £359.99 / $AU609
The Insta360 Ace Pro is available now, with the lowest-priced Standard Combo package costing $449.99 / £429 / AU$729, which is a little pricier than the GoPro Hero 12 Black, which retails at $400 / £400 / AU$650, or the Hero 11 Black at $350 / £350 / AU$579.
To extend your mounting options you can get the Standard Mount for $14.99 / £15.99 / AU$29, and the Vertical-Horizontal Mount for $19.99 / £19.99 / AU$39.
To get waterproofing down to 16m rather than the standard 10m you can buy the Dive Case for $59.99 / £59.99 / AU$109.
An extra battery to extend shooting times costs $34.99 / £35.99 / AU$65, and if you're needing to charge your batteries quickly then the Fast Charge Hub is a great option, and costs $49.99 / £51.99 / AU$89.
The Insta360 Ace Pro doesn't come with GPS as standard, but if you pair it with the GPS Preview Remote you can track your location. The remote can be worn on your wrist or mounted on your bike, for example. It costs $149.99 / £149.99 / AU$269.
If you want a cheaper alternative to the Pro version there's an Insta360 Ace which retails at $379 / £359.99 / $AU609.
Price score: 4/5
Insta360 Ace Pro: design
Easy magnetic mount
Versatile multi mount
2.4-inch flip screen for selfies
The Ace Pro is really nicely engineered, from quality materials. As soon as you take it out the box you can tell that it's both heavier and bigger than other cameras on the market, such as the Hero 12 Black. It weighs in at 179.8g, compared to 154g for the Hero 12 Black and 145g for the Action 4.
The benefit of this is that it feels more substantial in the hand, while still feeling very much like an action camera. It also allows for much better heat dissipation, something that is the single biggest problem facing action camera designers. If you want a smaller Insta360 camera the brand does offer smaller consumer alternatives.
One area where the Ace Pro diverges from other action cameras, in a good way, is in the implementation of its screens. I find DJI and GoPro screens often a little unresponsive, and their front screens never seem to deliver what's required when shooting in selfie-mode. The Ace Pro, on the other hand, includes a fantastic 2.4-inch rear flip screen that hinges from the top. The screen is big and responsive, and the hinge is perfectly engineered, enabling the screen to perch securely at any angle. I love it.
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In terms of mounting, you have a plethora of options available to you. The camera itself has a magnetic plate at the base to allow for a super-quick snapping of the camera onto different mounts. It follows the Action 4 in this regard, and has left behind the Hero 12 Black, which will hopefully introduce this functionality next time round. Action cameras have to be versatile, and quick to get up and running, and the magnetic mount on the Insta360 Ace Pro enables exactly that.
The standard mount is ideal for cycling, for either mounting the camera onto a helmet or handlebars. It’s lightweight, and includes a quarter-inch screw hole. There's also a quick-release mount, which hooks into the camera and is removable using the quick-release buttons. Unfortunately, I found that the camera didn’t hook into the prongs first time every time, and at times it took a little fiddling to ensure that both prongs were clicked in, which isn't ideal.
The multi mount is a stroke of genius though, serving a whole host of different shooting scenarios. It can serve as a standard tripod, as a selfie-stick of sorts, or just as something to carry the camera around with when you're shooting on the go.
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Insta360 has also included a really nice front display, which isn't a touchscreen but updates you on some of the key settings. It’s a nice feature, but I couldn’t really find a use case for it; if I was shooting in selfie mode then I had the settings displayed on the flipped screen anyway.
I personally found the record button too hard to press, which made it difficult to begin recording or take a photo without dislodging the location of the camera in my hand and introducing a wobble into the start of the video. A more responsive button would easily overcome this.
The camera contains all the ports you would expect, including a USB-C port, microSD slot, and a battery cavity. These are all behind flaps which I found a little fiddly to open and close. The flap to the power port/microSD port also only just opens wide enough to allow the power cable in, while the microSD port is also right next to the power cable, which makes it tricky to remove or insert the SD card while charging.
Design score: 4.5/5
Insta360 Ace Pro: features and performance
Excellent FlowState stabilization and Horizon Lock
Decent waterproofing up to 33ft / 10m
Handy voice and gesture controls
The Insta360 Ace Pro has been co-engineered with Leica, which means it has a great sensor – it's actually the same size sensor as in the Osmo Action 4 at 1/1.3-inches, and is bigger than the Hero 12 Black's. It does, however, fall short of the new 1-inch sensor in the DJI Osmo Pocket 3; given this camera's larger camera body, I wonder if this bigger sensor will be introduced in a future Ace Pro camera.
The 1/1.3-inch sensor alongside the f/2.6 aperture facilitates impressive low-light performance – more about that later. The 5nm AI chip enables a strong level of noise reduction, which is perfect in those night-time scenes where you can’t get rid of all the noise in-camera. The AI on the chip also means it better handles the opposite extreme, where there are bright light sources in the shot, something that's difficult for any camera to handle, let alone a small action camera.
The stabilization in the camera centers around FlowState and Horizon Lock, features that are well implemented in pretty much all other action cameras. FlowState, Insta360’s proprietary algorithm, is tried and tested on its other cameras and works well. Horizon Lock does exactly that, and is ideally suited to when the camera is rotated a lot through the shot.
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The video resolution allows for up to 8K at 24 frames per second. This is an industry-leading resolution, with the Hero 12 Black topping out at 5.3K and the Action 4 at 4K. Not many users will need 8K in this type of camera, or have the display to watch it on, but if it's something that's important to your workflow then the Insta360 Ace Pro delivers.
The camera contains a neat little feature, although not unique, called ‘Photo Grab’, which enables the capturing of 12MP photos mid-video. We’ll look at the quality of the video and photo from this camera later.
The camera is waterproof down to 10m, which will be sufficient for most cases, but if you find yourself shooting at a greater depth the dive case that's available separately allows you to use the camera to depths of to 16m.
One feature I particularly love is the gesture control. With a simple raising of the palm the camera will start recording video, after a three-second countdown so you can get set up. And if you show the 'peace' sign a photo will be taken after three seconds. I like these types of features, as they minimize the interaction required with the actual camera.
Performance score: 4.5/5
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Insta360 Ace Pro: image and video quality
Max photo resolution: 48MP (8064 x 6048)
Video: 8K 24fps / 4K 120fps / 1080 240fps
Active HDR
The results produced by the Insta360 Ace Pro are noticeably impressive. Where do we start? How about low-light performance? This is where so many action cameras, over the years, have tripped up. If the lighting conditions are ideal then it's no problem, but creators don’t want to be limited by their tech.
The image quality across all resolutions is really nice including the 8K option. Colors are represented with clarity and vibrancy giving a punchy image that pops off the screen. Low-lighting conditions are also handled well, with only a small amount of noise noticeable during testing. The AI-boosted chip helps to clear away more of the noise that can’t be removed by the 1/1.3-inch sensor, and this low-light performance is replicated across video and photo.
The other scenarios these types of cameras often struggle with is highlights. The Ace Pro contains HDR technology when shooting video, and also includes a separate HDR photo mode. The Active HDR in video mode delivers fairly good results, although there is still some detail lost, especially in the highlights.
The HDR photo mode on the other hand does a much better job of capturing those details. When taking a photo of an overcast sky, for example, the image had definition in the clouds, where the video captured turned the sky completely white.
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Color replication across all modes is excellent, with little to no correction required to replicate real-life colors. GoPro and DJI cameras often struggle with this, so I was pleased to see the Insta360 Ace Pro doing such a good job. This color replication is also noticeable with faces and skin tones which, again, are captured accurately.
Unfortunately, there isn’t log capture functionality like the GP-Log in the GoPro Hero 12 Black. This limits your color-editing options in post, and it would be a fantastic additional feature to really take this camera to the next level.
Image and video quality score: 4.5/5
Should I buy the Insta360 Ace Pro?
Buy it if...
Don't buy it if...
Insta360 Ace Pro: Also consider
Testing scorecard
How I tested the Insta360 Ace Pro
I used the Insta360 Ace Pro as both an action camera and a vlogging camera. Taking it out and about enabled me to properly test all of its features, including its video and photo quality as well as its stabilization.
Taking the Ace Pro out on my bike provided a great opportunity to see how the camera would cope working at speed and under changing lighting conditions.
Having tested other action cameras I was able to make informed comparisons between the Ace Pro and other popular models.
